An Appalachian Summer Festival 2019 Playbill

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visual arts


June 29 - August 3, 2019


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an appalachian summer festival 2019 SUNDAY







JUNE 29 schaefer pOpular series event

Ben Folds

with the Winston-Salem Symphony Page 33





yOunG peOple’s film:

Sing Street

Broyhill Chamber Ensemble




meet the sculptOr! Page 29

Page 31

WeichOlz GlOBal Broyhill film series: Chamber A Taxi Driver Page 43 Ensemble

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6 turchin center fOr the visual arts

Summer Exhibition Celebration

Rosen-Schaffel Competition for Young and Emerging Artists



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Page 47

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nc Black repertOry cOmpany presents:

yOunG peOple’s film:

An Elephant’s Journey

Plenty of Time

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Page 53


Eastern Festival Orchestra

pOpular Pilobolus: schaefer series event Come to Patti LaBelle Page 67 your senses

Behind the curtain Page 29

WeichOlz GlOBal film series:


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cherOkee stOrytellinG yOunG peOple’s film:

Fanny’s Journey

Gerard Schwarz, Music Director with pianist Awadagin Pratt

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Page 29

WeichOlz GlOBal film series:

Perfect Strangers

schaefer pOpular series event

schaefer pOpular series event

An Evening of Classic Lily Tomlin

Tapas & Tesla Chris Botti Page 81 Page 83

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Page 79

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Broadway’s Next Hit Musical


yOunG peOple’s film:

Storm Boy Page 31

extraOrdinary lessOns fOr hOlOcaust educatiOn Page 29

WeichOlz GlOBal film series:

Becoming Astrid

Broadway’s Next Hit Musical Page 91


33rd Annual

Rosen Sculpture Walk

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cOmmunity arts event:

Symphony by the Lake at Chetola

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Broyhill Chamber Ensemble Page 95


yOunG peOple’s film:

Cinnamon Page 31

Broyhill Chamber Ensemble Page 101



cara haGan: my place Or yOurs? Page 29

AUGUST 1 schaefer pOpular series event

Punch A Translator Brothers WeichOlz GlOBal film series: Page 109

Page 111


3 WeichOlz GlOBal film series:

Never Look Away Page 113

schaefer pOpular series event

Concert & Dance Party with

The Temptations Page 114


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an appalachian summer festival 2019 cOrpOrate and media spOnsOrs: Corporate sponsors:

Westglow Resort & Spa

McDonald’s of Boone

Creekside Electronics

Mast General Store

Goodnight Brothers

Peak Group Insure

PNC Bank

The University Bookstore

Boone Area Visitors Bureau

Chetola Resort & Spa at Blowing Rock

SkyBest Communications, Inc.

Wells Fargo

a wholly-owned subsidiary of SkyLine Membership Corporation

Holiday Inn Express

Courtyard Marriott

Peabody’s Wine & Beer Merchants

Media sponsors:

WBTV Charlotte, NC

WCYB Bristol VA/TN

Watauga Democrat Boone, NC


Charter Spectrum

WNC Magazine Asheville, NC

WDAV 89.9 FM Davidson, NC

Winston-Salem Journal

Our State Magazine Greensboro, NC

WFDD 88.5 FM Winston-Salem, NC

WASU 90.5 FM Boone, NC

Greensboro News & Record

Classic Hits 100.7/99.1 Boone, NC

YES! Weekly Greensboro, NC

Times New Roman Bold Myriad Pro Reg Grn:75/5/100/0

WATA Boone, NC

Creative Loafing Charlotte, NC

the festival is supported, in part, by an award from the national endowment for the arts.

Mountain Times

Times New Roman Bold Myriad Pro Reg

WHKY 1290 AM & 102.3 FM Hickory, NC


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Photo: Eduardo Patino

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O n a n d a r O u n d t h e c a m p u s O f a p p a l a c h i a n s t a t e u n i v e r s i t y, B O O n e , n c

WelcOme! Dear Friends: It is my pleasure to welcome you to Appalachian State University and the 2019 season of An Appalachian Summer Festival! This summer marks a very special milestone for the festival as we observe its 35th anniversary and the unique opportunity to celebrate all that makes it so distinctive and relevant to our lives today: world-class performing and visual artists, a commitment to access and affordability, a focus on learning and enrichment through the arts, and community-building: bringing us together to celebrate the human spirit through the universal language of the arts that transcends barriers and connects us in meaningful ways through the experiences we share together in concert halls and museum galleries. An Appalachian Summer Festival’s superb line-up of music, dance, theatre, film and visual arts programming once again promises a month-long whirlwind of events sure to inspire, elevate our spirits, challenge our pre-conceptions and make us think. Thanks to you, our patrons, for your loyal support and participation which has enabled the festival to thrive for 35 seasons, while fulfilling the university’s mission of providing the “best of the best” in arts programming for our entire region. Sheri Everts, Chancellor

an appalachian summer festival advisOry BOard The Festival Advisory Board provides critical leadership for An Appalachian Summer Festival by offering overall guidance, fundraising assistance, programming ideas and long-term direction for the festival. Advisory Board members are representative of the festival audience, and in many ways they serve as the festival’s “eyes and ears” in the community, providing valuable feedback to the staff regarding festival operations, and serving as advocates and community ambassadors for the university and the festival. We wish to thank our board members for the leadership, skills, expertise and commitment they bring to this important role. LYNN EISENBERG Chair KENT TARBUTTON Vice Chair JUDY ADLER KAY BORKOWSKI CAROL BERNS HOWARD BRAFMAN WENDY BRENNER NATALIE BROYHILL LORRAINE CHILDERS LISA COOPER CHARLES EYLER ADRIENNE FINKEL NICK FRIEDMAN JOSETTE GLOVER ELLEN HARRELL BEN HENDERSON


ex-officio Members: Vice Chancellor for University Advancement


Vice Chancellor and Chief of Staff


Director of Arts Engagement and Cultural Resources


Director of Development, Hayes School of Music, Arts and Cultural Programs, and the Turchin Center for the Visual Arts


Dean, Hayes School of Music


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35 years of unforgettable performances... 35 years of memories...

an appalachian summer festival: hOW it all BeGan... The origins of An Appalachian Summer Festival date to the early 1980s, beginning with a desire on the part of Appalachian State University to enhance its summer programs and role in the broader community. While Appalachian had an excellent program of academic, cultural and athletic activities during the academic year, there was an interest in further expanding and strengthening the university’s summer programs. University officials recognized that a significant contribution to the region could be offered in the area of the arts and cultural programs. By creating a quality arts program, a stronger partnership with the local community would result, and the campus could begin to attract visitors from outside the immediate community. Chancellor John Thomas and Vice Chancellor Bob Snead were key university leaders who led this effort. During this same period, summer residents Arnold and Muriel Rosen were addressing the need for diverse cultural activities from a different angle. As a board member of the Chopin Foundation, Arnold Rosen was involved through the Miami chapter in the staging of various competitions and concerts, featuring foundation-sponsored musicians. He and Robert Chumbley, the foundation’s director in Florida, began to discuss the formation of a North Carolina chapter, and made arrangements for a group of musicians to come to Boone for a series of recitals. The concept for the festival was now beginning to emerge, and by 1984, the idea had come to fruition with the staging of a series of cultural activities that also included a residency by the North Carolina Symphony, in conjunction with the Cannon Music Camp. Initially, the festival complemented its name in the truest sense, with events scheduled from May through August. By the summer of 1985, “An Appalachian Summer” began to establish itself as a permanent fixture on the High Country’s summer scene. In addition to the vision they provided, the Rosens generously responded to the university’s request for the first major financial contribution to the program. Support from Paul and Faye Broyhill, the Broyhill Family Foundation, Robert G. and Mariam Cannon Hayes, the Cannon Foundation, Martin and Doris Rosen, Satie Hunt Broyhill, James and Louise Broyhill, Robert and Allene Broyhill Heilman, Willard and Bettie Gortner, Eileen Lackey Sharpe, and Bernard and Shirley Spector was also critical during this period. The Chopin Foundation musicians became established as the Appalachian Chamber Ensemble in 1985, and with a generous gift from the Broyhill family, the group was renamed the Broyhill Chamber Ensemble. Also featured during these early years were performances by the North Carolina Symphony with conductor James Ogle, who was instrumental in forming the festival’s strong alliance with the symphony. Other popular features included the North Carolina Dance Theatre, Cannon Music Camp concerts, the Acting Company directed by John Houseman, and the Smithsonian Lecture Series. Internationally renowned sculptor Richard Hunt played a key role in the development of the visual arts component of the festival, which was initiated with the support and sponsorship of Martin and Doris Rosen. As the desire to present the finest in the performing and visual arts evolved, so did the need to concentrate these events into a shorter time period. The festival eventually dropped its summer-long time frame in favor of a more condensed schedule. Continuing as a program of the Appalachian State University Foundation office for five years, management of the festival was transferred to the newly established Office of Cultural Affairs in 1989. The artistic leadership of Robert Chumbley, and later Gil Morgenstern, played a key role in developing the festival’s artistic identity and establishing standards of artistic excellence for which it was known. In the years to follow, the festival made major strides in expanding the scope of its artistic programming, strengthening and diversifying its audience base, and building a strong and loyal base of private supporters and corporate sponsors who sustain the festival and invest in its growth and development. Throughout its 35-year history, the festival has maintained its commitment to the values upon which it was founded: artistic excellence, innovation, and audience-building, which has catapulted it to national prominence. With recognition in The New York Times, Southern Living, US Airways Magazine and on regional National Public Radio stations, as well as designation as one of the “Top 20 Events in the Southeast” by the Southeast Tourism Society, An Appalachian Summer Festival is no longer the “best kept secret” in the High Country. This remarkable event has truly evolved into a “community festival” that is embraced by a wide network of stakeholders who take pride in it, and who are committed to its future success and longevity.



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We value...

Arts programming that brings us together as a campus and community.

The North Carolina High Country is a special place, where families have deep roots and where visitors find natural beauty, rich cultural traditions, and small town friendliness in great abundance. It is also home to a great university that values the arts as an essential element of higher education and quality of life. Every summer, An Appalachian Summer Festival brings together residents and visitors of all ages around a shared love of music, dance, theatre, film, and visual arts programming geared to almost every artistic taste and preference.

Affordable access to the arts.

Key to the festival’s mission and identity is a commitment to affordable access. Ticketed performances are offered at prices substantially lower than prices for those same artists in other venues. The festival also offers a wide array of free and low-cost events designed to ensure access to quality arts programming for audiences of all ages.

Programming that elevates spirits, broadens horizons and expands our view of the world.

For some, it’s the stellar entertainment typically found only in big cities that the festival brings to our corner of the world each summer. For some, it’s the ability to enjoy world-class arts programming in a spectacular mountain setting. And for others, it’s about the festival’s mission to showcase artists who may not be familiar to us – but whose performances linger in our memories for years to come!

aBOut an appalachian summer festival Presented by Appalachian State University’s Office of Arts & Cultural Programs, this annual celebration of the performing and visual arts is held every July in venues across the university campus, and features an eclectic, diverse mix of music, dance, theatre, visual arts and film programming. An Appalachian Summer Festival began in 1984 as a chamber music series, and retains strong roots in classical music, combined with a variety of other programming geared to almost every artistic taste and preference. Celebrating its 35th season in 2019, the festival has risen in stature to become one of the nation’s most highly respected summer festivals, acclaimed for the breadth and quality of its artistic programming. In recent years, the festival has been selected as one of the “Top 20 Events in the Southeast” by the Southeast Tourism Society. For many years, The New York Times included An Appalachian Summer Festival in its “Summer Stages” issue, which profiles the nation’s most prominent and interesting summer arts festivals.

Festival Mission

An Appalachian Summer Festival is an annual arts festival presenting and producing programs in music, theatre, dance, film and visual arts. The festival forges a unique national identity through artistic excellence, innovative programming, commissioning new works, educational opportunities, and by bringing the most accomplished and respected creative and performing artists from around the world to the Appalachian State University community. Founded on the principle of promoting young American artists, the festival supports the overall university mission, enhances the cultural life of the Appalachian community through affordable access to its programs, serves as an important gateway onto the campus, and promotes the economic development of our region.

Festival Vision: Artistic excellence, Innovation and engagement

In keeping with its status as a university-based arts program, the festival continually seeks to enlighten and educate – a focus reflected in such initiatives as the festival’s discounts for children’s tickets, school coupons and ticket prices that are typically 30-40% lower than prices for comparable events in other venues. A rich variety of educational opportunities is part of the festival schedule each summer, including exhibitions, lectures, tours, workshops, student internships and employment opportunities for young people seeking experience in arts presenting. These experiences offer opportunities for lifelong learning and meaningful engagement with the arts. The festival holds central the belief that access to a strong and dynamic program of artistic excellence in the performing and visual arts is an important component of a vital and healthy community.

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fOunders sOciety On July 22, 2000, the university created a Founders Society to recognize the supporters whose generosity and hard work helped build An Appalachian Summer Festival. The festival owes its success in large part to these extraordinary individuals. Charter Members The Broyhill Family FoundaTion:


2002 Members



2013 Members


2015 Members

2019 Members






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friends Of an appalachian summer festival

OFFICe OF the ChAnCellOr Vice Chancellor and Chief of Staff


Director of Arts Engagement and Cultural Resources


Volunteer Coordinator:


sAles, MArKetIng, MeMBershIP & DeVelOPMent


Director of Visitor Services, Turchin Center for the Visual Arts


an appalachian summer festival is presented by the Office of the chancellor




Director of Development, Hayes School of Music, Arts and Cultural Programs, Turchin Center for the Visual Arts


Director of Sales and Patron Relations, Arts and Cultural Programs


Director of Donor and External Relations, Turchin Center for the Visual Arts


Director of Marketing, Turchin Center for the Visual Arts


Director of Marketing & Public Relations, Arts and Cultural Programs


ArtIst relAtIOns

Director of Artist Relations, Arts and Cultural Programs


teChnICAl MAnAgeMent

Director of Technical and Production Services, Arts and Cultural Programs


Lead Technician, Arts and Cultural Programs


Arts eDuCAtIOn & OutreACh

Director of Arts Education and Outreach, Office of Arts Engagement


Community Outreach Coordinator Turchin Center for the Visual Arts



Director of Administration Turchin Center for the Visual Arts


Business Manager, Arts and Cultural Programs


VIsuAl Arts PrOgrAMMIng

Installation Manager and Lead Preparator Turchin Center for the Visual Arts


Creative Director and Curator, Turchin Center for the Visual Arts


Collections Manager, Turchin Center for the Visual Arts



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stuDent & teMPOrArY stAFF ArtIst relAtIOns AssIstAnts, Arts AnD CulturAl PrOgrAMs

ANNA EZZELL (Music Industry Studies)) KARAH SMITH (Public Relations) sAles/MArKetIng AssIstAnts, An APPAlAChIAn suMMer FestIVAl

celeBratinG 35 years: memOraBle mOments “It is such a joy and privilege to meet new friends at festival events every summer – including local residents and visitors from across the nation who value quality arts programming and who delight in being with others who share this passion.” –lynn eisenberg

“every summer, An Appalachian summer

“my earliest memory of an appalachian Festival brings us more “wow” moments than Summer was the mid-80s when Winston-Salem we can count, perhaps one of the tenderest composer William Stevens premiered his folk being Kelli O’hara’s sweet tribute to festival opera Banjerman at the Festival. my husband, founder Budd Mayer. We all cried.” Grady lonon, a longtime friend of Bill’s, was cast –nanci tolbert nance in the production along with his washtub bass. it was quite a show!” “Not everyone has the great pleasure of hearing the –Jane lonon

“We absolutely adored seeing Postmodern Jukebox— to this day, it is one of our favorite concerts ever!” –natalie Broyhill

Bach Goldberg Variations played in its entirety in live performance. But that was our great delight when Garrick Ohlsson, the only American to win the International Chopin Piano Competition, came to An Appalachian Summer Festival in July, 2001 to give us his spectacular performance.”

“years ago, my mother (muriel rosen) made her orchestral debut with the north Carolina Symphony. She performed a solo, playing a hoover... yes, a vacuum cleaner. i remember her giggling about the whole thing afterwards but appearing quite serious during the concert. i am not sure that my parents could have imagined that the festival would transform itself from its humble beginnings to the multi-disciplinary festival of today; it is a wonderful legacy they left behind...” –nancy schaffel

“The success of An Appalachian Summer Festival has been, and continues to be, the people who have selflessly built and sustained it. In those early days, before there were festival staff, university employees volunteered their time on weekends and evenings to launch the festival and make it a success. (We didn’t sell tickets those first few years; we gave away tickets in order to build an audience!) So many other groups played a critical role over the years: board members, donors, the volunteer corps – and of course, the audience. It was a collective vision and a labor of love. May the festival's strong and enduring legacy long continue!” –Bob snead

–Kay Borkowski

“Each summer there is exciting anticipation as we await the release of the Festival’s programing. I remember the days that we dreamed of the recognition that Appalachian Summer Festival now receives.” –Faye Cooper

“We’ve been honored to sponsor the Schaefer Popular Series. our input in discussions regarding excellent artists has come to define the series and has given us much pride as sponsors. Some of our favorites, and there are too many to name, have been kd lang, Postmodern Juxebox, idina menzel, Chris Botti and Pink martini. Judging from the reaction of the audiences, we know that this little auditorium in the mountains has been able to bring some world class acts to our community and that makes us extremely proud!” – Bonnie and Jamie schaefer

“Chris Botti, Keb Mo, lily tomlin... Are we in new York City? no – Boone, north Carolina! We have hit the big time!” –Jenny Miller

LANDON BAILEY (Exercise Science) MADISON COGGIN (Theatre Education) MCKENZIE FRYZSTAK (Public Relations) LALA HOLLAMON (Social Work) MATT HOUSEMAN (Supply Chain Management) LILY JORDAN (Theatre Performance) JONATHAN LONG (Economics) HANNAH MAGEE (Theatre Performance) MAURA MCKENZIE (Exercise Science) SOPHIA MORAN (Accounting) JOE PERDUE (Theatre Education) SARAH QUINN (Business Management & Dance Studies, 2019) GLENN RAMEY (Theater, 2019) SIDNEY SPEIGLEBERG (Hospitality & Tourism Management) PARKER STONE (Theatre Performance & Communication Studies)

AMBER WORLEY (Dance Studies) PrODuCtIOn stAFF, An APPAlAChIAn suMMer FestIVAl

EVAN BUTTON (Music Industry Studies) ADAM CAMPBELL (Music Industry Studies, 2018) MARCUS CLONTS (Music Industry Studies) BRIAN DORCY (Communications, minor: Studio Art) GABRIELLE DRUM (Theatre Arts & Electronic Media & Broadcasting)

DANIEL KNIGHT (Music Industry Studies) SHEA MCKISSACK (Music Industry Studies, minor: Business) DAVID MURRAY (Communication Studies, minor: Sociology, 2019)

CHRIS POPE (Music Industry Studies, minor: Business, 2016) EDWARD ROJAS (Philosophy, minor: English) NATHANIEL SHOUN (Computer Information Systems) ALExIS SIMPSON (English/Film Studies, minor: Media Studies, 2019)

VIsuAl Arts gAllerY & exhIBItIOn stAFF, turChIn Center FOr the VIsuAl Arts COMMunItY OutreACh:


GABRIELLE KNIGHT (Arts Management, 2019) MELANIE PASSAJOU-DICK (Graphic Design, 2017) FrOnt OF hOuse/gAllerY AMBAssADOrs:

HALEY DRIEST (Psychology, 2019) FRITZ FINLAY (Commercial Photography & Anthropology) ANSEN GUNAWAN (Mathmatics) JULIET IRVING (Graphic Design & Dance Studies, 2019) PATRICK JAMES (Anthropology, 2019) GABRIANNA MARTIN (Arts Management) AUDREY MOORE (Exercise Science) SARAH QUINN (Business Management & Dance Studies, 2019) MAREN SCHMIDT (Social Work) The Arts and Cultural Programs staff wish to thank our colleagues in University Communications for the exceptional photography, design, web and video production work they provide to An Appalachian Summer Festival.


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an appalachian summer festival Program highlights: 1983 - 2019

1983 The North Carolina Symphony Festival Gala with Gordon McRae Wayne Clawson as Mark Twain Mountaineer Dinner Theatre 1984 Opening season Chopin Colony Summer Music Festival The North Carolina Symphony Cannon Music Camp 1985 Appalachian Chamber Ensemble The North Carolina Symphony Cannon Music Camp Folkmoot USA Mountaineer Dinner Theatre Workshops: Noyes Capehart Long Appalachian Dulcimer Workshop Mountain Music Concert Smithsonian Institution Lecture Series The Acting Company: As You Like It

1987 Dulcimer Extravaganza Old Time Music Concert The Broyhill Chamber Ensemble ASU/Blue Ridge Community Theatre Production: The Importance of Being Earnest The North Carolina Symphony with Roberta Peters and Robert Goulet The Broyhill Chamber Ensemble Young People’s Concert The North Carolina Symphony Benefit Concert: Loonis McGlohan and Marlene VerPlanck North Carolina Dance Theatre Folkmoot USA The Acting Company: One-Act Plays by Tennessee Williams: Five by Tenn Doc Watson Barbershop Concert The Rosen Outdoor Sculpture Competition & Exhibition

1988 Smithsonian Institution Seminars & Lecture Series Youth Ballet Performance by Gary Walker’s dancers: Coppelia 1986 Dulcimer Workshops & Old Time Music Concert NC Summer Institute in Choral Arts The Broyhill Chamber Ensemble Smithsonian Institution Lecture Series The North Carolina Symphony with James Kreger The Acting Company: Orchards The North Carolina Symphony: Old Time Music Concert Pop Goes the Symphony The Broyhill Chamber Ensemble The North Carolina Symphony: The North Carolina Symphony with James Ogle, Beethoven’s Symphony No. 9 in d minor Roberta Peters and Doc Severinsen The North Carolina Symphony with Crystal Gayle Cannon Music Camp & North Carolina Dance Theatre: The North Carolina Symphony Colgrass-Ravel and Chopin-Arnold Folkmoot US Jazz Concert: The Duke’s Men... Ellington Alive Barbershop Quartet Theatre Production: The Subject Was Roses An Evening with Wayne Clawson Barbershop Concert The Rosen Outdoor Sculpture Competition & Exhibition

1989 Smithsonian Institution Film & Lecture Series Charlotte Repertory Theatre: An Evening with Clarence Darrow Musical Theatre: Banjerman The Broyhill Chamber Ensemble The North Carolina Symphony with James Ogle & Robert Merrill Piedmont Opera Theatre: Flower and Hawk The North Carolina Symphony with Gerhardt Zimmerman Mike Cross with the North Carolina Symphony North Carolina Dance Theatre with the North Carolina Symphony The Rosen Outdoor Sculpture Competition & Exhibition Barbershop Concert Mike Cross 1990 Halpert Biennial Installed Play by Lee Blessing: Eleemosynary Broyhill Chamber Ensemble Gold Medalist for Duo Pianists: Arianna Goldina & Remy Loumbrozo The North Carolina Symphony: Beethoven’s Triple Concerto & Brahm’s Symphony No. 4 in e minor The North Carolina Symphony Pops Concert Dr. Tom & Seuss Mime Theatre Cannon Camp Faculty: “Jazz at the Pub” North Carolina Dance Theatre: Coppelia North Carolina Dance Theatre: Horizons, The Grey Goose of Silence & Bach’s Brandenburg Concerto No. 3 Smithsonian Institution Lecture Series The Halpert Biennial Visual Arts Competition The Rosen Outdoor Sculpture Competition & Exhibition Shirley Jones


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1991 The North Carolina Symphony with James Ogle & William Warfield Stars of New York City Ballet Charlotte Repertory Theatre: American Four-Play Charlotte Repertory Theatre: Thurber with William Windom The Broyhill Chamber Ensemble The Rosen Outdoor Sculpture Competition & Exhibition Judy Collins 1992 An Evening with Rita Moreno Banu Gibson & New Orleans Hot Jazz The Louisville Orchestra Loonis McGlohon Trio The North Carolina Symphony Charlotte Repertory Theatre: The Diary of Anne Frank Stars of New York City Ballet The Dallas Brass Chet Atkins with Doc Watson The Broyhill Chamber Ensemble The Rosen Outdoor Sculpture Competition & Exhibition 1993 The Newport Jazz Festival The David Grisman Quintet & Mark O’Connor The Louisville Orchestra Hubbard Street Dance Chicago The North Carolina Symphony The Broyhill Chamber Ensemble Charlotte Repertory Theatre: Shirley Valentine Smithsonian Institution Lecture Series The Rosen Outdoor Sculpture Competition & Exhibition The Halpert Biennial Visual Arts Competition Nashville Bluegrass Band with John Hartford and Robin & Linda Williams

1994 10th Anniversary Celebration Paul Taylor Dance Company Massenkoff Russian Folk Festival American Indian Dance Theatre Poncho Sanchez & His Latin Jazz Band Carlota Santana Spanish Dance Company The North Carolina Symphony Ohio Ballet (world premiere of Lucinda Childs’ work) Music from China Traditions of Appalachia The Broyhill Chamber Ensemble Signature Theatre Company of New York: Heathen Valley The Rosen Outdoor Sculpture Competition & Exhibition Emmylou Harris & the Nash Ramblers Exhibit by photographer Jerry Uelsmann 1995 The North Carolina Symphony The Broyhill Chamber Ensemble Music of Mandara Yomo Toro & the Music of Latin America The Red Clay Ramblers with the Shady Grove Band The Dirty Dozen Brass Band North Carolina Dance Theatre Caribbean Dance Company of the Virgin Islands Erick Hawkins Dance Company Landis & Company Theatre of Magic Signature Theatre Company of New York: Two Rooms The Rosen Outdoor Sculpture Competition & Exhibition The Halpert Biennial Visual Arts Competition Smithsonian Institution Lecture Series Visual Arts Workshop Series

1996 Preservation Hall Jazz Band Parsons Dance Company Miami City Ballet The North Carolina Symphony Outdoor Fireworks Concert: An Evening with Gershwin APPropos The Broyhill Chamber Ensemble Mike Cross Duo Piano Recital with Allen Kindt, Rodney Hazelton & Scott Foppiano The Mike Longo Trio NCNY Dance Signature Theatre Company of New York: The Glass Menagerie Visual Arts Workshop Series The Rosen Outdoor Sculpture Competition & Exhibition 1997 Atlanta Ballet Parsons Dance Company The North Carolina Symphony The Broyhill Chamber Ensemble Douglas James Guitar Recital Livingston Taylor The Brubeck Brothers Dave McKenna, jazz pianist Timmy Abell & Laura Boosinger NCNY Dance Enter the Actress starring Claire Bloom Sassy by Romulus Linney The Rosen Outdoor Sculpture Competition & Exhibition Smithsonian Institution Lecture Series Visual Arts Workshop Series Creative Writing Workshops for Children


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1998 Andre Watts The North Carolina Symphony The Jimmy Dorsey Orchestra Preservation Hall Jazz Band Ballet West Series School of Music 20th Century Recital A Night at the Algonquin by John Justice Garth Fagan Dance An Evening of Song with Audra McDonald The Inferno of Dante The Broyhill Chamber Ensemble The Rosen Outdoor Sculpture Competition & Exhibition David Holt John McCutcheon Visual Arts Workshop Series Exhibit by Betty Bivins Edwards Post-Modern Potluck Creative Writing Workshops for Children Smithsonian Institution Lecture Series Outdoor Fireworks Concert with Willie Nelson

2000 Pinchas Zukerman in Recital Duke Ellington Orchestra Arlo Guthrie The North Carolina Symphony The Broyhill Chamber Ensemble Juilliard Dance Ensemble Paul Taylor Dance Company Parsons Dance Company Euripides’ Medea The Scrimshaw Violin Benny Green, jazz pianist Tales & Scales Creating Original Opera The Rosen Outdoor Sculpture Competition & Exhibition Wolf Kahn Exhibition Outdoor Fireworks Concert with Kenny Rogers Visual Arts Workshop Series Belk Distinguished Lecture Series

2002 The Glenn Miller Orchestra Eastern Philharmonic Orchestra with Sharon Isbin, guitar and Emar Oliveira, violin The North Carolina Symphony The Broyhill Chamber Ensemble Bair Shagdaron, pianist Mike Cross Jerry Hadley, tenor Laurie Anderson Paul Taylor Dance Company Outdoor Fireworks Concert with Diamond Rio 2001 Cleo Parker Robinson Dance Company Dawn Upshaw, soprano Recital: Gil Morgenstern Eastern Philharmonic Orchestra 1999 Theatre: The Art of the Fugitive and with Andre-Michel Schub, piano Henry and Company Grace Bumbry in Recital Smithsonian Jazz Masterworks Orchestra Exhibition: The Fantastic Four Paul Taylor Dance Company Garrick Ohlsson, pianist The Rosen Outdoor Sculpture Competition Celtic Music Celebration with Mark Black & Solas & Exhibition David Grisman Quintet with Doc Watson Hal Holbrook in Mark Twain Tonight Visual Arts Workshop Series Recital: Gil Morgenstern and Andre-Michel Schub Hubbard Street Dance Ensemble Belk Distinguished Lecture with Sharyn McCrumb The Broyhill Chamber Ensemble The North Carolina Symphony Symposium: “Remembering the Holocaust” The North Carolina Symphony The Broyhill Chamber Ensemble Theatre: Guest from the Future APPropos 2003 Recital: Brian Bailey, Organ and Harpsichord Hisself by Romulus Linney Eastern Philharmonic Orchestra with Twyla Storyteller: Milbre Burch The Bacchae of Euripides Robinson soprano & Leila Josefowicz, violin Ballet Hispanico Neena Freelon Mark O’ Connor and Natalie MacMaster Belk Distinguished Lecture with Loyal Jones Outdoor Fireworks Concert The Broyhill Chamber Ensemble Dirk Powell and Balfa Toujours with Mary Chapin Carpenter Beausoleil Philadanco Smithsonian Institution Lecture Serie Noche Flamenca “The Junkman and Junk Music” The Rosen Outdoor Sculpture Competition Mingus Big Band & Exhibition Theatre: Wolfpit Parsons Dance Company Tales & Scales Wesla Whitfield The North Carolina Symphony The Halpert Biennial Visual Arts Competition Outdoor Fireworks Concert Jazz: Bill Charlap and Harry Allen with Jo Dee Messina & Ricky Skaggs Bruce Molsky & Big Hoedown Recital: Gil Morgenstern and Sharon Isbin, guitar The Rosen Outdoor Sculpture Competition Beyond Brancusi: The Sculpture of John Safer & Exhibition Footworks Percussive Dance Ensemble Creating Original Opera Wolf Kahn Exhibit “Two Musical Tales” with Francis T. Borkowski and William A. Gora Visual Arts Workshop Series Theatre: From Page to Stage – Journey Into the Artist’s World Theatre: Flight The Rosen Outdoor Sculpture Competition & Exhibition Halpert Biennial Visual Arts Exhibition Visual Arts Workshop Series Belk Distinguished Lecture with Nicholas Basbanes Outdoor Fireworks Concert with Lee Ann Womack


