Music in the Mountains 2022 Festival Program

MUSIC IN THE MOUNTAINS

Classical Music Festival

JULY 7-31, 2022 • SOUTHWEST COLORADO GREGORY HUSTIS, ARTISTIC DIRECTOR • GUILLERMO FIGUEROA, CONDUCTOR FOR TICKETS & SCHEDULE, VISIT WWW.MUSICINTHEMOUNTAINS.COM OR CALL 970.385.6820

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Music in the Mountains CLASSICAL MUSIC FESTIVAL GREGORY HUSTIS, ARTISTIC DIRECTOR

GUILLERMO FIGUEROA, MUSIC DIRECTOR & CONDUCTOR

36th SEASON

BOARD OF DIRECTORS

Sheryl Kaufman, President Richard Jalkut, President-Elect Gordon Thomas, Past President, Secretary Paul Cahill, Treasurer Steven Phillips, Finance Committee Co-Chair Christine Serwe, Nomination Committee Chair Marilyn Swanson, Education Committee Chair Dwight Frankfather, Governance Committee Chair Meredith Madrigal, Development Committee Chair Gail Harris Liz Hogan Linda McLaughlin Beth Porter Ellynn Ragone Paul Singer Abigail Snow Angie Beach, Executive Director, Ex-Officio Guillermo Figueroa, Music Director & Conductor, Ex-Officio Gregory Hustis, Artistic Director, Ex-Officio

EMERITUS

John Anderson Terry Bacon Diane Becket Mary Jane Clark Leonard Davies Ann Flatten James H. Foster Thomas Jones Florence (Foxie) Mason, Founding Member Jack Silton Jenny St. John

ADVISORS

Mary Lyn Ballantine Kent Curtis Al Harper

FESTIVAL ADMINISTRATION Angie Beach, Executive Director Libby Culver, Operations Manager Laurie Keck, Accounting Manager Leanne Beasley, Graphic Designer Beth Stewart, Digital & Social Marketing Melanie Palmer, Program Consultant Ryder Shelley, Stage Manager Sheryl Hadeka, Librarian Gail Johnston, Volunteer Coordinator Trish Pegram, Volunteer Coordinator Rowan Clark, Summer Festival Intern Anne Timmins, Office Support Volunteer

COVER ARTIST - ANN SMITH

“Through the open windows of our house I’d listen to my father playing the cello just for the pure joy of making music! The little responsive flutter of joy in my chest eventually grew into my own passion for painting and this exuberant tree full of musicians is my note of gratitude.”

PROGRAM DESIGN

Creative Compass | creativecompass.us

FESTIVAL OFFICE: 515 E College Drive/P.O. Box 3751 Durango, CO 81302 970.385.6820 MusicintheMountains.com Use of photographic, recording, or video equipment is prohibited. Turn off all electronic devices. Latecomers will be seated at the first break of the program.

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Table of Contents Title Page Music in the Mountains Goes to School Online Auction Items Messages from the Directors Message from the Board President Message from the Executive Director Support Music in the Mountains Artistic Directors’ Biographies Guest Artists Festival Musicians Program Notes Festival Donors and Supporters Index of Advertisers

3 12 14 18 20 21 66 74 76 78 86 93 96

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Gregory Hustis

35 Years of Extraordinary Greg Hustis is an icon in the relatively small and connected world of classical music and is a remarkably generous person. Upon his retirement he will be greatly missed by everyone that had the pleasure of knowing his kind of extraordinary.

! s e h s i Best W

“Greg was a long-time dear friend of Mischa’s, who always shared the love of making music, and the desire to share that love with all those he touched. His commitment to embrace quality without compromise was instrumental in the development of Music in the Mountains.

Mischa and Greg’s partnership was a rare example of the melding of strengths for a purpose. His leadership will be sorely missed.”

– Jenny St. John, founding member and widow of Mischa Semanitzsky, founding conductor

“Greg has been a pillar of the Festival from its earliest days, as a performer, liaison with musicians, and more recently as Festival Artistic Director; and he deserves a lot of credit for the success of Music in the Mountains. I worked closely with Greg through several years of Festival growth and I greatly value the talent, dedication, and superb direction he provided.”

– Jim Foster, Past Board President

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THANK YOU! “For many years, Greg Hustis has served as the steward of music direction for the Music in the Mountains organization. Through live classical music performances in beautiful but unconventional performance spaces, to the inspiring venue of the Fort Lewis College Community Concert Hall, he saw that classical music inspired listeners and performers from all backgrounds. As the Music Director for Music in the Mountains, Greg Hustis welcomed and engaged with the classical arts in a manner that was always educational, welcoming, and open, bridging the gap between classical music enthusiasts and newcomers who were immediately transformed by the Music in the Mountains performances and discovered that the medium of the classical arts is relatable and exciting when performed by world class musicians.”

“Joining Music in the Mountains as Principal Horn in the earliest years of the Festival, Greg became an outstanding orchestra member and dedicated supporter and friend of the Festival. Already a well-known musician, his commitment to producing quality musical performance and his wide knowledge and connections with world class musicians helped to build Music in the Mountains into the high-quality festival it has become. His leadership was invaluable as he succeeded Mischa Semanitzsky as Artistic Director in 2007, and his own words display his philosophy. ‘My job as Artistic Director is to make sure that no matter what kind of music we are playing . . . we are promoting artistic excellence and integrity.’ (July 2015) He has achieved this and more. We will miss his leadership but our gratitude, friendship and thanks for all he has accomplished will live on.”

– Sheryl J. Kaufman, Ed.S. 2022 - 2023 Board President

– Florence (Foxie) Mason, Founding Board Member

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TELLURIDE’S PREMIER CONCERT and PRIVATE EVENT VENUE 7/17/22 An Evening Benefiting the Sheridan Opera House

with Jack Ingram and William Beckmann

9/22/22 The California Honeydrops soul/R&B Check out our website for tickets and more information about our private event and wedding packages.

www.SheridanOperaHouse.com 110 N. Oak St., Telluride, CO 970.728.6363

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Discovering musical stars of tomorrow!

YEAR-ROUND MUSIC EDUCATION PROGRAMS 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 over 4,600 students in Durango and the surrounding areas, with every elementary student in the Durango School District experiencing some benefit from our programs.

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.

! u o y k n a h T

To all of the many dedicated teachers, parents, donors, volunteers, and community members who work together to enhance music education in our schools!

Sponsored by:

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 An opportunity for selected junior and senior high school

students to expand and enhance their musical knowledge and talent. Selected students will act as a representative of Music in the Mountains and win a scholarship package with an estimated value of $3,000/student. This is a merit based scholarship program. This year four selected students received a scholarship for the full cost of a weekly private music lesson for 16 weeks, as well as monthly mentor sessions with a Music in the Mountains musician via Zoom. Additionally, they receive 2 free tickets to each of selected Music in the Mountains Festival Orchestra and Chamber concerts as well as a performance opportunity during the 2022 Festival at a special Education Gala event.

Free Student Tickets This program offers up to two free student tickets with purchase of one adult

ticket to select Music in the Mountains Festival concerts during the 2022 summer concert season.

This program is made available to students ages 7 – 18. By providing the opportunity for students to see Music in the Mountains perform, we hope to inspire young people to continue their pursuits in and enjoyment of classical music. The Free Ticket Program is designed to encourage families to attend concerts together. We hope to help supplement existing music education programming and to motivate students and support their families in an effort to maintain and increase student enrollment numbers in school music programs.

Family Concerts An annual musical tradition for young children and Families during the summer Festival, Music in the Mountains invites all community members to enjoy a performance by the Festival Orchestra at the Community Concert Hall at Fort Lewis College. Join us for a picnic dinner prior to the concert with music, activities, and prizes!

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Music in the Mountains ‘Goes to School’

ONLINE AUCTION FUNDRAISER The Music in the Mountains’ Online Auction runs during the Summer Festival from July 6 – July 20 and supports our Goes to School programs in the local community.

Preview items and bid on your favorites by visiting our website or by scanning the QR code at left. Exclusive resort getaways, art, jewelry, golf outings, concert tickets, restaurant gift certificates, and many other enticing items are available – let the bidding begin! Please visit the auction site for more details on all of the items.

Here are a few of the auction highlights!

8-DAY VIKING RIVER CRUISE FOR 2 TO THE EUROPEAN DESTINATION OF YOUR CHOICE: 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, the Viking experience is unsurpassed!

Airfare not included. This package is valued at $7,598.00.

CAROL SALOMON DESIGNS: Each exquisite Carol Salomon piece has a story… for example, where she found the beads on her extensive travels throughout the world. This piece – featuring lava rock – is no exception!

Her lifelong love of travel, connecting her with other cultures and peoples far and wide are what make her pieces so unique.

Her talent for juxtaposing precious and semi-precious stones and metals alongside found objects, ancient beads and contemporary materials sets her work apart.

KSUT FOLK FESTIVAL VIP PASSES FOR 2: KSUT presents the 26th annual Four Corners Folk Festival on Reservoir Hill in Pagosa Springs over Labor Day weekend, with music from Yonder Mountain String Band, Heartless Bastards, Dirtwire, Gangstagrass, Darrell Scott’s Electrifying Trio, Amy Helm, and 10 others. This package includes two patron pass tickets, which come with patron’s seating under the tent, complimentary food and beverages, a patron’s vehicle pass, and camping (if desired) on Reservoir Hill and is valued at $1,000.00.

LUXURY ACCOMMODATIONS AT YOUR CHOICE OF VIDANTA RESORT IN MEXICO: Enjoy an 8-day, 7-night stay in Vidanta’s exclusive, members-only Grand Luxxe accommodations. You can choose a 1, 2 or 3 bedroom suite (subject to availability) from one of these exciting resort destinations: Nuevo Vallarta, Riviera Maya, Los Cabos, Acapulco, Puerto Peñasco, or Puerto Vallarta. Your stay has been carefully curated to provide a high-end experience, including endless restaurants and lounges, golf courses and endless pools.

Airfare is not included, but your transportation to the resort is included. Generously donated by Greg and Sonja Lough.

OREGON COAST GETAWAY: Fly into Portland and enjoy a drive through wine country on your way to the coast, where the mountains meet the sea. Stay 6 nights and 7 days in a beautiful 2 bedroom/ 2 bathroom suite at the Inn at Spanish Head in Lincoln City, Oregon. While at the Inn you can walk on the beach, fly a kite, build a sand castle, enjoy bountiful seafood, explore the tide pools and enjoy the on-site hot tub and pool.

Dates available to choose from: September 18 – November 18, 2022, November 28 - December 17, 2022, January 3 – February 28, 2023. Airfare not included.

Generously donated by Gordon and Dene Thomas.

2022 ORIGINAL FESTIVAL ARTWORK: Take home this coveted, framed, original piece and own an important part of Music in the Mountains’ history! This year, local artist Ann Smith and her gorgeous watercolor painting, Tree Muse, was chosen for the season’s cover art and it is the perfect balance of fine art and whimsical summer fun. Ann is best known for her lush, expressive large-scale watercolors. The more you look at Tree Muse the more you see.

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LUNCH • DINNER • PUB

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From the Festival Artistic Director

It is a special privilege for me to greet you this summer as this season will be my last as Artistic Director of Music in the Mountains (MITM). It has been a great pleasure to have served in many roles within this wonderful organization; I have been part of Music in the Mountains since 1988. The past few years have been a tumultuous period with forest fires and Covid 19 affecting so many MITM operations. I am happy to report we emerged through this dark time relatively unscathed from all major challenges, and now we are working to move ahead to a new era of success and prosperity. Thanks to our generous and hard working board, our superb and committed musicians, and you, our loyal patrons, we continue to present concerts of the very highest artistic level.

I am thankful to many people for what they have contributed to the Festival and to me personally. Our founder Mischa Semantizky, his wife Jenny St. John, and Florence Mason were all instrumental in my initial involvement with the Festival. Mischa was a generous leader and always supportive of my efforts.

Susan Lander, Executive Director for many years, was a wonderful colleague. Susan took MITM to a new high level of professionalism. Angie Beach, current MITM Executive Director, has skillfully guided the Festival through the most difficult and complicated of times. She is absolutely a Durango crown jewel, invaluable to the entire community. Finally, I must mention Guillermo Figueroa who has been the best artistic partner one could imagine. Guillermo has been a willing and creative partner during the many years we have worked together. There are, of course, many others—too many to mention—board presidents, donors, and an entire community who value what we have achieved for Durango and the surrounding area the past 36 years.

Looking ahead, I am aware of the many challenges organizations like Music in the Mountains face. In the face of war, pandemic, and increasing social upheaval, some people may question our very relevance. On the other hand, over and over I have witnessed the radiant reactions of our audiences following a performance of great music performed by MITM musicians. The worth of great music performed live by our accomplished musicians cannot be quantified. It is indeed priceless.

- GREGORY HUSTIS

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Dear Friends,

From the Music Director & Conductor

“This will be our response to violence: to make music more intensely, more beautifully, more devotedly than ever before”.

- Leonard Bernstein Those magnificent and sublime words from Bernstein, the great composer, conductor, and pianist, written in response to the tragedies of 9/11, certainly resonate today and provide me with inspiration as we approach our summer Festival. In a world concerned with a pandemic, wars, and natural catastrophes of every kind, few things are more restorative, healing, and uplifting than great music, a universal art that transforms and elevates the human spirit.

And that is exactly what we are offering you in our Festival. Not many places in the world have the combination of wonders that can be found in Durango in summertime. The natural beauty and attractions, and the magnificent world-class music offered by Music in the Mountains, make this town one of the most desired destinations.

The ancient Greeks considered mousike, a combination of music, lyrics, dance, and poetry, one of the essentials elements in the complete education of their citizens. Our Festival offers not only performances of the greatest classical and world music, but ample opportunity for young people to gain access to music through our year-round teaching and mentoring efforts.

So, whether you prefer Bach, Mozart and Beethoven, world music, country music, John Williams, or, yes, Bernstein, whose thrilling Overture to Candide will be a highlight of our final program, you will find it all this summer. No matter where you join us, in the acoustically fabulous Concert Hall at Fort Lewis College, or at several on-site locations with our unique mobile stage, I can assure you that the music will be played as intensely, beautifully, and devotedly as Bernstein required of us. His words are our guiding light and our promise to you!

- Guillermo Figueroa

From the Board of Directors’ President Dear Patrons,

Welcome to the 36th Annual Music in the Mountains Festival!

Music in the Mountains is delighted to again provide the richness of an exceptional summer music Festival featuring world renowned musicians of the highest caliber to entertain, educate, and delight our Festival audiences with the beauty and universality of classical music.

Music in the Mountains not only provides our audiences with the thrill of full orchestra concerts, but will once again offer free world-class classical chamber music concerts for area communities during our summer Festival. In addition, Music in the Mountains is committed to inspiring young people with the power of music by offering year-round music education through our Family Concert, Free Festival Ticket Program, and Scholarship Programs.