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2004 20th Anniversary Celebration The Broyhill Chamber Ensemble Atlanta Ballet Robin and Linda Williams and Their Fine Group PDQ Bach/Peter Schickele: “Jekyll and Hyde Tour” Hubbard Street Dance Chicago School of Music: APPropos Eastern Music Festival with Andre Watts, piano Preservation Hall Jazz Band Theatre: Sampson and Delilah and In This House Outdoor Fireworks Concert: The Coasters, Drifters & Platters The Rosen Outdoor Sculpture Competition & Exhibition Collaborations Exhibit in the Rosen Galleries Visual Arts Workshop Series Appalachian Retired Family Summer Seminar Belk Distinguished Lecture Series with Timothy Silver The North Carolina Symphony Jazz: Wesla Whitfield & Mike Greenfield Doc Watson and the Dirk Powell Band Eastern Philharmonic Orchestra Peter Serkin, piano 2005 An Evening of Classic Lily Tomlin The Broyhill Chamber Ensemble The Glenn Miller Orchestra Theatre: The Music-Based Radio Plays of Samuel Beckett An Evening with Leahy Eastern Philharmonic Orchestra Paul Taylor Dance Company Theatre: In This House Poncho Sanchez Latin Jazz Band The North Carolina Symphony Pops Dinner & Jazz with the Russell Malone Quartet Ladysmith Black Mambazo Eastern Philharmonic Orchestra Garth Fagan Dance Fireworks Finale: The Temptations & The Supremes

2006 Doc Watson and The Sam Bush Band The Broyhill Chamber Ensemble Marcus Belgrave’s Octet: A Louis Armstrong Tribute Pilobolus Eastern Philharmonic Orchestra Theatre: Works in Progress: “The Kreutzer Sonata” Limón Dance Company Nitty Gritty Dirt Band The North Carolina Symphony Pops The John Jorgenson Quintet: “Gypsy Jazz Jam” Arlo Guthrie: Guthrie Family Legacy Tour Eastern Philharmonic Orchestra Buckwheat Zydeco John Michael Montgomery with Cowboy Crush 2007 Shen Wei Dance Arts Eastern Philharmonic Orchestra The Broyhill Chamber Ensemble Mystical Arts of Tibet: “Sacred Music, Sacred Dance” “Celebrating New Orleans”: Ellis & Delfeayo Marsalis Mark Morris Dance Group Lavey Smith & The Red Hot Skillet Lickers at Westglow Old Crow Medicine Show Bruce Hornsby in Concert The North Carolina Symphony Pops Triad Stage in Brother Wolf Outdoor Fireworks Concert with Wynonna Judd 2008 Ricky Skaggs & Kentucky Thunder The Broyhill Chamber Ensemble Charlotte Symphony Orchestra BETTY at Westglow Resort & Spa Reduced Shakespeare Company Eastern Philharmonic Orchestra Aspen Santa Fe Ballet Phoebe Snow Cherish the Ladies Doug Varone and Dancers Judy Collins Count Basie Orchestra Triad Stage: Doubt Outdoor Fireworks Concert with the Charlie Daniels Band

2009 25th Anniversary Celebration Leahy The Broyhill Chamber Ensemble Charlotte Symphony Orchestra Pops Melissa Manchester Sophie B. Hawkins Pilobolus Buckwheat Zydeco Eastern Festival Orchestra with Sarah Chang and William Wolfram Paul Taylor Dance Company Joan Baez Kenny Loggins 2010 Janis Ian & Karla Bonoff Hayes School of Music Faculty Concert Film Series The Broyhill Chamber Ensemble Amy Sedaris Golden Dragon Acrobats Eastern Music Philharmonic with Barry Douglas and Tianwa Yang Lar Lubovitch Dance Company Patti LuPone Eastern Music Philharmonic with John Pizzarelli Wild and Scenic Film Festival Blood, Sweat and Tears Ralph Stanley & Cherryholmes 2011 African Children’s Choir Eastern Music Festival with Susan Graham, mezzo-soprano The Broyhill Chamber Ensemble Chita Rivera with Ben Vereen: “Our Broadway” Triad Stage: The Sunset Limited Lunch and Learn Series Eastern Music Festival/ Nadja Solerno-Sonnenberg, violin Aspen Santa Fe Ballet k.d. lang and The Siss Boom Bang Wild and Scenic Film Festival Appalachian’s Department of Theatre & Dance: Arsenic and Old Lace Outdoor Fireworks Concert with Dierks Bentley Rosen-Schaffel Young Artist Competition Mountain Heart with Tony Rice The Manhattan Transfer


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2017 Summer Exhibition Celebration at the Turchin Center Sutton Foster Jennifer Nettles Chris Botti Bruce Hornsby & The Noisemakers YESTIVAL: YES with special guests Todd Rundgren & Carl Palmer’s ELP Legacy MOMIx: “Opus Cactus” Charlotte Ballet Eastern Festival Orchestra featuring Midori, violin National Black Theatre Festival: Maid’s Door Rosen Sculpture Walk Broyhill Chamber Ensemble Rosen-Schaffel Competition for Young & Emerging Artists Weicholz Global Film Series 2016 2013 Young People’s Global Film Series An Evening with the Avett Brothers Outdoors Fireworks Concert with The Band Perry Bus Trip to Lees McRae Summer Theatre: Jerry Douglas Band with Mipso Broyhill Chamber Ensemble Legally Blonde University Libraries Summer Author Series with Independent Films from Around the World Lunch & Learn Series Chris Arvidson, Julie Townsend, and Scott Pope Lunch and Learn Series Weicholz Global Film Series Belk Distinguished Lecture: Joseph Bathanti 2018 The Broyhill Chamber Ensemble Triad Stage: Tennessee Playboy Kool & The Gang Trombone Shorty & Orleans Avenue EMF Young Artist Orchestra: Peter and the Wolf I’m With Her In/Visible Theatre: Mauzy Idina Menzel with the Eastern Festival Orchestra Michael Feinstein and Storm Large Pink Martini Eric Carle: Lecture The Hot Sardines Rioult Dance NY with The Broyhill Chamber Boz Skaggs Rhiannon Giddens Ensemble Carolina Ballet: A Balanchine Celebration ft. Rubies Kristin Chenoweth Rosen Outdoor Sculpture Walk Lyle Lovett and His Acoustic Group Aspen Santa Fe Ballet Appalachian Energy Summit Keynote Address Rosen-Schaffel Young Artist Competition with Bill McKibben Bodytraffic Mary Chapin Carpenter, Shawn Colvin Rosen-Schaffel Competition The Broyhill Chamber Ensemble and Suzanne Vega Lunch & Learn Series Eastern Festival Orchestra with Misha Dichter Eastern Festival Orchestra: Pat Benatar & Neil Giraldo / Melissa Etheridge Hayes School of Music Faculty Concert Andre Watts & Julian Schwarz Eastern Festival Orchestra with Rosen Schaffel Competition Marco Nunez, flute and Julian Schwarz, cello for Young & Emerging Artists 2014 An Evening with Broadway Star Kelli O'Hara Theatre Bus Trip: Bright Star 30th Anniversary Celebration Reduced Shakespeare Company North Carolina Black Repertory Company: Little Big Town The Legend of Buster Neal The Hit Men Broyhill Chamber Ensemble Weicholz Global Film Series Pilobolus Young People’s Global Film Series Michael McDonald Summertime Exhibition Celebration Eastern Festival Orchestra with James Galway at the Turchin Center Hayes School of Music Faculty Showcase Concert Rosen Sculpture Walk Triad Stage: All’s Well That Ends Well Motown-Themed Friend-Raising Event Summer Exhibition Celebration at Chetola Resort (July 19 – evening event) at the Turchin Center NPR’s eTown broadcast from the Schaefer Center: Matthew Morrison - From Broadway to Glee Appalachian Energy Summit, with special guest Rosen-Schaffel Competition artists Josh Ritter and Mandolin Orange Nickel Creek Lunch & Learn Series Dance Theatre of Harlem Sheryl Crow Rosen Outdoor Sculpture Walk National Youth Orchestra with Gil Shaham 2012 An Evening with Bill Cosby Rosen-Schaffel Young Artist Competition Broyhill Chamber Ensemble Creedence Clearwater Revisited and Lee Brice Faculty Showcase Lunch and Learn Series Clyde Edgerton Lecture Carolina Ballet: Black Swan, White Swan Solas Eastern Music Festival with Alexander Toradze, piano An Evening with Linda Eder The Travelin’ McCourys with Sierra Hull & Highway 111 Eastern Music Festival Young People’s Concert CHICAGO & The Doobie Brothers

2015 Kacey Musgraves Summer Exhibition Celebration at The Turchin Center Broyhill Chamber Ensemble Parsons Dance Company Brian Stokes Mitchell with the Winston-Salem Symphony Eastern Festival Orchestra with Awadagin Pratt David Grisman Sextet with Brian Sutton The Beach Boys Rosen-Schaffel Young Artist Competition Lisa Fischer and Grand Baton In/Visible Theatre: Without Words Rosen Outdoor Sculpture Walk Scott Bradlee’s Postmodern Jukebox


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2019 35th Anniversary Ben Folds and the Winston-Salem Symphony Pilobolus: Come to your senses Patti LaBelle Chris Botti An Evening of Classic Lily Tomlin Punch Brothers The Temptations The Broyhill Chamber Ensemble Eastern Festival Orchestra featuring Adawagin Pratt Hayes School of Music Faculty Concert Rosen-Schaffel Competition for Young & Emerging Artists North Carolina Black Repertory Company: Plenty of Time Broadway’s Next Hit Musical Weicholz Global Film Series Young People’s Global Film Series Summertime Exhibition Celebration at the Turchin Center Rosen Sculpture Walk Motown-Themed Friend-Raising Event at Chetola Resort (July 11 – evening event) Lunch & Learn Series

BecOme a suppOrter! Artistic excellence, accessibility, and audience engagement are elements that make An Appalachian Summer Festival unique among arts festivals. But quality arts programming is expensive, and because the festival is committed to maintaining affordable ticket prices, revenues from ticket sales cover only 43% of the festival’s costs. Private support must fill the gap, thereby ensuring a continued commitment to both quality programming and affordable ticket pricing. We are extraordinarily fortunate that our community embraces the arts so passionately, and that festival donors have chosen to support An Appalachian Summer Festival so generously. This loyal annual support is the critical element in sustaining the artistic quality of the festival, enabling it to thrive for three decades. If you are not a current festival donor, we hope you will consider making a taxdeductible gift or pledge. Visit our website at, call 828.262.6084, ext. 105 or inquire at the ticket counter.

57 percent of festival expenses must be covered by critical private support

Your support will make it possible to build the audiences of tomorrow, showcase rising artists, raise national visibility and public awareness of the festival and continue to present the “best of the best!”

Festival revenue


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lifetime cumulative festival suppOrt: Since the festival’s inception in 1984, many individuals, corporations and foundations have made significant contributions to the creation and growth of An Appalachian Summer Festival. This list recognizes their cumulative commitments. $1,000,000 and ABOVE Blue Ridge Electric Membership Corporation The Broyhill Family Foundation Arnold & Muriel Rosen/Rosen-Schaffel Endowment for Classical Music Programming Mr. & Mrs. Neil Schaffel Bonnie & Jamie Schaefer/Westglow Resort and Spa & Rowland’s Restaurant $500,000 - $999,999 Mr. Paul H. Broyhill The Cannon Foundation, Inc. Mariam Cannon Hayes Nanette & Budd Mayer Martin & Doris Rosen SkyBest Communications, Inc. (a wholly-owned subsidiary of SkyLine Membership Corporation) $250,000 - $499,999 Mr. & Mrs. John Cooper/Mast General Store Ford Motor Company Lawrence & Barbara Freiman McDonald’s of Boone / Venda & Ralph Lerch Northern Trust Company Robert and Lillian Turchin Mrs. Nan Van Every Helene & Stephen Weicholz Mr. and Mrs. Ken Wilcox $100,000 - $249,999 Boone Area Visitors Bureau/Town of Boone The Max & Victoria Dreyfus Foundation, Inc. Mr. & Mrs. Willard A. Gortner Anthony & Deborah di Santi Mrs. Florence Hecht, Neal & Isabelle Amdur, & the Flagler & Naples-Fort Myers Greyhound Tracks Dr. & Mrs. Marc Kadyk Joan & Bernie Keele/Storie Street Grille The Martin & Doris Rosen Giving Fund / Debbie Rosen Davidson & David Rosen / Charles & Nancy Rosenblatt Foundation Harold Libby & Wanda Rayle-Libby Mr. & Mrs. Roger Michelson National Endowment for the Arts North Carolina Arts Council Peabody’s Wine & Beer Merchants Joni & Peter Petschauer R.Y. & Eileen L. Sharpe Foundation Tina & Gary Silverstein J. Bernard & Shirley Spector Mrs. Allene Broyhill Stevens Keith & Letty Stoneman Mark & Nancy Tafeen $50,000 - $99,999 Michael & Judy Adler Allen Wealth Management, LLC Appalachian Hospitality Management Barbara & George Ball Hanes & Lida Boren/

Footsloggers Outdoor & Travel Outfitters Boone Ford-Lincoln Wendy & Mike Brenner Sen. & Mrs. James T. Broyhill Mr. & Mrs. Keith Cloyed Armfield & Rachel Coffey Susan & Harvey Durham Adrienne Finkel A.J. Fletcher Foundation The Friedman Family: Ingrid, Mary & Nick J.C. Goodnight William S. Goodnight Goodnight Brothers Produce, Inc. Dr. & Mrs. Brent Hall Mr. & Mrs. Sol Halpert Dieter & Karyn Herterich Dr. & Mrs. Berge Markarian Bob & Minnie Snead Kent & Shelly Tarbutton/Chetola Resort Mr. J. Wallace Wrightson Mr. & Mrs. Arthur Yergey $25,000 - $49,999 Appalachian Ski Mountain / The Moretz Family Drs. William & Sally Atkins Frank & Kay Borkowski Natalie & Penn Broyhill Kathleen Price Bryan Family Fund Sue & Steve Chase Mr. & Mrs. Arthur Courshon Byrdie & Ed Denison Dewoolfson Down Products Lynn & Barry Eisenberg Mr. Jim Furman – Wendy’s of Boone Dr. & Mrs. Lowell Furman Mr. & Mrs. Robert F. Gilley Ralph Glaser, Jr. & John A. Pfeifer Sonya Rabin Greenfield Susie Greene Ralph S. Grier Holiday Inn Express Billy & Ray Howell Mr. & Mrs. Harry F. Jacobs Ethel & George Kennedy Family Foundation Laurelmor – A Ginn Company Resort Edgar & Nan Lawton Lexington Furniture Industries Linville Ridge Country Club Anne C. & Myron B. Liptzin Mr. & Mrs. James T. Lynagh Hospitality Mints, Inc. Karen P. Minges Daniel & Harlene Mitchum Rosanne & Ken Peacock Edith S. Peiser Betty & Jesse Pike Perfection Equipment Company Drs. Raymond & Judith Pulley John & Joy Safer Mr. & Mrs. Lawrence Singer Sandi Finci Solomon T.G. Solomon

Marshall Stein & Denise Grohs David & Ginny Stevens Ms. Helen Taulman Park Terrell/Nationwide Insurance Agency Mr. & Mrs. Dolph von Arx Cindy Wallace & Allen Moseley Mr. & Mrs. Samuel Whalen $10,000 - $24,999 Homer & Margie Barrett William & Linda Blanton Blue Ridge Mountain Club Jack Branch Charter Communications, Inc. Cheap Joe’s Art Stuff, Inc. Creekside Electronics Helen Clabough Foundation Alan & Sally Cone Courtyard by Marriott Crestwood Resort & Spa Dr. Pamelia S. Cromer Deer Valley Racquet Club Dianne Davant Interiors Merle & Louis Feinberg Foundation of Jewish Philanthropies Mr. & Mrs. Julian Good Mr. & Mrs. Harold Granoff The Bruce J. Heim Foundation Mr. & Mrs. Ronald G. Hester Kenneth Hubbard Michael & Sara Mayhew Larry & Nanci Tolbert Nance Nationwide Insurance/The Charles Eyler Agency The Nesor Foundation Panoramic Hospitality Old World Galleries Edmund F. Perls Anonymous Ron Redmon & Tom Normand Fred & Priscilla Robinette Sally & Russell Robinson Mr. & Mrs. Frank Ross, Jr. Gerard & Judith Rothschild Sazingg Jewelers The Sesame Foundation The Shane Family Foundation Gus & Frances Stavros Sally & Russell Robinson Tarheel Capital Charles Gordon Travis Tweetsie Railroad Mary Underwood & Ben Henderson/ Bare Essentials Natural Market United Technologies Corp. US Airways Mr. & Mrs. Alberto Vadia Mr. Edward Vincz Sally & Russell Robinson Betty E. Yount Jeffrey & Cher Zavik Sam Tallman & Mike Zuravel Wells Fargo


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2019 festival suppOrters An Appalachian Summer Festival deeply appreciates the support of its contributors. This list reflects contributions and pledges made solely to An Appalachian Summer Festival’s Annual Campaign from October 1, 2018 through May 31, 2019. Please note this list does not include gifts to other areas within Appalachian State University. PREMIER SPONSORS $100,000 and Above Bonnie & Jamie Schaefer/Westglow Resort and Spa & Rowland's Restaurant The Rosen-Schaffel Endowment for Classical Music Programming

BRAVO! CIRCLE $3,000-$5,999 Judy & Michael Adler The Alfred B. and Josette L. Glover Family Foundation Appalachian Home Care/Ellen Harrell Joan & Albert Benbasat LEAD SPONSORS (in memory of Esta Perlow) $50,000-$99,999 Natalie & Penn Broyhill (in memory of Jere Dabbs) Barbara & Larry Freiman Sue & Steve Chase The Budd and Nanette Mayer Family Foundation, Inc. Courtyard by Marriott Lynn & Barry Eisenberg FESTIVAL SPONSORS Merle & Louis Feinberg $25,000-$49,999 Adrienne Finkel Steven & Elaine Brooks Mary & Nick Friedman Martin & Doris Rosen Giving Fund / Debbie Rosen Holiday Inn Express Davidson & David Rosen / Sandy & Marc Kadyk Charles & Nancy Rosenblatt Foundation Morris & Kathleen Lioz The Muriel & Arnold Rosen Endowment for the Arts Mike & Pam McKay/The Art Cellar Gallery Helene & Stephen Weicholz Roger & Helen Michelson Daniel W. & Harlene E. Mitchum CHANCELLOR’S CIRCLE PNC Bank $10,000-$24,999 Peabody’s Wine & Beer Merchants Boone Area Visitors Bureau Peak Insurance Group Wendy & Mike Brenner CDR Gerarda Persad & CW3 John Persad Broyhill Family Foundation, Inc. R. Y. & Eileen L. Sharpe Foundation Goodnight Brothers Produce Company Scholars Bookshop at the University Bookstore Ralph S. Grier Sandi Finci Solomon Mast General Store/John & Faye Cooper McDonald's of Boone/Venda & Ralph Lerch BENEFACTOR’S CIRCLE National Endowment for the Arts $1,200-$2,999 Christine Petti ACBC Fund of Triangle Community Foundation (in memory of Dr. A.F. Petti) Frank & Kay Borkowski Neil & Nancy Schaffel The Bruce J. Heim Foundation Tina & Gary Silverstein Susan & Harvey Durham SkyBest Communications, Inc. Ralph Glaser, Jr. & John A. Pfeifer Letty & Keith Stoneman/Circle S Foundation Susie Greene Wells Fargo Jerry & Rebecca Hutchins* Jenny & Wayne Miller ARTIST’S CIRCLE Edith S. Peiser $6,000-$9,999 Bill Pelto & Linda Larson Chetola Resort/Kent & Shelley Tarbutton Edmund & Louise Reiss Creekside Electronics, Inc. Sally & Russell Robinson Myron B. & Anne C. Liptzin Alex Sink Peter & Joni Petschauer Minnie & Bob Snead Mark & Nancy Tafeen Kenneth & Gerry Wilcox

PATRONS $600-$1,199 Ira & Brenda Abrams Jonathan & Marisue Beloff Katy & Mickey Boles (in honor of Lynn Eisenberg) Wayne & Teri Bonomo Hanes & Lida Boren Dottie & Barry Cook Lisa Cooper & Russ Curtis Drs. James and Kathryn Douthit Randy & Margaret Edwards Judie Feinberg & Sonny Harris Molle Grad (in memory of Ed Grad) Megan Hayes & Michael Kitchell (in honor of Kaaren & Lowell Hayes and the matriarchs of AppSummer) Sarah & Troy Heustess Linda & Ed Kelly Barbara & Mark Moskowitz Larry & Nanci Tolbert Nance* Carol Quintero & Laurie Weiner Traci Royster (in honor of Denise Ringler & Sarah Heustess)* Dr. & Mrs. Morris F. Segall Sam Tallman & Mike Zuravel Julie & Tom Trueman Mary Underwood & Ben Henderson* Steven & Darlene Wagner Todd Wright


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CONTRIBUTORS $300-$599 Connie Adams Byron E. Bean (in honor of Bonnie Bean) Howard & Kathryne Brafman Dr. Craig & Rose Bridgeman Stephanie Poet Cohen (in memory of Jim & Dolly Poet) Mr. and Mrs. Stuart Darrow Tracey & Paul Ford Hank Foreman & John Baynor Marie Furches Dan Gaugert & Terry Harper (in honor of Anna Gaugert) Sali Gill-Johnson Russell & Christine James Renée & David Lieberman Mr & Mrs. James Long Dr. Berge & Meliné Markarian Denise & William Ringler Drs. Bernard & Michaela Segall Marilyn Smith Janet H. Wilson

FRIENDS $125-299 Ellis & Barbara Aycock Bill Barbour* Kate R. Barrett Carol Berns & Ted Silver Blowing Rock Yacht Club John & Bettie Bond James & Margaret Bragg Larry & Carol Brown* Lorraine Childers Christine S. Davé* Barbara W. Daye* Byrdie Rae Denison (in memory of Edward L. Denison) Anna Gaugert Mr. and Mrs. Dan Glowa (in memory of David Glowa & Ben Bradley)* Dr. Louis N. Gottlieb Karen Gross* Gerald & Sydney Gura Laura & Kenny Kaufman Jane & Grady Lonon Gregg & Bonnie Marland Leslie & Richard Mayeron Lindsay Miller Susan B. Morgan* Doug & Susan Morton Carmen & Patty Patella* Mike & Sandra Perry* Bob & Karen Powell (in memory of Jack Branch) Marty Rice* Tish & Tom Rokoske (in honor of Ralph Glaser & John Pfeifer)* Barbara & Ed Rosasco Patrick K. Setzer Joanie & Robert Shirley* Bernice Snow Barbara Sugerman (in memory of Barry Sugerman) Ineke Thomas* Carol & Hank Thompson* Claudia Van Essen Cyn D. & John Weaver* Chuck & Lynne Weiss (in honor of Dr. John Pfeifer) Mary & Dale Whisenant Steve & Deena Zaron

MEMBERS up to $124 Julia R. Adams (in memory of Gerald Adams) Elizabeth H. Armistead* Francine Barr (in memory of Patricia Weberman)* Dr. & Mrs. Harold Carrin* Elaine & Jim Crowell* Sondra & Bernie Edwards* Sandra Folts* Susan Graham (in memory of Dot Barber)* Jeff Handler Rosemary Horowitz & Jerry Hyman Barbara Hunsucker* Robin Hunt & Kenneth Steele* Lynda Lasseter* Diana Latendresse* Anita Laymon* Patricia Mauldin Howard Miller & Nancy Clark Ray Moretz* Beth Mueller Mike & Kitty Rominger* Marilyn Seward Jim & Sandy Sheatsley Helen Sirett & Ken Hendrix Gerald Traudt* Daisy Goodnight Waldrep Marlene Walter (in memory of Muriel & Arnold Rosen) Frederick & Donna Whitt (in memory of Grady Moretz) Bob & Maggie Wilson *Friends of An Appalachian Summer Festival


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2019 FESTIVAL SEAT NAMES Ira & Brenda Abrams Judy & Michael Adler Appalachian Health Care Appalachian State University Athletics Charles Baker (in memory of Ellen Reamer) Robert & Judith Beber Albert & Joan Benbasat Carol Berns & Ted Silver Nanci & Stephen Beyer Bettie & John Bond Howard & Kathryne Brafman Wendy & Mike Brenner Nakita & Pal Brooks Broyhill Family Foundation Natalie & Penn Broyhill Sue & Steve Chase John & Faye Cooper/Mast General Store Lisa Cooper & Russ Curtis Barry & Lynn Eisenberg Nelson & Rhonda Faro Judie Feinberg Adrienne Finkel (in memory of Ted, Pete & Bailey) Tracey Ford (in memory of James E. & Betty D. Capps) Barbara & Larry Freiman Nick & Mary Friedman

Anna Gaugert Dan Gaugert & Terry Harper Ralph Grier Goodnight Brothers Ellen Harrell Sonny Harris Sammy L. Hartley Megan Hayes (in honor of Karen & Lowell Hayes) Scott & Kathleen Haynes Mary Underwood & Ben Henderson Sarah & Troy Heustess John & Janice LaCapra Ernie & Shelby Lane Ralph & Venda Lerch Morris & Katia Lioz Nanette & Budd Mayer Conor McKenzie Dr. Mark Moskowitz Family Larry & Nanci Tolbert Nance Michael & Lori Novick Dr. Ken & Rosanne Peacock Edith Sutker M. Peiser CDR Gerarda Persad & CW3 John Persad Joni & Peter Petschauer Susan & Bruce Pettyjohn Ralph S. Glaser & John A. Pfeifer Judy & Robert Prager

Carol Quintero & Laurie Weiner Marilyn & Neil Ramo Denise Ringler Lane & Joni Robinson/Creekside Electronics John Rogers (in memory of Linda Crawford Rogers) Bonnie Schaefer (in memory of Rowland & Sylvia Schaefer) Jamie Schaefer (in memory of Marshall Docteroff) Nancy & Neil Schaffel The Shane Family Tina & Gary Silverstein Bernice Snow (in memory of Dr. Snow) Sandi Solomon (in memory of Leonard Solomon) Keith & Letty Stoneman Mark & Nancy Tafeen Claudia Van Essen (in memory of Inge) Steven & Darlene Wagner Cyn D & John Weaver Fred & Barbara Webb Helene & Steven Weicholz Barbara & Jeff Weiner Mona & Kenny West David Young


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plan yOur visit Come and explore the Boone area for a true mountain experience like no other. From the majestic peaks of the Blue Ridge Mountains to the scenic overlooks on the Blue Ridge Parkway, the Boone area provides many opportunities to relax and enjoy the beauty and serenity of our region.

need a place tO stay? An Appalachian Summer Festival and its hotel sponsors come together to make a trip to the High Country stress-free and affordable! Whether you prefer a luxury resort or the comfort of a chain hotel, packages for select performances are offered at various accommodations in the High Country! For more information, visit

Westglow resort & spa 800-562-0807

holiday Inn express 828.264.2451

10% OFF for Festival Patrons Online: ID #786828250 • Phone: Rate code IxNM9

Chetola resort & spa the Bob timberlake Inn 800-243-8652

Courtyard by Marriott 828.265.7676

fine arts & Great fOOd Make it a memorable evening with dinner and a show! In Boone: The Local, Makoto’s Japanese Steakhouse & Sushi Bar, Red Onion, Pepper’s Restaurant, Lost Province Brewing Co., and Boone Saloon In Blowing rock: Rowland’s Restaurant at Westglow Resort & Spa and Timberlake’s Restaurant at Chetola Resort


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the arts at appalachian

the hughlene Bostian Frank Visiting Writers series

Presented during the academic year, this series supports the teaching mission of the university by presenting a diverse array of music, dance and theatre events designed to enrich the cultural, educational and economic landscape of the campus and surrounding region. By creating memorable performance experiences, the series promotes the power and excitement of a live performance, provides a “window on the world” through the artistry of nationally and internationally renowned artists and showcases some of the finest artists of our region.

Belk library & Information Commons: global Film series

the schaefer Center Presents...

APPlause! K-12 Performing Arts series

Appalachian State University’s arts education and outreach program strives to broaden and deepen arts experiences for audiences of all ages, while ensuring access to the arts for young audiences, building future audiences for the arts, and inspiring a love of learning through the arts. 2019-20 season: Peter and the Starcatcher October 4 magic tree house: Showtime with Shakespeare October 16 kraut kreek ramblers October 23 taj express November 8 The Very hungry Caterpillar & other eric Carle Favourites Nov. 14 Banff mountain film festival World tour: student edition March 18 spring appalachian dance ensemble March 27 Billy Jonas Band April 2 Jazzreach April 9

turchin Center for the Visual Arts

Located on King Street in the heart of downtown Boone, at the crossroads between campus and community, the center’s exhibitions focus on a blend of new and historically important artwork and feature works of nationally and internationally renowned artists, as well as many of the finest artists in the region. With its multifaceted education and outreach programs, the center is a dynamic, living, breathing presence in the Appalachian community, creating opportunities for people of all ages and backgrounds to experience the power and excitement of the visual arts!

hayes school of Music

Department of theatre & Dance

Department of Art

Cannon Music Camp 2019 Performance schedule Thursday, June 27 7pm

faculty recital i

Sunday, June 30 2pm

“kaleidoscope concert”

Friday, July 5 7pm

faculty recital ii

Sunday, July 7 2pm 7pm

honors recital i Selected camper solo performances Piano Performances

Tuesday, July 9 7pm

honors recital ii Chamber Groups

Thursday, July 11 7pm

finale cOncert i Percussion Ensemble String Orchestra

Friday, July 12 7pm

finale cOncert ii Chamber Singers Treble Choir Concert Choir Wind Ensemble

Saturday, July 13 10am 12pm

finale cOncert iii All Things Jazz finale cOncert iv Symphonic Band finale cOncert v Symphony Orchestra


Cannon Music Camp 813 Rivers Street, Rosen Concert Hall Appalachian State University, Boone, NC Concerts are free and open to the public. Concerts are subject to change, please visit for updates or call 828.262.4091. Concerts will be streamed live on our website.


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the turchin center fOr the visual arts

lunch & learn WeDnesDAYs

noon – 1:30 pm, turchin Center for the Visual Arts lecture hall free event Interactive and informative lectures provide an insider’s look at the festival programming from experts in the field. Bring a bagged lunch to enjoy during the lecture!

July 3 - Meet the Sculptor!: Bill Brown

Regionally beloved sculptor and philanthropist Bill Brown will provide a fascinating preview of his stunning exhibition entitled “Refugee,” a collection of sculptures created in response to the growing international crisis affecting millions around the globe. Each freestanding metal piece in the series begins with a figurative form perched on a platform that metaphorically references the refugee journey: a rocking boat, an isolated rooftop, a beloved homeland. Brown’s hope is that his work will encourage active and engaged solutions; to that end, he donates a percentage of each sale to organizations that directly address the crisis. Following the presentation, participants will enjoy an opportunity to preview the exhibition with the artist.

July 10 - Behind the Curtain: Kraut Creek ramblers

Get to know the Kraut Creek Ramblers, the premier old-time string band of the Center for Appalachian Studies at Appalachian State University. Learn how the band, comprised of a rotating cast of faculty, staff, and students, came together around their love of traditional mountain music, ranging from hard-driving fiddle tunes to early country classics.

July 17 - Cherokee Storytelling: the Warriors of Anikituhwa a co-presentation with appalachian State university faculty and the museum of the Cherokee indian

The Warriors of Anikituhwa, official cultural ambassadors of the Eastern Band of Cherokee Indians, will present this remarkable workshop featuring Cherokee history through storytelling. The Warriors have presented at cultural events, museums, schools, universities and historic sites including Colonial Williamsburg, the

Museum of the American Indian and the Queen of England’s London New Year’s Day Parade, which marked the first visit of a Cherokee delegation to England since 1762. At 3pm, participants are invited to gather at Valborg Theatre (adjacent to the Turchin Center Lecture Hall) for a demonstration of traditional Cherokee social dances.

July 24 - Extraordinary Lessons for Holocaust Education: Resistance and Rescue in World War II: racelle Weiman

Can bravery be taught? Can moral courage be embraced as a core value in our society today? Explore with Dr. Racelle Weiman the characteristics, behavior and actions of individuals and groups who made choices to stand up and against evil, prejudice and genocide. Who were these people, and what made them respond differently than the mainstream? Dr. Weiman leads a fascinating discussion on her decades-long study of this topic that expands beyond altruism to the core identity of an individual and the soul of society. Stories and highlights from her research of acts of daring heroism and sheer audacious rescues in Nazi-occupied Europe will generously pepper this amazing presentation. This presentation is part of the 2019 martin & doris rosen Summer Symposium on “education during and after the holocaust” by aSu's Center for Judaic, holocaust, and Peace Studies. For more information, please visit the Symposium website at

July 31 - My Place, or Yours?: Cara hagan

Guest curator Cara Hagan explores the politics and practice of collaborative work. The artists in the exhibition make work together, albeit from a distance. More specifically, the majority of the participants have embarked on a journey through the philosophy and practice of “artistic surrogacy.” Following the presentation, participants will enjoy an opportunity to preview the exhibition with the guest curator.

visual arts WOrkshOps Explore your inner artist with a workshop! Artists of all skill levels are welcome. Advance registration and payment required. Enrollment is limited, so register today. For detailed information, visit or call 828.262.3017. July 13 & 27 - Creative Kids studio (Ages 5-12) July 12 & 19, august 2 - Inkalicious (Ages 17+) July 13 - gelli Printing (Ages 17+)



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yOunG peOple’s GlOBal film series tuesDAYs

teen FIlM

schaefer Center for the Performing Arts tickets: $5 (includes movie ticket, snack and drink) An Appalachian Summer Festival embarks on adventures around the world with a series featuring films from Ireland, Australia, France, South Africa, and Mexico. Film curator Dr. John Pfeifer will present a brief introduction prior to each screening. teen FIlM

Sing Street

July 2, 6:00 pm

recommended for ages 13 and above (in english)

During the economic recession of Dublin, Ireland in 1985, teenager Conor Lawlor is forced to adjust to a new inner-city public school, where the kids are tough and the teachers even tougher. To impress the girl of his dreams, Conor starts his own rock band with a group of nerds and non-musicians. ireland; rated PG-13; directed by John Carney (2016); 105 minutes

An Elephant’s Journey July 9, 1:00 pm

recommended for all ages (in english)

After the loss of his parents in a tragic accident, Phoenix Wilder, an American teenager, moves to Africa to live with his aunt and uncle. After finding and rescuing a young bull elephant from the nets of poachers, Phoenix and his new pachyderm friend embark on an adventure to stop illegal hunting and find their way home. South africa; rated PG (adventure peril and poaching scenes); directed by richard Boddington (2017); 87 minutes

This series has been supported, in part, by a generous gift from Sandi Finci Solomon.

Fanny’s Journey July 16, 6:00 pm

recommended for ages 12 and above (in French with english subtitles)

Based on a true story, Fanny’s Journey tells the compelling tale of a daring 13-year-old girl who will stop at nothing to save herself, her two sisters, and a group of young Jewish children from the Nazis. France; not rated (some nazi cruelty and threat of death); directed by lola doillon (2016); 94 minutes

Storm Boy

July 23, 1:00 pm

recommended for all ages (in english)

Based on the 1964 Australian children’s book by Colin Thieve, Storm Boy tells the story of 10-year-old Michael Kingley who lives a lonely life with his reclusive father on the desolate coastline of South Australia. When a group of hunters kills a majestic pelican and orphans its young on the beach, Mike convinces his father to let him raise the chicks to adulthood. australia; rated PG (thematic elements, mild peril and brief language); directed by Shawn Seet (2019); 99 minutes


July 30, 1:00 pm

recommended for ages 10 and above (in Spanish with english subtitles)

El Molcajete, a traditional Mexican restaurant in downtown Mexico City, is the pride and joy of Maria’s grandmother, Dona Tere. When Maria’s mother suddenly passes away, Dona Tere mourns the loss of her daughter and stops working at the restaurant. Maria must find a way to bring her grandmother back to the restaurant before the traditional flavors, ingredients, and cooking secrets are lost forever. mexico; rated PG (mild thematic elements involving the death of a parent); directed by Jordi mariscal (2013); 100 minutes


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a schaefer pOpular series event

Ben fOlds With the

Winston-Salem Symphony JACOMO BAIrOs, COnDuCtOr Pianist, singer-songwriter, and North Carolina native Ben Folds opens the 35th anniversary season of An Appalachian Summer Festival with an unforgettable evening of genre-bending music featuring the Winston-Salem Symphony. According to the Vibes Music Blog, “on stage, he is just a wonder to watch, as a pianist, as a lyricist, as a composer, a conductor and as a man.”

sAturDAY, June 29 8:00 pm, schaefer Center for the Performing Arts

series spOnsOrship prOvided By:

Westglow resort & spa and rowland’s restaurant, made possible through the generosity of Bonnie and Jamie schaefer. perfOrmance spOnsOrship prOvided By:

Wells fargo, mast General store, Goodnight Brothers, skyBest communications, inc., Boone area visitors Bureau

Ben Folds is widely regarded as one of the major music influencers of our generation. He’s created an enormous body of genre-bending music that includes pop albums with Ben Folds Five, multiple solo albums, and numerous collaborative records. His last album was a blend of pop songs, and his Concerto for Piano and Orchestra soared to #1 on both the Billboard classical and classical crossover charts. For over a decade he’s performed with some of the world’s greatest symphony orchestras, and in 2017 was named as the first ever Artistic Advisor to the National Symphony Orchestra at the Kennedy Center. In addition to touring, Folds has just written his first book – A Dream About Lightning Bugs: A Life of Music and Cheap Lessons – described as a collection of interrelated essays and anecdotes about art, life, and music. Release is slated for July 2019. He is also no stranger to TV and film, from scoring soundtracks to having been featured for five seasons as a judge on NBC's critically-acclaimed a capella show The Sing Off. He has also continued to appear in cameo and recurring roles on cable and network TV shows. An avid photographer, Folds is a member of the prestigious Sony Artisans of Imagery, completed an assignment in 2017 as a photo editor for National Geographic, and was recently featured in a mini-documentary by the Kennedy Center's Digital Project on his photographic work. An outspoken champion for arts education and music therapy funding in our nation's public schools, in 2016 Ben held the distinction as the only artist to appear at both national political conventions advocating for arts education, and has continually served for over five years as an active member of the distinguished Artist Committee of Americans for the Arts, is on the Board of its Arts Action Fund, and is Chairman of its ArtsVote2020 campaign initiative.


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Portuguese-American conductor Jacomo Bairos continues to redefine what a conductor can be and do in the 21st Century, challenging the preconceptions of orchestral repertoire, blurring the lines of genre, and integrating the orchestra into the broader community in holistic and organic new ways. Bairos is the 17th Music Director for the Amarillo Symphony, Co-Founder and Artistic Director for Miami’s Nu Deco Ensemble, and performs regularly as a guest conductor with some of the world’s finest orchestras. Bairos’ performances have been described as “thrilling” (Providence Journal), “inspirational and highly communicative” (Singapore Straits Times) and having a “splendid sense of musicality” (Knoxville Mercury). The New York Times hailed Nu Deco Ensemble as “chamber orchestra for the 21st century,” while Billboard called them “a sonically spellbinding experience.” In the 2018-2019 season, Bairos appears with the San Francisco Symphony, makes subscription debuts with the Boston Pops, the Singapore Symphony Orchestra, the Fort Worth Symphony Orchestra, and conducts the Wichita and Winston-Salem symphonies. Bairos also continues his longstanding relationship with the Atlanta and Grand Rapids Symphony orchestras, and continued through 2018 directing the National Symphony Orchestra’s critically-acclaimed DeClassified Series, the In Your Neighborhood Initiative, and multiple Pops programs. Bairos has appeared with the Detroit, Houston, North Carolina, Knoxville, and Alabama Symphony orchestras, the Louisiana and Rhode Island Philharmonics, and the Los Angeles Chamber Orchestra. In addition, he has made numerous returns to the Atlanta, St. Louis, San

Diego, Florida, Sarasota, Jacksonville, Charlotte, and Charleston Symphony orchestras. International engagements include the Malaysian Philharmonic Orchestra, Singapore, Leipzig and Oaxaca Symphony orchestras, as well as the Orquesta Sinfónica’s do Porto Casa da Música (Poturgal), de Provincial de Santa Fe (Argentina), and de la Universidad de Guanajuato (Mexico). The diverse range of Bairos’ artist collaborators include famed pianists Jeremy Denk, Garrick Ohlsson, Anne-Marie McDermott, and MezzoSoprano J’Nai Bridges, to name a few. Bairos closely collaborates with some of today’s most groundbreaking artists, such as Academy Awardwinning composer/guitarist Bryce Dessner, Grammy winning artists Jacob Collier, Angelique Kidjo, and Gregor Porter, as well as Kishi Bashi, Seu Jorge, Bilal, Cory Henry, and Jon Batiste. Since 2014, Bairos has worked on numerous projects and collaborations with multi-platinum singer-songwriter Ben Folds. A graduate of The Juilliard School, Bairos is an accomplished and award-winning tubist, having given master classes and concerts with major festivals and orchestras around the world. Bairos has performed, toured, and recorded with the New York Philharmonic as well as with the symphony orchestras of Chicago, Cincinnati, and Seattle. He has held principal positions with orchestras in America and Spain, and from 2004-2007 Bairos was principal Tuba for the Singapore Symphony Orchestra. Born in Lisbon, Portugal, Bairos is also a yoga teacher, practitioner of Vipassana meditation, and works and mentors with underserved children throughout the South Florida and Panhandle-Texas region. He makes his home in Miami, Fla.


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BrOyhill chamBer ensemBle The Trio Takes Form

sunDAY, June 30 7:00 pm, rosen Concert hall Sponsored by mcdonald’s of Boone

Gil Morgenstern, violin; Francesca dePasquale, violin Jessica Thompson, viola; Christine Lamprea, cello; Benjamin Hochman, piano The Trio Takes Form charts the progression of the popular trio form (for three instruments) over 75 years, from Haydn to Beethoven to Mendelssohn. Divertimento for String Trio No. 8 in B-Flat Major, Joseph Haydn Hob. V:8 (1765) Adagio con variazioni Menuetto Finale: Presto Francesca DePasquale, violin; Jessica Thompson, viola; Christine Lamprea, cello String Trio Op.9 No. 3 in c minor (1797) Ludwig van Beethoven Allegro con spirit Adagio con espressione Scherzo: Allegro molto e vivace Finale: Presto Francesca DePasquale, violin; Jessica Thompson, viola; Christine Lamprea, cello INTERMISSION Piano Trio in d minor, Op. 49 (1839) Felix Mendelssohn Molto Allegro agitato Andante con moto tranquillo Scherzo Allegro assai appassionato Gil Morgenstern, violin; Christine Lamprea, cello; Benjamin Hochman, piano Page Turner: Ingrid Nora Forsyth The Broyhill Chamber ensemble Concert Series is generously supported by the Broyhill Family Foundation (in memory of Faye Broyhill) and by ralph and Venda lerch/mcdonald’s of Boone. additional performance underwriting has been provided by The Budd and nanette mayer Family Foundation, inc., Joni and Peter Petschauer, the muriel and arnold rosen endowment for the arts and the rosen-Schaffel endowment for Classical music Programming. With special thanks to appalachia Cookie Company, for a generous donation of refreshments during this evening’s intermission. Biographical information for this evening’s performers begins on page 105.

Acclaimed for his artistry and technical brilliance, violinist gil Morgenstern is devoted to expanding the traditional classical music concert The Budd and nanette experience. His vision mayer Chair is to unlock the mystery surrounding classical music by presenting the audience with a more complete concert experience, meticulously curated from start to finish, placing music in an historical and artistic context, and organically integrating it with other artistic disciplines in innovative and unexpected ways. The New York Times describes him as a “brilliant and musically curious artist.” Morgenstern founded Reflections Series International with the goal of creating original programs combining music, visual art, cinema, dance, poetry and prose. Morgenstern invites audiences to reflect on the relationships between artistic disciplines and to reflect anew on universal themes. Since its inaugural performance in 2007, Reflections Series International enjoys a presence throughout the United States and Europe. Morgenstern is also the co-founder of Nine Circles Chamber Theatre, a creative organization dedicated to exploring the collaborative nature of inter-disciplinary performance, and of the Broyhill Chamber Ensemble which specializes in Baroque, Classical, Romantic and contemporary chamber music. A violinist with a long history of performing in the world’s great concert halls, Morgenstern’s career has taken him to international venues including Wigmore Hall, London; Cultural Center Concert Hall, Hong Kong; the American Academy, Rome; Palazzio Vecchio, Florence; El Teatro Sucre, Quito; and Arts Centre and State Theatre, Melbourne, Australia. He has also toured the U.S. extensively, performing in recitals and as guest soloist with many leading orchestras including the symphonies of St. Louis, Baltimore, Louisville, Indianapolis, Denver, Milwaukee, New Jersey and North Carolina. The New York Times has hailed


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Enjoy the show. 896 Blowing Rock Road • Boone

McDonald’s is proud to serve as a sponsor for An Appalachian Summer Festival


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his playing as, “a perfect demonstration of supreme ability.” The South China Morning Post describes him as “a rare poet of the violin” and according to The Washington Post “Morgenstern played a program that tested every part of a violinist’s equipment and he did it all beautifully.” Gil Morgenstern has also shared the stage with such eminent musicians as Lynn Harrell, Philippe Entremont, André-Michel Schub, Jeffrey Kahane, Sharon Isbin, and Heinz Holliger, and has collaborated with United States Poet Laureate Robert Pinsky, Pulitzer Prize-winning poet Yusef Komunyakaa, the actress Claire Bloome, and performance artist Laurie Anderson. Morgenstern’s discography includes works by Beethoven, Fauré, Copland, Ravel, Kodaly, Sessions and the award-winning American composer George Tsontakis. His latest recording, 20th Century Duos for Violin and Cello, was the No. 1 classical CD for over a month on eMusic, the largest online store for independent music in the world, and was one of the top 10 bestselling classical music albums on Amazon. The New York Times raved, “the music is terrific and the performances compelling on this surprisingly exciting and excellently engineered recording.” Morgenstern records for the Koch International Classics, MMC and Engine Company labels, and can regularly be heard on National Public Radio and classical music radio stations across the country. Morgenstern is also deeply committed to education, specializing in the synthesis between academic subjects and the arts. In 2014, Morgenstern was named Artist-inResidence for Interdisciplinary Studies at Avenues: The World School in New York City. Gil Morgenstern’s many honors include a command performance at the White House when he was just 21 years old, a performance at the inaugural festivities for President Clinton, and a citation from the floor of the House of Representatives entered in the Congressional Record for outstanding service in the arts. Highlights of Gil Morgenstern’s recent and upcoming seasons include interdisciplinary

performances at Lincoln Center, New York City’s 92nd Street Y, and Harvard University, as well as performances in Rome, Florence, Venice, Capri, Toronto, London, and Alaska. Gil Morgenstern lives in New York City.

Program notes:

Joseph haydn Divertimento for string trio, no. 8 in B-flat Major, hob. V:8 (Born March 31, 1732, in Rohrau; died May 31, 1809, in Vienna)

In 1765, the Kapellmeister at the court of Prince Nikolaus Esterházy criticized Haydn, then the vice-Kapellmeister, for his negligent attitude, requiring him to “apply himself henceforth with greater assiduousness to composition” especially to pieces for viola da gamba, the instrument Prince Esterházy played and was his favorite. As a result, in the next ten years, Haydn wrote around one 125 trios, at least 20 of them string trios, or “Divertimenti.” The exact number may never be known. 126 trios were for the baryton, a bowed string instrument about the size of a cello, similar to the viol, but distinguished by an extra set of plucked strings, and the instrument of his royal patron. Haydn termed many of his early efforts in this form cassations or divertimentos; some have been lost, and unscrupulous publishers, out to make quick money, issued many spurious works. The current Grove’s Dictionary of Music lists as doubtful 35 trios supposedly composed by Haydn. Haydn composed all these quickly, one after another, often in groupings of six, and all with three movements with a variety of groupings for the succession of movements. The Divertimenti were the first works to establish Haydn’s wide European reputation. Divertimento, divertissement, cassation, and serenade, once almost interchangeable, were terms frequently used for a kind of occasional music, prized by 18th century Austrian composers and connoisseurs. The function of these works was as background for princely patrons’ meals, as celebratory music for patrons or friends’ name days or simply works for the

musicians’ own enjoyment. The divertimenti have characteristics of exhilarating playfulness; they were clearly intended not to awe or enthrall, but rather to entertain with their interplay of various tonal colors and to challenge performers with technically difficult yet always idiomatic, individual instrumental parts. Miraculously surviving in widely scattered monasteries and court manuscript archives, Haydn’s divertimenti have irresistibly infectious humor and zest. Divertimenti were useful for Haydn because they served as grounds for his experimental studies in perfecting the craftsmanship that distinguishes the symphonies, quartets and operas of his later years. They provide revelatory illuminations of Haydn’s self-education in mastering the idiosyncratic technical and color potentials of the instruments he included in them, especially the thenhand-stopped natural horn and the then still novel clarinet. This trio is Haydn’s only trio with the modern scoring of violin, viola and cello. In the first movement, “Adagio con variazioni,” the rhythmic motives dominating each of the six variations are not always clearly derived from the theme. The most notable are a cantabile third variation, the only variation to retain the descending stepwise figure of the theme and its counterpoint, and the slow syncopation in the 5th. Haydn rarely sustained syncopation throughout a whole variation. A menuetto, almost always takes the final position in Haydn’s divertimenti, but here it comes second, to be followed by a very fast finale, “Presto.” ludwig van Beethoven Trio for Violin, Viola and Cello, in c minor, Op. 9, no. 3

(Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna)

Among Beethoven’s noble friends and supporters, when he was a young musician in Vienna, were the Count and Countess von Browne. The Count, whose family was Irish in origin, was only three years older than the composer; he served Catherine the Great, Empress of All the Russias, as a


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Brigadier and Governor General of most of what is now Lithuania and Estonia. His immense properties in the Baltic region, then called Livonia, gave the Count a huge income that he spent freely in Vienna. In 1796, he took a German baroness to be his Countess, and the two of them rewarded Beethoven generously for the dedications of several compositions. In April 1797, when he inscribed a set of variations on a Russian dance to the Countess, Beethoven was given a fine riding horse, which, characteristically, he soon forgot he owned. He dedicated the three String Trios, Op. 9, to the Count, the three Piano Sonatas, Op. 10, to the Countess. The Trios were probably written in 1797 and 1798; in 1798 they were published with a dedication in French so flowery in its expression of gratitude to the “Maecenas of my Muse,” so modest about “the inspiration of genius,” that it makes sense only if read as an elaborate formal, 18th century thank you note for the gift of a horse. Beethoven had written string trios before, but soon after he had finished this set he began his first set of string quartets, and then he composed no more trios. The richly textured music he is able to express with just three instruments demonstrates his incomparably inventive imagination and the technical mastery he already possessed at the age of twenty-eight. Chamber music players sometimes say that these are quartets that do not need a second violin. The key of c minor was one in which the stormy passions of the Romantic movement made their way directly into Beethoven’s music. In 1798, when he published the String Trios, it was only a few years since Haydn, whose sensibilities were those of an earlier generation, had urged him to withhold the C-minor Piano Trio from publication. In one of Beethoven’s notebooks there are rough sketches of musical ideas in c minor that eventually found their way into this String Trio and into one of the early masterpieces of musical Romanticism, his Sonate pathétique, Op. 13.

This Trio was one of his favorites among his early works, and there are ideas in it that would stay with him until the end of his career. The first movement, Allegro con spirito, opens with one of them, a little four-note minor-key falling figure that will have an important place thirty years later in the last movement of the c-sharp minor String Quartet, Op. 131. It is rather ominous-sounding as heard here, played in octaves, which gives it strength, and at the same time, prevents the ear from finding out just how many instruments are playing it. Quickly, the three instruments assume their separate identities, and the little figure turns out to be just the opening gesture of a long-spun, wide-ranging, dramatic first theme. The second theme is charmingly lyrical, while the stormy development section of the movement is devoted to a musical discussion of the great differences between them. Next come a slow movement, “Adagio con espressione,” of as great intensity as could be achieved in a quartet, and an impetuous Scherzo, “Allegro molto e vivace,” whose power comes principally from Beethoven’s manipulation of its rhythms. In the Finale, “Presto,” Beethoven organizes his fiery themes in a form that is rich in episodes and events, until he brings the music to an end with a light and quiet gesture. Felix Mendelssohn Piano Trio No. 1, in d minor, Op. 49 (Born February 3, 1809, in Hamburg; died November 4, 1847, in Leipzig)

The richness and the elegance of Mendelssohn’s melodic invention, the beautifully proportioned extension and development of his musical ideas, his rhythmic vigor and the brilliance of his writing for the combination of strings and piano make this one of Mendelssohn’s most enthusiastically received chamber works. Mendelssohn wrote it when he was at the height of his career as conductor of the orchestra of Leipzig’s Gewandhaus, or “Draper’s Hall” in 1839. Robert Schumann praised it most highly saying that the happiest of all music lovers were those who heard its “enchanting freshness”

when it was performed with the composer at the keyboard. “It is the masterpiece of our time, as the trios of Beethoven and Schubert were in their day. Mendelssohn is the Mozart of the nineteenth century.” Most of the writing of this work took place during the summer of 1839, which Mendelssohn spent in Frankfurt with his wife’s family. It was a relaxed time that he described in a letter to a friend as “refreshing. In the mornings I work, then swim or sketch; in the afternoons I play the organ or piano, and afterwards walk in the woods, and then go visiting — or home, where I always find the most charming company.” He completed the score on September 23, in Leipzig, and on February 1, 1840, he and two of his colleagues from his orchestra, Ferdinand David (for whom he later wrote his Violin Concerto) and Karl Wittmann, gave the first performance. The first movement, “Molto allegro ed agitato,” is based on two clearly defined, broad themes, which the cello introduces, that seem, ironically, to be both similar and contrasting. Next follows a rapturously lovely movement in three-part form, “Andante con moto tranquillo,” in the style of Mendelssohn’s Songs without Words. The third movement is a “Scherzo, Leggiero e vivace,” in which a single theme is developed into a fanciful, elfin dance. In the Finale, “Allegro assai appassionato,” the main theme is a gypsy dance that recurs as in a classic rondo. Program Notes: Susan Halpern, © 2019


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BrOyhill chamBer ensemBle

Bridging the Classical and romantic divide

tuesDAY, JulY 2

7:00 pm, rosen Concert hall Pre-concert remarks by Hayes School of Music Dean James Douthit Sponsored by mcdonald’s of Boone

Gil Morgenstern, violin; Francesca dePasquale, violin Jessica Thompson, viola; Christine Lamprea, cello; Benjamin Hochman, piano Bridging the Classical and Romantic Divide compares and contrasts the end of one compositional era and the beginning of a new one over a span of just 50 years. With works by Beethoven, Schubert and Schumann. Piano Quartet in E-Flat Major, Op. 16 (1796) Ludwig van Beethoven Grave - Allegro, ma non troppo Andante cantabile Rondo: Allegro, ma non troppo Francesca DePasquale, violin; Jessica Thompson, viola Christine Lamprea, cello; Benjamin Hochman, piano Notturno in E-Flat Major, Op. 148 (1846) Franz Schubert Francesca DePasquale, violin; Christine Lamprea, cello; Benjamin Hochman, piano INTERMISSION Piano Quartet in E-Flat Major, Op. 47 (1842) Robert Schumann Sostenuto assai - Allegro ma non troppo Scherzo: molto vivace Andante cantabile Vivace Gil Morgenstern, violin; Jessica Thompson, viola Page Turner: Ingrid Nora Forsyth The Broyhill Chamber ensemble Concert Series is generously supported by the Broyhill Family Foundation (in memory of Faye Broyhill) and by ralph and Venda lerch/mcdonald’s of Boone. additional performance underwriting has been provided by The Budd and nanette mayer Family Foundation, inc., Joni and Peter Petschauer, the muriel and arnold rosen endowment for the arts and the rosen-Schaffel endowment for Classical music Programming. With special thanks to appalachia Cookie Company, for a generous donation of refreshments during this evening’s intermission. Biographical information for this evening’s performers begins on page 105.