Most importantly, I would urge everyone to visit the Music in the Mountains website: “Individual Giving, Corporate Giving, Housing a Musician, and Volunteer Opportunities.” Not unlike everyone else, Music in the Mountains and the performing arts at large have not been insulated from the tumultuous events of the last couple of years. Throughout the pandemic, Music in the Mountains continued to move forward with even greater strength and commitment to the world of community performing arts and as a vital contributor to the life and economics of our local community.

This was only possible through your passion, commitment, and continued support of Music in the Mountains. Thank you!

Sincerely,

- Sheryl Kaufman

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Dear Friends,

From the Executive Director

We welcome you to the 36th Anniversary Season of Music in the Mountains here in beautiful southwest Colorado. It’s a privilege we shall not take for granted to share in these precious weeks of live, world-class music experiences.

This season we celebrate many things: a newly expanded season that includes a week of free community concerts throughout the region, the end of a long and bitter pandemic, and the spectacular career of our friend and long-time Music in the Mountains Artistic Director, Greg Hustis. Greg has taught me so much about the industry, never wavering in his commitment to this organization and to this community, and always with a deep and abiding passion for classical music as an art form. He is astute in his ability to balance financial limitations with artistic vision, and has a strong belief in excellence in everything that we do. When he retires after this season, he will have worked with Music in the Mountains for 35 years and I will have worked with him for the last 12. I will certainly miss working with him and I know you will miss him too.

As always, I give thanks for the dedication and commitment of so many people – our board members, staff and artistic directors, volunteers, patrons, and of course our many sponsors and donors – we are able to produce this treasured music Festival and our year-round ‘Goes to School’ program. We are proud of the impact we are able to make on the culture, economy and quality of life in our community. Please take a moment to note our many generous contributors. It’s important that our patrons thank our corporate sponsors for their support of the Festival when they are doing business with them. Make no mistake, this Festival would not be possible without their generous continued financial and in-kind support.

Rest assured that your ticket purchases help to distinguish La Plata County as a culturally rich community with education opportunities unique in a rural area such as ours. 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.

Very truly yours,

- Angie Beach

Axis Health System has merged with The Center for Mental Health, now serving even more of our mountain communities with 18 locations in Southwest Colorado.

Providing care for the whole person — body and mind.

La Plata Integrated Healthcare 1970 E. 3rd Avenue Durango Crossroads at Grandview 1125 Three Springs Boulevard Durango Columbine Behavioral Healthcare 281 Sawyer Drive - Suite 100 Durango Durango Oral Health Clinic 2530 Colorado Avenue Durango Archuleta Integrated Healthcare 52 Village Drive Pagosa Springs Cortez Integrated Healthcare 691 East Empire Street Cortez Cortez Oral Health Clinic 101 South Maple Street Cortez

Dove Creek Integrated Healthcare 495 West Fourth Street Dove Creek Axis Health System – Crisis Walk-in Center 300 N. Cascade Avenue Montrose Axis Health System – Montrose 605 Miami Road Montrose

Axis Health System – Gunnison 710 N. Taylor Street Gunnison Axis Health System – Crested Butte 318 Elk Avenue - Suite 25 Crested Butte Axis Health System – Telluride 238 E. Colorado Avenue Telluride

Axis Health System – Norwood 1605 Grand Avenue Norwood

Axis Health System – Ridgway 112 Village Square West Suite 201 Ridgway

Axis Health System – Delta 207. E. 11th Street Delta

Axis Health System – Naturita 212 E. Main Street Naturita

Axis Health System – Hotchkiss 110 Hotchkiss Avenue Hotchkiss

Learn more about services in your area at axishealthsystem.org

Need help now? We’re here for you.

Call the Axis Care Hotline, 24/7 for your crisis & behavioral health needs 970.247.5245.

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MUSIC IN THE MOUNTAINS We’ve built a mobile stage designed to deliver free world-class classical music concerts throughout the region.

WE’RE TAKING THIS SHOW

ON THE ROAD

JOIN US FOR THESE FREE COMMUNITY CONCERTS

THURSDAY, JULY 7

BRASS ENSEMBLE Mancos: Boyle Park 11:00AM Durango: Public Library 2:00PM Bayfield: Joe Stephenson Park 6:30PM

FRIDAY, JULY 8

WOODWIND ENSEMBLE Durango: Cottonwood Park 11:00AM Durango: Senior Center 2:00PM Durango: Buckley Park 6:30PM

SATURDAY, JULY 9 STRING ENSEMBLE Ignacio: Shoshone Park 11:00AM Pagosa Springs: Town Park 2:00PM Durango: Buckley Park 6:30PM

Please visit our website for more information and directions for each venue location!

MADE POSSIBLE BY:

WWW.MUSICINTHEMOUNTAINS.COM

MUSIC IN THE MOUNTAINS | 515 E COLLEGE DR. DURANGO, CO 81301 | 970.385.6820

Special Donor Event Glacier Club, Prospector Hall Durango

SUMMER SOIRÉE

5:30 pm - Reception 7:00 pm - Concert

Min Kwon, piano Pianist Min Kwon will perform selections from her America/Beautiful project, which brings forward the perspectives of over 70 American composers, each invited to compose a variation on the patriotic hymn “America the Beautiful”.

The original lyrics of this song were penned by American poet Katherine Bates after a trip to Pike’s Peak in the late 1890’s. Together with Samuel Ward’s tune, the piece was first published in 1910.

Kwon’s inspiration for this project was Ludwig van Beethoven’s set of 33 variations on a Waltz by Anton Diabelli. While the original tunes are remarkably simple, the variations that came out of each are nothing short of remarkable. The individual composers who contributed to the project made unique contributions to a collective statement about America. The project premiered on July 4, 2021.

SUNDAY, JULY 10

Glacier Club presents

For more information go to www.america-beautiful.com

5:30 p.m.

Min Kwon will be announcing the various composers and variations from the stage.

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Thanks to CREA, Mesa Verde Country, Sparks Plumbing and Heating, and First National Bank, Cortez for helping to bring Music in the Mountains back to the Sunflower Theatre at

A podcast connecting modern people to the people who lived around Mesa Verde hundreds of years ago Listen and subscribe now on apple podcasts or spotify

Mesaverdevoices.org

Season five is coming later this summer

The Sunflower Theatre Cortez

The Sunflower Theatre at KSJD presents

SUN-DAPPLED Festival String Quartet Erin Schreiber, Hannah Ji, violin Guillermo Figueroa, Rachel Halvorson, viola Christopher French, Jan Simiz, cello PYOTR ILYICH TCHAIKOVSKY (1840 - 1893)

Souvenir de Florence, Op. 70 Allegro con spirito Adagio cantabile e con moto Allegro moderato Allegro con brio e vivace

g INTERMISSION h Festival Brass Quintet Kyle Sherman, Rebecca Ortiz, trumpet Nathan Ukens, horn Sasha Romero, trombone Jarrod Robertson, tuba

LUDWIG VAN BEETHOVEN (1770 - 1827) arr. Sasha Romero

Sonata No. 8 in C minor, Op. 13, (“Pathétique”) Adagio cantabile

KERRY TURNER Casbah of Tetouan (1960 - )

7:00 p.m.

ENRIQUE CRESPO Suite Americana (1941 - )

THURSDAY, JULY 14

Chamber Concert

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FOUR F LK CORNERS SEPTEMBER 2-4, 2022 * RESERVIOR HILL * PAGOSA SPRINGS * COLORADO

FESTIVAL Yonder Mountain String Band * Darrell Scott’s Electrifying Trio Heartless Bastards * Dirtwire * Gangstagrass * Amy Helm Armchair Boogie

* Cristina Vane * The Honey Dewdrops * The Badly Bent

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TH ANNUAL

William Prince * Amanda Anne Platt & the Honeycutters * JigJam War & Pierce * Sarah Borges * Eliza Gilkyson * Seth Walker

PASSES ON SALE NOW: www.ksutpresents.org

World Music Conert LePlatt’s Pond Event Center Bayfield

KSUT and LePlatt’s Pond present

Heralded by CMT Edge as “one of the most promising bands on the bluegrass scene,” the music of the Nashville based group The Barefoot Movement is as down to earth as their intention for members of their audience: sit back, relax, take your shoes off, and stay a while.

7:00 p.m.

Creating gloriously addictive and instantly memorable tunes, the Barefoot Movement serves up bluegrass and Americana harmonies laced with bluesy grit. Their invigorating sound is honest, energetic, joyous, and heartfelt… garnering them nationwide acclaim and fans!

FRIDAY, JULY 15

BAREFOOT MOVEMENT

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Orchestra Conert Community Concert Hall at FLC Durango

BACH AND BURRITOS

6:30 pm - Dinner 8:00 pm - Concert

Guillermo Figueroa, conductor and viola Erin Schreiber, violin JOHANN SEBASTIAN BACH (1685 – 1750) arr. Ronald Romm

Fugue in G minor, “The Little”, BWV 578

WILLIAM BYRD (1539 – 1623) arr. Elgar Howarth

The Earle of Oxford’s March

GEORGE FRIDERIC HANDEL “Arrival of the Queen of Sheba”, (1685 – 1759) from Solomon arr. Paul Archibald

WOLFGANG AMADEUS MOZART Sinfonia Concertante in E flat for Violin (1756 – 1791) and Viola, K. 364

Allegro maestoso Andante Presto

Guillermo Figueroa, viola

JOSÉ PABLO MONCAYO Huapango (1912 – 1958)

Program Notes can be found on page 86

6:30 p.m.

Erin Schreiber, violin

SATURDAY, JULY 16

Durango Dermatology and Nini’s Taqueria present

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Orchestra Conert Community Concert Hall at FLC Durango

TREEHOUSE TREASURE Guillermo Figueroa, conductor Katherine Young Steele, oboe BEDŘICH SMETANA (1824 – 1884)

Overture to The Bartered Bride

LUDWIG van BEETHOVEN (1770 – 1827)

Symphony No. 8 in F, Op. 93 Allegro vivace e con brio Allegretto scherzando Tempo di menuetto Allegro vivace

g INTERMISSION h ERNESTO CORDERO (1946 - )

Katherine Young Steele, oboe FRANZ LISZT (1811 – 1886)

Les preludes, S. 97

5:30 p.m.

Tres Bocetos Criollos (Three Creole Sketches), for oboe and orchestra El caminante A orillas del Rio Piedras Antillana

SUNDAY, JULY 17

Durango Motor Company presents

Supporting Sponsor:

Program Notes can be found on page 87

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The 2022 Subaru Forester Wilderness: Adventure on a deeper level!

The all-new 2022 Subaru Forester Wilderness features off-road upgrades like increased ground clearance, a revised drivetrain optimized for climbing, and the trail-tested confidence of standard Symmetrical All-Wheel Drive.

We are proud to be longtime supporters of Music in the Mountains, Southwest Colorado’s premier cultural event.

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Community Concert Hall at FLC Durango

Morehart Murphy of Durango and Four Corners Broadcasting present

DINNER & FAMILY CONCERT

5:30 pm - Casual hot dog dinner in CCH courtyard 6:30 pm - Concert

Guillermo Figueroa, conductor Paul Singer, narrator GREGORY SMITH (1957 - )

The Orchestra Games

It’s the ultimate “get to know the instruments” piece because it goes far beyond the usual basic descriptions by exploring the “personalities” of the instruments… including strengths and weaknesses. All this happens while sprinting through a light-hearted Olympian array of events.

The work begins with a ceremonial introduction of each instrument and then proceeds to various events such as the low note limbo, the fast note dash, the marathon, and many others. These contests demonstrate the capabilities of orchestral instruments while keeping the audience happily engaged with an entertaining musical competition.

WEDNESDAY, JULY 20

Orchestra Conert

The Orchestra Games

5:30 p.m.

Supporting Sponsors:

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ATTORNEYS SERVING SOUTHWEST COLORADO Michael A. Goldman Lindsey K.S. Nicholson Josh W. Mack Denny R. Ehlers, Of Counsel

679 E. 2nd Avenue, Suite C Durango CO 81301 970.259.8747 www.gnm-law.com

Orchestra Conert Community Concert Hall at FLC Durango

Vadim Gluzman, conductor and violin WOLFGANG AMADEUS MOZART Serenade No. 6 in D, K. 239 (1756 – 1791) Marcia Minuetto Rondo

Violin Concerto No. 3 in G, K. 216

Allegro

Adagio

Rondeau: Allegro

Vadim Gluzman, violin

g INTERMISSION h

7:00 p.m.

PĒTERIS VASKS Musica Serena (1946 - )

FRIDAY, JULY 22

SERENE DREAM

PYOTR ILYICH TCHAIKOVSKY Serenade for Strings, Op. 48 (1840 – 1893) Andante non troppo – Allegro moderato

Valse: Moderato – Tempo di valse

Élégie: Larghetto eligiaco

Finale: Andante – Allegro con spirito

Supporting Sponsors:

Program Notes can be found on page 84

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Benefit Event Sky Ute Event Center Ignacio

POPS NIGHT:

6:30 pm - Cocktail Hour 7:30 pm - Dinner 8:30 pm - Concert

90th Birthday Tribute to John Williams

Featuring THE MAGICAL MUSIC OF HARRY POTTER Richard Kaufman, conductor All works by JOHN WILLIAMS (1932 - ) FLIGHT TO NEVERLAND From Hook

LOVE THEME From Superman HEDWIG’S THEME From Harry Potter and the Sorcerer’s Stone DOBBY THE HOUSE ELF From Harry Potter and the Chamber of Secrets

SATURDAY, JULY 23

TBK Bank and Sky Ute Casino & Resort present

FAWKES THE PHOENIX From Harry Potter and the Chamber of Secrets

QUIDDITCH (from CHILDREN’S SUITE) From Harry Potter and the Sorcerer’s Stone NIMBUS 2000 From Harry Potter and the Sorcerer’s Stone HARRY’S WONDROUS WORLD From Harry Potter and the Sorcerer’s Stone

6:30 p.m.

AUNT MARGE’S WALTZ From Harry Potter and the Prisoner of Azkaban

FLYING THEME From E.T.

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This concert is dedicated to the memory of past Board President, Jill Ward.

Orchestra Concert Community Concert Hall at FLC Durango

Guillermo Figueroa, conductor Tomoko Kanamaru, piano MANUEL de FALLA (1876 – 1946)

Nights in the Gardens of Spain, for piano and orchestra En el Generalife Danza léjano En los jardines de la Sierra de Córdoba

Tomoko Kanamaru, piano

g INTERMISSION h JAN SIBELIUS (1865 – 1957)

5:30 p.m.

Supporting Sponsors:

Symphony No. 2 in D, Op. 43 Allegretto Tempo andante, ma rubato Vivacissimo – Lento e suave Finale: Allegro moderato

SUNDAY, JULY 24

GARDEN OF IMAGINATION

Ann Smith Watercolor

Program Notes can be found on page 89

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Music in the mountains is like wine with friends, it just goes together.