Program notes:

ludwig van Beethoven Quartet for Piano and Strings, in E-Flat, Op. 16 (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna)

The Quartet for Piano and Strings, Op. 16, is Beethoven’s own arrangement of his Quintet for Piano and Winds (oboe, clarinet, bassoon and horn). One of Beethoven’s early works, it was written in Vienna at the end of 1796 or the beginning of 1797 and first performed there on April 6, 1797, with the composer at the piano. Beethoven’s Quintet is dedicated to Prince Schwarzenberg, a wealthy music-lover who maintained a fine wind band and knew Mozart’s wind music very well. The date of the arrangement has not been verified, but both versions were published in 1801. There are no significant differences between the two. The music became so popular that in later years a Viennese publisher issued a third version, this time for string quartet, by some anonymous arranger. In the 1780s when Mozart was at the height of his career in Vienna, he began to write a new kind of chamber music with piano: two quartets with strings and a quintet with winds. These works realized for the first time the new idea that every instrument in such a mixed ensemble could be of equal importance. The young Beethoven, who revered the memory of Mozart and looked to his works for models, cast his Op. 16 after Mozart’s K. 452, a Quintet in E-Flat for piano, oboe, clarinet, bassoon and horn in the same key. Beethoven’s work is Mozartean in its transparency and clarity, and although it was written in concertante style, its structural proportions show it to be the work of a composer of a later generation. Mozart’s Quintet was also circulated in an arrangement made by someone in the Mozart circle as a quartet for piano, violin, viola and cello. As a practical man, Beethoven decided that if there were money to be made from alternate versions of a work of this kind, he would make one himself. When he published his Op. 16, in


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1801, there was provision for the piano to be joined by either four winds or three strings. The wind version is the primary one, but both versions are essentially the same. Beethoven was fond of this work; in later years he often played it in public. His pupil, Ferdinand Ries, described a performance that was given in the Lobkowitz palace in December 1804: “In the finale, there are several pauses before the return of the theme. At one of these, Beethoven suddenly began to improvise on the Rondo theme, which entertained him and the audience for a considerable period of time – but not the other musicians. They were displeased and even angry. It was truly comical to see them raise their instruments when they expected to resume playing, and then put them down again. When Beethoven finally returned to the Rondo, the audience was transported with delight.” An interlude of improvisation was an indulgence the composer could allow

himself, but he forbade others to tinker with his writing. Another pupil, Carl Czerny, wrote about a performance in 1816 at which, “in the spirit of carefree youth, I made many changes and added many difficulties to the music. Beethoven, quite rightly, took me to task in the presence of the other musicians. The next day I received [a letter in which he wrote, ‘I exploded yesterday, and I was very sorry afterwards, but you must forgive a composer who would rather hear his work exactly as he wrote it – no matter how beautifully you played otherwise.’” The work begins with a broad and fully developed introduction, “Grave,” both stately and slow. The winds are pitted against the piano, whose line hints at the principal theme of the lighter “Allegro ma non troppo “to come. In this introduction, the combined winds alternate with the solo instruments. Later, the piano contrasts in color and material with the winds. The main part of the movement is much lighter than is expected from the serious

opening: it conveys happiness in a waltz rhythm. The middle movement, “Andante cantabile,” is exquisitely melodic and expressive, a set of rondo-variations in which the piano plays the principal theme three times in increasingly ornate form. In between the reappearances of the dominant piano passages are two episodes for the string instruments that provide some of the most poignantly beautiful moments in the entire composition. The finale, another Rondo, “Allegro ma non troppo,” is the jolliest, liveliest and most carefree of the three movements. Franz schubert Notturno for Piano Trio in e flat, Op. Posth. 148, D. 897

(Born January 31, 1797, in Lichtenthal; died November 19, 1828, in Vienna)

Aside from a single movement, known as the Sonatensatz, D. 28 composed during the summer of 1812, Schubert did not compose anything for piano trio until just


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a year before his death. At that time, he wrote the two trios, D. 898 and D. 929. Probably while working on the first of those two great trios, the one in B flat Major, he composed this single movement in E flat major. (It actually may have been written as early as 1825 or as late as 1828, and it may have been part of another projected work that was never completed, or it could have been intended originally for the big popular Trio in B-flat Op. 99, D. 898.) When Diabelli published this one movement work, in 1845, almost twenty years after Schubert died, he arbitrarily entitled it Notturno, or Nocturne, and it is still occasionally encountered under that title. When it was not included in D.898, the movement was never incorporated into another work. It is an agreeable piece in the familiar and simple three-part form, with the last much like the first and the center set in contrast. The primary theme of the charming Notturno has an unusual rhythmic character, which, at least according to legend, has been attributed to a folk tune that Schubert heard while he was on vacation in the countryside east of Salzburg. It is driven ahead either by the strings’ pizzicati or the piano’s arpeggiolike rolled chords. The music becomes exuberant in the quick contrasting sections.

robert schumann Quartet for Piano and Strings, in E-Flat, Op. 47 (Born June 8, 1810, in Zwickau; died July 29, 1856, in Endenich)

Schumann wrote several brilliant collections of brief descriptive and atmospheric pieces that established him as Germany’s leading composer. In 1840, the year he married Clara Wieck, he wrote almost nothing but songs, more than 130 of them, in an outpouring of love and gratitude. In 1841, he wrote four symphonic compositions and began his Piano Concerto. In 1842, he concentrated on chamber music, studying the scores of Mozart and Beethoven string quartets for two months. In the fall, in a furious burst of creative energy, he composed three string quartets, a piano quartet and a piano quintet. Schumann sketched the Quartet for Piano and Strings, widely considered one of his most important compositions, written for Count Matvei Wielhorsky, an amateur, skilled cellist, in the last few days of October; he completed it soon afterward. His wife Clara and some friends read through it in 1843, and on December 8, 1844, Clara and some of Leipzig’s most distinguished musicians (including the violinist Ferdinand David, for whom Mendelssohn had just written his Concerto) premiered it. The Schumanns moved to Dresden during the following week; this concert was a gala farewell at the Gewandhaus (“Draper’s Hall”), for an invited audience. The music of Mozart, Beethoven and

Mendelssohn all provided models for various aspects of this work. In the first movement, the slow melancholy introduction, “Sostenuto assai,” precedes the exposition of the two principal subjects, “Allegro ma no troppo,” and returns to introduce the other two main sections in which the subjects are developed and then recalled. The main theme is rhythmically penetrating, at times lyrical and bright. The secondary theme features ascending scales and syncopated rhythms; it first appears as a canon between the piano and strings. After the themes are recapitulated, the cello introduces a new theme in the quickly moving coda. Next the piano and cello introduce a swift, elfin Scherzo, “Molto vivace.” Two trio sections, providing both contrast and continuity, extend the movement. The slow movement, “Andante cantabile,” a beautiful reverie, emotionally centers the work. The cello articulates an impassioned theme, which the violin imitates. The movement’s center is very serious before the viola and cello repeat the original theme. At the end of the movement, the cellist must lower the C string in order to sustain a pedal point tone in the coda. In the coda, a descending fifth foreshadows the next movement’s theme. The running scales likewise are transformed and reused in the last movement. The multi-thematic Finale, a vigorously contrapuntal “Vivace,” is full of good spirits. Program Notes: Susan Halpern, © 2019


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the helene and stephen WeichOlz GlOBal film series

A Taxi Driver (Taeksi woonjunsa) In Korean with english subtitles

WeDnesDAY, JulY 3

7:00 pm, schaefer Center for the Performing Arts Based on a true story, this film tells the tale of a widowed taxi driver from seoul, who finagles his way into a lucrative fare and unintentionally becomes involved in the 1980 Gwangju democratic uprising, a landmark historical event in south korea’s march toward democracy. south korea; not rated; directed by hun Jang (2017); 137 minutes pre-film talk with dr. John pfeifer begins at 7:00 pm, with the film beginning at approximately 7:30 pm. concessions, including popcorn, cookies, beer, wine and cold beverages, are available for purchase. With special thanks to our generous sponsors for this series, helene and Stephen Weicholz.



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turchin center fOr the visual arts

Summer Exhibition Celebration FrIDAY, JulY 5

6 – 10:00 pm, turchin Center for the Visual Arts free event

Celebrate summer at the Turchin Center for the Visual arts and engage, discover and connect through the arts! The Summer Exhibition Celebration is an opportunity for art lovers to meet the artists, enjoy live music and refreshments, and spend time with fellow arts patrons while exploring one of the most exciting venues in town: a collection of seven galleries filled with a diverse mix of contemporary art by local, regional and international artists.

My Place, or Yours?: Cara hagan, guest Curator June 7 – December 7, 2019

Friday, July 5 at 6:30 PM tCVA lecture series: Jodi Woodward

featured exhiBitiOns: Let the Circle Be Unbroken: steve & gretchen lotz July 5 – December 7, 2019

Main gallery Gretchen and Steve Lotz continue to inspire, challenge and find mystery in each other after nearly five decades of an aesthetically inspired partnership. The intertwined worlds they have fashioned find form in the organically entangled artworks they create. Steve’s paintings are inspired by the colors of the deep sea – watery greens, misty Steve Lotz; Florida Iris and Water Icon; blues, rich coral purples and Acrylic and wax pencil on canvas spiny reds. Gretchen, too, finds inspiration in the creatures of the waters and the birds of the skies.

Dance performance by Cara Hagan, Image courtesy of Cara Hagan Gelber

gallery A My Place, or Yours? is an exploration into the politics and practice of collaborative work. The artists in this exhibition have all arrived here with the goal of making work together, albeit from a distance. More specifically, the majority of the participants here have embarked on a journey through the philosophy and practice of “Artistic Surrogacy.”

Refugee: Bill Brown,

June 7 – December 7, 2019

gallery B According to the Global Citizen, there are an estimated 25.4 million refugees worldwide, and the UN Refugee Agency reports that over 52% of refugees are children. Regionally beloved sculptor and philanthropist Bill Brown wanted to do something to help relieve this international crisis and turned to what he knows best – creating his Refugee Series. Each freestanding metal piece in the series begins with a figurative form perched on a platform that Bill Brown; Refugee Sculpture metaphorically references the refugee #7, Steel, patina, paint journey: a rocking boat, an isolated rooftop, a beloved homeland.

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Beyond the Plantations: Images of the New South, Photographs by Michelle Van Parys July 5, 2019 – February 8, 2020

Mezzanine gallery Images of the Old South are often sanitized views of a perfect and prosperous plantation life yet ignore the conflict, conquest and transformation that is manifested in the changing landscape. The photographs from Beyond the Plantations: Images of the New South present the contemporary Michelle Van Parys; David in Manicured Garden, 2014, South Southern landscape in all of Carolina; Selenium toned gelatin its rich complexity. silver print.

1, 2, 3, 4, 5….. A site-specific installation by Jodi Woodward July 5, 2019 – February 8, 2020

Community gallery Australian artist Jodi Woodward asks viewers to reflect on how they (we) choose to spend the time we are given in our lives. She repeatedly asks, “Do we just tick over the days or do we actively reflect on what we do and why we do it? Do we just repeat the same behaviors Jodi Woodward, Self Portrait, over and over or do we choose to change Archival Inkjet print what we do, or behave differently?” She is very interested in behavior, psychology, memory, and trauma and how that impacts our behavior.

cOntinuinG exhiBitiOns: Plein Air: Southern Appalachian Forest: reiko goto Collins and tim Collins March 1 – August 3, 2019 Mayer gallery



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rOsen-schaffel cOmpetitiOn fOr yOunG and emerGinG artists

final rOund Of cOmpetitiOn sAturDAY, JulY 6 10:00 am, rosen Concert hall free event

Piano Concerto No. 2, Op. 22 Andante sostenuto Presto

Camille Saint-Saëns Peter Smith, piano Polina Khatsko, piano

The festival, in partnership with the Hayes School of Music, proudly presents the ninth season of the highly acclaimed rosen-schaffel Competition for Young and emerging Artists. During the spring of 2019, contestants submitted recordings of their work and a panel of jurors selected six finalists to compete in a public performance. During the final round on July 6, judges will designate three top prizewinners and the audience will select an audience choice award winner. In addition to a cash prize, the first-prize winner will receive the opportunity to perform a complete concerto or comparable work with an orchestra during the 2020 season of An Appalachian Summer Festival. Morgan Short, the first place prize winner of the 2018 Rosen-Schaffel Competition, will perform with the Eastern Festival Orchestra on Sunday, July 14 at the Schaefer Center for the Performing Arts.


Concerto for Alto Saxophone and Orchestra Andante et Allegro Giration Andrew Hasher, saxophone Polina Khatsko, piano

Henri Tomasi

“Una furtiva lagrima” from L'elisir d'amore “No puede ser” from La Tabernera del Puerto “New York Lights” from A View from the Bridge “La fleur que tu m'aveis jetée” from Carmen “Il mio tesoro intanto” from Don Giovanni Wagner Pástor, tenor Nancy Johnston, piano

Gaetano Donizetti Pablo Sorozábal William Bolcom Georges Bizet W. A. Mozart

INTERMISSION Piano Concerto No. 1 in D-flat major, Op. 10 Allegro brioso Andante assai Allegro scherzando Molly Reid, piano Junie Cho, piano

About the Competition

Sergei Prokofiev

Praised for his “liquid tone” and “smooth and expressive” playing (Classical Voice of North Carolina), Andrew hasher has performed as a saxophonist and ensemble member across the east coast. Originally from Old Bethpage, New York, Andrew has competed and placed at statewide solo and chamber music competitions in New York, North Carolina and Michigan. As the winner of the Spring 2017 University of North Carolina School of the Arts Concerto Competition, Andrew has appeared as a soloist alongside the UNCSA Symphony Orchestra. In addition, Andrew has appeared as both a soloist and ensemble member of the University of Michigan Symphony Band. He is currently the alto saxophonist in the Sapphirus Quartet. Andrew holds a degree in saxophone performance (BM) from the University of North Carolina School of the Arts and is currently pursuing a master’s degree at the


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“Vision fugitive” from Hérodiade Jules Massenet “Simple Song” from Mass Leonard Bernstein “Liebst du um Schönheit” from Rückert-Lieder Gustav Mahler “Ich bin der Welt abhanden gekommen” from Rückert-Lieder “Tirannia gli diede il regno” from Rodelinda George Frederick Handel Andrew René, baritone Nancy Johnston, piano Violin Concerto d minor, Op. 74 Allegro moderato

Jean Sibelius

Lucia Kobza, violin Allison Gagnon, piano

The competition program is dedicated to the memory of mrs. muriel rosen, who with her husband arnold, served as a founding patron of an appalachian Summer Festival. The festival extends its deepest appreciation to the rosens’ daughter, nancy Schaffel, and her husband, neil Schaffel, whose vision and generosity have made possible this annual competition. The 2019 rosen-Schaffel Competition for young and emerging artists has also received generous support from the Bruce J. heim Foundation, and from mark and nancy Tafeen. These gifts have enabled the program to increase the amount of its cash awards to the competition’s winners.

a reception in the lobby of rosen Concert hall will be offered during the competition program

Competition Founders and Patrons, nancy and neil Schaffel

University of Michigan where he studies saxophone with Dr. Timothy McAllister. lucia Kobza received her Bachelor’s and Master’s degrees from Hochschule der Künste Bern, Switzerland, with distinction. Following her mentor Professor Ida Bieler to the United States, she studied under her tutelage at the University of North Carolina School of the Arts and was honored with the UNCSA Graduate Excellence in Performance Award both for her Master’s degree and Professional Artist Certificate. Lucia is currently pursuing her Doctorate at Stony Brook University in New York, in violin and viola performance with Emerson String Quartet’s violinist Philip Setzer and violist Lawrence Dutton. As member of UNCSA’s Giannini String Quartet and participant of UNCSA’s Chrysalis Chamber Music Institute, she enjoyed exciting performance opportunities such as playing in master classes at the Lincoln Center in New York and performing with Silk Road Ensemble’s Pipa virtuoso Wu Han. At Stony Brook University Lucia joined the Steinem String Quartet, which was honored to be chosen to participate in Philip Setzer’s String Quartet Intensive as well as the Emerson Chamber Music Institute. The quartet has had several thrilling performance opportunities, such as premiering Emerson violinist Eugene Drucker’s “Levertov Settings” for string quartet and voice at Carnegie Hall. Lucia has held orchestral positions as co-principal in the Greensboro Symphony, Assistant Concertmaster of the WesternPiedmont Symphony and as member of the Winston-Salem Symphony. Lucia Kobza was 1st Prize winner of the MANC Competition, NC ASTA Competition, UNCSA Concerto Competition, the Elizabeth Harper Vaughn Concerto Competition, and was Audience Choice Award Winner in the Rosen-Schaffel Competition 2015. Lucia enjoys spending her free time outdoors, going for walks and admiring nature, as well as playing fiddle in the Deep Roots Ensemble.


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Tenor Wagner Mauricio Pástor Pazmiño hails from Quito, Ecuador. He is an A. J. Fletcher Opera Institute fellow at the University of North Carolina School of the Arts and studies with Dr. Marilyn Taylor. He graduated with a M.M. in Voice Performance from the University of Idaho. At his first year as Fletcher, Wagner has performed the title role in Massenest’s “Werther” in the Winter, and he will be featured as Grimoaldo in Handel’s Rodelinda in the Spring 2019. He has sung Don José in Bizet’s Carmen at the Bay View Music Festival in the Summer 2017 and at the University of Idaho in the Spring 2018 in addition to recent performances of L’elisir d’amore as Nemorino, Puccini’s Gianni Schicchi as Rinuccio with the University of Idaho, and Strauss’ Die Fledermaus as Alfred with the South Bend Lyric Opera. Scenes performed include La Bohème, as Rodolfo, La Traviata, as Alfredo, and Roméo et Juliette, Roméo at the Bay View Festival 2018. Wagner has also performed concerts with the Ecuador Symphony, and at the UNASUR inaugural ceremony. He holds a Regional Planning Engineer from the Pontificia Universidad Católica del Ecuador and obtained the Bachillerato en Artes from the Conservatorio Superior Nacional de Música del Ecuador. He was the voice assistant at the VOSU choir, a project for the blind supported by the Ministry of Culture of Ecuador and the Ecuador Symphony. Molly reid is a pianist from Cary, North Carolina. She is pursuing the M.M. in Piano Performance at Appalachian State University under Dr. Rodney Reynerson, where she is a Chancellor’s Fellow. After graduating from Appalachian with her B.M. in Piano Performance (summa cum laude, University Honors), she attended the University of Cincinnati College-

Conservatory of Music (CCM) where she received the M.M. in Music Theory and also studied piano with Eugene Pridonoff. Molly subsequently studied music theory at the CUNY Graduate Center in New York. As a concerto soloist, she was a finalist in the Elizabeth Harper Vaughn Concerto Competition, received Third Prize and the Audience Choice Award in the 2013 RosenSchaffel Competition, and performed Ravel’s Piano Concerto in G with the Appalachian Symphony Orchestra as the winner of the Hayes School of Music Concerto-Aria Competition. She plans to pursue doctoral studies in piano after graduation. Andrew rené, baritone, has participated in vocal competitions and professional engagements, including performances with the Virginia Opera Association, the Bay View Association, Opera Raw, Piedmont Opera, the A. J. Fletcher Opera Institute, the Charlotte Symphony Orchestra and the Princeton Festival. The summer of 2015 marked his third year of attendance at the Bay View Music Festival where he performed the role of Marcello in their production of Puccini’s La bohème. In 2017, he returned to sing the role of Escamillo in Carmen. This past summer, he performed the role of Don Magnifico in La Cenerentola with the Janiec Opera Company. His previous roles include John Sorel in Menotti’s The Consul, the Pirate King in Gilbert and Sullivan’s Pirates of Penzance, Guglielmo in Mozart’s Così fan tutte, Riolobo in Catàn’s Florencia en el Amazonas, Harlequin in Strauss’ Ariadne auf Naxos, Father Palmer in Silent Night, Sam in Trouble and Tahiti, Dandini in La Cenerentola, Golaud in Impressions de Pelléas, and the title role in Verdi’s Falstaff. This year, he played the Celebrant in Bernstein’s Mass, Albert in Massenet’s Werther, and, Garibaldo in Händel’s Rodelinda, all produced by the A. J. Fletcher Opera Institute. Mr. René recently received his undergraduate

degree from Capital University where he studied with élise DesChamps and Brian Banion, and is pursuing a Master of Music degree at the A. J. Fletcher Institute of Opera of the University of North Carolina School of the Arts where he studies with Dr. Marilyn Taylor. Peter smith, 21, began his musical education at the age of six and is currently a rising fourthyear undergraduate student at the University of North Carolina School of the Arts, studying under the tutelage of Dmitri Shteinberg. Peter also attended UNCSA for high school as a student of Eric Larsen, director of the Meadowmount School of Music. Over the course of his musical career, Peter has earned a variety of distinctions; his most recent accomplishments include winning the UNCSA Concerto Competition, winning the North Carolina MTNA Young Artist Piano Competition, and being invited to record for the 40th anniversary of the radio station WDAV. This summer, Peter will attend the Bowdoin International Music Festival, and he has regularly attended music festivals in the past, including the Green Mountain Chamber Music Festival, the Rebecca Penneys Piano Festival, summer programs at the Cleveland Institute of Music and Oberlin, and others. During his time at UNCSA, Peter has frequently appeared in on- and off-campus concerts performing both solo repertoire and chamber music, and he has also performed and won competitions at many of the summer festivals he has attended. In the future, Peter plans to continue his musical studies at the graduate level.


One of Spain’s most promising conductors, José-louis novo is music director and conductor of the Annapolis Symphony Orchestra (ASO) in


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Maryland and recently concluded an impressive 13-year tenure as music director and conductor of the Binghamton Philharmonic in New York state. Prior to these appointments, he served as assistant conductor of the Cincinnati Symphony Orchestra under both music director emeritus Jesús López-Cobos and former music director Paavo Järvi, and the Cincinnati Pops Orchestra under the late Erich Kunzel. He has been on EMF’s Conducting Faculty since 1999. Recent and upcoming guest conducting engagements include debut appearances with the Rochester Philharmonic, the Alexandria and South Bend Symphony Orchestras and return appearances with the Thailand Philharmonic, the Baltimore Symphony, the Fresno Philharmonic, Symphoria and a Kimmel Center debut in Philadelphia conducting the Curtis Institute Orchestra. Other guest conducting engagements have included, among others, appearances with the Symphony Silicon Valley; the Minnesota Orchestra; the Syracuse, Modesto, Windsor, Stamford, Tulsa and Tallahassee Symphonies; the Cincinnati Chamber Orchestra; the Cleveland and Abilene Philharmonics and most of the major Spanish orchestras. Novo has also developed a reputation as a keen educator of young musicians. He has held conducting positions with the Cincinnati Symphony Youth Orchestra, Miami University Symphony Orchestra, National Repertory Orchestra, National Youth Orchestra of Spain and the Yale Symphony Orchestra, and he is the newly appointed Interim Director of Orchestral Activities at the University of Maryland School of Music, College Park. In addition, he has conducted many noteworthy college and youth orchestras such as the Curtis Institute Orchestra, the Cleveland Institute of Music Orchestra, the Bard Conservatory Orchestra, the Ithaca College Symphony Orchestra and the Portuguesa State Youth Orchestra of the Venezuelan El Sistema. Novo was featured in the League of American Orchestra’s Symphony magazine in Podium Powers, an article about emerging Hispanic conductors in the U.S.

He holds music degrees from the Cleveland Institute of Music, Yale University and the Royal Conservatory of Music in Brussels and is the recipient of a 2010 Annie Award in Performing Arts from the Arts Council of Anne Arundel County, a 2008 American Society of Composers, Authors and Publishers Adventurous Programming Award and a 2005 Broome County Arts Council Heart of the Arts Award. Hailed as a conductor who leads with “passionate intensity” and recognized as “one to watch,” roger Kalia is one of America’s most exciting young conductors. A three-time recipient (2018, 2017, 2013) of The Solti Foundation U.S. Career Assistance Award, Kalia is currently in his first season as Music Director of Orchestra Santa Monica. Kalia was recently promoted to the position of Associate Conductor of Pacific Symphony after serving as its Assistant Conductor for three seasons. He will also continue his role as Music Director of the Pacific Symphony Youth Orchestra. Kalia also serves as Co-Founder and Music Director of the Lake George Music Festival in upstate New York, which was recently featured in the League of American Orchestra’s Symphony Magazine as one of the premier summer classical music festivals in the country. Upcoming and recent engagements include the Szczecin Philharmonic (Poland), Wheeling Symphony, Spokane Symphony, Savannah Philharmonic, Evansville Philharmonic, Symphony New Hampshire, Lima Symphony Orchestra, Long Beach Symphony, Bakersfield Symphony, Camarada Chamber Orchestra, Great Falls Symphony, Owensboro Symphony, Boise Philharmonic, and Adrian Symphony, as well as the National Symphony at the Kennedy Center and Chicago Sinfonietta at Symphony Hall. He has also served as cover conductor for the Los Angeles Philharmonic, San Diego Symphony, St. Louis Symphony, Kansas City Symphony and Indianapolis

Symphony. Kalia has worked in various capacities with the New York Philharmonic, Pittsburgh Symphony, Seattle Symphony, Utah Symphony, Fort Worth Symphony, Danish National Symphony, Winnipeg Symphony and Royal Scottish National Orchestra. Kalia has collaborated with a wide range of artists including Glenn Dicterow, David Kim, Nikki and Timothy Chooi, Randy Newman, Shayna Steele, Lisa Pegher, the B-52s, PROJECT Trio, Jack Black, Fei-Fei Dong, and Misha Dichter. He conducted the Memphis Symphony in 2011 after winning Second Prize in their International Conducting Competition, which led to his debut the following season and launched his professional career. At the start of his career, he held conducting positions with the Charlotte Symphony, the Young Musicians Foundation (YMF) Debut Orchestra and the Columbus (IN) Symphony Orchestra. Described as the region’s 21st Century “cultural renaissance” by Art in the Adirondacks and as a festival that “has a limitless horizon” by the Glens Falls Chronicle, Kalia serves as Co-Founder and Music Director of the Lake George Music Festival, whose distinguished musicians come from many of the finest orchestras and conservatories around the world. Through its unique and innovative artistic collaborations and outreach, the festival was recently voted as the Best Annual Event by the City of Lake George, which has resulted in grants from the National Endowment of the Arts (NEA) and the New York State Council on the Arts. In 2016, Kalia created a groundbreaking series called Sounds of Our Time, which highlights the connections between the popular music of our time and orchestral music through an innovative concert format featuring visuals, audience engagement, and multimedia. The series has focused on a wide range of music by having the Festival Orchestra collaborate with EDM artists like MAKO and Balún as well as the genre-bending group PROJECT Trio. This series has gained national publicity by being featured in the League of American Orchestras The Hub, Broadway


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World, EDMjoy, the Albany Times Union, and Saratoga Living. The Festival Orchestra has been broadcasted on a variety of national radio programs including National Public Radio’s (NPR) Performance Today with Fred Child, WQxR-NY, and Classic FM. Kalia started his career as Music Director of the YMF Debut Orchestra of Los Angeles (2012-2015), following in the footsteps of such conductors as Michael Tilson Thomas and Andre Previn. Kalia led the orchestra in a variety of repertoire from Mozart through music by acclaimed video game and film composers. Highlights of his tenure included four world premieres, collaborations with violinist Glenn Dicterow and pianist Misha Dichter at UCLA’s Royce Hall, a production of Stravinsky’s L’Histoire du Soldat with actors Jack Black and Michael Lerner at the Los Angeles County Museum of Art, the Los Angeles premiere of Michael Giacchino’s Star Trek Into Darkness, a Gala concert featuring Randy Newman at the Annenberg Center for the Performing Arts, and a collaboration with the Angel City Chorale of Mendelssohn’s A Midsummer Night’s Dream in celebration of Shakespeare’s 450th anniversary. In addition, Kalia led the Debut Orchestra in the orchestra’s first-ever performance at the Our Lady of Angels Cathedral (the largest church in Los Angeles) in December 2012 for the Virgin of Guadalupe Festival with more than 2,000 people in attendance as well as being live-streamed worldwide. Passionate about teaching the next generation of musicians, Kalia maintains a regular teaching relationship with The Colburn School, USC’s Thornton School of Music, and California State University at Fullerton. Kalia has worked with youth orchestras across the country, including the 2018 Missouri All-State Symphony Orchestra. As an educator, Kalia has created family and educational concerts for orchestras across the country in a variety of concert formats including the use of multimedia, semi-staged operas, and collaborations with groups such as Cirque de la Symphony, Orange County’s Festival Ballet Theater, speed painter Dan Dunn, the Magic Circle Mime Co., Really Inventive Stuff, and TV personality Randy

Jackson. In January 2018, Kalia was instrumental in creating Come Together, a side-by-side concert with the Camarada Chamber Orchestra that paired community musicians with professional musicians from across the southern California region. A passionate advocate of modern music, Kalia has commissioned and programmed more than 100 works by some of America’s most innovative living composers including Paul Dooley, Brendan Faegre, Narong Prangcharoen, Sarah Snider, Paul Dooley, Sheridan Seyfried, Steven Snowden, Siamak Aghaei, Paul Chihara, and Chris Rogerson, among others. Kalia also conducted the Orange County premiere of Austin Wintory’s Journey Suite with the Pacific Symphony Youth Orchestra, the firstever video game score to be nominated for a Grammy. Kalia has held fellowships with the Chicago Sinfonietta as part of their Project Inclusion program, the American Academy of Conducting at the Aspen Music Festival with Robert Spano, the Conductors Guild Conductor/Composer Training Workshop at the Cabrillo Festival of Contemporary Music with Marin Alsop, the David Zinman International Conducting Masterclass with the Tonhalle Orchestra Zurich, and the Kurt Masur Conducting Seminar at the Manhattan School of Music. He holds degrees from Indiana University, the University of Houston and SUNY Potsdam’s Crane School of Music. At Indiana University, Kalia served as an Associate Instructor and Assistant Conductor of the IU Opera Theater and New Music Ensemble. His primary mentors include David Effron, Arthur Fagen, and Franz Anton Krager. Born and raised in New York, Kalia resides in Southern California with his wife, musicologist/violinist Christine Wisch, and their dog Burney. robert Moody begins his second full season as Music Director of the Memphis Symphony Orchestra in 2018/2019. The MSO is on the launching-pad of an

incredibly exciting new chapter in its history, and Maestro Moody is at the forefront of that artistic and structural growth. Maestro Moody is also Music Director of the lauded Arizona Musicfest, boasting one of the finest festival orchesras in North America. Members of the orchestra hail from the top orchestras in the world, including the Vienna and New York Philharmonic, Philadelphia and Cleveland Orchestra, Boston, Chicago and San Francisco Symphony, and the Metropolitan Opera Orchestra. In 2018 Moody completed an 11-year tenure as Music Director for the Portland (Maine) Symphony, and 13-year tenure as Music Director of the Winston-Salem Symphony (NC). He led both organizations to unprecedented artistic heights, and both orchestras are now model 21st Century regional orchestra success stories. Recent and upcoming debuts for Maestro Moody include the Des Moines Metro Opera, Opera Carolina, Vienna (Austria) Chamber Orchestra, Slovenian Philharmonic, and Columbus Symphony. In 2019 he debuts with the Cape Town Philharmonic Orchestra (South Africa), and Orquestra Filharmónica Bogotá (Colombia). Guest conducting appearances include the Chicago Symphony at Ravinia, and the Los Angeles Philharmonic at the Hollywood Bowl, in addition to the symphonies of Toronto, Houston, Indianapolis, Detroit, Seattle, Ft. Worth, San Antonio, Buffalo, Louisville, Slovenian Philharmonic, and the Vienna Chamber Orchestra. Summer festival appearances include Santa Fe Opera, Spoleto Festival USA, Brevard Music Center, Sewanee Festival, Eastern Music Festival, PortOpera, as well as multiple return engagements with the Brevard Music Center, Oregon Bach and Sewanee Festivals. Equally at home in the opera pit, Moody began his career as apprentice conductor for the Landestheater Opera in Linz, Austria. He conducted early on at the opera companies of Santa Fe, Brevard Music Center and Hilton Head Opera. He also assisted on a production of Verdi Otelloat


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the Metropolitan Opera, conducted by Valery Gergiev, and at The English National Opera, where he was Assistant Conductor for Kurt Weill Street Scene. He made his Washington National Opera and North Carolina Opera debuts in 2014, and conducted Bartok Bluebeard’s Castle, Leoncavallo I Pagliacci, and Poulenc Dialogues of the Carmelitesduring 2016-2017. Debuts to rave reviews with Brevard Music Center for Weill Street Scene, Opera Carolina for Mozart Le Nozze di Figaroand Des Moines Metro Opera for J. Strauss Die Fledermauscame in 2017 and 2018. Moody served as Associate, then Resident Conductor, of The Phoenix Symphony (AZ) from 1998 through 2006. There he conducted a wide variety of concerts, including Classics, Chamber, Pops, Family, Handel’s Messiah, and the New Year’s Eve gala. Moody also founded The Phoenix Symphony Chorus, and for seven years was Music Director of the Phoenix Symphony Youth Orchestra. Prior to Phoenix, Moody

served as Associate Conductor for the Evansville (IN) Philharmonic Orchestra, and Music Director (and founder) of the Evansville Philharmonic Youth Orchestra. Moody is a champion of the works of his close friend Mason Bates, now Composerin-Residence with the Kennedy Center for the Performing Arts, and prior in the same role with the Chicago Symphony. Moody commissioned/conducted Bates’ first full orchestral composition, and has been instrumental in the commissioning and premiere performances of several of Bates’ important major works for orchestra. Moody’s work can be heard on several commercially released compact disc recordings. He collaborated with the Canadian Brass for their Bach and Legends CDs; he is also the conductor for the CD Fourth World, highlighting the music of Native American recording artist R. Carlos Nakai (available on the Canyon Record label); and in 2010, the Winston-Salem Symphony released their performance (live from 2009) of Beethoven’s Symphony No.