- A Toast from Star Liquors

The Spirit - and Spirits - of Durango!

Star Liquors has been owned and operated by the same family for over 30 years.

We live in Durango.

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We play in Durango.

We’ve proudly poured wine for our friends at Music in the Mountains for awhile now, we look forward to seeing you again this year!

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St. Columba Catholic Church Durango

Star Liquors presents

RARE JOY

Guillermo Figueroa, conductor Erin Schreiber, Hannah Ji, William Hunt, Leslie Shank, Oleg Sulyga, Lauren Avery, Valerie Turner, violin; Dmitry Kustanovich, Colin Garner, viola; Christopher French, Jan Simiz, cello; Aaro Paavo Heinonen, bass; Jean Larson Garver, flute; Katherine Young Steele, Andrew Parker, oboe; Nikolette LaBonte, Nathan Ukens, horn; Kyle Sherman, trumpet; Mika Inouye, harpsichord ARCANGELO CORELLI (1653 – 1713)

Concerto Grosso in D, Op. 6, No. 7 Vivace – Allegro – Adagio / Allegro / Andante largo / Allegro / Vivace

GEORGE WALKER (1922 – 2018)

Lyric for Strings

WOLFGANG AMADEUS MOZART (1756 – 1791)

Divertimento in D, K. 251 Allegro molto / Menuetto / Andantino / Menuetto: Tema con variazioni / Rondo: Allegro assai

WEDNESDAY, JULY 27

Chamber Concert

g INTERMISSION h Trio Sonata in D, HWV 385 Adagio / Allegro / Affetuoso / Vivace

JESSIE MONTGOMERY (1981 - )

Starburst

JOHANN SEBASTIAN BACH (1685 – 1750)

Brandenburg Concerto No. 2 in F, BWV 1047 Allegro / Andante / Allegro assai

7:00 p.m.

GEORGE FRIDERIC HANDEL (1685 – 1759)

Supporting Sponsor:

Program Notes can be found on page 90

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The Walt Dear family presents

AMERICAN MELODIES

~ A journey through the early songs that defined America, from folk songs to spirituals, gospel, and jazz ~

Byron Stripling, conductor, trumpet, and vocals HENRY CREAMER, TURNER LAYTON After You’ve Gone arr. Tyzik BEN BERNIE, MACEO PINKARD, Sweet Georgia Brown KENNETH CASEY arr. Mackrel TRADITIONAL FOLK SONG Oh Shenandoah arr. Clayton IRVING BERLIN Alexander’s Ragtime Band arr. Springfield ISHAM JONES, GUS KAHN It Had To Be You arr. Grimes PRESTON FOSTER I Got My Mojo Working JULIA WARD HOWE Battle Hymn of the Republic arr. Albam TRADITIONAL GOSPEL SONG This Little Light of Mine Arr. Cook

g INTERMISSION h

Orchestra Concert Community Concert Hall at FLC Durango

I Want To Be Happy

WILLIE DIXION

Hoochie Coochie Man

GEORGE GERSHWIN arr. Grimes

Fascinating Rhythm The Man I Love

IRVING BERLIN Always arr. Springfield His Eye Is On the Sparrow

TRADITIONAL SPIRITUAL arr. Grimes

Come On Children, Let’s Sing

SAMUEL WARD, KATHERINE LEE BATES arr. Tyzik

America the Beautiful

g

7:00 p.m.

CHARLES GABRIEL, CIVILLA MARTIN

FRIDAY, JULY 29

VINCENT YOUMANS, IRVING CAESAR arr. Cook

A note from Walt Dear:

This special concert honors Al and Cyrene Dear, my parents, who inspired their five sons to take piano lessons.

49

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Community Concert Hall at FLC Durango

Animas Chocolate Co. and Kennebec Wealth Management present

CHOCOLATE INDULGENCE & SYMPHONIC BON BONS!

6:30 pm - Reception 8:00 pm - Concert

Guillermo Figueroa, conductor FRANZ von SUPPÉ (1819 – 1895)

Light Cavalry Overture

JOHANNES BRAHMS (1833 – 1897)

Hungarian Dances No. 1 in G minor No. 6 in D No. 7 in F

In honor of Jean Larson Garver GABRIEL FAURÉ Sicilienne, Op. 78 (1845 – 1924)

ARAM KHACHATURIAN Lezginka from the ballet Gayane (1903 – 1978) Slavonic Dances, Op. 46 No. 1 in C, Furiant No. 2 in E minor, Dumka

LEONARD BERNSTEIN (1918 – 1990)

Overture to Candide

FRANZ LISZT (1811 – 1886)

Hungarian Rhapsody No. 2 in C minor, S. 244/2

Supporting Sponsors:

Program Notes can be found on page 91

6:30 p.m.

ANTONÍN DVOŘÁK (1841 – 1904)

SATURDAY, JULY 30

Reception & Orchestra Concert

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Ballantine Communications is proud to support Music in the Mountains in its 36th season bringing world-class musical performances to our community.

The Durango Herald | The Journal | BCI Media Services | Directory Plus | Four Corners Expos

Orchestra Concert Community Concert Hall at FLC Durango

INSPIRED VOICES

~ GREAT OPERA CHORUSES ~

Guillermo Figueroa, conductor Durango Choral Society, Linda Mack Berven, director Caliente Community Choir, Virginia Nickels Hircock, director FELIX MENDELSSOHN (1809 – 1847)

Symphony No. 4 in A, Op. 90, (“Italian”) Allegro vivace Andante con moto Con moto moderato Presto and Finale: Saltarello

g INTERMISSION h GEORGES BIZET (1838 – 1875)

Chorus and March of the Toreadors, from Carmen

GIUSEPPE VERDI (1813 – 1901)

“Va, pensiero” (Chorus of the Hebrew Slaves) from Nabucco

SCOTT JOPLIN (1868 – 1917)

Overture to Treemonisha

RICHARD WAGNER Bridal Chorus from Lohengrin (1813 – 1883) ALEKSANDR BORODIN (1833 – 1887)

5:30 p.m.

“Vedi! Le fosche notturne spoglie” (Anvil Chorus) from Il Trovatore

SUNDAY, JULY 31

Ballantine Communications presents

Overture and Polovtsian Dances from Prince Igor

Supporting Sponsor:

Program Notes can be found on page 92

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SUMMER/FALL EDITION NOW AVAILABLE • 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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AT THE MUSIC IN THE MOUNTAINS DINNER & FAMILY CONCERT • We provide diverse local scholarships • Give dictionaries to 3rd graders • Gift children’s books at Halloween • Fund local nonprofits to feed families • Provide grants to enhance health, protect the environment, provide clean water, promote literacy, boost economic development and more!

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Steel Magnolias

By Robert Harling Directed by Amanda Berg Wilson MAY 28 - SEPT 17

Always...Patsy Cline

Created & originally directed

by Ted Swindley Based on a true story Directed by Michael Perlman MAY 29 - SEPT 17

Native Gardens

By Karen Zacarías Directed by Julia Rosa Sosa Chaparro JUNE 18 - SEPT 11

The Royale

By Marco Ramirez Directed by Kyle Haden JULY 23 - SEPT 10

Ken Ludwig’s Sherwood: The Adventures of Robin Hood Directed by John DiAntonio JUNE 25 - SEPT 10

The KID Show: Music Box

By Allison Quiller Directed by Renée Prince JULY 7, 8, 9

Boomtown!

Explosive Improv Comedy JULY 1 - SEPT 9

Pants on Fire!

A Totally Made-Up Musical for Kids JULY 1 - SEPT 4

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We pride ourselves on making the transition into, out of, and around our community as seamless, enjoyable, efficient, and profitable as possible. We are known for our commitment to customers, clients, and community.

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We make it easy to give to Music in the Mountains

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!

ONLINE:

www.MusicintheMountains.com

BY CHECK: Payable to Music in the Mountains can be sent to P.O. Box 3751, Durango, CO 81302 STOCK GIFTS: Support the

Ensure that Music in theMountains goes on for years to come...

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Festival by donating appreciated securities such as stocks, bonds, and mutual funds. Gifts of appreciated securities generally entitle donors to an income tax deduction for securities’ full market value. Such gifts also enable donors to avoid capital gains taxes that would otherwise be due upon a sale.

The Benefits!

Maestro’s Council $15,000 +

Complimentary Tickets

12 premium

Summer Soiree (Special Donor Event)

4 tickets

Musicians Dinner

4 tickets

Guarantor $10,000 $14,999

Benefactor $5,000 $9,999

Patron $2,500 $4,999

Contributor Music Lover $1,500 $500 $2,499 $1,499

8 premium

6 premium

4 premium

4 tickets

4 tickets

2 tickets

2 tickets

4 tickets

4 tickets

4 tickets

2 tickets

4 premium

Friend $100 $499

2 premium

2 tickets

Advance Ticketing Festival Poster Program Acknowledgment

PLANNED GIFTS

~

Consider joining your friends and fellow supporters of Music in the Mountains by making a planned gift that supports the long-term continuity and viability of the Festival. There are a number of planned gift options that can be employed to fit your goals and ability to support Music in the Mountains. Making a planned gift is such an important way to help assure that the Festival and all of our educational programs will be there for future supporters, patrons, and generations of students. The Board has created a “Music in the Mountains Endowment” so that contributors can become members of the Encore Society with a beginning contribution of as little as $500. Consider, for instance, making a contribution to the endowment as a memorial to a loved one. This is simply one of many possible gift options, including a bequest in your will.

Many options have tax incentives.

If you would like more information on how to join the Encore Society and support Music in the Mountains, please contact us.

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.

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.

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!

Housing donations 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.

For more information on all the ways to give, please contact us at

970.385.6820

all r o f u o y Thank support! your 67

CELEBRATING 5 YEARS SUPPORTING THE DURANGO COMMUNITY

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WE ARE HONORED TO ANNOUNCE A GENEROUS FUNDING! we have been awarded an $80,000 grant through the colorado arts relief fund to support arts, cultural and organizations affected by the covid-19 pandemic.

THANK YOU COLORADO CREATIVE INDUSTRIES!

Top: Guillermo Figueroa, conductor; Katherine Young Steele, oboe; Richard Kaufman, Pops conductor; Erin Schreiber, violin; Bottom: Tomoko Kanamaru, piano; Byron Stripling, trumpet and conductor; Durango Choral Society, Vadim Gluzman, violin

Artistic Directors Gregory Hustis

Festival Artistic Director Hustis has been the Festival Artistic Director and Chamber Music Director since 2007, overseeing the Festival’s programming and artists. He launched imaginative programming and many sold-out performances. Hustis was the principal horn player in the Festival’s orchestra from 1988 – 2013. Additionally, he was principal horn with the Dallas Symphony Orchestra from 1976 – 2012. Hustis teaches horn at Southern Methodist University, where he received the Meadows Distinguished Teaching Award in 1995. Prior to joining the Dallas Symphony, he was the principal horn of the Hamilton Philharmonic in Ontario, Canada. As an internationally-known soloist, chamber music player, and recording artist with numberous solo and chamber music CD’s, he appeared internationally and performed with Bravo! Vail, the Sarasota Music Festival, Mainly Mozart in San Diego, the Santa Fe Music Festival, and the Aspen Music Festival. He recently concluded multi-year conductor appointments as Wind Ensemble Director and University Orchestra Director at the University of Texas-Dallas and as Music Director of Metropolitan Winds, a civic wind ensemble in Dallas. He is a graduate of the Curtis Institute of Music.

Guillermo Figueroa Festival Music Director, Violin, Viola, Conductor Since 2007, Figueroa has delighted audiences as Festival Music Director and Conductor. He was recently appointed Principal Conductor 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.

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2022 Festival Musicians GREGORY HUSTIS Festival Artistic Director GUILLERMO FIGUEROA Festival Music 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 Erin Schrieber, Concertmaster The Concertmaster chair is supported by the Tiffany Haugen Memorial Endowment: a gift of Bob Haugen in memory of Tiffany Haugen Hannah Ji William Hunt Leslie Shank, Concertmaster Emerita Emily Cole (weeks 2 and 3) Carlos Elias Petros Karapetyan Aaron Boyd (week 3 and concertmaster, July 31) Violin II Oleg Sulyga, Principal Lauren Avery Jacqueline Audus Valerie Turner Valory Hight Richard Silvers Luke Santonastaso Viola Rachel Halvorson, Principal Dmitry Kustanovich Colin Garner Erica Gailing Tim Tyler Rachel Daniels 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 Annemarie Reader Double Bass Aaro Paavo Heinonen, Principal William Clay Boris Astafiev

Flute Jean Larson Garver, Principal Ebonee Thomas Rochelle Mann Piccolo Rochelle Mann Oboe Katherine Young Steele, Principal Andrew Parker (week 2 and 3) Abigail Hawthorne English Horn Andrew Parker Clarinet James Shields, Principal Deborah Fabian

Harp Anne Eisfeller Piano Tomoko Kanamaru Linda Mack Berven Harpsichord Linda Mack Berven Mika Inouye Librarian Sheryl Hadeka Personnel Manager Nathan Ukens Stage Manager Ryder Shelley

Bass Clarinet Don Fabian

Pre-Concert Lecturer Linda Mack Berven

Bassoon Laura Leisring, Principal Marissa Olegario

Note: Emma Boisvert, violin is on leave of absence

Horn Nikolette LaBonte, Principal Nathan Ukens Sheryl Hadeka Jeffrey Rogers Joel Ockerman Trumpet Kyle Sherman, Principal Steven Woomert Rebecca Ortiz Trombone Sasha Romero, Principal Byron Herrington Bass Trombone Jennifer Hinkle Tuba Jarrod Robertson Timpani John Pennington (weeks 1 and 2) Jonathan Latta (week 3) Percussion Jonathan Latta Seth Burkhart Derek Sawyer Ryder Shelley Cameron Olsen

Guest Conductors Vadim Gluzman Richard Kaufman Byron Stripling Instrumental Soloists Guillermo Figueroa Vadim Gluzman Tomoko Kanamaru Min Kwon Erin Schreiber Byron Stripling Katherine Young Steele CHAMBER MUSIC Guillermo Figueroa Chris French Rachel Halvorson Hannah Ji Jan Simiz Nikolette LaBonte Jean Larson Garver Laura Leisring Rebecca Ortiz Jarrod Robertson Sasha Romero Erin Schreiber Kyle Sherman James Shields Kathryn Young Steele Nathan Ukens

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Festival Guest Artists THE BAREFOOT MOVEMENT Creating gloriously addictive and instantly memorable tunes, the Barefoot Movement serves up bluegrass and Americana harmonies laced with bluesy grit. Their invigorating sound is honest, energetic, joyous, and heartfelt…garnering them nationwide acclaim and fans!

Heralded by CMT Edge as “one of the most promising bands on the bluegrass scene,” the music of the Nashville based group The Barefoot Movement is as down to earth as their intention for members of their audience: sit back, relax, take your shoes off, and stay a while.

VADIM GLUZMAN, Guest Conductor, violin Universally recognized among today’s top performing artists, Israeli violinist Vadim Gluzman is acclaimed for his appearances with the Berlin Philharmonic, Boston Symphony, London Symphony, and Royal Concertgebouw under Riccardo Chailly, Christoph von Dohnányi, Tugan Sokhiev, Michael Tilson Thomas and other leading conductors. Mr. Gluzman has introduced the public to new works by Sofia Gubaidulina, Giya Kancheli, Moritz Eggert, Elena Firsova, Lera Auerbach and Pēteris Vasks, and is planning premiere performances of concertos by Erkki-Sven Tüür and Joshua Roman. Accolades for Gluzman’s striking catalogue of recordings for the BIS label include the Diapason d’Or of the Year, Gramophone’s Editor’s Choice, Classica magazine’s Choc de Classica award, and Disc of the Month by The Strad, BBC Music Magazine, and ClassicFM. Distinguished Artist in Residence at The Peabody Conservatory, Gluzman performs on the extraordinary 1690 ‘ex-Leopold Auer’ Stradivari, on loan through the Stradivari Society of Chicago.

TOMOKO KANAMARU, piano Kanamaru first appeared with a professional orchestra at the age of nine in Tokyo. She made her U.S. concerto debut with the Savannah Symphony in December 2000, performing the Grieg Concerto. Since then, she has made solo appearances with the National Repertory Orchestra, the Toledo Symphony, and the Binghamton Philharmonic. More recently she performed the Liszt Piano Concerto No. 1 with the Middletown Symphony (in Ohio), the Tchaikovsky Piano Concerto #1 with the Symphony of Southeast Texas, and Petrushka with the Annapolis Symphony, in addition to the return appearance with the Symphony of Southeast Texas performing the Liszt Piano Concerto #1. During the 2018-19 season, she performed Beethoven’s Triple Concerto with the Ambler Symphony as the member of the soloists from the Camerata Philadelphia. Most recently, she was the soloist for the Beethoven’s Choral Fantasy with Mendelssohn Chorus of Philadelphia and Symphony in C.

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RICHARD KAUFMAN, Guest Conductor Kaufman has devoted his musical life to conducting and supervising music for film and television, as well as performing film and classical music in concert halls and on recordings.

He has spent 31 years as Principal Pops Conductor of Orange County’s Pacific Symphony and is in his seventeenth season with the Chicago Symphony Orchestra’s CSO at the Movies.

He regularly appears as a guest conductor with symphony orchestras throughout the US and the world. In 2016 he shared the podium with John Williams at the annual Tanglewood Film Night. Kaufman often conducts programs featuring live performances of entire scores while a film is being shown, from Amadeus to Star Wars, Jaws to Pirates of the Caribbean and many others. He has an extensive discography and has been a Grammy recipient. He joined the Music Department of Metro-Goldwyn-Mayer in 1984 and for eighteen years supervised the music for all MGM television and animation projects, for which he received two Emmy nominations. He began violin studies at age 7 and went on to receive his BA in Music from California State University Northridge, where he composed the school’s Alma Mater and Fight Song.

Festival Guest Artists MIN KWON, piano Korean-born American pianist Min Kwon’s career encompasses concerti, solo recitals, and chamber music appearances, while in high demand as a pedagogue, arts advocate, and administrator. She has performed in over 60 countries on seven continents and in all 50 states. A Professor of Piano at Rutgers University since 2002, she is also the founder and Director of the Center for Musical Excellence, a non-profit dedicated to supporting gifted young musicians. As a soloist, recitalist, and chamber musician she has performed all over the world with major orchestras and ensembles. She has also collaborated in numerous duo recitals with her sister, violinist Yoon Kwon, a first violinist at the Metropolitan Opera Orchestra. Kwon has an extensive discography including Shubert and Liszt (MSR Classics) which received a Grammy Award. She has led master classes worldwide and is a frequent festival performer. She received a Bachelor of Music from The Curtis Institute of Music and a Doctor of Musical Arts and Master of Music degrees from The Juilliard School.

ERIN SCHREIBER, violin, concertmaster Schreiber joined the St. Louis Symphony as Assistant Concertmaster in September 2008, at the age of 20. She has appeared in recital throughout the U.S., as well as in London, Sweden, Italy, and Germany, and toured with jazz legend Chris Botti in Shanghai, Mexico City, and Eastern Europe. She made her St. Louis Symphony solo debut in 2011 and has appeared as a soloist with the Richardson, Gateway, Alton, and Missouri Symphony Orchestras. In the summers, she has performed at Festival Mozaic in California, Olympic Music Festival in Washington, and for the past six years, the Sun Valley Summer Symphony in Idaho. Schreiber attended the Curtis Institute of Music in Philadelphia.

KATHERINE YOUNG STEELE, oboe Since 2012 Steele has held the Forte Principal Oboe Chair of the Milwaukee Symphony Orchestra. Prior to that, she was principal oboe of the Florida Orchestra, where she appeared frequently as soloist and collaborated on the orchestra’s multi-year cultural exchange with musicians in Havana, Cuba. Since 2008, she has been co-principal of the Eastern Music Festival and has performed at Tanglewood, Spoleto, and Banff festivals and with the National Repertory Orchestra. She currently serves on the faculty of the University of WisconsinMilwaukee, and has previously taught at the University of Tampa, St. Petersburg College, and the New World School of the Arts in Miami. Steele holds a Bachelor of Music and Performer’s Certificate from the Eastman School of Music and a Master of Music from Rice University’s Shepherd School.

BYRON STRIPLING, Guest Conductor, trumpet, vocals Stripling currently serves as artistic director and conductor of the Columbus Jazz Orchestra. His heartfelt tribute to Louis Armstrong has become one of America’s most popular orchestral pops programs. With his engaging rapport, jazzy vocals, and virtuosic trumpet sounds, he celebrates the spirit of New Orleans. His signature version of “When the Saints’ Go Marchin’ In” closes his show and leaves audiences dancing in the aisles! Stripling made his Carnegie Hall debut with Skitch Henderson and the New York Pops. He has soloed with the Boston Pops, National Symphony, Pittsburgh Symphony, Cincinnati Pops, Seattle 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. He earned his stripes as a lead trumpeter and soloist with the Count Basie Orchestra and has played and recorded with the bands of Dizzy Gillespie,

Woody Herman, Dave Brubeck, and many others.

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Festival Musicians JACQUELINE AUDAS, violin Audas is currently focused on engaging and empowering communities through classical music. She founded the non-profit organization Classical C.A.R.M.A. (Concerts Aiming to Raise Money & Awareness). As its artistic director, she helps to produce and perform in concerts which fundraise for organizations aiding those in need, bringing awareness to obstacles faced by underserved populations. In the past few years, Audas has performed as a soloist, chamber, and orchestral musician in Israel, Germany, Italy, Spain, New Zealand, and the United States. She recently graduated with her Master’s Degree in Violin Performance from Rice University. Prior to attending university, she studied with the late Arkady Fomin, Music in the Mountains’ Conservatory Director. She currently works with Vadim Gluzman at Johns Hopkins’ Peabody Institute.

BORIS ASTAVIEV, 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.

LAUREN AVERY, violin Lauren Avery is the concertmaster of the San Juan Symphony in Durango, CO and has also performed with the Louisville Orchestra, the Cincinnati Chamber Orchestra, the Berkeley Symphony, the Sacramento Philharmonic, and the Modesto Philharmonic, as well as many other ensembles in the San Francisco Bay Area. She has spent summers with the Cabrillo Festival, the Castleton Festival with Lorin Maazel, Spoleto USA, the National Repertory Orchestra, the Opera Theater and Music Festival of Lucca, Italy, and Music in the Mountains. She has degrees from Vassar College and Rice University.

LINDA MACK BERVEN, piano, harpsichord, pre-concert lecturer Mack Berven 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.

She was a long-time music faculty member at Fort Lewis College. She also conducts the Durango Women’s Choir, and is a former Music Director of the Santa Fe Desert Chorale. 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, and she regularly performs with C. Scott Hagler as part of the Vivace Piano Duo. Mack Berven has conducted choirs and orchestras at Carnegie Hall in 2010 and 2018, as well as in in Prague, Greece, Zagreb, Salzburg, Innsbruck, and Linz. Mack Berven earned her doctoral degree from the University of Illinois.

AARON BOYD, violin Boyd currently serves as Director of Chamber Music and Professor of Practice in Violin at the Meadows School of the Arts at Southern Methodist University. He has established an international career as soloist, chamber musician, recording artist, lecturer, and educator. Since making his New York recital debut in 1998, he has appeared at many prestigious venues throughout the US, Europe, Russia, and Asia and collaborated with members of the Juilliard, Guarneri, and Emerson quartets. As a chamber musician, Boyd has appeared at the Marlboro and Aspen festivals, among others, and is an artist of The Chamber Society of Lincoln Center, where he was a recipient of the Avery Fisher Career Grant.

Interested in the violin and its history, Boyd has lectured on the golden age of violinists and their violins, and is a contributing writer to The Strad magazine. A graduate of The Juilliard School, he plays on the “ex Stopak” Matteo Goffriller violin, crafted in in Venice in 1700.

SETH BURKHART, percussion Dallas-based percussionist Burkhart holds degrees from The New England Conservatory, The Lynn Conservatory and recently completed a Professional Diploma from Southern Methodist University’s Meadows School of The Arts under the tutelage of George Nickson. Seth’s former teacher’s include Ted Atkatz, Will Hudgins, Shaun Tilburg, and Parker Lee. Some ensembles Seth has performed with include The New England Philharmonic, The Boston Chamber Symphony, South Florida Symphony, The Nova Singers, and Park Street Church in Boston. He has also worked with artists Justin Timberlake, John Malkovich, The Blue Man Group, and Philip Glass. Seth was finalist and runner up for TAPS 2017 and NEC 2018 mock auditions and winner for SMU 2021 mock audition.

WILLIAM CLAY, bass Clay has held the position of principal double bass of the Fort Worth Symphony Orchestra since 1995. Prior to that, he was the principal of la Orquesta Sinfónica de Castilla y León (Spain), and was a charter member of the New World Symphony. He is currently Adjunct Professor at Texas Wesleyan University and has served on the faculty of University of North Texas. He has performed with the Houston, San Antonio, and Dallas Symphonies, and most recently as a guest principal with the Oregon Symphony. An active chamber musician, Clay has performed as a guest artist with Spectrum Chamber Music Society, Fine Arts Chamber Players, Mount Vernon Music, and Chamber Music Society of Fort Worth. He has also appeared as a soloist, performing concertos with the Fort Worth, New World, Colorado, and Metropolitan State University Symphonies. He holds the Master of Music degree from Indiana University and the Bachelor of Arts from Metropolitan State University.

Festival Musicians EMILY COLE, violin Cole joined the Oregon Symphony in 2011. An avid chamber musician, she is a member of the Mousai Remix string quartet with fellow Oregon Symphony musicians. She has also performed locally with Third Angle Ensemble, Fear No Music, 45th Parallel, and Northwest New Music. During the summer months, Emily has performed with the Oregon Bach Festival, The Seattle Opera, and The Apollo Music Festival. She is on the faculty of Lewis & Clark College and coaches chamber musicians with Portland Summer Ensembles and Seattle’s Music Northwest. She earned her Master of Music from the University of North Texas. She received her Bachelor of Music from the University of Texas at Austin.

DON FABIAN, bass clarinet Fabian is principal saxophone and soloist with “America’s Premier Wind Band,” the Dallas Wind Symphony. Fabian is part of the Artist Faculty and Adjunct Associate Professor of Saxophone at the Meadows School of the Arts at Southern Methodist University. He concurrently holds the position of personnel manager for the Dallas Wind Symphony. He is the soprano saxophonist with the award-winning Texas Saxophone Quartet.

A graduate of the Crane School of Music, S.U.N.Y. at Potsdam, New York, he earned his bachelor’s degree in both performance and music education. His master’s degree was completed in multiple woodwinds and saxophone performance at Michigan State 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. 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 Carnegie Hall in 2002. He holds degrees from Biola University, the University of Cincinnati’s CollegeConservatory of Music, and Duquesne University.

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.

ANNE EISFELLER, harp Eisfeller is the principal harp of the New Mexico Philharmonic and Santa Fe Symphony, as well as adjunct faculty at the University of New Mexico. She has also performed with the symphonies of San Antonio, El Paso, Hartford, and Opera Southwest. Summers have taken her to Oregon for the Coast, Britt, Cascade, and Sunriver festivals, and also to Italy to perform with the Assisi Performing Arts. She is a frequent performer for Arts in Medicine, UNM’s integrative medicine program that provides music, visual arts, massage, and creative writing to patients and staff at University Hospital in Albuquerque. She is a graduate of Indiana University, where she received her bachelor’s and master’s degrees and taught harp and music theory.

DEBORAH FABIAN, clarinet Fabian joined the clarinet faculty at the University of North Texas in the fall of 1990. She is concertmaster of the Dallas Wind Symphony and is the principal clarinet of the Plano Symphony Orchestra.

Fabian has also been featured as a soloist with other ensembles, including the Texas Chamber Orchestra. She has performed frequently with the Dallas Symphony Orchestra, Dallas Opera Orchestra, Fort Worth Symphony, the Dallas Chamber Orchestra, Buffalo Philharmonic, and the Grand Rapids Symphony Orchestra. Fabian earned a Bachelor of Music in Clarinet Performance and Music Education from the University of Buffalo and a Master of Music in Clarinet Performance/Woodwinds from Michigan State University.

KEIRA FULLERTON, cello Fullerton has been assistant principal cello of the Fort Worth Symphony Orchestra since 2008, and an adjunct professor of cello at the University of Texas at Arlington since 2015. 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. 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.

ERICA GAILING, viola Gailing currently performs regularly with the New York City Ballet, Baltimore Symphony, and Pittsburgh Symphony, as well as the New York Philharmonic.

Throughout her career as a violinist and violist, she has collaborated with renowned musicians across genres including Andrea Bocelli. She serves as a teaching artist for Midori & Friends, a non-profit that provides accessible music education to children with little access to the arts. During her summers, she has performed at several music festivals including Spoleto, Sarasota, Norfolk Chamber Music Festival, and Tanglewood. Gailing received a Bachelor of Music in Violin Performance from Queens College, and later graduated from The Juilliard School with a Master of Music in Viola Performance.

Festival Musicians COLIN GARNER, viola A native of Littleton, CO, Garner recently completed his 11th season as a member of the Dallas Opera Orchestra. 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 Midland/Odessa Symphony and Abilene Philharmonic. During two recent summer seasons, Garner participated in the Crested Butte Music Festival. 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.