9. A DVD of Beethoven Symphony No. 9 with Arizona Musicfest was released in 2012. Recently, he was honored to conduct on the “Cancer Blows” concert with Ryan Anthony, members of the Dallas Symphony, and a host of trumpet luminaries, to aid the fight against Multiple Myloma. CD and DVD recordings of that live concert, held in Dallas, Texas in March 2015, are available for purchase. An avid runner and snow skier, Moody is active in his communities. He has served on the boards of the YMCA, AIDs Care Services, WDAV Classical Radio and the Charlotte Master Chorale.


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North Carolina Black Repertory Company, producer of The National Black Theatre Festival, presents

Plenty of Time WrItten BY JOhn shéVIn FOster DIreCteD BY JACKIe AlexAnDer

sunDAY, JulY 7 7:00 pm, Valborg theatre

the celebrated north carolina Black repertory company returns by popular demand this summer with its production of Plenty of Time, following the romance between an unlikely pair, a debutante from an elite black family and a working-class young man with dreams of changing the world. Over the course of 43 years, the relationship transforms and grows in tandem with the constant social and political change from 1968 to 2011.


place: a beach house in Oak Bluffs, martha’s vineyard time: 1968—2011 scene One: early morning 1968 scene tWO: early evening 1974 scene three: evening 1985 scene fOur: late evening 1997 scene five: morning 2011 there will be one 10-minute intermission. This performance was also supported, in part, by a generous gift from nancy and mark Tafeen.


John shévin Foster (Playwright) John Shévin Foster is a playwright, director and producer. An August Wilson scholar, he holds a BA in Dramatic Studies and a BS in Education from Shaw University,a MA and PhD in theatre from New York University, with additional study and certification from the University of Leeds, London. Professionally, he has served as Artistic Director of the Department of Dramatic Studies at Shaw University, for eight years as the Director of Theatre at Virginia State University and as the visiting professor of theatre at NYU, and as the Education Manager and produces at BAM/Brooklyn academy of Music, and is the Founding Artistic Director of NYC Rep/New York City Repertory Theatre. His work centers on accurate and honest portrayals of African American life. Plenty of Time was a finalist in the New Harmony National Playwriting Competition. It premiered at Primary Stages, was a featured show at the National Black Theatre Festival, and has received regional premiers in Dayton Ohio (The Schuster Center) and in Denver, Co. Jackie Alexander (Corey/director) A native of New Orleans, Jackie Alexander is an awardwinning actor, writer, producer, director, former Artistic Director of The Billie Holiday Theatre in New York, and current Artistic Director of The North Carolina Black Repertory Theatre, producers of The National Black Theatre Festival. His debut novel, Our Daily Bread, was published by Turner Publishing in the fall of 2012. His debut feature film, Joy, was awarded Best Feature Film by the Black Filmmakers Hall of Fame, and also earned Best Actor and Best Screenplay honors for Jackie on the festival circuit. Stage directing credits include the World Premieres of his critically acclaimed plays Brothers from the Bottom, The High Priestess of Dark Alley, The Legend of Buster Neal, The Right Reverend Dupree in Exile, The Desire, and Birthright. Additional directing credits


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include Jelly’s Last Jam by George Wolfe (New Orleans’ Big Easy Award Winner for Best Musical 2017), Lemon Meringue Façade by Ted Lange, Losing The Light, The Waiting Room by Tony Nominee Samm-Art Williams, The Resurrection of Alice, Finding Home, Fati’s Last Dance, Video Direction for the World Premiere of Judi Ann Mason’s multi-media play Storm Stories – True Stories From Hurricane Katrina, and World Premieres of The Sting of White Roses by Angelica Cheri, Maid’s Door by Cheryl L. Davis (Seven AUDELCO Awards including Best Play), Plenty of Time by John Shévin Foster, and Matisse’s Self Portrait by Charles Mee. A short list of stage acting credits include: Plenty of Time, Acted Within Proper Departmental Procedure, Losing The Light, Imperfection Flawed, The Death of Bessie Smith, Romance, Revolution, & War Tell Pharaoh, The Author’s Voice, which he produced on Theatre Row, and the originating role of “Prophet Solomon Jones” in Raisin’ Hell, a musical premiere by Motown Legend William “Smokey” Robinson. Jackie has been featured on two recordings, Spoken Melodies and 1999’s critically and socially acclaimed The Price of Freedom-The Amadou Project, both produced by the late jazz great Weldon Irvine. The OBIE and AUDELCO Award-winning Billie Holiday Theatre in New York devoted its entire 2010-2011 season to Jackie’s work; commissioning him to write three new plays and making him the only playwright in the storied history of the theatre to receive that honor. In 2018, the Black Theatre Network (BTN) honored Jackie with

the Presidential Pathfinder Award at its yearly conference in Memphis, Tennessee. The award is presented to an artist or an institution that illuminates a path to innovations and new concepts in Black Theatre. For more information please visit suzette Azariah gunn (Christina) is a multicultural actress from New York. Her credits include: theatre: The Mountaintop (Heritage Theater UVA); Twelfth Night, Endgame (Baltimore Center Stage); Paradox of the Urban Cliché (Labyrinth Theater Company); Funnyhouse of a Negro (Classical Theatre of Harlem); American Maul (Culture Project); Black Flag (59 East 59th); Velvet Rope (Planet Connections); Trouble in Mind (PlayMakers Repertory) The High Priestess of Dark Alley (North Carolina Black Repertory Company); Film/tV: 17 Bridges, The Outside Story, Madeline’s Madeline, Sunset, The Depths, Five Nights in Maine, We Need to Talk About Kevin, Roadie, Chicago PD, Believe, The Good Fight, Law & Order (Criminal Intent, SVU). Honors: 2018 Los Angeles Film Award, Best Ensemble; Golden Door International Film Festival, Best Lead Actress (Nominated); NBC Diversity Showcase. Education: BFA, Howard University, Oxford Certified. Clarielle Marsh (Producer/Video director) is a Creative Producer and Company Manager of the NC Black Repertory Company. With a B.A. in Gender &

Sexuality Studies from Wake Forest University and an M.F.A. in Filmmaking/ Creative Producing from the University of NC School of the Arts, she recognizes storytelling as a tool for identity formation, acknowledgement, and acceptance, and is a strong proponent of quality representation for marginalized groups within the performing arts industry. She has produced the staged readings of NC Black Rep’s Living Room Theatre Reading Series as well as community outreach programs such as the Martin Luther King, Jr. Birthday Celebration. During the 2019 National Black Theatre Festival, she will serve as Line Producer for the documentary film, Holy Ground: The Legacy of the National Black Theatre Festival. Frenchie la’Vern (Costume, hair and make-up designer) is a native of WinstonSalem and graduate of UNCSA with a degree in Design and Production. Frenchie has designed shows for the North Carolina Black Repertory Theatre since their production of Smokey’s Joe’s Café in 1999. She has designed and draped for Duke University, North Carolina Central University, the North Carolina Shakespeare Festival, the American Dance Festival, Community Theatre of Greensboro, the Barn Dinner Theatre, Montage Showcase Ensemble and the Assegai Film Group. Her atelier, Frenchie La’Vern Costume Studio, provides complete rental packages and builds for film, theatre and the general public since 2000. Arthur reese (lighting designer and Technical director) has set the mood for the past 30 years as Technical Director for


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the National Black Theater Festival. He has designed sets and lighting for, among others, Maya Angelou, John Amos, Samuel L. Jackson, and the Negro Ensemble Company. Reese has done technical work for many stars including Sidney Poitier, Debbie Allen, Oprah, Queen Latifah, Malcolm Jamal Warner and Denzel Washington. Reese won the 2006, 2007, 2008 and 2009 African American Image Makers award for Best Lighting Design for his work at ETA Theatre. Co-Author and director of By a Black Hand, Arthur Reese received his Master of Fine Arts degree from the University of Virginia. He is currently the Technical Director for North Carolina Central University Department of Theatre & Dance and has recently completed a textbook, The African Diaspora of Theatre. Reese is particularly proud of his new play A Need Fulfilled that chronicles the Black nurses who served in WW II that just had a very successful run with NCCU Theatre. Arthur thanks God for the ability and opportunity to work! taja seafus (Scenic designer) is a Scene Design student at the University of North Carolina School of the Arts, graduating in May 2019. She is from Holly Springs, NC. She served as the prop designer for Theatre Raleigh’s production of Smokey Joe’s Cafe. taylor M. Murrell (Stage manager/Sound Board opperator) is a native of WinstonSalem, North Carolina. She is a graduate of North Carolina Central University where she obtained her B.A. in Theatre with a concentration in performance. When she attended the university she performed in

many black box productions and main stage shows such as: Up, Down; Strange Charmed Beauty and Truth; The Misanthrope; Frog Loves Christy; Homegirls; and Too Many Secrets. Throughout her academic career, Taylor developed a passion for the technical theatre as well. Her commitment to the performing arts lead to further opportunities as she worked the National Black Theatre Festival from 2013 to 2017 and joined Alpha Psi Omega, the National Theatre Honors Society. Recently, she served as the stage manager for the world premiere of The Sting of White Roses (for which she also served as props master); Black Nativity; Faith Journey: Untold Stories of Courage, Strength and Power; Brothers and Sisters; Maid’s Door; The Legend of Buster Neal; and the North Carolina premiere of The Right Reverend Dupree in Exile. Whatever side of the stage she’s on, her hard work and dedication shine. Auri Wilds (light Board operator) hails from Welcome, NC. He graduated from North Carolina Central University with a degree in Technical Theatre. He is a member of the International Alliance of Theatrical Stage Employees Local 417. Ivan Mosley (assistant Stage manager/ Costume assistant) is the Literary Manager for the North Carolina Black Repertory Company. He also regularly contributes to the company’s e-newsletter. He graduated from Wake Forest University with a B.A. in Theatre. His play Evelyn & His Brothers received a citation from the Triad Playwrights Group and was selected as a

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semifinalist for the 2018 Bay Area Playwrights Festival. He is a proud alumnus of the Kennedy Center Summer Playwrights Intensive and the Advanced Playwriting Program at the National Theatre Institute. He has developed his plays at the Greensboro Playwrights Forum, the John F. Kennedy Center, the Eugene O’Neill Theatre Center, the Ring Theatre and Route 66 Theatre Company. In the fall, he will pursue his MFA in playwriting at Ohio University.

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Capernaum a n a p pa l a c h i a n s u m m e r f e s t i va l 2 0 1 9

the helene and stephen WeichOlz GlOBal film series

(CapharnaĂźm) In lebanese with english subtitles

WeDnesDAY, JulY 10

7:00 pm, schaefer Center for the Performing Arts The award-winnng Capernaum explores the life of zain, a streetwise, good-natured 12-year old boy, who deftly negotiates the crowded streets and desperate poverty of modern lebanon. living in the unforgiving slums of Beirut with his uneducated parents and a wild pack of younger brothers and sisters, zain is forced to become the family’s primary breadwinner and problem solver. When he fails to prevent his parents from marrying off his beloved, younger sister, he runs away from his negligent parents and finds himself navigating a world where cruelty and poverty threaten to overwhelm kindness and goodness. lebanon; rated r; directed by nadine labaki (2018); 126 minutes pre-film talk with dr. John pfeifer begins at 7:00 pm, with the film beginning at approximately 7:30 pm. concessions, including popcorn, cookies, beer, wine and cold beverages, are available for purchase. With special thanks to our generous sponsors for this series, helene and Stephen Weicholz.



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cOme tO yOur senses FrIDAY, JulY 12 8:00 pm, schaefer Center for the Performing Arts executive prOducer

Itamar Kubovy

artistic directOrs

Renée Jaworski Matt Kent dancers

Nathaniel Buchsbaum Krystal Butler Zachary Eisenstat Quincy Ellis Heather Favretto Casey Howes Jacob Michael Warren dance captains

Heather Favretto Jacob Michael Warren prOductiOn manaGer

technical directOr

tOurinG technical directOr

prOductiOn staGe manaGer

liGhtinG supervisOr

seniOr cOmpany manaGer

marketinG manaGer

educatiOn & cOmmunity enGaGement

prOGramminG & develOpment manaGer

administrative assistant

Anna Bate Eric Taylor

Yannick Godts Brigid Pierce

Hannah Firestone

Josh Sandberg

Kasson Marroquin Kirsten Leon Emily Kent

Lillian Cole

touring: IMG Artists · +1.212.994.3500 · General inquiries: +1.860.868.0538 · tour marketing and publicity: C Major Marketing, Inc. pilOBOlus.OrG major support for Pilobolus artistic Programming provided by the national endowment for the arts, which believes that a great nation deserves great art, and by The Shubert Foundation.

~ tOnIght’s PrOgrAM ~ UNTITLED (1975) Choreographed by: Robby Barnett, Alison Chase, Martha Clarke, Moses Pendleton, Michael Tracy and Jonathan Wolken Performed by Nathaniel Buchsbaum, Krystal Butler, Quincy Ellis, Zachary Eisenstat, Heather Favretto, Jacob Michael Warren Music: Robert Dennis Costumes: Kitty Daly and Malcolm McCormick Lighting: Neil Peter Jampolis Commission from ADF at Connecticut College “Project Music and Dance”

PIlOBOlus Is A Fungus Edited by Oriel Pe’er and Paula Salhany; Score by Keith Kenniff This performance was supported, in part, by a generous gift from Barbara and larry Freiman.

About Pilobolus

For 47 years, Pilobolus has tested the limits of human physicality to explore the beauty and the power of connected bodies. We continue to bring this tradition to global audiences through our postdisciplinary collaborations with some of the greatest influencers, thinkers, and creators in the world. Now, in our digitally driven and increasingly mediated landscape, we also reach beyond performance to teach people how to connect through designed live experiences. We bring our decades of expertise telling stories with the human form to show diverse communities, brands, and organizations how to maximize group creativity, solve problems, create surprise, and generate joy through the power of nonverbal communication. Pilobolus has created and toured over 120 pieces of repertory to more than 65 countries. We currently perform our work for over 300,000 people across the U.S. and around the world each year. In the last year, Pilobolus was featured on The Late Show with Stephen Colbert, NBC’s TODAY Show, MTV’s Video Music Awards, The Harry Connick Show, ABC’s The Chew, and the CW Network’s Penn & Teller: Fool Us. Pilobolus has been recognized with many prestigious honors, including a TED Fellowship, a 2012 Grammy® Award Nomination, a Primetime Emmy® Award for Outstanding Achievement in Cultural Programming, and several Cannes Lion


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SYMBIOSIS (2001) Choreographed by: Michael Tracy in collaboration with Otis Cook and Renée Jaworski Performed by Heather Favretto and Jacob Michael Warren Music: “Morango...almost A Tango” by Thomas Oboe Lee was written for and performed by the Kronos Quartet and appears on the Nonesuch recording White Man Sleeps. “God Music” from “Black Angels” by George Crumb and “Fratres” by Arvo Pårt were performed by the Kronos Quartet and appear on the Nonesuch recording released 1985-1995. “Long-Ge” by Jack Body was written for and performed by the Kronos Quartet and appears on the recording Early Music. Costumes: Angelina Avallone Lighting: Steven Strawbridge MAGNIFICO Movement and Concept by Pilobolus; Animation by Peter Sluszka, John Harrison; Music by Alex Dezen; Editing by RJ. Glass, Greg Condon WARP & WEFT (2018) Created by Renée Jaworski and Matt Kent in collaboration with Mark Fucik and Krystal Butler, Isabella Diaz, Heather Favretto, and Casey Howes Performed by Krystal Butler, Casey Howes, and Heather Favretto Music: Thao Nguyen Costumes: Márion Talán Lighting: Diane Ferry Williams Sound Design: David Van Tieghem Warp & Weft (2018) is commissioned by ADF with support from the Doris Duke/SHS Foundations Award for New Works and Mary Duke Biddle Foundation.

INTERMISSION GNOMEN (1997) Choreographed by Robby Barnett and Jonathan Wolken in collaboration with Matt Kent, Gaspard Louis, Trebien Pollard, and Mark Santillano Performed by Nathaniel Buchsbaum, Zachary Eisenstat, Quincy Ellis and Jacob Michael Warren Music: Paul Sullivan Throat Singing: Matt Kent Costume Design & Construction: Eileen Thomas Lighting: David M. Chapman

This piece is dedicated to the memory of our friend and colleague, Jim Blanc. It was made possible in part by contributions from his family and friends as well as by a commission from the American Dance Festival with support from the Connecticut Commission on the Arts, the National Endowment for the Arts and the Philip Morris Companies, Inc., New Production Fund.

UP! Created and conceived by Pilobolus, with Professor Daniela Rus and MIT Distributed Robotics Lab; Music by Jad Abumrad; Video by Oriel Pe’er BRANCHES (2017) Created by Renée Jaworski and Matt Kent in collaboration with Itamar Kubovy, Mark Fucik and Antoine Banks-Sullivan, Nathaniel Buchsbaum, Krystal Butler, Isabella Diaz, Heather Favretto, and Jacob Michael Warren Performed by Nathaniel Buchsbaum, Krystal Butler, Quincy Ellis, Heather Favretto, Casey Howes, and Jacob Michael Warren Music: David Van Tieghem, David Darling, Riley Lee, Olivier Messiaen, David Poe Sound Design: David Van Tieghem Costume Design: Liz Prince Lighting Design: Thom Weaver Branches premiered at Jacob’s Pillow Dance Festival Inside/Out Series, June 21, 2017, and was commissioned by Jacob’s Pillow Dance Festival and the National Endowment for the Arts, which believes a great nation deserves great art. ThiS ProGram iS SuBJeCT To ChanGe

Awards at the International Festival of Creativity. In 2015, Pilobolus was named one of Dance Heritage Coalition’s “Irreplaceable Dance Treasures”. Pilobolus has collaborated with more than 25 brands and organizations in finance, retail, media, fashion, sports, and more to create bespoke performances for television, film, and live events. More information at instagram @Pilobolus twitter @Pilobolus

Who’s Who

ItAMAr KuBOVY (Executive Producer) oversees the many moving parts of Pilobolus. After joining Pilobolus in 2004, he founded Pilobolus’s acclaimed International Collaborators Project, a program that invites artists and thinkers from diverse fields to participate Pilobolus’s collaborative choreographic process. He also grew the business of Pilobolus Creative Services, collaborating with clients to develop custom movement and storytelling for film, advertising, publishing, and corporate events. Itamar was born in Israel and grew up in New Haven, where he studied philosophy at Yale. Prior to joining Pilobolus, he ran theaters in Germany and Sweden, directed plays by John Guare, co-directed the 2002 season finale of The West Wing, and made a film, Upheaval, starring Frances McDormand. renée JAWOrsKI (Co-Artistic Director) has had an extensive performance and creative career working with Pilobolus since 2000. She serves as choreographer and creator for exciting projects and collaborations for stage, film and video such as the 79th Annual Academy Awards, the Grammy® nominated video for OKGo’s All is Not Lost, Radiolab Live: In the Dark, World Science Festival; Time and the Creative Cosmos and works with myriad outside artists through the International Collaborators Project as well as overseeing the daily functioning and long term planning for the company’s creative endeavors. As a teacher she facilitates workshops and group projects in diverse


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communities with dancers and nondancers alike. In 2010, her alma mater honored her with the University of the Arts Silver Star Alumni Award for her work as an artist in the field of dance. Prior to Pilobolus she performed and toured the world with Momix and Carolyn Dorfman Dance Company. Renée lives in Connecticut with her husband and daughter, and a menagerie of animals. MAtt Kent (Co-Artistic Director) danced for Pilobolus from 1996 - 2004, helping create more than two dozen pieces, including classics like Gnomen and A Selection, a collaboration with Maurice Sendak. He has since directed for the stage and screen choreographing on horses, chinese acrobats, giant Michael Curry puppets, Zombies on the Walking Dead, jugglers, break dancers, actors, LED umbrellas and dancers. He was nominated for Best Choreography by the L.A. Drama Critics Circle The Tempest directed by Aaron Posner and Teller. Matt loves exploring and executing the ever evolving work of Pilobolus as it reaches out to an expanding group of artists, audiences, and populations in ever unexpected ways. nAthAnIel BuChsBAuM (Dancer) Manipulator of Light and Shadow, Student of the Ephemeral, Harnesser of Momentum, Walker of the Physical plane. Quick of tongue, slow of mind. The Planeswalkers of the Multiverse know him as Tragic the Blathering, and he is known to his friends as Nate the Adequate. When he isn’t touring the Earth, delighting both young and old with his nimble, scantilyclad acts of physical storytelling, he is most likely dwelling in Brooklyn with his tall, striding friend Jake and his silver-haired pal Quincy. He is 61% water. He was assimilated by Pilobolus in 2012. KrYstAl Butler (Dancer) is from Washington, DC and began her dance training at Duke Ellington School of the Arts under the direction of Sandra Fortune. Krystal graduated from Long Island University and received scholarships to attend Ailey School, ADF, Earl Mosley Institute for the Arts and Arke’ Danza. Krystal was a member of INSPIRIT, a dance

company and Forces of Nature Dance Theater. She has toured in Senegal with the theater company, Art Creates Life, performing in the play, Junkanoo and in Europe in the show, MAGNIFICO produced by Andre Heller with choreography by Pilobolus. This is Krystal’s ninth year with Pilobolus Dance Theater. ZAChArY eIsenstAt (Dancer) was born in NYC. learned dance on Bar Mitzvah floors. Zachary was a four-year NCAA competitive gymnast. He has a degree from M.I.T. in Mechanical Engineering. He spent time working on Wall St. before finding his way to comedy and acting. Predominantly acting, he had the chance to work with Pilobolus on a production of The Tempest. Now, once again, he takes the stage with Pilobolus – this time as a dancer. Finally, Zachary would like to note that this is all possible only with the support and encouragement of Lynn, his family, and his friends. QuInCY ellIs (Dancer) was born in Waterville, Maine and spent his youth training as a gymnast and figure skater. He earned a BFA degree in Acting from Emerson College and has performed as both an actor and dancer out of the New York City area for the past decade. He has worked with companies such as The MoveShop, Caliince Dance, Ícaro Compañía Teatral, DeFunes Dance, and Theatre Raleigh. Outside of traditional theatre, he also dances for a variety of NYC Drag Artists, including Juicy Liu and Miz Cracker. Quincy joined Pilobolus in 2017 and does not dye his hair grows that way. heAther FAVrettO (Dance Captain) grew up in New Jersey and started dancing young. She loved it so much she married it. Heather joined Pilobolus in 2010, where she has been lucky enough to form some wonderful lifelong friendships while performing around the world. She has a BFA in dance from Rutgers University, where she also serves on faculty when not living out of a suitcase. She loves indoor gardening, rock and roll, and a nice bottle of sauvignon blanc. She dislikes talking about herself in the third person. She

sincerely thanks her actual husband, Mike Gonzales, whose patience over the past decade has allowed her to live her dream. CAseY hOWes (Dancer) is a Brooklynbased dancer and choreographer. Born and raised in Los Angeles, CA. Casey has been dancing her entire life, catalyzing her training at The Colburn School Under Leslie Carothers and Glenn Edgerton. During her studies, Casey performed works by Martha Graham, Alvin Ailey, Shannon Gillen of Vim Vigor, and Ron Amit of Batsheva. After graduating SUNY Purchase’s Conservatory of Dance with a BFA in Dance & Choreography, she has trained rigorously across Europe and has danced for Lauren Beirne Dance Works. Casey is thrilled to be working with Pilobolus. JACOB MIChAel WArren (Dance Captain) hails from New York City, where he spends most of his time trying to be a ninja. He can’t decide if he’s a musician, an actor, or a dancer, and as a result, he has been blessed with a wonderfully diverse career. When he’s not dancing with Pilobolus, he’s most likely playing funk/soul hits with his band The Harmonica Lewinskies, eating, or trying to prove that gravity is a myth. Thanks Mom and Dad for nurturing my furious and hyperactive creativity, rather than stifling it. rOBBY BArnett (Co-Founder, Choreographer) was born and raised in the Adirondack Mountains and attended Dartmouth College. He joined Pilobolus in 1971. AlIsOn ChAse (Co-Founder, Choreographer) is a choreographer, director, master teacher and theatrical artist. Her work explores emotional terrain through innovative movement, multidimensional storytelling, fusions of film and dance, and site-specific works. Alison was a Founding Artistic Director of Pilobolus Dance Theater. During her three decades with the company, she built an eclectic repertoire of choreography with unorthodox partnering and aerial techniques. In 2009, Alison founded Alison Chase/Performance in 2009 to pursue her creative vision in bold collaborations.


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Alison has been commissioned by the American Dance Festival, Wolf Trap, La Scala Opera, the Rockettes, and the Fête de l’Humanité, among others. MArthA ClArKe (Co-Founder, Choreographer) is a founding member of Pilobolus and Crowsnest, noted for her multidisciplinary approach to theater, dance, and opera. She has choreographed for Nederlands Dans Theater, La Scala Ballet, the Martha Graham company, and is a resident artist for Signature Theatre, with works including Garden of Earthly Delights, Che[ ri, and Angel Reapers. Awards include a MacArthur fellowship, Drama Desk Award, two Obies, the Scripps/ADF Award for Lifetime Achievement, and two Lortels. MOses PenDletOn (Co-Founder, Choreographer) has been one of America’s most innovative and widely performed choreographers for almost 50 years. A co-founder of the ground-breaking Pilobolus in 1971, he formed his own company, MOMIx, in 1980, which rapidly established an international reputation for inventive and illusionistic choreography. Mr. Pendleton has also worked extensively in film, TV, and opera, and as a choreo grapher for ballet companies and special events, including two Winter Olympics. MIChAel trACY (Co-Founder, Choreographer) was born in Florence and raised in New England. He met the other Pilobolus founders at Dartmouth in 1969, and became an artistic director after graduating magna cum laude in 1973. Michael toured with Pilobolus for 14 years and has choreographed and directed the company ever since. He has set his work on the Joffrey, Ohio, Hartford, Nancy and Verona Ballets and with Pilobolus choreographed a production of Mozart’s Magic Flute. Michael taught at Yale University for two decades and lives in northwestern Connecticut. JOnAthAn WOlKen (1949-2010) (Co-Founder, Choreographer) co-founded Pilobolus and remained an Artistic Director until his death, creating 46 Pilobolus works in collaboration with co-artistic directors and guest artists, and as sole

choreographer. He also choreographed Glyndebourne Festival Opera’s production of Maurice Sendak’s Where the Wild Things Are, and the Royal Danish Ballet’s Oneiric. Mr. Wolken taught many workshops and was dedicated to the furtherance of Pilobolus technique in dance and as a model for creative thinking. rOBert DennIs (1933-2018) (Composer) created music for the New York City Opera, I Cantori, the American Brass Quintet, Calliope, the New York Women’s Chorus, Sesame Street, and the Lincoln Center Institute. Mr. Dennis composed extensively for theatre and film, including scores for productions at the Arena Stage, the Guthrie Theater, and Circle in the Square. Three of his eight scores composed for Pilobolus were performed on the PBS series Dance in America. thAO nguYen (Composer) grew up in Falls Church, VA, where she first picked up a guitar at the age of 12 and began performing in a pop country duo in high school. She spent most of her 20s touring, supporting one critically acclaimed album after another. She’s worked with a laundry list of vaunted artists including Andrew Bird, Mirah, Laura Veirs, and producer Tucker Martine. She even toured the US with the nationally syndicated NPR radio program Radiolab. Thao’s music has been described by The New Yorker as “music that makes you move from your bones out...[it’s] keenly intelligent and original”. Her most recent album, A Man Alive, was released in March 2016. PAul sullIVAn (Composer) has composed fourteen scores for Pilobolus since 1980. He has appeared as a conductor, performer, and composer on and off Broadway several times. Paul currently lives on the coast of Maine where he composes music for his own record label, River Music. Paul’s award-winning piano albums include “Sketches of Maine”, “A Visit to the Rockies”, “Folk Art”, “Nights in the Gardens of Maine”, and “Christmas in Maine”. His most recent albums are “Circle ‘Round The Season” and “Memory Lane collection”.

DAVID VAn tIegheM (Sound Designer) Broadway: Doubt, The Lyons, Romeo and Juliet, The Big Knife, Born Yesterday, Arcadia, The Normal Heart, Reckless, An Enemy of the People, Mrs. Warren’s Profession, A Behanding in Spokane, A Man for All Seasons, Inherit the Wind, Frozen, After Miss Julie, Judgment at Nuremberg, The Constant Wife, The Crucible, Three Days of Rain, The Best Man. Off-Broadway: Wit, The Piano Lesson, Through a Glass Darkly, How I Learned to Drive. Film/TV: Buried Prayers, Working Girls, Penn & Teller, Wooster Group. Dance: Twyla Tharp, Doug Varone, Elizabeth Streb, Elisa Monte, Michael Moschen. Percussionist: Laurie Anderson, Talking Heads, Brian Eno, Steve Reich. Awards/Nominations: Drama Desk, Obie, Bessie, Lortel, Guggenheim. CDs: Thrown for a Loop, Strange Cargo, Safety in Numbers, These Things Happen. AngelInA AVAllOne (Costume Designer) has collaborated with Pilobolus on over 18 productions. She has designed for The Public, Joe’s Pub, the Kennedy Center, and more. Her work was seen at the Kennedy Center, The Joyce, ADF, Wolf Trap, and worldwide. Broadway credits include The Scarlet Pimpernel and Once Upon A Mattress. She studied fashion design in Florence, Italy and received her MFA from Yale School of Drama, and received the Leo Lerman Design Award at Conde Nast. KIttY DAlY (Costume Designer) created costumes for Pilobolus’s Molly’s Not Dead, The Detail of Phoebe Strickland, Bonsai, The Empty Suitor, Moonblind, Lost in Fauna, Mirage, What Grows in Huygen’s Window, Stabat Mater, Elegy for the Moment. She has designed the Ohio Ballet, the Pennsylvania Ballet, the Milwaukee Ballet, Merce Cunningham, Ririe-Woodbury, Crowsnest, and Parker/Pucci. Ms. Daly lives in northern Vermont, creating custom evening gowns and beautiful tracks in the snow. MAlCOlM McCOrMICK (1927-2017) (Costume Designer) was a dance scholar, professional dancer, and costume designer, a member of the UCLA dance faculty, and guest lecturer at other


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universities. He collaborated with Nancy Reynolds on the book No Fixed Points – Dance in the 20th Century, Yale University Press 2003, winning the 2005 Congress on Research in Dance award for Outstanding Publication in Dance Research. lIZ PrInCe (Costume Designer) designs costumes for dance, theater and film and has designed costumes for numerous Pilobolus productions. Her costumes have been exhibited at The Cleveland center for Contemporary Art, The New York Public Library for the Performing Arts, Snug Harbor Cultural Center, Rockland Center for the Arts and the 2011 Prague Quadrennial. She received a 1990 Bessie Award for costume design, and a 2008 Charles Flint Kellogg Award in Arts and Letters from Bard College. MÁrIOn tAlÁn (Costume Designer) has nurtured her talents in design by working closely with artists, directors and performers in New York and across the country. Some of her dance design credits include Bryan Arias: One Thousand Million Seconds, Gibney Dance Company(2018), When Breath Becomes Air Charlotte Ballet (2018), The Sky Seen from the Moon The Juilliard School (2017)and A Rather Lovely Thing for Jacobs Pillow (2016); Caleb Teicher: Small and Tall for Jacobs Pillow (2016) and Meet Ella at Gibney (2016); Liz Gerring: Glaciers at The Joyce (2015); for Norbert de la Cruz: Talksikan for Ballet x (2015) and Fold by Fold for Aspen/Santa Fe Ballet (2013) by Norbert de la Cruz among others. DAVID M. ChAPMAn (Lighting Designer) was Director of Production for Pilobolus from 1978 to 1997. David designed lighting for numerous company works as part of a forty year professional career in production management and design for the performing arts worldwide. For the past decade, he has worked in healthcare in his native Berkshire County, Massachusetts, where he was involved closely with the historic preservation, restoration and operation of Pittsfield’s Colonial Theatre. His association with the arts continues as a volunteer at Jacob’s Pillow Dance in Becket, where he first

encountered Pilobolus in 1974, while a member of the Pillow’s staff. neIl Peter JAMPOlIs (Lighting Designer) has been designing for Pilobolus since 1975, creating more than 60 new works for the company. He has also had a fifty-year active career as a set, lighting and costume designer for Broadway—where he has received four Tony Nominations and a Tony Award — and for Off-Broadway, Dance, Regional Theater, and Opera, which he also directs. His designs, large and small, have appeared on every continent. Neil is a Distinguished Professor of Theater at UCLA. stePhen strAWBrIDge (Lighting Designer) has designed more than 200 productions on and off Broadway, at most leading regional theaters and opera houses across the U.S. and internationally. Awards and nominations: American Theatre Wing, Bay Area Theatre Critics Circle, Connecticut Critics Circle, Dallas-Fort Worth Theater Critics Forum, Drama Desk, Helen Hayes, Henry Hewes Design, and Lucille Lortel. He is Co-chair of the Design Department at Yale School of Drama and Resident Lighting Designer, Yale Repertory Theatre. thOM WeAVer (Lighting Designer) For Pilobolus: Shadowland 2, Echo in the Valley, Branches. Off-Broadway credits include NYSF/Public, Roundabout, Primary Stages, Signature Theatre Company. Regional: Chicago Shakespeare, Huntington, Arden, Wilma, Philadelphia Theatre Company, Milwaukee Repertory, Portland Center Stage, CenterStage, California Shakespeare Theater, Syracuse Stage, Williamstown Theatre Festival, Spoleto, Lincoln Center Festival, and Yale Repertory Theatre among others. Five Barrymore Awards, two Jeff Awards and two AUDELCO Awards. Education: Carnegie Mellon and Yale. DIAne FerrY WIllIAMs (Lighting Designer) is a freelance lighting designer who has lit well over 300 productions of theatre, dance, dance festivals and opera in the US, Canada, Europe and Asia. Awards include a Jeff Award, an After Dark Award, a Carbonelle Award, six Drammy awards, and six Jeff nominations. Diane has a BA

from Ashland University in Ohio with a theatre major and a Master of Fine Arts in Theatrical Design from Northwestern University. AnnA BAte (Production Manager) joins Pilobolus after 3+ years production managing musical theatre tours at TROIKA Entertainment including The Color Purple, Love Never Dies, and The Bodyguard. She has previously worked at GALA Hispanic Theatre, Utah Shakespeare Festival, and the Milwaukee Rep. Graduate of Marquette University with a degree in Theatre Arts. erIC tAYlOr (Technical Director) is from Tennessee, where he spends his time working as a rigger and stagehand for area theater productions and corporate events. Eric enjoyed touring with Pilobolus from 2011-2015, and is happy to be back on the road! KAssOn MArrOQuIn (Production Stage Manager) received their BA in Theatre from the University of North Texas and MFA in Stage Management from UC San Diego. Kasson began stage managing with Pilobolus during fall of 2018 and is happy to continue the adventure! Recent projects include Path of Miracles and Tree of Codes (Spoleto Festival USA), The Light and Charm (MCC Theater), Yo-Yo Ma’s Day of Action (Denver, CO and Warren, OH), NBC’s The Good Place activation (San Diego Comic-Con 2018), Kill Local (La Jolla Playhouse), and various workshops, readings and events. YAnnICK gODts (Lighting Supervisor) has been with Pilobolus since 2013 and in that time has had the pleasure of bringing the company’s works to four continents. Originally from Rochester, NY and/or Belgium, he is a graduate of Vassar College and has also previously worked with the American Dance Festival, Colorado Shakespeare Festival, and The Studio Theatre in Washington, D.C. Recently, he designed the world premieres of Abortion Road Trip and Soldier Poet with Theatre Prometheus in D.C. Outside of Pilobolus, Yannick is a visual artist and graphic designer and enjoys spending time with his plants.


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a schaefer pOpular series event

Patti LaBelle sAturDAY, JulY 13

8:00 pm, schaefer Center for the Performing Arts

multi Grammy award-winning superstar singer and actress Patti laBelle is widely regarded as the queen of rock and soul, known for performing music ranging from rhythm and blues renditions to spiritual ballads and everything in between. she has received acclaim for many of her songs, including “lady marmalade,” “When you talk about love,” “new attitude” and the number one duet with michael mcdonald, “On my Own.” throughout her career, patti laBelle has been nominated for and received numerous awards, including: Grammy awards for Best female r&B vocal performance and Best traditional r&B performance; naacp image awards for entertainer of the year, Outstanding performance, and Outstanding female artist; Grammy hall of fame induction for “lady marmalade;” the Bet awards lifetime achievement award and many more. series spOnsOrship prOvided By:

Westglow resort & spa and rowland’s restaurant, made possible through the generosity of Bonnie and Jamie schaefer. perfOrmance spOnsOrship prOvided By:

Goodnight Brothers, mast General store, skyBest communications, inc., Wells fargo, Boone area visitors Bureau This performance was also supported, in part, by a generous gift from Wendy and mike Brenner.

Beautiful simply does not describe the incomparable force known to the world as Patti laBelle. As time continues to evolve, the soulful songbird’s name has become synonymous with grace, style, elegance, and class. Belting out classic rhythm and blues renditions, pop standards, and spiritual sonnets has created the unique platform of versatility that she is known and revered for. It’s a small wonder that Patti has time for anything else in between recording and touring, but she makes time and the world is oh so happy that she does! She has written six books: Don’t Block the Blessings, LaBelle Cuisine: Recipes to Sing About, Patti’s Pearls, Patti LaBelle’s Lite Cuisine, Recipes for the Good Life, and her most recent, Desserts LaBelle. Several years ago, she introduced Patti’s Good Life, a successful product line that includes a variety of sauces, sweet potato pie, cobblers, and cakes. She stars in her own highly rated cooking show, Patti LaBelle’s Place, which premiered its second season on the Cooking Channel in 2017. Additionally, Patti released her first jazz album, Bel Hommage, and a holiday album, Patti LaBelle and Friends – Home for the Holidays, in 2017. World renowned for her dynamic career as an entertainer and entrepreneurial success, Patti’s work as a humanitarian is just as legendary. She remains an advocate for adoption, diabetes, cancer, HIV/AIDS, and many other causes and non-profit initiatives. While she has reached the heights of success throughout her 50-plus year career, Patti has also endured and survived personal strife. Within a 10-year period, she lost her mother, three sisters, and best friend to diabetes and cancer. In 1994, she was diagnosed with diabetes and shortly thereafter became a spokesperson for the American Diabetes Association. The same motivation that had Patricia Louise Holte blossom from a choir member to lead vocalist for Patti LaBelle & The Bluebelles, and later Labelle, to a solo artist is the same energy that keeps her fire burning at 74 years young. “Each year I grow, and that’s a blessing from God. I do what I can do. I do what I feel God has given me the energy to do, so I just go out there and I do it... It’s not about making money because I don’t need money, but I need to sing. With a voice or without, I’ve got to get on that stage.” And the world is thankful that Patti’s voice sounds so good to our ears.


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eastern music festival sunDAY, JulY 14

7:00 pm, schaefer Center for the Performing Arts

gerard schwarz, conductor Awadagin Pratt, piano Morgan short, harp Overture to The Creatures of Prometheus, Op. 43


Piano Concerto No. 5 in E-flat major, Op. 73 “Emperor” Allegro Adagio un poco mosso Rondo: Allegro ma non troppo Awadagin Pratt, piano


INTERMISSION Suite from Ma mère l'Oye (Mother Goose) Ravel Pavane de la Belle au bois dormant: Lent (Pavane of Sleeping Beauty) Petit Poucet: Très modéré (Little Tom Thumb / Hop-o'-My-Thumb) Laideronnette, impératrice des pagodes: Mouvt de marche (Little Ugly Girl, Empress of the Pagodas) Les entretiens de la belle et de la bête: Mouvt de valse très modéré (Conversation of Beauty and the Beast) Le jardin féerique: Lent et grave (The Fairy Garden) Danse sacrée and profane Debussy Danse sacrée Danse profane Morgan Short, harp – 2018 Rosen-Schaffel Competition Winner La valse


This performance was supported, in part, by a generous gift from Barbara and larry Freiman.

2019 marks gerard schwarz’ 15th year with Eastern Music Festival. He joined EMF as Music Advisor in 2005, became Principal Conductor in 2006, and music director in 2008. Schwarz is music director of The All-Star Orchestra, an ensemble of top musicians from America’s leading orchestras which includes eight members of the EMF faculty. The All-Star Orchestra is featured in 16 television shows that have aired throughout the U.S. on PBS and streamed worldwide reaching millions of viewers with over 2,000 broadcasts per year. It is the basis for their Khan Academy education platform serving over six million students. As in baseball, Schwarz created an “all-star” team of top musicians to encourage a greater understanding and enjoyment of classical music. All shows have been released on DVD by Naxos and have been awarded six Emmy Awards and the Deems Taylor Television Broadcast Award from the American Society of Composers, Authors and Publishers. This season he has added three programs of important concert band music with The President’s Own United States Marine Band. These programs have been nominated for two Emmy awards. Schwarz is also music director of the Mozart Orchestra of New York, conductor emeritus of the Mostly Mozart Festival and conductor laureate of the Seattle Symphony. He is a renowned interpreter of 19th century German, Austrian and Russian repertoire, in addition to his noted work with contemporary American composers and performs internationally as guest conductor with the world’s most renowned orchestras. 2017 marked his 70th birthday year and was celebrated by the release of his muchanticipated book, Gerard Schwarz: Behind the Baton. An American Icon talks Music and the internationally critically acclaimed 30 CD boxed set by Naxos, The Gerard Schwarz Collection, containing previously unreleased and limited release works spanning his entire recording career. With more than 300 world premieres to his credit, Schwarz has always felt strongly about commissioning and performing new music. As EMF Music Director, he initiated


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the Bonnie McElveen-Hunter 10-year Commissioning Project that has thus far commissioned John Corigliano, Richard Danielpour, Lowell Liebermann, André Previn, and HyeKyung Lee. A prolific recording artist, Schwarz’s total discography numbers over 350. His pioneering cycles of American symphonists such as William Schuman, David Diamond, and Howard Hanson have received high critical praise, as have his acclaimed series of Stravinsky ballets, symphony cycles of Robert Schumann, Gustav Mahler, and Dmitri Shostakovich, as well as orchestral works of Wagner, Strauss, and RimskyKorsakov. With the Eastern Festival Orchestra, he has recorded a critically praised recording of the music of Alan Hovhaness for Naxos. More than 50 discs featuring Gerard Schwarz and the Seattle Symphony – with works by 54 composers ranging from the Baroque to contemporary periods – were released in the last four years on Naxos, Delos, Artek and Brilliance Audio. Representing the breadth and depth of the conductor’s vast repertoire, the recordings vary in genre, including major 20th-century ballets by Stravinsky, Strauss, Bartók, Ravel and Prokofiev, as well as multi-disc cycles of works by Schumann, Strauss, Wagner, and Stravinsky. Schwarz’ dedication to the promotion of American music is also represented with recordings featuring the works of 26 American composers. The Hanson cycle, first released on Delos, was a mainstay on Billboard’s classical music best-selling list for 41 weeks; earned Grammy nominations and was named 1989 Record of the Year by Stereo Review. The new Russian series on Naxos has been acclaimed as “a high point in the extensive Schwarz/Seattle discography” (Classics Today), “very fine” (The Guardian) and “a powerhouse in Russian Romantic repertoire” (Music Web International). In addition to his numerous recordings with the Seattle Symphony, he has also recorded with the Berlin Radio Symphony, Czech Philharmonic, English Chamber Orchestra, Juilliard Orchestra, London Symphony, Los Angeles Chamber Symphony, New York Chamber Symphony, Orchestre National de France, Philadelphia Orchestra, Royal Liverpool

Philharmonic, Tokyo Philharmonic and, of course, EMF. His most recent release is of Rimsky-Korsakov’s 1st and 3rd Symphonies with the Berlin Radio Symphony Orchestra. A gifted composer and arranger, Schwarz has expanded his compositional activities in recent years. His Trio for Violin, Horn and Piano was called a work of “sophistication and intelligence” by The Seattle Post Intelligencer. Earlier works include In Memoriam and Rudolf and Jeanette (dedicated to the memory of his grandparents who perished in the Holocaust), both recorded by Naxos; Human Spirit, a composition for choir and orchestra, and his duos for violin and cello were called “redolent of the gentle humanism central to much of the music Schwarz loves to conduct” by The Seattle Times. Most recently, his son, Julian Schwarz, premiered his Rhapsody for Cello and Orchestra, and Demondrae Thurman premiered his In Memoriam for Euphonium and Band. This summer, his Adagio, based on a work by Anton Webern, will receive its world premiere at the Eastern Music Festival. His arrangements of suites from Strauss’ Der Rosenkavalier, Debussy’s Pelléas et Mélisande and Humperdinck’s Hansel and Gretel as well as many orchestral works are programmed in concerts worldwide. A Journey, a large-scale orchestral tone poem, was commissioned by Dave Gannet and received its world premiere at EMF in July 2012. Above and Beyond, Schwarz’s work for concert band was premiered by the U.S. Marine Band in 2013 and is now available on Naxos. His newest work for that ensemble, a new version of Rudolf and Jeannette, was premiered in February 2016. His orchestral work A Poem was recently given its first performance by the Hartford Symphony. Last season presented premieres at Barge Music in New York and with The Symphonia, Boca Raton in Florida. A sought-after guest conductor, Schwarz has led the most renowned orchestras throughout the world. He is also known for his operatic performances in addition to his concert work, having appeared with the Juilliard Opera, Kirov Opera, Mostly Mozart Festival, San Francisco Opera, Seattle Opera and Washington National Opera conducting the operas of Wagner, Verdi, Janáček, Strauss, Mozart, Bizet, Weber, Debussy,

Bartók, Stravinsky, Beethoven and Gluck. Born in America to Viennese parents, Schwarz began studying piano at the age of 5 and soon focused on the trumpet. A graduate of both New York City’s High School of Performing Arts and The Juilliard School, he joined the New York Philharmonic in 1972 as co-principal trumpet, a position he held until 1977. Schwarz’s numerous previous positions include music director of New York’s Mostly Mozart Festival (1982-2001), where he presided over sold-out houses, developed the orchestra’s international touring, maintained a nine-year residency in Tokyo, considerably expanded its Mozart repertoire lead numerous televised Live from Lincoln Center appearances. His tenure as music director of the Royal Liverpool Philharmonic Orchestra initiated the long-standing partnership between the orchestra and Classic FM, expanded recordings on the RLPO Live label, initiated a new partnership with Avie Records, created the enormously popular Sunday matinee Musically Speaking concert series, led highly acclaimed tours to Spain and Prague, and brought the orchestra to National Television in BBC Proms broadcasts. As music director of the Los Angeles Chamber Orchestra and New York Chamber Symphony, he expanded concert series and audiences, made award-winning recordings and championed new works. In addition, he served as artistic advisor to the Tokyo Philharmonic. Gerard Schwarz completed his final season as music director of the Seattle Symphony in 2011 after an acclaimed 26 years. During his leadership, Schwarz was instrumental in the building of Benaroya Hall, spearheading efforts that resulted in the acoustically superb new home for the Seattle Symphony. The many legacies of his extraordinary leadership in Seattle include a critically acclaimed discography of more than 140 recordings; numerous television programs and concert broadcasts resulting in two Emmy Awards; major strides in music education programs including new series and the successful Soundbridge Seattle Symphony Music Discovery Center; regular programming of innovative themed festival weeks; in addition to dramatically increased audience attendance and


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classical subscription weeks. Schwarz’ final season in Seattle was emblematic of the conductor’s passionate dedication and support for contemporary music, with a total of 22 world premieres, 18 of these premieres being a part of the Gund/Simonyi Farewell Commissions, an unprecedented commissioning initiative celebrating his farewell season as music director. In his nearly five decades as a respected classical musician and conductor, Schwarz has received hundreds of honors and accolades. Over the years, he has received six Emmy Awards, 14 Grammy nominations, eight ASCAP Awards, and numerous Stereo Review and Ovation Awards. He holds the Ditson Conductor’s Award from Columbia University, was the first American named conductor of the year by Musical America and has received numerous honorary doctorates, including from his alma mater, The Juilliard School. In 2002 the American Society of Composers, Authors and Publishers honored Schwarz with its Concert Music Award and in 2003 the National Academy of Recording Arts & Sciences gave Schwarz its first IMPACT lifetime achievement award. Active in music advocacy on a State and National level, he served on the National Council of the Arts and is honorary chairman of the Board of Young Musicians Excelling, an organization in Washington State which supports music education in the Pacific Northwest. The City of Seattle recognized his outstanding achievements by naming the street alongside the Benaroya Hall “Gerard Schwarz Place” and the State of Washington gave him the honorary title of “General” for his extraordinary contributions as an artist and citizen. Awadagin Pratt began studying piano at age 6 and violin at age 9. He entered the University of Illinois at 16, studying piano, violin, and conducting. Later, at the Peabody Conservatory of Johns Hopkins University, he became the first student in the school’s history to receive diplomas in three performance areas: piano, violin, and conducting. In recognition of this achievement and for his work in the field of classical music, Pratt

received the Distinguished Alumni Award from Johns Hopkins. Pratt has played numerous recitals throughout the U.S., including performances at Lincoln Center, the Kennedy Center, Dorothy Chandler Pavilion in Los Angeles, and Orchestra Hall in Chicago. His orchestral performances have included appearances with the New York Philharmonic, Orchestra of St. Luke’s, Minnesota Orchestra, and the Pittsburgh, St. Louis, National, Detroit and New Jersey symphonies. Major summer festival engagements include EMF, Ravinia, Blossom, Wolf Trap, Caramoor, Aspen, the Hollywood Bowl, and the Mostly Mozart Festival in Tokyo. Internationally, Pratt has toured Japan several times and performed in Germany, Italy, Switzerland, Poland, Israel, and South Africa. As a conductor, Pratt has participated in American Symphony Orchestra League and Conductor’s Guild workshops, as well as in the National Conducting Institute, where he worked closely with Leonard Slatkin and conducted the National Symphony at the Kennedy Center. He has also conducted the Toledo, New Mexico, Winston-Salem, Santa Fe, and Prince George County symphonies, the Concertante di Chicago, and orchestras in Japan. A favorite on college and university performing arts series and a strong advocate of music education, Pratt participates in many residency and outreach activities wherever he appears, including master classes, children’s recitals, play/talk demonstrations, and question/answer sessions for students of all ages. Named one of the 50 Leaders of Tomorrow in Ebony magazine’s 50th-anniversary issue, Pratt has been the subject of numerous articles in the national press, including Newsweek and People magazine. He has been featured on several NPR programs, has performed on the Today Show, Good Morning America, and Sesame Street, and has been profiled on CBS’s Sunday Morning. He performed twice at The White House at the invitation of President and Mrs. Clinton. Pratt records exclusively on the Angel/EMI label and discography includes his debut album, A Long Way From Normal, as well as Live from South Africa, an all-Beethoven Sonata CD, Transformations, and an all-Bach

disc with the St. Lawrence String Quartet. Pratt is the professor of piano at the College-Conservatory of Music at the University of Cincinnati. He was also the artistic director of the World Piano Competition in Cincinnati and is currently the artistic director of the Art of the Piano Festival at CCM. Harpist Morgan short is an exclusive Classics Alive Artist after winning the 2018 Classics Alive Management Audition in Los Angeles. Exuding confidence, Short has performed a dozen concerti with orchestras since 2015. Most recently, she received the Grand Prize and Audience Prize at the Rosen-Schaffel Competition for Young and Emerging Artists, Grand Prize recipient of Alexandria Symphony’s Mary Graham Lasley Award, and was selected as a semi-finalist in the Friends of the Minnesota Orchestra Young Artist Competition. Upcoming 2019 solo engagements include performances with the North Carolina Symphony, Alexandria Symphony under the baton of James Ross, and Boulder Chamber Orchestra, as well as Eastern Music Festival and the Appalachian Music Festival, both under the baton of Gerard Schwarz. Short has performed in over 30 master classes with notable harpists, including Elizabeth Hainen, Judy Loman, and Marissa Robles. In 2015, she was praised by Elizabeth Hainen for her “stellar performance” of Mozart’s Flute and Harp Concerto alongside members of the Philadelphia Orchestra in a Play with the Pros Concert in New York. Short is a Tom Keenan Merit Scholar, a recipient of the Ann Jett Rogers Award from the Roanoke Symphony, and the Ambassador Middendorf Award from the US Navy. She has performed in notable venues such as Carnegie Hall, Stern Auditorium at age 15 for the NY International Music Festival, the Mora Ferenc Museum (Hungary), and Galeri Caernarfon (Wales) for international harp competitions. Additionally, Short was a finalist in the 2018 American Harp Society’s Anne Adams Awards and a presenter in the 2019 AHS National Convention. She is completing her sophomore year at the University of North Carolina School of the Arts.


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Program notes

luDWIg VAn BeethOVen

Beethoven was born in Bonn, Germany on December 17, 1770, and died in Vienna on March 26, 1827.

Overture to The Creatures of Prometheus, Op. 43 In 1792, Joseph Haydn visited the Rhenish town of Bonn and was fatefully introduced to Beethoven. Impressed with his compositions and skill as a performer, Haydn invited Beethoven to study with him in the musical capital of Europe: Vienna. Beethoven’s childhood had been extremely difficult but music was his means of escape, and after years of building his reputation in Bonn and befriending the local aristocracy by faithfully teaching their children, a door had finally opened for him to enter music’s elite circle. As he departed from Bonn, one of his closest friends, Count Waldstein, implored Beethoven to “Receive the spirit of Mozart from the hands of Haydn.” Beethoven’s time as a pupil of Haydn was limited due to Haydn’s lengthy and successful trips to London, and the two maintained a somewhat distant relationship. However, the influence of the great Classical masters, Haydn and Mozart, is deeply entrenched in Beethoven’s compositions from his early years in Vienna. When he finally found a language combining his emotionally powerful instincts for improvisation with the traditional structures of Classical music, Beethoven would spend the remainder of his life shaping the direction of music for centuries to come. In 1800, Italian choreographer Salvatore Viganò was producing a new ballet for the empress Maria Theresia that would premiere at the Vienna Court Theater. Viganò chose the myth of Prometheus for this production, and asked Beethoven to compose the music. The program for the ballet’s narrative was printed as follows: “The foundation of this allegorical ballet is the fable of Prometheus. The philosophers of Greece allude to Prometheus as a lofty soul who drove the people of his time from ignorance, refined them by means of science and the arts, and gave them

manners, customs and morals. As a result of that conception, two statues that have been brought to life are introduced in this ballet; and these, through the power of harmony, are made sensitive to all the passions of human life. Prometheus leads them to Parnassus, in order that Apollo, the god of the fine arts, may enlighten them.” While the details of the ballet are unknown, as standalone ballets separated from opera were new at this time, Beethoven composed an overture, introduction, 15 dance numbers, and a finale for the ballet. The overture is a thrilling allegro, opening with a dazzling first chord followed by energetic scales, which many scholars have claimed represents “Prometheus fleeing from heaven after stealing fire from the gods.” Piano Concerto no. 5, Op. 73 The middle period of Beethoven’s compositional output, from 1803 to 1812, is often referred to as his “heroic” period in keeping with the first major work from these years, his Third Symphony, the “Eroica.” Within this period, Beethoven had several particularly fruitful years beginning in the spring of 1806 through the end of 1808. During the year 1806 alone, he completed the Rasumovsky String Quartets, Op. 59, his Fourth Symphony, the Violin Concerto in D major, Op. 61, and most of the Fourth Piano Concerto in G major, Op. 58. Three years later, amidst the constant pounding of battle between Napoleon’s army and a British army joined with recently reorganized Austrian forces, Beethoven was writing another piano concerto, his Fifth, and ultimately his last of the genre. The Fifth Concerto is frequently referred to as the Emperor Concerto, though Beethoven himself did not give it this title, and given his disdain for Napoleon after he crowned himself Emperor in 1804, Beethoven would likely revolt if he heard anyone refer to this masterpiece by such name. This concerto is also considered the final work of Beethoven’s heroic period, the culmination of a decade of extraordinary compositions. Beethoven begins the Fifth Piano Concerto in a remarkably original manner for 1809

– three resounding chords are played by the orchestra, and after each one the solo piano enters, but not with a melodic fragment or even full statement of the first theme, rather with a series of dramatic flourishes. Opening with a written cadenza for the soloist was shocking, and immediately draws the audience in to a sound world where melodic themes take on unexpected characters and you’re never quite sure how the great Beethoven will develop or transform an idea next. The second movement, Adagio un poco mosso, begins with a beautiful chorale melody in the strings that is followed by the solo piano’s response of a second, lyrical theme. The chorale melody is then given two variations, first by the piano and then by the orchestra with the piano accompanying with a slightly varied echo of the melody. Beethoven exquisitely leads into the final movement by taking the final note of the Adagio and, still in the slow tempo, lowers it a half step to B-flat before suddenly launching into the dance-like theme of the Rondo - Allegro, in the now prepared key of E-flat major. In keeping with his penchant for the unexpected, Beethoven varies the rondo theme of the final movement, and he appears to end the concerto with a quiet moment of dialogue between the timpani and piano before surprising us with the final outburst of exuberance from the soloist and orchestra. MAurICe rAVel

Ravel was born in Ciboure, Basses-Pyrénées, on March 7, 1875, and died in Paris on December 28, 1937.

suite from Ma mère l’oye (Mother goose) The first decades of the 20th Century were an astounding period for French artists in Paris; between the paintings of Monet, Matisse, and Picasso, the ballets of Diaghilev’s Ballet Russes, and the music of Debussy, Ravel, and Stravinsky, innovation and scandal lurked around every corner. Although we frequently lump Debussy and Ravel together in the same breath, Ravel’s music differed from that of his elder counterpart in its finely tuned orchestrations


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and clearly defined organization. Ravel frequently composed a new work first for the piano, and would later arrange it for full orchestra, as is the case with his Suite from Ma mère l’oye, “Mother Goose.” He frequently visited the home of his friends Cipa and Ida Godebski, whose Parisian apartment served as a gathering place for many of the great artists of this period. Yet Ravel, who surely spent time with his colleagues on these visits, valued most the time he spent playing games with the Godebski children, Mimie and Jean, whom he adored and loved as if they were his own. In 1910, he gifted Mimie and Jean with a set of pieces for piano four hands inspired by the stories of Mother Goose, dedicating the score to them. After the piece was premiered on April 20, 1910 at the first performance organized by the new Société Musicale Indépendente, which Ravel helped found, he orchestrated and enlarged it into a ballet score in 1911 from which the orchestral suite was created. Ma mère l’oye encapsulates the fantastical adventures and graceful innocence of these tales through a vivid, captivating use of orchestral color and sweeping melodies. The Pavane, simple yet magical, sounds of Princess Aurora’s dreams as she waits for Prince Charming’s kiss to awaken her. For Tom Thumb, Ravel quoted a specific line from Perrault’s folk tales: “He thought he would easily find his way, thanks to the bread he had scattered wherever he had passed, but he was quite surprised when he couldn’t see even a single crumb of it. Birds had come along and eaten every bit.” Tom Thumb’s absent-minded wandering is depicted in Ravel’s meandering scalar passages and unpredictable meter changes, with the birds making their unforgettable appearances along the way. The Empress of the Pagodas reflects the obsession many Parisian artists had with the Orient following the 1889 Paris Exhibition; Ravel composed melodies based on the pentatonic scale (using only the black keys on the piano) and utilized various percussion instruments mimicking the sounds of the Javanese gamelan to conjure a sense of the exotic Orient. For the tale of Beauty and the Beast, Ravel

assigns the woodwinds to the role of Beauty and the contrabassoon to the Beast, ending the movement with the intertwining of their respective melodies and the transformation of the Beast’s contrabassoon melody into that of a solo violin. Ravel leaves us in The Fairy Garden, a beautifully enchanting place where the mystery and magic of childhood fairy tales flourishes before us and then calmly fades away. ClAuDe DeBussY

Debussy was born in Saint-Germain-en-Laye, France, on August 22, 1862, and died in Paris on March 25, 1918.