JEAN LARSON GARVER, flute Larson Garver has been principal flute with the Dallas Symphony Orchestra since 1971. She has also been Adjunct Professor of Flute at Southern Methodist University since 1971. Her career with the DSO has included several tours of Europe, Asia, and South America, and performances at Carnegie Hall. She is a founding member of the Music in the Mountains Festival Orchestra in Durango, where she has spent the last thirty-two summers. As a soloist and chamber musician, she has performed with the Dallas Chamber Orchestra, the Fine Arts Chamber Players, the Dallas Symphony Orchestra, the Dallas Woodwind Quintet, and the Mainly Mozart Festival. Larson Garver studied at the University of Texas in Austin, where she received her bachelor’s and master’s degrees in music performance.

SHERYL HADEKA, horn, librarian Hadeka is currently a member of the Buffalo Philharmonic Orchestra. Prior to that, she held the position of associate principal horn in the Omaha Symphony.

She is a former member of the New Mexico Philharmonic, Tucson Symphony, Santa Fe Symphony, and Louisiana Philharmonic. She has also performed with the Dallas Symphony, San Antonio Symphony, Rochester Philharmonic, and New World Symphony.

In 2008, she was the University Division Concerto Competition winner at the Northeast Horn Workshop.

In addition to performing, Hadeka has taught at Loyola University in New Orleans and the University of Nebraska in Omaha. She has attended summer festivals including Lake George, Sarasota, Aspen, Spoleto, and Lucerne Festival Academy. In 2016 she was the Library Apprentice at the Santa Fe Opera. She completed her bachelor’s degree at the Eastman School of Music and her master’s at Southern Methodist University under Gregory Hustis.

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RACHEL HALVORSON, viola Halvorson is the principal viola of the Sarasota Orchestra and a member of the Sarasota String Quartet. She formerly held a contract with the Akron Symphony, and has performed with orchestras such as the Cincinnati, Houston, San Antonio, Syracuse and New World Symphonies, and the Boston Symphony in an opportunity through Tanglewood. She has joined Tanglewood, Spoleto Festival, National Repertory Orchestra, and Credo Festivals on summer fellowships, and she took first prizes at the American Viola Society’s Excerpt Competition and Collegiate Solo Competition. As a chamber musician, she has coached with the Juilliard, Ebene, Dover, Cavani, Calder, and Jupiter Quartets. Halvorson plays on a Mario Miralles viola, on generous loan from the Maestro Foundation. She holds the Bachelor of Music from Oberlin Conservatory, and recently completed her Master of Music at Rice University.

ABIGAIL HAWTHORNE, oboe Hawthorne holds the Oboe II / English Horn position with the Allen Philharmonic Orchestra in Allen, Texas. She has performed with the Wichita Symphony Orchestra, the American Institute of Musical Studies (Graz, Austria) and the Tafelmusik Baroque Summer Institute in Toronto. She has also played with The Dallas Opera, the Shreveport, Fort Worth, Plano, and New World Symphony Orchestras, among others, and the Dallas Chamber Wind Ensemble. An avid pursuer of chamber music opportunities, she played with the Eastman Harmonie wind octet, and the Southerly Winds woodwind quintet. She earned her Bachelor of Music in Oboe Performance and a Bachelor of Arts in Psychology from SMU. She brings science and the arts together with an interest in research concerning music performance anxiety, and has interviewed musicians about their experience and the environments that worsen their anxiousness. Hawthorne is eager to promote further research about performance psychology that can benefit professional and amateur musicians. She completed her master’s degree in oboe performance and literature from the Eastman School of Music.

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 five-string bass that he commissioned.

Festival Musicians BYRON HERRINGTON, trombone Herrington has performed with and occasionally conducted the New Mexico Symphony Orchestra for 30 years until 2011. He holds a degree from the University of Oklahoma, where he studied with Dr. Irvin Wagner. Herrington is a founding member of the New Mexico Philharmonic and is principal trombone with the Santa Fe Symphony.

VALORY HIGHT, violin 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. 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. Hight is on faculty at Zhen Music and Arts Institute and Rockwall School of Music in Dallas. She received her bachelor’s degree from Bard College and Conservatory and completed her master’s degree at Southern Methodist University.

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 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, and collaboration with puppetmakers from Sesame Street that have been integral to the development of Calliope’s sought-after 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.

MIKA INOUYE, harpsichord Inouye is active as a performing artist and educator in Durango, Colorado.

She maintains a private piano studio in Durango, is co-director of the Piano Academy at Fort Lewis College, and artistic director of 3rd Avenue Arts Chamber Music Festival. She performs regularly as a pianist and harpsichordist with 3rd Avenue Arts Bach Festival, St. Mark’s Recital Series, and has performed with Missoula Symphony and String Orchestra of the Rockies. As a certified Orff Schulwerk teacher, Inouye leads courses and workshops throughout the US, Hong Kong, Kuwait, and New Zealand. She holds bachelor’s and master’s degrees in piano performance from Brigham Young University and the University of Montana.

HANNAH JI, violin Ji joined the first violin section of the St. Louis Symphony Orchestra in 2020. 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.

She was a contemporary ensemble artist at 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 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.

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.

JONATHAN LATTA, percussion, timpani Latta has been at University of the Pacific since 2014 and has served in leadership roles in the Conservatory of Music, Office of the President, and Enrollment Management. He has also maintained an active performing career including the Stockton Symphony, Modesto Symphony, Sacramento Philharmonic, and Stockton Concert Band. He has performed as a chamber musician in the Durango Chamber Music Festival, the Animas Music Festival, and at the Percussive Arts Society International Conference.

In 2019, he performed at Carnegie Hall as a soloist with the University of the Pacific Symphonic Wind Ensemble.

Prior to earning his doctorate, he was a member of the United States Air Force Band of the Golden West, where performances included the Tournament of Roses Parade.

He received his bachelor’s from the University of the Pacific, his master’s from East Carolina University, and his doctorate from the University of Arizona.

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 TaaffeZwillich’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 14th 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.

ROCHELLE MANN, flute, piccolo 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 a 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.

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 Density512, 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 SUNY Stony Brook.

Festival Musicians CAMERON OLSEN, percussionist Olsen is a percussionist and drum set player from Vancouver, WA. He just graduated with his bachelor’s degree in percussion performance from Central Washington University under the tutelage of Mark Goodenberger. He is currently pursuing his Masters in percussion performance at the University of Colorado Boulder.

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 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 solodivision. 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.

ANDREW PARKER, oboe, English horn Parker is currently Assistant Professor of Oboe at Butler University and principal oboe of the Quad Cities Symphony. He has taught master classes throughout the country at the University of Michigan, Temple University, Rice University, and many other institutions. He maintains a career as an orchestral musician, soloist, and chamber player, and has appeared as guest artist and a player with many orchestras in North America including the Florida Orchestra, and the Richmond, Ann Arbor, Flint, and Santa Fe Symphonies. He recently performed the world premiere of Rob Deemer’s oboe concerto Pillars of Creation, with the University of Texas Wind Ensemble. He plays and coaches chamber music at various international music festivals. He received his bachelor’s degree at the Eastman School of Music, his master’s degree at Yale University, and his doctorate at the University of Michigan.

JOHN PENNINGTON, timpani Pennington is an educator, composer, performer, author, producer, and conductor. He is currently a Professor of Music at Augustana College. Pennington is the associate principal timpani with the South Dakota Symphony and is currently a Cultural Envoy for the State Department in the Middle East. With performances on four continents and over twenty-five states, he has performed on Prairie Home Companion and has been a featured performer at four Percussive Arts Society international conventions. He holds degrees from the University of Michigan, the University of Arizona, and 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.

JARROD ROBERTSON, tuba Robertson is currently principal tuba of the Tulsa and East Texas Symphony Orchestras, and is the tubist with the Dallas Symphony Orchestra youth education brass quintet. He has performed with many professional orchestras, including the Dallas, Fort Worth, Charleston, Shreveport, Plano, Irving, Las Colinas, and Lawton Symphonies, as well as the Dallas Wind Symphony. Robertson has been a semi-finalist in national tuba auditions and the International Tuba/Euphonium Conference Orchestral Excerpt competition. Robertson also maintains a private studio of 40 low brass students in the Highland Park and Richardson ISDs near Dallas. Robertson is a graduate of Southern Methodist University.

JEFFREY ROGERS, horn Rogers is a resident of Taos, New Mexico.

He currently plays principal horn in the Santa Fe Symphony Orchestra and is a member of the Taos Chamber Music Group. He also frequently plays with Nudeco, a contemporary music ensemble based in Miami, FL. He spent 20 years playing principal horn in various orchestras in Mexico and Chile including the Mexico City Philharmonic, The Jalisco Philharmonic , and the Chilean National Symphony in Santiago de Chile. He also served as principal horn of the Mineria Symphony Orchestra based in Mexico City for 20 consecutive years. As a chamber musician he has performed with the Mexico City Woodwind Quintet, Mexico City Brass Quintet, Camarata Mazatlan and, since 2015, the contemporary music ensemble CEPROMUSIC. He has participated with these groups as well as others in Mexico’s most important festivals including the Festival Internacional Cervantino, Festival de Mayo de Jalisco, Manuel Enriquez New Music Forum, Zacatecas Cultural Festival, and the Ortiz Tirado Music Festival en Alamos, Sonora.

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Festival Musicians SASHA ROMERO, trombone Romero grew up within the acclaimed Texas band system and achieved musical success at a young age. She was appointed principal trombone of the Metropolitan Opera Orchestra in 2018. Prior to her appointment at the Met she held the position of principal trombone with the Fort Worth Symphony from 2016 – 2018. She has been a guest trombonist with the New York and London Philharmonic, among others. She was a semi-finalist in the first Brass Division of the 2019 International Tchaikovsky Competition in St. Petersburg in 2019. She serves on the trombone faculties of Rutgers University, Mannes School of Music and Bard Conservatory as well as presenting solo recitals and masterclasses at numerous colleges, universities, conservatories, and industry conventions across the US. She has a Bachelor of Music in Music Performance from Baylor University, and a Master of Music from Rice University.

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 such as Midori Goto, and The Borromeo String Quartet. He has received fellowships with the National Repertory Orchestra, National Orchestral Institute, and Incontri in Terra di Siena music festivals. Luke is passionate about educating young musicians in his private studio and has worked with the Palo Alto Chamber Orchestra, the Crowden School, 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 is a local Durango percussionist who is both a professional musician and a licensed structural engineer. He has been the principal timpanist with the Cheyenne Symphony Orchestra in Cheyenne, Wyoming for the past 7 years.

In addition, 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 University of Colorado School of Music performing the Creston Concertino for Marimba and Orchestra.

He graduated in 2015 from the University of Colorado, Boulder with degrees in Engineering and Percussion Performance and has lived in the Durango area for the past 2 years.

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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’s Weill Hall as a winner of the Artists International Competition, and was twice re-engaged to perform on its Special Presentation Series. She was appointed Visiting Assistant Violin Professor at University of Wisconsin, Madison, for 2014-15. 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. She also frequently plays viola in chamber music.

RYDER SHELLEY, percussion, stage manager North Carolina native Shelley performs frequently as a percussionist with the Buffalo Philharmonic Orchestra. He has also played with the San Francisco Symphony, Houston Symphony, and Fort Worth Symphony.

In addition to serving as Stage Manager for Music in the Mountains, he recently completed his first season as Company Manager for the Princeton Festival in Princeton, NJ. Ryder is a graduate of the University of Cincinnati College-Conservatory of Music and the San Francisco Conservatory of Music.

KYLE SHERMAN, trumpet Sherman joined the Fort Worth Symphony as principal trumpet in 2016. He has appeared with the Dallas Symphony and as a soloist with the Garland, Arlington, and Las Colinas symphony orchestras. He has also performed on the Broadway national tours of the Book of Mormon, Porgy & Bess, and Matilda, among others. Sherman is a Yamaha performing artist. An active educator, he regularly appears as a clinician and recitalist at universities throughout Texas and the United States. He is an alumnus of the Yale School of Music, Oberlin Conservatory, Tanglewood Music Center, the National Repertory Orchestra, and the Round Top Festival.

JAMES SHIELDS, clarinet Shields joined the Oregon Symphony as principal clarinet in the fall of 2016. Prior to that, he served as principal clarinet of the Canadian Opera Company as well as the New Mexico Philharmonic. He has appeared as a soloist with the Oregon Symphony, New Mexico Philharmonic, Interlochen’s World Youth Symphony Orchestra, and Albuquerque Philharmonic Orchestra, and as guest principal clarinet with the Philadelphia Orchestra, Malaysian Philharmonic Orchestra, Aspen Music Festival, and Santa Fe Pro Musica. He is becoming increasingly known as a performer of chamber music, making over 30 appearances annually throughout the US and Canada. He is co-artistic director of Chatter, an Albuquerque-based chamber music organization, and a core member of the Portland-based chamber music collective 45th Parallel Universe. He is a graduate of The Juilliard School and holds a Master of Music in Composition from the University of New Mexico.

Festival Musicians RICHARD SILVERS, violin Silvers currently serves on the faculty at Fort Lewis College as a Visiting Instructor of Music Theory and Upper Strings. He earned his Bachelor of Music in Violin Performance from the Herb Alpert School of Music there.

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. He has performed at Carnegie Hall and at venues in Italy and Switzerland. He earned his Master of Music from the University of Indiana and his Doctor of Musical Arts from the University of WisconsinMadison.

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 a cellist with the Amabile String Quartet and head of the string department at the Arizona School for the Arts since its inception in 1995. She received a bachelor’s degree from the University of Southern California and her master’s from California State at Long Beach.

OLEG SULYGA, violin Sulyga is a violinist with the Houston Grand Opera Orchestra and a frequent chamber musician. He was a member of The Moscow Virtuosi, with which he performed in the world’s most prestigious concert halls, and a participant in numerous international festivals. He began his studies in his native Moscow, and continued them at SMU in Dallas, Paris, and the 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. 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. She performs regularly with the Austin Chamber Music Society and Voices of Change, a new music ensemble in Dallas. 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.

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.

TIM TYLER, viola A native of Odessa, TX, Tyler currently attends the Meadows School of the Arts at Southern Methodist University. He was previously a member of the Amarillo Symphony Orchestra for five years as well as Chamber Music Amarillo and the Amarillo Opera. He has performed and collaborated with notable artists such as Simon Fischer and Paul Neubauer as well as the Cassatt, Harrington, and Juilliard String Quartets. He received a Bachelor of Music degree from West Texas A&M University.

NATHAN UKENS, horn, personnel manager Ukens currently holds the position of third horn in the Rochester Philharmonic Orchestra. Prior to this appointment, Ukens spent much of his career as an active chamber musician, soloist, and orchestral performer throughout the Southwest. Before moving to Rochester, Nathan held the positions of fourth horn in the Sarasota Orchestra, principal horn in the Santa Fe Symphony and second horn in the New Mexico philharmonic.

As a soloist, Nathan has appeared with the Santa Fe Symphony, the New Mexico Philharmonic, the New Mexico Symphonic Chorus and the Albuquerque Philharmonic. In addition to his Master of Music from Southern Methodist University, where he studied with Gregory Hustis, Ukens holds a Bachelors of Music from Oklahoma State University.

STEVEN WOOMERT, trumpet Woomert joined the Toronto Symphony Orchestra as Associate Principal Trumpet in 2014. He has appeared as the Acting Principal of the Canadian Opera Company Orchestra and has performed with the Barbados Classical Pops All Star Orchestra, New World Symphony, Indianapolis Symphony Orchestra, Calgary Philharmonic Orchestra, and others. In 2013, he was the winner of the International Trumpet Guild Orchestral Excerpts Competition. He has participated in many summer festivals, including the National Youth Orchestra of Canada, National Academy Orchestra, Banff Festival Orchestra, National Orchestral Institute, National Repertory Orchestra, and Spoleto Festival USA. Woomert and his father Barton have commissioned and recorded a CD of brand new music for two trumpets and piano, entitled Tandem. He completed his Bachelor of Music at Northwestern University. He continued his studies at The Glenn Gould School at The Royal Conservatory in Toronto.

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Program Notes by Susan Halpern

JULY 16th

BACH AND BURRITOS

Fugue in G minor (“Little Fugue”) BWV 578. . .

J.S. Bach, arr. by Ronald Romm In 1705, Bach composed this well-known “Little Fugue,” for organ.

Bach’s editors gave it its name to distinguish it from the Great Fantasia and Fugue in G minor, BWV 542. The subject of this short, spirited, popular four-voiced fugue is quite recognizable. Here Bach combines music of his German heritage with his newly acquired knowledge of Italian music.

This fugue arrangement is by trumpeter, Ronald Romm.

The Earle of Oxford March. . .

William Byrd (1542-1623) arr. by Elgar Howarth Byrd was one of 16th century England’s most accomplished, prolific composers. His compositions include all the major genres of the time. Considered keyboard music’s father, he composed 470 works. His music underwent substantial stylistic development, beginning with the polyphonic, becoming more idiomatic later, as, during his lifetime, English music transitioned from being melody-based to more reliant on harmony.

The English Renaissance’s most famous keyboard manuscript, The Fitzwilliam Virginal Book, includes Byrd’s “The Earl of Oxford March,” which is well known to early music afficionados. The most beautiful, best-preserved surviving manuscript of keyboard music from the period, My Lady Nevell’s Book of 1591, includes this march as “The March Before the Battle,” which sets the mood for a group of sections called “The Battle.” Military in character, it contains passages that sound like trumpet calls or drum beats. It may have been composed to honor Oxford, perhaps in thanks for his patronage.

“Arrival of the Queen of Sheba” from Solomon. . .

Georg Frideric Handel, (1685-1759) arr. Paul Archibald Handel settled permanently in England in 1712. Desiring to make his reputation (and fortune) there composing operas, he was surprised to detect little interest in Italian style opera in London, so he explored a new direction: quasi-religious oratorios, mostly based on Old Testament stories. Handel composed 17 oratorios in England, usually premiering them during Lent, when opera houses were closed. Handel composed Solomon in 1748.

A sinfonia (a type of overture derived from Baroque Italian opera) initiates Solomon, Part III, in which the Queen of Sheba visits Solomon’s court. Musically, the strings articulate variations on an idea, alternating with the oboes’ melodic episodes before they join forces. The music was intended to illustrate the queen’s splendor and is often played during wedding ceremonies.

Sinfonia Concertante for Violin, Viola, and Orchestra, K. 364…

Wolfgang Amadeus Mozart (1756 – 1791) Notes by Guillermo Figueroa The popular perception of Mozart is of a child genius, gifted by the gods, creating music of divine radiance and beauty. But the reality of his inner life is one of mental torture and psychological abuse caused by his father Leopold and the ineffectiveness of his mother to stop it. How his brilliant and resilient mind transcends this is one of the great mysteries in the history of music.

Leopold was a tyrannical, domineering father, who, to assert his primacy in the family structure, played them against each other, and was particularly manipulative of young Wolfgang. The whole story of Mozart’s life tells of his attempt to be set free from his father’s psychological and emotional clutches.

Leopold did encourage his son’s early development, yet put Wolfgang and his sister through a brutal regime of endless tours

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Program Notes and concerts, to show off their talents and make money for the family. Mozart’s mother, Anna Maria, traveled along in the early tours, and served as an emotional buffer between father and son.

In 1778 Mozart set out for Paris. He was merely a lad of 22 and had gone to the great city to seek his fortunes. This was the first time he traveled alone with his mother, leaving the father at home The trip was an artistic disaster, but nothing compared to the bigger tragedy, as Anna Maria fell ill, and after a few days, died in Wolfgang’s arms.

This turn of events had the unfortunate effect of validating in Leopold’s mind all the negative thoughts about his son, for now he could surely say to Wolfgang that he could not succeed without the control of the father. As a final indignity, he is forced to return to his home town of Salzburg - which he hated and was always trying to escape – artistically defeated, motherless, and having to face his father.

Strangely, the music that comes out immediately after the mother’s death is surprisingly cheerful and mature: the great Paris Symphony, for example. But upon his arrival at Salzburg, he writes a work in an already dated genre, a Sinfonia Concertante for solo violin and viola with orchestra that would turn out to be one of his supreme masterpieces.

It is no accident that the solo instruments are the violin and the viola. The first reading likely was given by Leopold on violin and Wolfgang on viola. But what gives an extra dimension of pathos to the work is its sublime second movement Andante, one of the greatest works to flow from his pen, more so coming from a 22-year-old youngster. It is an elegy, a lament that can only be imagined as dedicated to the mother. The mournful main theme is given three times, first by the orchestra, then the violin and finally the viola, music with a depth of sadness which Mozart rarely equaled. There is a solo cadenza for both instruments together, where the two protagonists seem to reveal their inmost thoughts and feelings. The heartbreaking closing theme seems to suggest the disembodied ghost of the mother, hovering over father and son.

Very different than the Andante, the first movement is stately and majestic, with an elaborate cadenza, and the last movement brilliant and rambunctious. In relation to the central Andante, they are the surrounding pillars that complete this unique glimpse into the innermost painful and troubled psyche of the Mozart family.

Huapango. . .

José Pablo Moncayo (1913-1958) Moncayo’s 1941 Huapango is a folk medley based on three well-known traditional melodies from the port city of Alvarado in Veracruz, Mexico: Siqui Siri, Balahú, and Gavilancito. Huapango is a Mexican folk dance song in a style that originated in the Huastec region of Mexico, presumably adapted from the Iberian fandango.

Performed as a group social dance, it involves hats or other head coverings. The instruments of a typical huapango are lead and rhythm guitars, harp, and sometimes violin and jarana, a small five-string guitar.

In Huapango, Moncayo pays tribute to this instrumentation, often giving the harp a prominent role; violins, occasionally strummed like jaranas, provide rhythmic support. As Moncayo elaborates on the traditional themes, the orchestration becomes more complex and the colors more brilliant, climaxing with a trombone and trumpet echoing two huapango singers challenging each other, passing phrases of the theme back and forth.

JULY 17th

TREEHOUSE TREASURE

Program Notes

Overture to the Comic Opera, The Bartered Bride . . .

Bedrich Smetana (1824-1884)

the Afro-Caribbean rhythms and melodies so prevalent in the island’s folklore.

Smetana introduced the distinctive Czech folk idiom to concert halls and opera houses. His 2nd opera, The Bartered Bride, the first great Czech opera, is a warmly comic portrait of life in a rural village. A tale of love and trickery, it derives from the personalities, customs, and lore of the Czech countryside and tells the story of a peasant’s daughter who outwits her parents to marry the man she loves.

The Suite is in three movements. El caminante (The Walker) evokes a person walking aimlessly and thoughtfully, who is lost in the distance. A orillas del Rio Piedras (On the Shore of the Piedras River) is a contemplative movement, a nostalgic look at this beautiful river that is losing its beauty because of human insensitivity. Antillana (Antillean) is a tribute to the Antillean women of the Island of Puerto Rico. It is the only movement that uses and combines Afro-Caribbean rhythms with lyrical melodic segments. The composition concludes with a brief reprise of the Afro-Antillean element.

Smetana wrote this lively, vivacious overture in 1863, three years before completing the opera. From its opening gesture of a jubilant crowd on carnival day to its bustling string fugues suggesting the village gossips, it establishes the mood for the high-spirited comedic opera.

Symphony No. 8, in F Major, Op. 93 . . .

Ludwig van Beethoven (1770-1827) Beethoven’s Symphony No. 8 was received by an indifferent, unenthusiastic audience at its 1814 Vienna premiere, although Beethoven commented angrily that this symphony was much better than Symphony No. 7, whose 2nd movement audiences routinely encored.

This compact symphony in classical form is not heavy or dramatic.

Beethoven designed it to entertain and please. Many music historians judge it among Beethoven’s happiest works, even though he composed it while experiencing one of his life’s most difficult periods.

Les préludes, Symphonic Poem, No. 3, S. 97. . .

Franz Liszt (1811-1886) Liszt invented the idea of the “symphonic poem,” and even its name. He had already composed long, descriptive piano pieces when he decided to write orchestral works that would be even more extended and more fully developed. His symphonic poem changed the course of musical history and provided a vehicle for the creative powers of Smetana, Tchaikovsky and, above all, Richard Strauss.

Liszt wrote 12 symphonic poems in the 1850’s, all onemovement pieces based on extra-musical ideas from literature or history. Les préludes is his 3rd and most popular symphonic poem, written in 1849-1850 (revised 1853-1854). In 1854, Liszt conducted its premiere in Weimar at a pension-fund concert to benefit widows and orphans of the orchestra members.

The 1st movement, Allegro vivace e con brio, with its heavy rhythmic emphasis, follows sonata form, beginning with a bright melody that establishes its harmonious good-temper.

The 2nd movement’s principal theme comes from a round or canon that Beethoven and his friend Mälzel (l772-1838), sang.

Mälzel’s inventions impacted Beethoven’s life: Mälzel built eartrumpets, a.k.a. hearing aids, and developed the metronome.

An 1813 newspaper article reported, “Herr Beethoven considers this invention a welcome means of securing the . . .tempos that he had in mind, which, to his regret, have been so often misunderstood.”

Les préludes is based on a prelude to a choral work; Liszt had also used some of its glorious themes in an early song and a piano piece. He adapted some lines from the poet Alphonse de Larmartine’s New Meditations (1823) (1790-1869) as inspiration: “What is our life but a series of preludes to the unknown song whose first solemn note is sounded by death? Love makes the magic dawn of all life. But in what life are the first delights of happiness not fated to be interrupted by some storm whose fatal wind dissipates its fair illusions and whose deadly thunderbolts destroy its altar? And what The Allegretto scherzando is light-hearted, replacing the usual spirit, cruelly wounded, does not seek to set down serious, slow 2nd movement. Berlioz gave it the ultimate its memories, in the sweet calm of country life, compliment: “It is one of those productions for which neither at the end of one of those tempests? Man does model nor pendant can be found. This sort of thing falls entirely not really resign himself for long to savoring the from heaven into the composer’s brain.” kindly warmth that first charmed him in Nature’s bosom, and when the trumpet sounds the alarm, he Beethoven wrote a Minuet next because a scherzo would not have rushes to his dangerous post, no matter what the contrasted enough with the preceding movement. He adjusted war that calls him to its ranks, in order to regain, in the minuet’s typical rhythmic conventions, playfully creating combat, full awareness of himself and complete ambiguity. The finale, Allegro vivace, is lively, boisterous, almost possession of his forces.” rowdy in its high spirits, beginning with rhythmic displacement and ending with such an imposing conclusion that the listener cannot miss the tongue-in-cheek quality superimposed here.

Tres Bocetos Criollos (Three Creole Sketches) Suite Concertante, for oboe and orchestra…

Ernesto Cordero ) 1946 -) Notes by Guillermo Figueroa The Suite Concertante for oboe and orchestra was written in 2014 and is dedicated to the outstanding Puerto Rican oboist Frances Colon, who commissioned the work together with the Puerto Rico Symphony Orchestra. Like much of Cordero’s music, this work is inspired by either scenes or vistas of his native Puerto Rico, or

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Program Notes by Susan Halpern

JULY 22nd

SERENE DREAM

Serenade No. 6 in D, K. 239, (Serenata notturna) . .

Wolfgang Amadeus Mozart (1756-1791) Mozart composed more than a dozen light and diverting serenades, usually for special occasions, weddings, banquets, or other festivities at his employer’s palace or wealthy citizens’ homes. Serenades expressly for wind ensembles were often performed outdoors, while string serenades were played indoors.

The occasion for this bright, little Serenata notturna is unknown; it may have been written for a New Years’ party. The work has three movements, March, Minuet, and Rondo. The performers are divided in two: a solo string quartet and a string orchestra with timpani.

Throughout, the quartet leads and the orchestra responds, echoes, or fills out its phrases. Some of the writing suggests the two groups were originally at some distance from each other, antiphonally, in a large room. In the Rondo, the contrasting episodes seem unrelated but may have been topical references or jokes that Salzburg party goers may have understood and appreciated.

Concerto for Violin and Orchestra No. 3, in G Major, K. 216 . . .

Wolfgang Amadeus Mozart (1756-1791) At the height of his career, during his mature years in Vienna, Mozart was admired for his brilliant piano playing as well as for his compositions, (which were then thought to be only incidental to a virtuoso’s work as a performer). He was the concertmaster of the Archbishop’s court orchestra in Salzburg, but he always preferred piano even though his father, a violinist of some distinction, thought he could become the finest violinist in Europe; nevertheless, Mozart wrote much music showcasing the violin, not only in concerti, but also with prominent parts in chamber music and orchestral serenades and divertimentos, which feature concerto-like solo movements for violin.

Mozart probably composed his five violin concertos for a colleague, but we know no more of this concerto’s history than that it was written in Salzburg by 1775. As the orchestra’s lead violinist, Mozart probably composed this concerto for himself or one of his colleagues to play at the archiepiscopal court concerts. When Antonio Brunetti, a notorious dullard who was the Archbishop’s favorite, was designated to perform it, Mozart replaced entire movements to suit Brunetti’s skill level.

Mozart’s violin concertos offer charms and delights, but not the grave or dramatic qualities which appear in his later piano concertos. Violin Concerto No. 3 is remarkable for its fluency of discourse, richness of ideas, and subtlety of wit. This work shows the influence of the many trips Mozart took with his father exposing him to musical styles across the Continent.

The Allegro 1st movement borrows melodic material and perhaps something of its mood from the opera Mozart had composed earlier that year, Il rè pastore (The Shepherd King). The main theme of the sonata form movement has a regal, satisfied air.