Danse sacrée et danse profane Sometimes revolutions do not happen with an incessant pounding, as in Beethoven’s Eroica, or with riotous jeers and political upheaval, as Stravinsky’s Le Sacre du printemps; sometimes revolutions unfold calmly and quietly, but no less dramatically, by throwing out all of the old rules in favor of something startlingly new. A composer of the latter order, Claude Debussy remains the greatest musical revolutionary in the history of Western music. Debussy was born into a poor but hard-working family living in the suburbs of Paris and was sent along with one of his three siblings to live with an aunt. His parents pushed for their first-born son to become a sailor, following his father’s footsteps into the Navy, but his aunt recognized Debussy’s fascination with music as something bearing potential, and arranged for him to study piano with Madame Mauté de Fleurville. Mme. Fleurville had studied with Chopin and was the mother-in-law of Verlaine, the Symbolist poet whose influence had a tremendous impact in the development of Debussy’s musical style. At the age of eleven, Debussy was accepted into the Paris Conservatoire, and stories of his excellence as a brilliant musician and witty rebellions against tradition achieved legendary status amongst the Conservatory’s professors and students. That he would be labeled as an “Impressionist” composer irked Debussy throughout his lifetime, and perhaps the

better moniker would be “Symbolist.” In 1874, a critic famously used the term “Impressionism” in review of Monet’s painting Impression: soleil levant (“Impression: Sun Rising”), and it quickly became the popular label for the works of visual artists such as Monet, Cézanne, Manet, and Renoir. But these paintings were not the true influence behind Debussy’s music. That credit belongs in large part to the literary movement known as Symbolism, and the writings of Verlaine, Mallarmé, Baudelaire, and Maeterlinck. Musicologist Glenn Watkins succinctly states the difference between Impressionism and Symbolism in regards to Debussy’s music by saying, “the term Symbolism offered a more reasonable parallel with music based on the premise that painting, the main area of the Impressionists, was not only static but visual, while literature, the initial provenance of Symbolism, unfolded in a time space with a syntax based on a movement that was sonic.” Following his stay in Rome upon winning the coveted Grand Prix de Rome in 1884, Debussy returned to Paris in the spring of 1887, settling into the bohemian world of fin de siècle Montmartre. He frequently attended the Tuesday gatherings of Symbolist poets, viewed the paintings of the Impressionists with intrigue, was captivated by the Javanese gamelan performances at the 1889 Paris Exposition, and in 1891 befriended the eccentric, anti-Romanticism composer Eric Satie. Debussy began synthesizing the artistic world around him into his compositions, culminating in his first truly revolutionary symphonic work in 1894, the orchestral tone poem Prélude à l’après-midi d’un faune (“Prelude to the Afternoon of a Faun”). In 1904, he composed the Danse sacrée et danse profane on a commission by the Pleyel company to feature the range and technical capacity of their newly redesigned model harp. The pair of dances are joined seamlessly as one continuous movement. The first dance opens with phrases and harmonies that resemble medieval chants, invoking the sacred rituals that have echoed throughout time.


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The second dance is defined by a captivating rhythmic theme and distinctly Spanish flavor, its dance profane in its sense of earthiness as opposed to that of its heavenly counterpart. Pierre Boulez perfectly summarizes Debussy’s lifetime of work by saying, “he retains a power of seduction that is mysterious and spellbinding; his situation at the beginning of the contemporary movement is that of a spearhead, but solitary,... We cannot forget that the time of Debussy is also that of Cézanne and Mallarmé: a triple conjunction, at the root, perhaps, of all modernity... [Debussy] had to dream his revolution no less than build it.” To this quote, composer and musicologist Jan Swafford adds, “[Debussy] is one of the few Modernists inviting to approach, who may often be mysterious but rarely is intentionally mystifying. He learned the traditions of the past thoroughly and then taught himself to forget them, remaking music as his ear and intuition guided him; and therefore, his music was written to be heard, lie well in the ear. The goal was not to attain the profundity of Beethoven but rather to ravish the mind and senses with the perfumes of mystery and dream.” MAurICe rAVel

la Valse, poème choréographique pour orchestre

Ravel maintained a lifelong fascination with the waltz, one that would appear in many of his compositions. “You know my intense attraction to these wonderful rhythms and that I value the joie de vivre

expressed in the dance,” Ravel stated in reference to this obsession. In 1906, he began sketching a work tentatively titled “Wien” (the German name for Vienna) intended as an homage to the Viennese waltz tradition and to the “Waltz King,” composer Johann Strauss II. Ravel composed his Valses nobles et sentimentales in 1911, but still had nothing more than scattered ideas for his original concept. The years of the Great War left a dark shadow over Ravel; the magic of the nineteenth century waltzes had vanished and he was never able to resurrect his inspiration for “Wien.” In 1919, Ravel accepted another commission from Sergei Diaghilev to compose the score for a new ballet, the result of which is La Valse. Ravel wrote of La Valse that, “I conceived of this work as a sort of apotheosis of the Viennese waltz, mingled with, in my mind, the impression of a fantastic, fatal whirling.” While the carefree joie de vivre Ravel had initially conceived was traded for the violent darkness that overtakes La Valse, he did incorporate some of his original ideas and two waltzes from his Valses nobles et sentimentales into this work. Ravel provided a description of the setting for La Valse in the score: “Swirling clouds afford glimpses, through rifts, of waltzing couples. The clouds scatter little by little; one can distinguish an immense hall with a whirling crowd. The scene grows progressively brighter. The light of the chandeliers bursts forth at the fortissimo. An imperial court, about 1855.” La Valse begins with the “swirling clouds”

created by the double basses, celli, and harps, gradually broken apart as melodic fragments appear from various instruments. Once the orchestra, in full Ravelian grandeur, states the principal waltz theme, the dance is officially underway. The waltz is stated several times in succession by differing groups of instruments, but never reaches a resolution. A return to the opening “swirling clouds” signals the second half of the piece. Ravel presents the same melodies again, but this time with unexpected changes in harmony or utilizing a different instrumentation, and his “fantastic, fatal whirling” spins the waltz into self-destruction. When Diaghilev heard the work, presented by Ravel and a friend in a two-piano reduction, he told Ravel that, “it’s a masterpiece, but it’s not a ballet. It’s the portrait of a ballet, a painting of a ballet.” The original ballet La Valse never came to fruition, but it has been successfully choreographed by others, most notably by Ida Rubinstein in 1928 and George Balanchine in 1951. Program Notes provided by EMF Essayist Dr. Cat Keen Hock ©2019.

~ sInCe 1989 ~

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eastern music festival artist faculty Conductor Gerard Schwarz, alan G. Benaroya music director Chair

Violin I Jeffrey Multer, John r. Kernodle, Jr. Concertmaster Chair

Nigel Armstrong, associate Concertmaster John Fadial, 1st assistant Concertmaster Netanel Draiblate, 2nd assistant Concertmaster Ariadna Bazarnik-Ilika Corine Brouwer Yolanda Bruno ** Joan Griffing Fabián López Diana Lupo Jennifer Rickard Uli Speth David Yarbrough Violin II Randall Weiss, Timothy W. lane Principal Second Violin Chair

Jenny Grégoire, assistant Principal Catherine Cary Ioana Galu Avi Nagin Daniel Skidmore Erin Zehngut ** Kristin Baird, (Fellow) Laura Blankenship, (Fellow) Erin David, (Fellow) Clara Fuhrman, (Fellow) Laila Mangione, (Fellow) Danica Smith, (Fellow) Viola Daniel Reinker, Principal Ben Geller, associate Principal Chauncey Patterson, assistant Principal Sarah Coté Jamie Hofman Diane Phoenix-Neal Jennifer Puckett Jonathan Livioco, (Fellow) Srivishnu Ramankutty, (Fellow) Kayla Williams, (Fellow)

Cello Neal Cary, Principal Julian Schwarz, associate Principal Amy Frost-Baumgarten, assistant Principal Marta Simidtchieva Beth Vanderborgh Rebecca Zimmerman Julia Henderson, (Fellow) Anna Herrera, (Fellow) Adella Hotchkiss, (Fellow) Bass Leonid Finkelshteyn, Principal Joel Braun, assistant Principal Luciano Carnéiro Marc Facci Meredith Johnson Rick Ostrovsky Flute Les Roettges, Principal Jake Fridkis Ann Choomack, Flute/Piccolo Oboe Randall Ellis, Principal Karen Blundell, english horn/ associate Principal oboe

Susan Eischeid

Clarinet Shannon Scott, Principal Anthony Taylor Kelly Burke, 3rd/Bass Clarinet Bassoon George Sakakeeny, Principal Karla Ekholm Contrabassoon Anthony Anurca horn Kevin Reid, Principal Joy Branagan Kelly Hofman Christopher Caudill trumpet Chris Gekker, Principal Jeffrey Kaye Judith Saxton, 3rd associate Principal trombone James Justin Kent, Principal Aaron Wright, (Fellow) Michael Kris, Bass Trombone

tuba Aaron Tindall, Principal timpani Eric Schweikert, Principal Percussion John Shaw, Principal Matthew Decker Catherine Cole, (Fellow) harp Anna Kate Mackle, Principal Morgan Short, (Fellow) euphonium Demondrae Thurman, Principal Piano Marika Bournaki, Collaborative Piano Ruoting Li, (Fellow)

On leave Courtney LeBauer Susan McCallum Elizabeth Phelps ** One Year Appointment

Section strings are listed alphabetically and seated in rotation


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the helene and stephen WeichOlz GlOBal film series

Perfect Strangers (Perfectos Desconocidos) In spanish with english subtitles

WeDnesDAY, JulY 17

7:00 pm, schaefer Center for the Performing Arts tapping into our cell phone-obsessed zeitgeist, seven long-time friends meet for an intimate dinner party during a lunar eclipse. When the hostess suggests a party game in which the attendees agree to make all calls and texts public, secrets and lies abound, forcing the participants to question how much they really know about each other. mexico; rated r; directed by manolo caro (2018); 97 minutes pre-film talk with dr. John pfeifer begins at 7:00 pm, with the film beginning at approximately 7:30 pm. concessions, including popcorn, cookies, beer, wine and cold beverages, are available for purchase. With special thanks to our generous sponsors for this series, helene and Stephen Weicholz.



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An Evening of Chamber Music thursDAY, JulY 18

ross snyder, violin michelle lie, violin edwin kaplan, viola serafim smigelskiy,cello

7:00 pm, Mark e. ricks Athletics Complex

Variations on a Russian Theme string quaREtet String Quartet in e minor, Op. 59 No. 2 “Razumovsky”

Various Composers Pavel Karmanov Beethoven

What could be better than an evening of world-class chamber music by the tesla Quartet, in an informal and intimate café setting— complete with food and drink, socializing with other music lovers, informal conversation with the musicians— and a panoramic view of the Appalachian State University football stadium? (OK, we admit that a sports arena may be an unusual backdrop for chamber music, but An Appalachian Summer Festival is excited about presenting classical music in new and unconventional settings). Please join us for this unique event that guarantees a fun and memorable concert experience! Ticket includes concert, an array of tapas and a selection of beer, wine and other beverages. This performance was also supported, in part, by a generous gift from Joni and Peter Petschauer.


“Though free to think and act, we are held together, like the stars in the firmament, with ties inseparable. These ties cannot be seen, but we can feel them.” – Nikola Tesla These words are the inspiration behind the tesla Quartet’s vision. For the quartet, music is the conduit for this incredible, binding force, these “ties inseparable.” Through performance, teaching, and outreach, the Tesla Quartet strives to tap into this palpable feeling and create meaningful connections with their audiences. Praised for their “superb capacity to find the inner heart of everything they play, regardless of era, style or technical demand” (The International Review of Music), the Tesla Quartet brings refinement and prowess to both new and established repertoire. Dubbed “technically superb” by The Strad, the Tesla Quartet recently took Second Prize as well as the Haydn Prize and Canadian Commission Prize at the 12th Banff International String Quartet Competition. The quartet has also garnered top prizes at numerous other international competitions, including the Gold Medal at the 2012 Fischoff National Chamber Music Competition, Third Prize and the Best Interpretation of the Commissioned Work at the 6th International Joseph Haydn Chamber Music Competition in Vienna, and Third Prize at the 2012 London International String Quartet Competition. The London Evening Standard called their rendition of the Debussy Quartet “a subtly coloured performance that balanced confidently between intimacy and extraversion.” Having recently completed their tenure as the Marjorie Young Bell String Quartetin-Residence at Mount Allison University in New Brunswick, Canada, the Tesla Quartet also holds a community residency in Hickory, North Carolina that includes performances and workshops at local colleges, universities, and in the public school system, as well as a dedicated chamber music series. The quartet performs regularly across North America, with recent international appearances in London, Vienna, Beijing, Shanghai, and Seoul.


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Community involvement and outreach are integral parts of the Tesla Quartet’s mission, and the group has brought inspiring music to children’s hospitals, soup kitchens, libraries, retirement communities, and schools. In addition to their current work in North Carolina, the ensemble spent three years in partnership with the Aspen Music Festival’s Musical Odysseys Reaching Everyone program (M.O.R.E), providing lessons, master classes, workshops, and performances for young string players. The Quartet has also provided community

enrichment programs to the Steamboat Springs and Craig, CO communities as Quartet-in-Residence at the Strings Music Festival, and coached a chamber music program in conjunction with the Greater Boulder Youth Orchestras. The Tesla Quartet was formed at The Juilliard School in 2008 and quickly established itself as one of the most promising young ensembles in New York, winning Second Prize at the J.C. Arriaga Chamber Music Competition only a few months after its inception. From 2009 to

2012 the quartet held a fellowship as the Graduate String Quartet-in-Residence at the University of Colorado-Boulder, where they studied with the world-renowned Takács Quartet. They have also held fellowships at the Norfolk Chamber Music Festival and the Aspen Music Festival’s Center for Advanced Quartet Studies.


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a schaefer pOpular series event


8:00 pm, schaefer Center for the Performing Arts

Multi Grammy Award-winning master trumpeter and composer Chris Botti returns to the festival for a dazzling evening of music, ranging from jazz to pop to rock. For over two decades, this brilliant bandleader and born showman has amassed a spectacular variety of honors, including multiple Gold and Platinum albums, to become the nation’s largest selling instrumental artist.


Westglow Resort & Spa and Rowland’s Restaurant, made possible through the generosity of Bonnie and Jamie Schaefer. PERFORMANCE SPONSORSHIP PROVIDED BY:

Mast General Store, SkyBest Communications, Inc., Wells Fargo, Boone Area Visitors Bureau, Goodnight Brothers

Since the release of his 2004 critically acclaimed CD When I Fall In Love, Chris Botti has become the largest-selling American instrumental artist. His success has crossed over to audiences usually reserved for pop muisc and his ongoing association with PBS has led to four #1 jazz albums, as well as multiple Gold, Platinum and Grammy Awards. Most recently, his latest album Impressions won the Grammy for Best Pop Instrumental. Performing worldwide and selling more than four million albums, he has found a form of creative expression that begins in jazz and expands beyond the limits of any single genre. Over the past three decades, Botti has recorded and performed with the best in music, including Sting, Barbra Streisand, Tony Bennett, Lady Gaga, Josh Groban, Yo-Yo Ma, Michael Bublé, Paul Simon, Joni Mitchell, John Mayer, Andrea Bocelli, Joshua Bell, Aerosmith’s Steven Tyler and even Frank Sinatra. Hitting the road for as many as 300 days per year, the trumpeter has also performed with many of the finest symphonies and at some of the world’s most prestigious venues from Carnegie Hall and the Hollywood Bowl to the Sydney Opera House and the Real Teatro di San Carlo in Italy. Impressions, Botti’s 2012 Columbia Records and Grammy winning release, is the latest in a stellar parade of albums – including When I Fall In Love (2004), To Love Again: The Duets (2005), Italia (2007), and the CD/DVD Chris Botti in Boston (2009) – that has firmly established him as a clarion voice in the American contemporary music scene. Playing with his uniquely expressive sound and soaring musical imagination, Botti is joined on the disc by featured artists Andrea Bocelli, Vince Gill, Herbie Hancock, Mark Knopfler, and David Foster in a warm, intimate celebration of melodic balladry. With Impressions and the albums that preceded it, Chris Botti has thoroughly established himself as one of the important, innovative figures of the contemporary music world.


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a schaefer pOpular series event

An Evening of Classic

Lily Tomlin

“When yOu Wish upOn a star”

Words by Ned Washington Music by Leigh Harline Copyright 1940 by Bourne Co. Copyright Renewed All Rights Reserved International Copyright Secured ASCAP

sAturDAY, JulY 20

8:00 pm, schaefer Center for the Performing Arts series spOnsOrship prOvided By:

Westglow resort & spa and rowland’s restaurant, made possible through the generosity of Bonnie and Jamie schaefer. perfOrmance spOnsOrship prOvided By:

skyBest communications, inc., Boone area visitors Bureau, mast General store, Goodnight Brothers, Wells fargo This performance was also supported, in part, by generous gifts from ralph Grier and letty and Keith Stoneman.

lily tomlin, one of America’s foremost comediennes, continues to venture across an ever-widening range of media, starring in television, theater, motion pictures, animation, video, and social media. Throughout her extraordinary career, Tomlin has received numerous awards, including: eight Emmys, with 25 primetime and five daytime nominations; a Tony for her one-woman Broadway show, Appearing Nitely; a second Tony for Best Actress, a Drama Desk Award and an Outer Critics’ Circle Award for her one-woman performance in Jane Wagner’s The Search for Signs of Intelligent Life in the Universe; a CableAce Award for Executive Producing the film adaptation of The Search; a Grammy for her comedy album, This Is a Recording as well as nominations for her subsequent albums Modern Scream, And That’s the Truth, and On Stage; and two Peabody Awards — the first for the ABC television special Edith Ann’s Christmas (Just Say Noël), and the second for narrating and executive producing the HBO film The Celluloid Closet. In 2003, she received the Mark Twain Prize for American Humor and, in December 2014, was the recipient of the prestigious Kennedy Center Honors in Washington DC. Tomlin was recently honored with the Career Achievement Award from the Television Critics Association and the Lifetime Achievement Award from the Screen Actors Guild. early life. Tomlin was born in Detroit, Mich., and grew up in a working-class neighborhood on the outskirts of one of the city’s most affluent areas. Although she claims she wasn’t funny as a child, Tomlin admits she “knew who was and lifted all their material right off the TV screen.” Her favorites included Lucille Ball, Bea Lillie, Imogene Coca, and Jean Carroll, one of the first female stand-ups on The Ed Sullivan Show. After high school, Tomlin enrolled at Wayne State University to study medicine, but her elective courses in theatre arts compelled her to leave college to become a performer in local coffeehouses. She moved to New York in 1965, where she soon built a strong following with her


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appearances at landmark clubs such as The Improvisation, Cafe Au Go Go, and the Upstairs at the Downstairs, where she later opened for the legendary Mabel Mercer in the Downstairs Room. television. Tomlin made her television debut in 1966 on The Garry Moore Show and then made several memorable appearances on The Merv Griffin Show, which led to a move to California where she appeared as a regular on Music Scene. In December 1969, Tomlin joined the cast of the top-rated Laugh-In and immediately rose to national prominence with her characterizations of Ernestine, the irascible telephone operator, and Edith Ann, the devilish six-year-old. When Laugh-In left the air, Tomlin went on to co-write, with Jane Wagner, and star in six comedy television specials: The Lily Tomlin Show (1973), Lily (1973), Lily (1975), Lily Tomlin (1975), Lily: Sold Out (1981), and Lily for President? (1982) for which she won three Emmy Awards and a Writers’ Guild of America Award. Tomlin also starred in the HBO special about the

AIDS epidemic, And the Band Played On (1993). She has guest starred on numerous television shows, such as Saturday Night Live, Homicide, X-Files and Will and Grace, and played the boss on the popular CBS series Murphy Brown. She is also heard as the voice of the science teacher Ms. Frizzle on the popular children’s animated series The Magic School Bus, for which she was awarded an Emmy. In 2002, Tomlin joined the cast of the hit NBC series The West Wing, playing President Bartlett’s assistant, Debbie Fiderer — a role for which she received a 2003 Screen Actors Guild nomination for Best Actress in a Drama Series. Tomlin continued in the role of Debbie through 2006, the final season of West Wing. In the past few years, Tomlin has made several guest appearances on Desperate Housewives, NCIS, Eastbound and Down, and guest starred in the acclaimed Fx series, Damages, in the Emmy-nominated role of matriarch of a wealthy New York family accused of financial fraud. In 2012, Tomlin co-starred with Reba McEntire on the ABC series, Malibu Country, and was

seen on the Showtime series Web Therapy, as Lisa Kudrow’s narcissistic mother. She also produced, with Jane Wagner, and narrated the HBO documentary An Apology to Elephants, for which Tomlin received an Emmy Award for Narration. Tomlin is currently co-starring with Jane Fonda in the widely popular Netflix series Grace and Frankie, which premiered in May 2015 and has continued into its fifth season, which began in January 2019. In the first four seasons, Tomlin has been nominated for an Emmy for Best Actress in a Comedy Series, a Golden Globe for Best Actress in a Comedy Series, and several SAG awards for Best Actress in a Comedy Series. Tomlin was recently honored with the Career Achievement Award from the Television Critics Association and the Lifetime Achievement Award from the Screen Actors Guild. stage. Tomlin made her Broadway debut in the 1977 play Appearing Nitely, written and directed by Jane Wagner. Appearing Nitely included such favorites as Ernestine


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and Judith Beasley, the Calumet City housewife, and also introduced Trudy the bag lady, Crystal the hang-gliding quadriplegic, Rick the singles bar cruiser, Glenna as a child of the ’60s, and Sister Boogie Woman, a 77-year-old blues revivalist who preaches cheap thrills for the elderly. Appearing Nitely was later adapted as both an album and an HBO Special. Tomlin next appeared on Broadway in 1985 in a year-long, SRO-run of Jane Wagner’s critically acclaimed play The Search for Signs of Intelligent Life in the Universe. The Broadway success was followed by a coast-to-coast, 14-city tour that spanned four and a half years. Tomlin extended this extraordinary theatrical career with a cross-country, 29-city tour of The Search, a new production of The Search on Broadway, a record-breaking, six-month run of the production in San Francisco, and a six-week run as part of the 2004 season at the Ahmanson Theatre in Los Angeles. Movies. On film, Tomlin made her debut as Linnea, a gospel singer and mother of two deaf children in Robert Altman’s Nashville (1975); her memorable performance was nominated for an Academy Award, and she also won the New York Film Critics and National Society of Film Critics Awards for Best Supporting Actress. She next starred opposite Art Carney as a would-be actress living on the fringes of Hollywood in Robert Benton’s The Late Show (1977). She went on to star with John Travolta as a lonely housewife in Jane Wagner’s Moment by Moment (1978), and then teamed with Jane Fonda and Dolly Parton in the late Colin Higgins’ comedy 9 to 5 (1980). She starred as the happy homemaker who became The Incredible Shrinking Woman (1981), written by Jane Wagner, and the eccentric rich woman whose soul invades Steve Martin’s body in Carl Reiner’s popular All of Me (1984). She then teamed with Bette Midler for Big Business (1988). In the ’90s, Tomlin starred in the film adaptation of The Search for Signs of Intelligent Life in the Universe (1991); appeared as part of an ensemble cast in Woody Allen’s Shadows and Fog (1992); starred opposite Tom Waits in Robert

Altman’s Short Cuts (1993); and portrayed Miss Jane Hathaway in the screen adaptation of the popular television series The Beverly Hillbillies (1993). Tomlin also played a cameo role in The Player (1992) and Blue in the Face (1995), starred in the David O. Russell film Flirting with Disaster (1996) and joined Jack Lemmon, Dan Akroyd and Bonnie Hunt in Getting Away with Murder (1996). Tomlin starred opposite Richard Dreyfuss and Jenna Elfman in Buena Vista’s Krippendorf’s Tribe (1998), and co-starred with Maggie Smith, Judi Dench, Joan Plowright and Cher in the Franco Zeffirelli film Tea with Mussolini (1999). Tomlin then starred with Bruce Willis in Disney’s The Kid (2000) and appeared in a quirky cameo role in Orange County (2002). Tomlin co-starred with Dustin Hoffman in I Heart Huckabee’s, a David O. Russell comedy that explores the emotional idiosyncrasies of life (2004). She was seen in A Prairie Home Companion (2006), written by Garrison Keillor and directed by Robert Altman, in which she and Meryl Streep appear as a sister-singing act. Tomlin appeared in Paul Schrader’s film The Walker (2007), co-starring with Woody Harrelson, Kristin Scott-Thomas and Lauren Bacall. Tomlin played a sensitivity-training expert assigned to instruct employees on social and political correctness with Steve Martin as Inspector Clousseau in Pink Panther II (2009). Tomlin starred in a Paul Weitz movie with Tina Fey and Paul Rudd, Admission (2013), and stars in a second movie that Paul Weitz specifically wrote for Tomlin, Grandma (2015). Grandma, which received substantial critical and audience praise, brought Tomlin a Golden Globe nomination for best actress in a movie comedy. For her extensive work in film, Tomlin has received the Crystal Award from Women in Film. live Appearances. Tomlin continues to make appearances around the nation and in Australia for shows in Sydney, Brisbane and Melbourne. In November 2009, Tomlin debuted in Las Vegas at The MGM Grand Hotel in her new show entitled Not Playing with a Full Deck. She returned there for two engagements

in 2010. In 2011, she returned to Australia for several concert appearances and participated in the Mardi Gras Festival. She appeared with Jane Fonda at the May 2015 TED Talks in Monterey, California. Philanthropy and Activism. Tomlin is well-known for supporting philanthropic organizations, particularly those focused on animal welfare, civil rights, health care, protection of elephants, women’s issues, AIDS-related organizations, environmental concerns, homelessness, equal pay and the LGBTQ community. She has given countless fund-raising performances for organizations across the country, including The Ann Richards School for Young Women Leaders, Rosie’s Place in Boston, Project Home in Philadelphia, Fenway Health Center, One Fair Wage and many community action groups. Tomlin has contributed in other ways to improve conditions for all living things, such as founding the Los Angeles LGBT Center’s Lily Tomlin/Jane Wagner Cultural Arts Center. Tomlin and Wagner together also founded the ‘Goosebump Garden’ at the internationally known LGBT Fenway Health Center in Boston and have been involved in its growth for over 25 years. As part of her concern for animals, Tomlin earned an Emmy for her narration of the documentary An Apology to Elephants. She has worked with elephant activists all over the country to take elephants out of zoos, is on the boards of Actors and Others for Animals, and the Shambala Sanctuary. She also works with PAWS Elephant Sanctuary in California. She has received the Petco Foundation’s Hope Award for being a leader in animal welfare, and she established the Voice for the Animals Foundation’s ‘Lily Award’. Tomlin’s humanitarian efforts earned her the Honickman Foundation’s Golden Heart Award for her impact in breaking the cycle of homelessness and poverty. On New Year’s Eve 2013, Tomlin and Wagner were married in a private ceremony with friends. Tomlin can be found on Facebook, Twitter and other social media, and her entire career in art, text, photos and videos can be found at


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the helene and stephen WeichOlz GlOBal film series

Becoming Astrid (Unga Astrid) In swedish and Danish with english subtitles

WeDnesDAY, JulY 24

7:00 pm, schaefer Center for the Performing Arts Becoming Astrid is a 2018 biographical drama about the early years of swedish author astrid lindgren, the world’s third most-translated children’s writer, credited for more than 100 books, including Pippi longstocking. eager to break free from her conservative upbringing, teenaged astrid trades her carefree life working on her family’s farm for an internship at a local newspaper. at first, it seems like an ideal outlet, not only for her talents, but also for her desire to become a free-thinking, modern adult woman of the 1920s. sweden/denmark; not rated; directed by pernille fischer christensen (2018); 123 minutes pre-film talk with dr. John pfeifer begins at 7:00 pm, with the film beginning at approximately 7:30 pm. concessions, including popcorn, cookies, beer, wine and cold beverages, are available for purchase. With special thanks to our generous sponsors for this series, helene and Stephen Weicholz.