Orchestral ritornellos alternate with the exposition, development, and recapitulation of the violin’s themes. An extended solo cadenza precedes the coda. The slow cantabile melody of the 2nd movement, with only a slight orchestral accompaniment, has a profundity Mozart had before never attained. The

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Program Notes movement concludes with a cadenza. A remarkable Rondo, with some unusual contrasting episodes, a mock courtly dance and a simple folk like tune, perhaps of Hungarian origin, are considered musical references to some special interest or event in Salzburg occurring when the music was written. Instead of the conventional recapitulation, Mozart simply breaks off mid-phrase, giving the last word not to the solo violin, or to the strings, but to the winds, who, until that point, only sturdily provided harmonic filler.

Musica Serena. . .

Pēteris Vasks (1946-) Latvian composer Pēteris Vasks studied double bass and composition in Riga and Vilnius, Lithuania. In his music, he has developed a distinctive yet accessible folk-like and mystical musical idiom.

Musica Serena is a beautiful one-movement work Vasks composed in 2015 to honor the 70th birthday of his friend, Finnish conductor Juha Kanga. Constructed in arch form and spanning a wide dynamic range, the work opens very softly with high, shimmering violin harmonics that yield to a lush string theme. Contemplative music grows in intensity and volume at the work’s center, then subsides, returning to the quiet of the beginning.

Serenade for Strings Op. 48. . .

Peter Ilyich Tchaikovsky (1840-1893) In 1880, Tchaikovsky composed three of his serenades. He wrote about this Serenade in a letter to Madame von Meck, “My muse has been generous lately.” Tchaikovsky said he composed it “from inner compulsion, from the heart,” adding, “The first movement is my homage to Mozart, an imitation of his style, and I should be delighted if I thought I had even approached my model.” Serenade premiered January 16, 1882. When Tchaikovsky conducted it on tour, it was always the audiences’ favorite.

“Serenade” takes its root from the Italian for evening, sera, and was thus a vocal or instrumental work performed in the evening, usually for a lover. By the 18th century, it had become an instrumental form that Mozart and later Beethoven, Brahms, and Dvorák, also used.

Tchaikovsky’s Serenade, premiered in 1881 in St. Petersburg, is a bright work in the major mode; he said he was experimenting with writing something between a symphony and a string quartet. The first movement, Piece in the Form of a Sonatina, begins with a slow chorale-like introduction recalled later in the movement. The main section, Allegro moderato, is based on two energetic contrasting themes. Tchaikovsky’s audiences often demanded an encore of the engaging Waltz, the next movement. The 3rd movement, a grave Elegy, Larghetto elegiaco, begins with a hint of nostalgic melancholy, but that mood vanishes as the second theme appears cheerful, even joyous. When the opening theme is reprised, the orchestra uses mutes, producing an especially moving, veiled effect. The Finale’s introduction is based on a barge haulers’ work song from the Volga River region; a boisterous folk dance follows.

Toward the end, hints of the introductory movement return, but the Serenade concludes with an exuberant folk song.

JULY 24th

GARDEN OF IMAGINATION Program Notes

Nights in the Gardens of Spain, for piano and orchestra. . .

Manuel de Falla (1876-1946) Manuel de Falla, one of 20th century’s greatest Spanish composers, studied in Madrid before going to Paris, where he befriended Debussy, Ravel, Stravinsky, and Dukas. He returned to Spain in 1914; in 1939, he emigrated to Argentina.

Spanish folk songs and dances and the music of earlier Spanish composers became the foundation of his musical style. He was also influenced by French Impressionism and Stravinsky’s neoclassicism.

In Paris, Falla began what became Nights in the Gardens of Spain, not considering it a piano concerto or descriptive program music, but rather Nocturnes. Composer Isaac Albéniz and pianist Ricardo Viñes suggested Falla expand the work.

French and Spanish musical influences are detectible in this charming and sensual composition, premiered in 1916 in Madrid.

The orchestration has a French flair, while its rhythms and themes seem decidedly Spanish. Jonathan Kramer notes that the main motive also has a prominent position in an Amadeo Vivès work; he links it to the two composers having lived in the same house where they heard a blind old beggar play that melody on his violin daily. Kramer thinks both unconsciously adopted it, each assuming it was his own original theme.

In the Generalife is named for a section of the Alhambra Moorish sultans used for a summer villa. This portrait of the hillside garden, containing fountains and cypress trees, feels dark and voluptuous. De Falla never revealed which garden the second movement refers to. A Distant Dance leads without pause into In the Gardens of the Sierra de Córdoba. At some point, Falla planned to include a 4th movement based on Cádiz’s tango, but saved it for inclusion in El amor brujo.

“If these ‘symphonic impressions’ achieve their purpose,” de Falla said, “the mere enumeration of their titles should be a sufficient guide to the hearer. . .. The end for which they were written is no other than to evoke places, sensations, and sentiments.

The themes are based on the rhythms, modes, cadences, and ornamental figures which distinguish the popular folk music of Andalusia, though they are rarely used in their original forms; the orchestration frequently employs effects characteristic of the folk instruments of the region. The music has no aim to be descriptive; it is merely expressive, but something more than the sounds of festivals and dances has inspired these evocations, for melancholy and mystery have their part in them, too.”

University awarded him an honorary degree, but in his last three decades, he sought seclusion in his native Finland, composing nothing more.

Symphony No. 2, (1902) is strong and heroic, displaying boldness and individuality yet infused with a dark brooding colored with a definite Nordic cast. Sibelius’s originality results from his formal structural technique. Instead of introducing full-blown themes, he first presents fragments, short melodic kernels, that he later combines into larger thematic units. This technique reverses the usual classical procedure. Sibelius explained poetically, “It is as if the Almighty had thrown down the pieces of a mosaic from Heaven’s floor and asked me to put them together.”

The first movement, Allegretto, begins with what seem unrelated fragments that metamorphose into extended themes in the development, where traditionally composers usually break themes down into their components. Then, Sibelius dissolves and disperses the material again in the recapitulation. His new principle of symphonic form is, as his biographer Cecil Gray, noted, “the method of nature and of life itself; Sibelius’s most characteristic movements are born, develop, and die, like all living things.”

The slow 2nd movement, Andante ma rubato, opens with an accompaniment figure in the low strings and many fragments of melody, initiated in the bassoons, that coalesce as two themes, one melancholy and one lyrical. In the more conventional 3rd movement, a tumultuous scherzo, Vivacissimo, woodwinds introduce melodic fragments. After a contrasting center section, Lento e suave, whose theme begins boldly with an oboe’s repetition of a single note 9 times, the 4th movement begins without pause.

The finale, Allegro moderato, has a stately, ceremonious feel; its principal theme sets the mood and establishes the character.

This flowing melodic line is the product of a series of fragments that Sibelius strings together. Gray comments that Sibelius has “achieved the state of spiritual serenity, optimism and repose” which makes it possible for the work to end triumphantly with a tremendous climax.

Symphony No. 2, in D, Op. 43 . . .

Jean Sibelius (1865-1957) Sibelius, the last representative of 19th century nationalistic Romanticism, is one of the few Scandinavian composers who achieved worldwide importance. His music, inspired by native legends and infused with harmonies of Scandinavian folk songs, never directly quotes folksong melodies.

After musical studies in Helsinki, Sibelius continued his studies in Berlin and Vienna. He made frequent concert tours of the principal cities of Europe and England, where his works had great popularity. He taught at New England Conservatory of Music; Yale

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Program Notes by Susan Halpern

JULY 27th

RARE JOY

Concerto Grosso in D, Op. 6, No. 7. . .

Arcangelo Corelli (1653-1713) Corelli had significant impact on European classical music during the late 17th and early 18th centuries. As a violinist, he famously created a foundation for the development of violin technique; as a composer, he advanced the progress of composition but composed very few works, and only in three genres: solo sonatas, trio sonatas, and concerti grossi.

Corelli’s influential 12 Concerti Grossi contrast a group of soloists, the concertino (two violins, and a cello) and the ripieno (full orchestral complement). A keyboard instrument filled out the harmony. The first eight concerti are instrumental music like that played in church (da chiesa) before or during high Mass; the last 4 (da camera) contain dance movements performed in the palaces of the rich and noble.

Corelli’s concerti, forerunners of solo concerti, are concise, resembling trio sonatas with orchestral reinforcement and echo effects. Concerto Grosso No. 7 has contrasting elements and regular alternation of fast and slow tempi within and between movements Lyric for Strings . . .

George Walker (1922-2018) Walker attended the preparatory division of Howard University’s music department and graduated at eighteen from Oberlin College. He continued studying at the Curtis Institute of Music under Rudolf Serkin and Gian-Carlo Menotti and at the American Academy in Fountainebleau, France, under Robert Casadesus and Nadia Boulanger, before completing a Ph.D. at Eastman School of Music. Walker won a Pulitzer Prize in 1996 for Lilacs for Voice and Orchestra, a work commissioned by the Boston Symphony Orchestra.

He composed Lyric for Strings in 1946 in honor of his grandmother’s death. Originally titled Lament, it was introduced in a radio concert before receiving its premiere in 1947 as Adagio; subsequently, Walker renamed it Lyric for Strings.

In Lyric for Strings, a single, short, expressive movement, string instruments enter singly until a large ensemble forms. After the exposition, development, and climax of its warm, straightforward theme, the piece ends in serene resignation.

Divertimento in D, K. 251. . .

Wolfgang Amadeus Mozart (1756-1791) In Mozart’s time, divertimento was a common appellation, but it did not denote a defined musical category. Divertimenti, usually a work composed for a specific celebration like a birthday, an engagement, or wedding, were performed in gardens in summer or in banquet halls in winter. Mozart wrote this Divertimento in 1776 as a septet for oboe, two horns, two violins, viola, and cello in honor of the 25th birthday of his sister Nannerl. A year later, he transcribed it for an orchestra performance to celebrate a university’s end-of-term.

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Program Notes The first movement is elegant and vivacious with a theme that is reminiscent of a German song. The next movement, Menuetto, has two related themes. The 3rd movement, Andantino, delightfully anticipates the more mature Mozart. The 4th movement is the second Menuetto, but includes three variations with the original theme repeated after each. A French feel pervades this movement and the following cheerful Rondo. The finale is a modest march “in French style.”

Starburst . . .

Jessie Montgomery (1981-) Montgomery is a contemporary American composer, violinist, and educator who writes solo, chamber, vocal, and orchestral works.

The Washington Post described her work as “turbulent, wildly colorful, and exploding with life.”

Montgomery began studying violin at the Third Street Music School in New York’s Lower East Side; during her childhood she was exposed to different kinds of music, which inform her work: spirituals, civil rights anthems, and modern jazz. She completed her education at The Juilliard School and New York University.

Montgomery has been Composer-in-Residence for the Albany Symphony and for the Sphinx Virtuosi, which supports young African-American and Latinx string players. She is a founding member of the PUBLIQuartet and member of the Catalyst Quartet.

The New York Philharmonic selected her as a featured composer for Project 19, which marks the centennial of the 19th amendment’s ratification, granting equal voting rights to women.

Starburst, commissioned by Sphinx, premiered in 2012.

Montgomery writes: “This brief one-movement work for string orchestra is a play on imagery of rapidly changing musical colors.

Exploding gestures are juxtaposed with gentle fleeting melodies in an attempt to create a multidimensional soundscape. A common definition of a starburst: ‘the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly’ lends itself almost literally to the nature of the performing ensemble who premieres the work, The Sphinx Virtuosi, and I wrote the piece with their dynamic in mind.”

Brandenburg Concerto No. 2, in F, BWV 1047. . .

Johann Sebastian Bach (1685-1750) Bach received a commission for six concerti, each featuring a different combination of instruments, from the Margrave of Brandenburg, a devoted amateur musician and a collector of concertos. Bach delivered the works in 1721, with an elaborate, obsequious letter of dedication to the Margrave, but it seems unlikely that they were performed. When the Margrave died, the library (with pristine unused copies of the concerti) was sold; each Brandenburg concerto was valued at four groschen, a few cents.

They were not published until 1850, 100 years after Bach’s death.

Brandenburg Concerto No. 2 features four soloists, strings, and basso continuo. The first movement is a jaunty Allegro with the four solo instruments conversing among themselves and with the orchestra. The middle movement, Andante, is scored only for solo flute, oboe, and violin with basso continuo. The final Allegro assai is in fugal style, but the sparkling music is so high-spirited that the “learned” character of its complex counterpoint goes almost unnoticed.

JULY 30th

CHOCOLATE INDULGENCE & SYMPHONIC BON BONS!

Program Notes

Light Cavalry Overture. . .

Franz von Suppé (1819-1895)

Sicilienne, Op 78 . . .

Gabriel Fauré (1845-1924)

Von Suppé’s energetic, lively Light Cavalry Overture (1866) was composed for the operetta, which tells of cavalrymen trying to unite a young couple. A brilliant brass fanfare resounds as a military reveille. The violins’ theme evokes the sound of enemy soldiers stealthily approaching; cavalry then gallop to battle to a brilliant brass theme. A clarinet cadenza mourns the soldiers’ deaths; a solemn Hungarian melody indicates the country grieving its lost soldiers before the cavalry prepares another charge. The enemy is defeated, and the overture closes triumphantly.

In 1898, during the creative cultural explosion that occurred in the early years of the Third Republic, after the Franco-Prussian War of 1870-1, Fauré composed his widely popular Sicilienne, a memorable lyrical statement originally for cello and piano. In ternary form, Sicilienne is modal in a simple three-part form followed by a coda.

It begins with the outline of a minor chord over an undulating accompaniment and continues with the characteristic sicilienne dotted dance rhythm.

Hungarian Dances, Nos. 1 in G minor, 6 in D-flat, 7 in F. . .

Johannes Brahms (1833-1897) Brahms displayed his love of Hungarian Gypsy music in piano duets published as Hungarian Dances (1869 and 1880). Written as elaborations on well-known Hungarian and Gypsy melodies, they were played in cafes and dance halls before appearing in versions for many instruments and orchestra and becoming Brahms’ most profitable works.

No. l in G minor, Allegro, is based on a traditional Hungarian melody, a czàrdás. No. 6 in D-flat evokes the improvisational style of Gypsy violinists in its starts and stops and variety of tempi.

The source of No. 7 in A major, labeled simply “in folk style”, is unknown.

Lezghinka from the Ballet, Gayane. . .

Aram Khachaturian (1903-1978) Khachaturian, an Armenian and one of the Soviet’s greatest composers, grew up in Georgia, surrounded by Caucasian folk music. This music of the southern republics of the then Soviet Union influenced almost all of his work, giving it an exotic eastern quality. In 1942, Khachaturian composed one of his most popular composition, a ballet about a young girl, Gayane, and her adventures on a farm in Soviet Armenia. Lezghinka is a fiery dance for young men.

Overture to the Comic Operetta, Candide. . .

Leonard Bernstein (1918-1990) When Bernstein’s Candide premiered on Broadway in 1956, Bernstein and his collaborators, dramatist Lillian Hellman and poet Richard Wilbur, called it “a comic operetta based on Voltaire’s satire,” immediately garnering it a place alongside the works of Offenbach, Johann Strauss, and Gilbert and Sullivan.

With his beloved, Cunegonde, Candide, who originated as the hero of a Voltaire novel, experiences countless adventures and misadventures. The Overture opens with a fanfare and battle music and includes the music of the love duet, “Oh, Happy We,” providing lyric contrast, and, after the battle music’s reprise, a passage from the aria, “Glitter and Be Gay.” Hungarian Rhapsody No. 2 in C minor, S244 . . .

Franz Liszt (1923-2006) Liszt came from a German-speaking family; he lived most of his life in France, Germany, and Italy; nevertheless, he was always attached to his native Hungary. His Hungarian Rhapsodies are based principally on the music of the Hungarian Gypsies. The very popular Hungarian Rhapsody No. 2 has a verbunkos character.

(Verbunkos is an 18th century Hungarian dance, often played during military recruiting.) Beginning with long and slow-moving notes, Rhapsody No. 2 suddenly becomes quicker as ornamental figures accumulate, creating the rhapsodic feeling. As Liszt explained, it should “be played in the haughty and melancholy manner of gypsies.”

Slavonic Dances, Op. 46, No. 1 in C and No. 2 in E minor . . .

Antonín Dvorák (1841-1904) Dvorák profoundly believed that folk expression should be the root of art music. He wrote operas about peasant life, created settings of patriotic songs and folksongs, and composed instrumental music based on themes patterned after popular folk songs and dances.

Soon after Brahms first recognized young Dvorák’s musical gifts, Brahms’ publisher asked Dvorák to write dances for piano duet like Brahms’s Hungarian Dances. Dvorák complied, creating Slavonic Dances, Op. 46, based on original melodies in folk style.

In 1878, they were published in enormously successful four-hand piano and orchestral versions.

Op. 46 No. 1 is a strongly rhythmic furiant, a Bohemian dance in 3/4 time with constantly shifting rhythmic accents.

Op. 46 No. 2 is a dumka, a melancholy Ukrainian dance which alternates slow and lively passages.

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JULY 31ST

INSPIRED VOICES

Symphony No. 4, in A ,Op. 90 (“Italian”) . . .

Felix Mendelssohn (1809-1847) Mendelssohn began Symphony No.4 in Italy. On return home, he pronounced dissatisfaction with the work, but when the London Philharmonic asked him for a new symphony, he completed it; it premiered in 1833. Joining principles of classicism and romanticism, it found a special place in the 19th century canon.

Full of warm harmonies and engaging melodies, it contains all of Italy: its people, landscapes, and art. The 1st movement suggests an Italian dance, the tarantella, underlying its sonata form. The 2nd movement, a solemn processional, was probably inspired by a religious procession Mendelssohn saw in Naples’ streets. The elegant 3rd movement is a minuet in everything but name. An exuberantly cheerful finale, the most characteristically Italian of the symphony’s movements, follows the style of a saltarello, a lively 16th century Italian folk-dance.

Program Notes from its irregular, syncopated tunes, said to have a “ragged” beat.)

Joplin’s opera, Treemonisha, (1910) celebrates African-American music in spirituals, blues, ragtime, and jazz, but remained relatively unknown until 1972, over 50 years after Joplin’s death.

Joplin addressed the challenging conflicts in African-American culture of the time through Treemonisha’s title character, who was adopted by former slaves. She becomes an exemplar of a new culture, emphasizing the importance of education for women.

Treemonisha joins ragtime music and European opera conventions with traditional African-American folk tales and music. Its AfricanAmerican musical elements are syncopated rhythms, call and response, improvisation, field hollers, and quartet singing. Joplin’s message is introduced in the evocative Overture, which exudes positivity and hope. It is full of exciting harmony and colorful textures, creating excitement with fast, intricate themes passed between instrumental sections.

Chorus and March of the Toreadors from Carmen. . .

Georges Bizet (1838-1875)

Bridal Chorus from Lohengrin . . .

Richard Wagner (1813-1883)

Bizet’s popular 1875 opera, his final masterpiece, Carmen, is the story of a Spanish Gypsy girl, who did not care what fate befell the men she chose to satisfy her great appetite for love. Although it caused an uproar at its 1875 premiere, it is now celebrated internationally. Its famous Toreador music and festive march accompany the brilliant procession to the bullring in Seville.

Some notes added by Melanie Palmer Lohengrin (1850) was the first of Wagner’s two operas about the Knights of the Holy Grail. Composed over a protracted period, the opera’s third act was completed first. The joyous Prelude to Act III which precedes the Bridal Chorus is not being performed here but it introduces the wedding festivities of the leading characters, Lohengrin and Elsa. After a quieter middle section of the Bridal Chorus, known the world over as “Here Comes the Bride”, the sounds of the jubilant fanfare return in the full orchestra. It was the 1858 royal wedding of Queen Victoria’s oldest child that is thought to have started the practice of a “full choral processional from the church entrance to the altar ” and playing music as the bride walked up the aisle, “a change from the usual practice of having music only at the reception,” according to Elizabeth Hafkin Pleck’s Celebrating the Family: Ethnicity, Consumer Culture, and Family Rituals. A patron of opera who loved Mendelssohn and Wagner, the princess chose the music for her ceremony.

“Va, pensiero, sull’ ali Dorati” (Chorus of the Hebrew Slaves) from Nabucco . . .

Giuseppe Verdi (1813-1901) Verdi was inspired to compose Nabucco (1842) when he read Solera’s libretto based on the Old Testament story of Babylonian King Nebuchadnezzar ‘s oppression of the Jews.

The third act chorus of the Hebrew slaves, “Va, pensiero, sull’ ali Dorati” (“Go thought, on golden wings”) stirringly reflects the emotions of the nationalist liberal cause of the Italian people, who were struggling for independence. It became a great Italian political and patriotic anthem.

Anvil Chorus, from Il Trovatore. . .

Giuseppe Verdi Verdi’s opera, Il Trovatore, set in 1412 in the environs of Zaragoza, treats the themes of war, love, and revenge concurrently. The plot centers on the tragic mistaken identity of a baby sacrificed in vengeance, leading to a lifelong feud between two brothers, their fate entangled with the Gypsy who brought it to pass.

The rousing Anvil Chorus opens the 2nd act of this 1853 opera.

In a Gypsy camp in the Biscayan mountains, as dawn breaks, the Gypsies welcome the new day; men begin to work at the anvils, calling for drink and singing praises of Gypsy girls.

Overture to Treemonisha . . .

Scott Joplin (1868-1917) The prolific African-American composer, Scott Joplin, wrote some of the best, most well-known rags. (Ragtime took its name

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Overture and Polovtsian Dances from Prince Igor . . .

Aleksandr Borodin (1833-1887) Borodin was not only a composer but also a practicing physician, a distinguished chemist, and founder/director of a medical school for women. He worked sporadically on composing the opera, Prince Igor, but eventually put it aside. His colleagues, Rimsky-Korsakov and Glazunov, finished it; it premiered in 1890 in St. Petersburg, three years after Borodin’s death.

Borodin never wrote the overture’s music down, but played it from memory for Glazunov, who transcribed it. The energetic overture begins with a dark, solemn introduction, but soon the famous fanfares lead to the first of two themes. After the fanfares and both themes are recapitulated, Glazunov interjected a bright coda of his own composing.

Prince Igor chronicles an 11th century war between the Russians and Tartars. During the battle, the fierce Polovtsi warriors capture Prince Igor and his son. The Polovtsi leader, impressed with his captives’ bravery, honors them with a festival. During the celebration, the Polovtsi warriors and girls perform the colorful, exhilarating Polovtsian Dances.

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ENDOWMENT CONTRIBUTIONS Frederick C. & Margaret E. Henn Conductor’s Fund Florence (Foxie) & Dick Mason CURRENT ENCORE SOCIETY MEMBERS Anonymous Anonymous Cissy & John Anderson Debra Parmenter & Terry Bacon Julia Dodd Ann Flatten James Foster Katherine Freiberger Lucia & Chuck Jenney Florence (Foxie) Mason & Dick Mason (The Frederick C. & Margaret E. Henn Conductor’s Fund) Michelle & Robert Oppenheimer Carol & Gary Treat VOLUNTEERS Kim Babcock Bill Bolden Richard Butler Rollie Butler Luanna Castellano Nanc Cole Jackie Creson John Creson Linda Crossett Charlotte Deters Janet Dickinson Carol Diver Dan Doty Jane Doty Roberta Eickman Carlotta Frank Nancy Glbraith Sharon Jarrett Gail Johnston Rachel Kuss Diane Legner Victor Locke Nancy Mace Tom Mace Dave Majewski Rebecca Majewski Meg McGilley Heather McGlasson Mary Moorehead Sarah Musil Virginia Nanna Mary Ellen Newman Liz Oetter Susan Page Annie Pare’ Susan Peabody Trish Pegram Charles Plosser Janet Plosser Lisa Prugh Mary Ramsy Bruce Rodman Joan Rosenberg Liz Ruggles

Jenni Santopietro Cathy Schadt Lisa Scherer Sandy Seligman Steve Short Gloria Smiley Karen Spickard Nancy Stoffer Sherry Suenram Brian Van Sickle Jean Van Sickle Robin Waklsh Will Walsly Sue Weber Charles Whyte Marilee Williams Rita Willmott Craig Yancey Eula Yancey Susie Young FESTIVAL PROMOTION American General Media Community Concert Hall, Fort Lewis College Colorado.com DestinationCoupon.com Durango Business Improvement District (BID) Durango Chamber of Commerce Durango Herald Durango Magazine Durango Telegraph Durango TV Durango Welcome Center Four Corners Broadcasting KSJD KSJE KSUT KDUR Pagosa Springs Chamber of Commerce Rocky Mountain PBS San Juan Symphony Travelhost Magazine WhatsHappeningDurango.com Visit Durango PHOTOGRAPHY Paul Boyer Julie Brown Kara Cavalca Cole Davis Dwight Frankfather Ri Ganey Scott Griggs Jonas Grushkin Nick Manning Christopher Marona Branson Reynolds Paige Schingen Scott Smith Pete Varney MUSIC PUBLISHERS Bärenreiter Verlag Bote and Bock Boosey and Hawkes

Breitkopf and Härtel Canadian Brass Publications Chester Music Edwin F. Kalmus and Co. Five Line Productions G. Schirmer, Inc. H. Justus Rozemond Jessie Montgomery Music Luck’s Music Library Peermusic Performer’s Orchestra Library Peters Edition Petrucci Music Library Phoenix Music Publications TrevCo Music Publishing Schott Music Special thanks to the following for their library resources: Travis Hendra and the Buffalo Philharmonic Orchestra Chris Newlun and the Erie Philharmonic Orchestra Cherokee Randolph and the Santa Fe Symphony Guillermo Figueroa Gregory Hustis Vadim Gluzman CONCERT VENUES Boyle Park, Mancos Buckley Park, Durango Community Concert Hall, Fort Lewis College Cottonwood Park, Durango Durango Public Library Glacier Club Joe Stephenson Park, Bayfield LePlatt’s Pond, Bayfield River Bend Ranch, Durango Rochester Hotel Secret Garden Shoshone Park, Ignacio Sky Ute Casino Events Center, Ignacio St. Columba Catholic Church Town Park, Pagosa Springs PHYSICAL FACILITIES & TRANSPORTATION City of Durango Durango Fire & Rescue Fort Lewis College The Wells Group Real Estate ONLINE AUCTION Thank you to the artists and businesses that support Music in the Mountains with their generous gifts.

11th Street Station Arvid Bank of Colorado Columbine Landscapes Dalton Ranch Golf Club Deaderick, Kathy Durango Dermatology Durango & Silverton Narrow Gauge Railroad Durango Rapid Wash

Earthen Designs Elevated Golf Academy Eolus Bar and Dining Flying Fish Co Four Leaves Winery Get Fused!

Giuliani, Peter Glacier Club Mineshaft Bar & Grill KSUT Lough, Sonja & Greg Parmenter, Debra Passion Flower Powerhouse Science Center {re}Love Salomon, Carol San Juan Symphony Sky Ute Casino Resort Smith, Ann Southwest Appliance The Bookcase & Barber The Glacier Club Thomas, Gordon & Dene Toh-Atin Gallery Urban Market Viking River Cruises Whyte, Margaret & Charles 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.

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.

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Advertisers 1st Southwest Bank Back Cover 60 A Shared Blanket 64 Adela Floral 59 American General Media Animas Chocolate & Coffee Co. Inside Back 57 Animas Valley Audiology 44 Ann Smith Watercolor 23 Axis Health Systems 52 Ballantine Communications, Inc. 2 Bank of Colorado 11 Baratone Piano Service 40 Blue Leaf Design 16 Cannone Enterprises, Inc. 17 Carver’s 4 Coca-Cola of Durango The Community Foundation Serving SW Colorado 60 65 Colorado Title & Closing Services 58 Create Art & Tea 61 Creede Repertory Theatre 17 Crow Canyon Archeology Center 60 Durango & Silverton Narrow Gauge Railroad 11 Durango Autumn Arts Festival 17 Durango Botanic Gardens 10 Durango Chamber of Commerce 69 Durango Choral Society 34 Durango Dermatology 26 Durango Hot Springs 63 Durango Land and Homes 36 Durango Motor Company 16 Durango Nursery & Supply 11 Durango Playfest 58 Durango Rotary Club 54 Durango Magazine 22 Eolus Bar & Dining 68 Essential Magazine 70 Farm to Fingers 17 Farmers Insurance/Ben Frihauf 57 Fired Up Pizzeria 56 Four Corners Broadcasting 55 Fredrick Zink & Assoc.

Glacier Club Inside Cover, 1 40 Goldman, Nicholson, & Mack, PC

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Holistic Dentistry - Dr. Rothchild, DDS Jack’s Market Jay Short Insurance Kara Cavalca Photo & Video Karyn Gabaldon Arts Kennebec Wealth Management KSJD KSJE Classical KSUT LePlatt’s Pond LPEA Maria’s Bookshop Mesa Verde Country Mesa Verde Voices Morehart Murphy Motors Nature’s Oasis Nini’s Taqueria Oxford Financial Planners Prohibition Herb Quality House Interiors {Re}Love Consign & Design River Bend Ranch River Liquors Rivergate Pharmacy San Juan Symphony Secret Circus Society Serious Texas BBQ Sheridan Opera House Six Dollar String Band Sky Ute Casino & Resort Sorrel Sky Gallery Star Liquors Sunnyside Farms Market Sweet Nothings TBK Bank Travelhost Magazine Urban Market Vaughn Johnson Orthodontics The Wells Group The Wells Group/Chris Serwe Wild Child Photography Wine Raffle

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