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Broadway’s Next Hit Musical thursDAY, JulY 25 AnD

FrIDAY, JulY 26 8:00 pm, Valborg theatre Cast rOB sChIFFMAnn DeB rABBAI MAtt gIrOVeAnu PAt sWeArIngen Music Director gArY ADler

Emcee rOBB COles Co-Artistic Directors DeB rABBAI rOB sChIFFMAnn Co-Producers rAlPh BuCKleY DeB rABBAI rOB sChIFFMAnn greg trIggs

Every song is fresh. Every scene is new. Every night is different. It’s all improvised and it’s all funny. The hysterical Broadway’s Next H!T Musical is the only unscripted theatrical awards show. Master improvisers gather made up, hit song suggestions from the audience and create a spontaneous evening of music, humor, and laughter. The audience votes for their favorite song and watches as the cast turns it into a full blown improvised musical - complete with memorable characters, witty dialogue, and plot twists galore. BNHM has been seen recently at The Triad, Tribeca Film Festival, and at the New York Musical Theater Festival, among many others. This program will run approximately 85 minutes with no intermission

Director’s note

The lights go down. The overture begins. Pretty much your typical musical theater experience so far, yes? No! Tonight will be different! Why, you ask? Because this musical has never been seen before! In fact, it has not even been conceived, written or rehearsed! And yet it will appear, complete with script, music, lyrics and choreography, before your eyes this evening. This is the exciting process at the heart of Broadway’s Next H!T Musical. We will step onstage free of any preperformance ideas and allow ourselves to be inspired by what you, our audience, write on a small piece of paper – a story to unfold as we perform it. We are empowered by the notion of creating a memorable song, complete with melody and lyrics. We dance to choreography invented as it is executed. Broadway’s Next H!T Musical, improvisation at its best, will amaze and delight you, and leave you with the experience of seeing what has never before been seen and what will never be seen again. Broadway’s Next H!T Musical can only be described as magic! Visit to like us on Facebook or follow us on Twitter

Who’s Who

rob schiffmann (Co-Artistic Director, Co-Producer, Performer) has worked and toured as a professional improviser and musician for over 17 years. As a two-time MAC (Manhattan Association of Cabarets and Clubs) Award winner and the recipient of the 2011 INNY (Improvisation News) Award for Best Improv Coach, Rob’s musical and improv talents are known across the country. He has taught and directed improv at The School for Film and Television, WeistBarron, and the Perry-Mansfield Performing Arts School in Steamboat Springs, Colorado. A graduate of Oberlin


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College, Rob worked regularly with Chicago City Limits as a performer, teacher and director from 1994 to 2011. Rob joined Broadway’s Next Hit Musical in 2001. BNHM’s master improvisers started their success at the famous NYC cabaret club Don’t Tell Mama as well as with the New York Musical Theater Festival. Rob became Co-Artistic Director in 2009, and continues to perform with the hysterical troupe throughout the country and at their resident theater The Triad in NYC. Called “sharper than a pound of cheddar cheese” by, Rob has showcased his skills on The Daily Download and CBS’ The Early Show. Rob’s musical talent is also evident with the New York-based acousticpop band The Hillary Step; he is the main writer, lead singer, guitarist and music director. For more information, please visit Deb rabbai (Co-Artistic Director, Co-Producer, Performer) is an improviser, singer, teacher, corporate facilitator/role player, actor and voice actor who has been working successfully in these mediums for 25 years. She spent 10 years performing and teaching improvisation with TheatreSports New York, five years performing with ComedySportz NY and six years performing with Chicago City Limits. Deb has ppeared on Late Night with Conan O’Brien and in national commercials for MasterCard, Wendy’s and Zyrtec. Deb has done countless voiceovers, ranging from radio and TV advertisements, to video games and has made a name for herself in the world of Japanese anime having voiced characters in over 45 anime films which are listed on her Wikipedia page. A graduate of The American Academy of Dramatic Arts in NYC and a highly experienced teacher of improvisation and acting, she’s had the pleasure of teaching at NYU, Marymount Manhattan College, The American Comedy Institute, The New York Film Academy and American Musical and Dramatic Academy in NYC. As a facilitator/role player she has worked with

companies from the pharmaceutical world to finance to beer! Her great joy has been taking on the role of co-artistic director of Broadway’s Next Hit Musical in 2009 and in watching the show and its performers flourish. She’s also a tap dancer/hoofer and periodically brings her shoes on the road so you may get to see her hoof! For more information visit: MAtt gIrOVeAnu (Performer) (SAG-AFTRA Fi-Core) is an actor, musical improviser and voiceover artist from Astoria, NY. Matt majored in TV Production and double minored in Theatre Studies & Performance at Seton Hall University. Matt can be seen weekly in New York City on the musical improv house team VERN at the Peoples Improv Theater, who in conjunction with, produced A Very Improvised Holiday Musical with Tony winner Laura Benanti. Television credits include HBO’s Boardwalk Empire, The Deuce, Netflix’s Unbreakable Kimmy Schmidt, ID’s A Crime to Remember & SyFy’s Happy! PAt sWeArIngen (Performer) is pleased to be making his debut with Broadway’s Next Hit Musical in the Sunshine State! His hometown of Danville, Illinois, has also produced Dick Van Dyke, Bobby Short and Gene Hackman so here’s hoping some of that rubbed off on him! He is currently a featured performer and instructor at the Peoples Improv Theater in NYC. Favorite musical performances in the field of parodies have been as Doc Brown in “That 80s Time Travel Movie,” Freddie Krueger in “A Bad Dream on Elm Avenue,” Caesar in “The Hungry, Hungry Games,” and more traditionally as Frump in “How To Succeed...”, and Crazy Old Maurice in “Beauty and the Beast.”

rOBB COles (Emcee) is an NYC based Actor/Comedian. Regional theatre credits include: McCarter Theatre, Shawnee Playhouse, and the Armory Theatre. He also appeared in the musical revue, Hollywood to Broadway in Shanghai, China. As a Comedian, Robb has appeared at New York Comedy Club, The Stand, and Comic Strip Live. He’s also performed comedy for Holland America Cruise Lines, The Wendy Williams Show on TV, and The Friars Club Roast of Padme Lakshmi. gArY ADler (Pianist) served as the musical director for Broadway’s Avenue Q for its entire six and a half-year run. Other NYC conducting credits include The Radio City Christmas Spectacular, Kinky Boots, The Fantasticks and Next to Normal. He co-wrote the long-running Off-Broadway musical Altar Boyz, for which he received Drama Desk nominations for both his music and lyrics. Gary also wrote and arranged for Disney Channel’s Johnny and the Sprites starring John Tartagila. He has been playing improv piano for longer than he would care to admit. Anne hustOn (Stage Manager) is based out of New York and is the production manager at Caveat, a venue that blends nerdy topics with live entertainment. They’ve stage managed shows at Lincoln Center, Second Stage, Manhattan Theater Club, and many others. In their free time, they help run Decent Company, a theater company dedicated to the advancement of the theatrical writer/performer. Come talk to them about all things queer, weird or cute! &


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33rd rOsen sculpture Walk sAturDAY, JulY 27

10:00 am – noon , smith gallery in the schaefer Center for the Performing Arts free event

the rosen sculpture Competition and exhibition is a national juried competition presented annually by the Turchin Center for the Visual Arts on the campus of Appalachian State University. To celebrate the 33rd anniversary of this dynamic program, join competition juror Bill Brown on an educational outdoor tour of the 10 selected sculptures from this year’s competition. The tour concludes at the Schaefer Center with an awards reception.

About the Juror

David Boyajian Fiddlehead

Derek Chalfant Back Home Again

Robert Coon Merlin’s Compass

Bob Doster A Memorial

Brian Glaze Learn to Fly

Hanna Jubran Earth, Water, Fire, Wind

Stephen Klema Rybee House

Beau Lyday When the Spirits Soar

Shawn Morin Child’s Play Revisited

Glenn Zweygardt Adam Meets Eve

Derek Chalfant Articulated History* *Located at the Blowing Rock Art and History Museum (BRAHM)

made possible by the continued support and generosity of the rosen Family: The martin & doris rosen Giving Fund/debbie rosen davidson and david rosen/ Charles & nancy rosenblatt Foundation.

Bill Brown is a sculptor and painter who lives and works in Linville, North Carolina. His sculptures are featured in many private and public collections and have appeared in numerous exhibitions and invitationals in museums and galleries across the United States. Brown has participated in artists’ residences at Penland School of Crafts, the Vermont Studio Center and the Windgrove Center in Australia. He often shares his extensive knowledge of sculpture at various conferences and educational facilities. Brown’s sculpture series, “Refugee,” is currently featured at the Turchin Center for the Visual Arts in Gallery B.


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BrOyhill chamBer ensemBle The Four Bs

sunDAY, JulY 28 7:00 pm, rosen Concert hall Sponsored by mcdonald’s of Boone

Gil Morgenstern, violin; Avi Nagin, violin Kathryn Lockwood, viola; Ole Akahoshi, cello; J.Y. Song, piano The Four Bs takes the usual three great composers (Bach, Beethoven and Brahms) and adds a fourth, contemporary one, Vytautas Barkauskas (Lithuania) with his homage to Bach. Selections from: Partita in E Major Partita

Gil Morgenstern, violin

Johann Sebastian Bach Vytautas Barkauskas

Piano Trio in D Major, Op.70 No.1 “Ghost” Ludwig van Beethoven Allegro vivace e con brio Largo assai ed espressivo Presto Gil Morgenstern, violin; Ole Akahoshi, cello; J.Y. Song, piano INTERMISSION Piano Quartet in A Major, Op.26 Johannes Brahms Allegro non troppo Scherzo: Poco Allegro Finale: Allegro Avi Nagin, violin; Kathryn Lockwood, viola; Ole Akahoshi, cello; J.Y. Song, piano Page Turner: Ingrid Nora Forsyth The Broyhill Chamber ensemble Concert Series is generously supported by the Broyhill Family Foundation (in memory of Faye Broyhill) and by ralph and Venda lerch/mcdonald’s of Boone. additional performance underwriting has been provided by The Budd and nanette mayer Family Foundation, inc., Joni and Peter Petschauer, the muriel and arnold rosen endowment for the arts and the rosen-Schaffel endowment for Classical music Programming. With special thanks to appalachia Cookie Company, for a generous donation of refreshments during this evening’s intermission. Biographical information for this evening’s performers begins on page 105.

Program notes:

Johann sebastian Bach selections from Partita for Unaccompanied Violin No. 3, in e Major, BWV 1006 (Born March 21, 1685, in Eisenach; died July 28, 1750, in Leipzig)

In 1717, Bach was appointed composer and music director to Prince Leopold, ruler of the tiny German state of Anhalt-Cöthen, an accomplished musician with a great appetite for instrumental music. In 1720, Bach wrote out a set of six pieces, three sonatas and three suites of dances, called partitas, for vioIin without accompaniment. Later generations profoundly admired these works, and profoundly misunderstood them, too. Robert Schumann, for example, failed to see that they were whole, entire, complete, needing not another note and in 1854, he composed piano accompaniments for them. The problem, we know now, is that there is more music in them than is apparent on simply reading the written notes. Much of the content is implicit or suggested in what is written and can exist only in the minds of the player and listener. To apprehend it requires acts of imagination and memory like “seeing” details in a painting that, in fact, have only been suggested by the artist. Baroque musicians gave the name “partita” to several different kinds of compositions, but for Bach the term was more or less interchangeable with “suite.” There is no basic difference in form between his dozen English and French Suites and his six Partitas. Each partita consists of an introductory movement, followed by a set of stylized dances, transported from 16th or 17th century ballrooms to 18th century concert rooms. Bach seems to have been inspired to write the Partitas because of the great success that his predecessor at St. Thomas’s, Johann Kuhnau, had had with his. Kuhnau was a talented, imaginative musician and a worthy model, but he was no Bach and his partitas now have only a modest historical interest. Partita No. 3 opens with a brilliant Prelude that was one of Bach’s favorites. Some years later he arranged it as an organ solo, added an accompaniment for what was at the time a large orchestra, (from whence


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Schumann may have gleaned his idea of writing accompaniments) and used the new version as an introductory movement in two different church cantatas. Five dance movements follow. A Loure was a slowly rocking rustic or pastoral dance that originated in France in the 17th century and probably took its name from the bagpipes that accompanied it. Next comes a Gavotte en Rondeau. The Gavotte was a 17th century French dance whose melodies and phrases characteristically began in mid-measure. This Gavotte is “in rondo,” a musical structure in which the opening theme recurs in alternation with contrasting material. The Gavotte is followed by a pair of Minuets. When the second Minuet has been played, the first is repeated. A lively Bourrée follows, and then the final spirited Gigue, a stylized Anglo-Irish jig, with its name in French. Vytautas Barkauskas Partita for violin solo (Born in Kaunas, Lithuania in 1931)

The contemporary Lithuanian composer, Vytautas Barkauskas, who only recently became widely known, was, from 1992 to1994, Lithuanian ambassador to France, Spain and Portugal, and now is Chair of the Composition Department at the Lithuanian Academy of Music. During the 1960s, Barkauskas was a fervent adherent of avant-garde music and other new compositional techniques. “I am what I am now after treading the path of the avant-garde,” he said. “But I don’t think avant-gardism is something eternal. It’s more important to accept something that is avant-garde, swallow and digest it and find something original,” he remarked. “I find it most important to synthesize a variety of elements, such as Lithuanian, French and Japanese essences into my music.” Barkauskas shapes his style by synthesizing serial technique and tonality. His works have emotional expressiveness, colorist subtleties, and strong dramatic structure. He has commented: “The most important thing is that music make contact with the listener, for without the listener music loses its soul.” During the Cold War, Barkauskas’s contacts with non-Lithuanian musicians were limited to those working in the former Soviet

Union, but even before Lithuania became independent in 1990, Barkauskas was known for his Partita for solo violin, which he composed in 1967. It was a favorite recital piece of renowned violinist Gidon Kremer, who somehow happened upon the score and included it in his repertoire, first performing it as an encore at the Mozart Week in Salzburg in 1976. Barkauskas fuses the twelve-tone style with the form of the Baroque partita in this fivemovement work of contrasting moods. The five movements provide a variety of colors, rhythms and tempos, yet the work has a strict underlying structure. The technically demanding virtuosic Partita, which begins with a 12-tone row, takes its title from Baroque dance suites. The musical character of each of the middle movements, “Scherzo,” “Grave,” and “Toccata,” displays characteristic Baroque rhythmic figures. The first and the last movements, “Praeludium” and “Postludium,” use the same musical motives in a sort of framing device; the “Postludium” quotes and varies material heard in the “Praeludium.” Also, the violinist uses special effects in the “Praeludium,” such as playing with the bow near or beyond the bridge of the instrument. ludwig van Beethoven Piano Trio No. 4, in E-Flat, Op. 70, No. 1, Geistertrio (“Ghost Trio”) (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna)

In Beethoven’s time, the trio for piano, violin and cello was a very popular medium, and it occupied an important place in Beethoven’s oeuvre. His Opus 1 was made up of three trios that he played in 1793 for Joseph Haydn, who thought the third of them so advanced that he suggested that it be withheld from publication at the time. That one was Beethoven’s favorite, and he finally returned to it twenty-four years after first completing it in order to arrange it as a string quintet that was published as his Op. 104. In his middle years, when he brought the forms he had inherited from Mozart and Haydn to their greatest fulfillment, Beethoven wrote three more trios, the two of Op. 70 and the Op. 97 trio. He completed Op. 70 in 1808, at the time

he was composing the Symphonies Nos. 5 and 6, and during this same period, working on music for Goethe’s Egmont, as well as learning to accommodate the stresses of his increasing deafness. When he offered these works to the publisher Breitkopf and Hartel, he wrote that he had decided to write two piano trios “since such trios are rather scarce.” He dedicated both to the Countess Anna Maria Erdödy, in whose house he occupied an apartment at the time. Erdödy, a frail woman, related by marriage to Haydn’s patrons, the Esterházys, was a student of Beethoven’s, and she performed his music well. Although they became close friends, there was never any evidence of any amorous relationship between them. Beethoven originally had planned that Op. 70 was to be dedicated to the Emperor’s son, Archduke Rudolph, his most generous, most faithful and most elevated student. However, he made a sudden switch, and Rudolph received the dedication of Op. 97, now always called the Archduke Trio. At that time, trios were more frequently played as hausmusik (concerts in homes) than in concert halls. The composer Louis Spohr, a contemporary of Beethoven’s, mentioned hearing the composer playing the trios of Op. 70 and wrote in his Autobiography, “As at the time I made Beethoven’s acquaintance, he had already discontinued playing both in public and at private parties; I had therefore but one opportunity to hear him, when I casually came to the rehearsal of a new Trio at Beethoven’s house. It was by no means an enjoyment; for in the first place the pianoforte was woefully out of tune, which however little troubled Beethoven, since he could hear nothing of it, and secondly, of the former so admired excellence of the virtuoso, scarcely any thing was left, in consequence of his total deafness... I felt moved with the deepest sorrow at so hard a destiny. It is a sad misfortune for anyone to be deaf; how then should a musician endure it without despair? Beethoven’s almost continual melancholy was no longer a riddle to me.” Nevertheless, during this middle period, Beethoven composed fast and furiously. The Trio, Op. 70, No. 1 is very dramatic; in it, Beethoven creates masterful effects.


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Throughout, the music moves quickly from loud and violent to soft and lyrical and uses deceptively simple materials. Its first movement, “Allegro vivace e con brio,” begins with all three instruments playing a unison rhythmic motif, violent and fiery, which blends into a more melodic motif that the cello first introduces. These two motifs, displaying Beethoven’s fondness for working with small motifs rather than with expansive themes, dominate the movement. The movement ends suddenly, with a final repeat of the original motif. The extraordinarily slow second movement, “Largo assai ed espressivo,” has the programmatic quality that gives this work its name. In Beethoven’s sketchbook, music for this movement appeared in the same location as an idea for the opera Macbeth, which he never completed. Some commentators indicate that the name “Ghost” may have been derived from these entries in the sketchbook, making the name “Ghost” reflect some connection in Beethoven’s mind between the spectral music he writes in its slow movement and the ghostliness of the witches’ scene in Shakespeare’s Macbeth. On the other hand, other commentators indicate Beethoven had just completed reading Hamlet and may have been recalling the terror of the ghosts that tormented the protagonist. Lewis Lockwood in his book Beethoven: The Music and the Life notes that Czerny, in 1842, wrote that the second movement “reminded him of the first appearance of the Ghost in Hamlet, thus coining the colloquial title ‘Ghost’ for the whole work.” Regardless of how the trio became associated with ghostliness, the music shows that Beethoven, now in his middle period, was reaching toward Romanticism. This tension filled, suspenseful slow movement includes serious, dark and mysterious rumblings and other dramatic and eerie effects, and like the first movement, this mysterious and powerful movement grows out of a motive that Beethoven states at the very beginning. The exciting finale, “Presto,” has a completely cheerful, bright aspect and was composed in a clearly-defined sonata form with several contrasting themes. Basil Smallman describes this movement as “an admirable compound of high spirits, wit

and occasional rustic good humor.” Johannes Brahms Quartet for Piano and Strings No. 2, in A Major, Op. 26 (Born May 7, 1833, in Hamburg; died April 3, 1897, in Vienna)

In his first 25 years, Johannes Brahms made an astonishing journey from living life as a youth, miserable in the harbor-side slums of Hamburg where he worked as pianist in sailors’ bars, to an intimate friendship with Robert Schumann and a position on the musical staff of the Prince of Lippe-Detmold. Brahms was a largely self-taught composer whose horizons were lifted by the lively musical life of the little princely court, and it was there that he began to write his first great compositions. In January 1860, Brahms returned to his hometown to settle down and work as a composer, consolidating the knowledge and experience acquired in Detmold, polishing his skills and exercising his craft. Among the compositions in progress was a group of quartets for piano, violin, viola and cello that he had been sketching since 1855. Two of the quartets were soon near completion and later were published as his Op. 25, in G minor and Op. 26 in A Major. A third, in C minor, was put aside until 1873 and 1874, when he rewrote it and gave it the Op. No. 60 designation. Brahms told a friend that he supported himself in Hamburg by giving piano lessons to untalented young girls until he could afford to move out of a wretched rented room where he lived like a servant to better housing in a beautiful building in the suburbs. In his new lodgings he held Friday evening musicales; it was at one of those at which the A-Major Piano Quartet was probably first tried out. When the music was published, it bore a dedication to his landlady, Frau Dr. Elisabeth Rösing. In 1862, Brahms decided to see what the musical life of Vienna was like, before settling down permanently in Hamburg. He set off in September, and in the course of the next few years, traveled back and forth between the two cities, but eventually made Vienna his home, joining the great Viennese pantheon of Haydn, Mozart, Beethoven and Schubert, who had lived there before him. He rented a room in a

house where Mozart had lived almost a century earlier, and on November 16, 1862, made his Vienna debut. He demonstrated that he was both composer and pianist with a program that included the Op. 25 Quartet, which had been given a public performance a year earlier in Hamburg by Clara Schumann, Robert’s widow and one of the great pianists of the time. His success was so great that two weeks later, on November 29, he gave another concert, at which the Op. 26 Quartet had its first public performance, launching his new career. The important violinist, Joseph Hellmesberger, said, “He is Beethoven’s heir”; the powerful critic, Eduard Hanslick, who was to become a lifelong friend, also immediately recognized the extraordinary quality of young Brahms and his music of “untamed genius.” The A-Major Piano Quartet is a huge work, serious but high-spirited, the composition of a youthful master who had much to say and needed a large framework in which to say it. Where another composer would have featured single melodies as the subject of his musical discourse, Brahms has groups of them. His wealth of material is all organized, extended, varied and developed with great skill and with perfect musical fluency. The first movement, “Allegro non troppo,” may be interpreted either as a Schubertian idyll or as an intense and powerful declaration of passion. Brahms uses two themes in this movement instead of the usual single subject, but the second theme can be understood as an offshoot of the first. Second, an unusual, slow rondo, “Poco adagio,” has a principal theme, muted and serene, like a beautiful song. Often the strings work together against the piano arpeggios and solo line. Next comes a broad and deliberate Scherzo, “Poco allegro,” with a canonic, central trio section for which Brahms must have found his model in the works of Haydn. The Finale, “Allegro,” is a movement of great and sustained power. It is, in a way, a counterpart to the finale of the G minor first piano quartet (Opus 25), but it is less Hungarian in rhythm and embellishments. The dance-like feel is dominant in this concluding movement. Program Notes: Susan Halpern, © 2019


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BrOyhill chamBer ensemBle Potpourri

tuesDAY, JulY 30

7:00 pm, rosen Concert hall Pre-concert remarks by Hayes School of Music Dean James Douthit Sponsored by mcdonald’s of Boone

Gil Morgenstern, violin; Avi Nagin, violin Kathryn Lockwood, viola; Ole Akahoshi, cello; J.Y. Song, piano Potpourri presents the great works of Ernő von Dohnányi (his thrilling Serenade) and Robert Schumann (his monumental quintet) along with a seldom heard work by Sergei Rachmaninov. Trio Elegiaque No. 1 in g minor Sergei Rachmaninov Avi Nagin, violin; Ole Akahoshi, cello; J.Y. Song, piano Serenade Op. 10 in C Major Ernő von Dohnányi Marcia (Allegro) Romanza (Adagio non troppo, quasi andante) Scherzo (Vivace) Tema con variazio, (Andante con moto) Rondo (Finale) (Allegro vivace) Avi Nagin, violin; Kathryn Lockwood, viola; Ole Akahoshi, cello INTERMISSION Piano Quintet in E-Flat Major, Op. 44 Robert Schumann Allegro brillante Un poco largamente Scherzo, molto vivace Allegro ma non troppo Gil Morgenstern, violin; Avi Nagin, violin; Kathryn Lockwood, viola Ole Akahoshi, cello; J.Y. Song, piano Page Turner: Ingrid Nora Forsyth The Broyhill Chamber ensemble Concert Series is generously supported by the Broyhill Family Foundation (in memory of Faye Broyhill) and by ralph and Venda lerch/mcdonald’s of Boone. additional performance underwriting has been provided by The Budd and nanette mayer Family Foundation, inc., Joni and Peter Petschauer, the muriel and arnold rosen endowment for the arts and the rosen-Schaffel endowment for Classical music Programming. With special thanks to appalachia Cookie Company, for a generous donation of refreshments during this evening’s intermission. Biographical information for this evening’s performers begins on page 105.

Program notes:

sergei rachmaninoff Trio élégiaque (“Elegiac Trio”) for Violin, Cello and Piano, No. 1 in g minor (Born April 1, 1873, in Oneg, Russia; died March 28, 1943, in Beverly Hills, California)

Sergei Rachmaninoff was a supremely versatile musician, a formidable pianist, an admired composer and a conductor good enough to have been offered the directorship of the Boston Symphony Orchestra. Despite his heavy schedule of concert performances, he found time to write a great deal of music: four piano concertos, three symphonies, three operas, a large number of other works in many forms and a larger number of songs and piano pieces. He left Russia in 1917, making the United States his home for the rest of his life. Russia began to import a great deal of Western art music during the late years of the 18th century; before the 19th century ended, it had developed a native school that was fully the equivalent of the best that it received from Italy, Germany and France. Chamber music had an important place in the work of the new Russian composers, who created a tradition that continues to the present. At that time, there was also a sub-tradition, as it were, of memorial trios Russian composers dedicated to their predecessors. Tchaikovsky wrote his Trio of 1882 in memory of Anton Rubinstein. Rachmaninoff profited greatly from the aid and encouragement that Tchaikovsky gave him when he was young. The debt to Tchaikovsky is evident throughout this single movement G minor Trio élégiaque, composed in a few days in January 1892 when Rachmaninoff was only nineteen, at just about the time when he was graduating from the St. Petersburg Conservatory. (It was not published until four years after his death.) At about the same time, he composed the famous Prelude in C# minor and soon after, Piano Concerto No. 1. He wrote a second betterknown Trio élégiaque in four movements in memory of Tchaikovsky at the end of 1893, immediately after the senior


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composer’s death. This first Trio has only one movement, following a loose sonata form. This unusual movement is particularly extended; interestingly, the exposition is structured with many episodes that are symmetrically repeated in the recapitulation. The piano presents an elegiac theme in the first part, “Lento lugubre.” Later, the cello and violin take up the theme, while the character of the work metamorphoses, with new instructions from the composer: “più vivo - con anima - appassionato - tempo rubato risoluto.” Finally, the theme becomes a funeral march. In the Trio élégiaque we hear Rachmaninoff’s style taking shape. This trio is a work of genius, but one still immature. It stresses the presence of Rachmaninoff’s own instrument, the piano, rather than the chamber music ideal of equality of the instruments. His distinctive voice is already present; even as a young composer, Rachmaninoff had an individual voice. His characteristic ebb and flow of expressive feeling is evident to the listener. Sweeping thematic lines in rich textures point to his later work. In addition, the virtuoso piano part is illustrative of Rachmaninoff’s forte: creating a varied colored palette. The piano part is dominant throughout the melancholy work. The repetitive opening, a four-note rising motif, is heard throughout the work. Commentators have noted that played backwards in the same rhythm, it is identical to the opening descending motif of Tchaikovsky’s Piano Concerto No. 1. Others have said it is modeled on the first movement of Tchaikovsky’s trio, dedicated to Nikolai Rubenstein and is in the same key. The funeral march Rachmaninoff constructs at the end of the work has also been identified as imitative of Tchaikovsky’s elegy to Nikolai Rubinstein. There is no way to know any of this for certain, but it is likely that Rachmaninoff may have intended this trio in homage to Tchaikovsky.

ernö Dohnányi Serenade in C Major, Op. 10 (Born July 27, 1877, in Pozsony, Hungary; died February 9, 1960, in New York)

Béla Bartók, Zoltán Kodály and Ernö Dohnányi were the leading figures in Hungary’s rich musical life during the first half of the 20th century. They were friends and colleagues in many artistic projects, but they were also rivals who took very different positions on important issues in politics and esthetics. Paradoxically, the intense nationalism in the music of Bartók and Kodály has made their works better known in the rest of the world than are the works of Dohnányi’s cosmopolitan classicism. Dohnányi’s professional life began brilliantly in 1895, when he was still an eighteen-year-old student. That summer, his composition teacher showed Brahms a piano quintet his pupil had written, which so impressed Brahms that Dohnányi was summoned by telegram to come to the resort where Brahms was staying. Brahms brought Dohnányi’s music to the attention of some of the great performers of the time, and soon the young composer’s works were performed all over Europe and America. Dohnányi patterned his overall plan from Beethoven’s serenades for three instruments; Beethoven had inherited the idea for the form, in turn, from Mozart. In that early form, a serenade or divertimento consisted of lightened versions of the basic symphonic movements, sometimes with extra slow movements and dances added. The music often began and ended with a march that the performers played as they entered and left the concert room. The first of the five movements in this serenade is a Marcia: “Allegro” composed in a binary form. Some of its opening measures are used at the end as a codetta. The second part of the movement seems to be fashioned in a shape more akin to sonata form than to a serenade. The second movement, Romanza: “Adagio non troppo, quasi andante,” contrasts with the first because it is structured in ternary form. This movement has a

melancholy feel that is both lyrical and shimmering. The Scherzo: “Vivace,” third movement begins with a fugue-like section, while the trio of the movement is more lyrical. In the last section of the movement the first two sections are combined in a double fugue. A Tema con variazioni, makes up the fourth movement: “Andante con moto;” the last movement is a Rondo: “Allegro vivace.” At the end of the movement, the initial March of the first movement makes another appearance, rounding out the work. robert schumann Quintet for Piano and Strings in E-Flat Major, Op. 44 (Born June 8, 1810, in Zwickau; died July 29, 1856, in Endenich)

Robert Schumann’s father was a smalltown bookseller who encouraged his son’s inclination toward the arts. At the age of six, the boy began to play the piano and to compose, and by the time he was fourteen, he was already a published poet. At 18, he entered Leipzig University as a law student, but the call of music was too strong for him to resist. In his third year, he abandoned the University, determined to become a great pianist. When he injured his hand, he gave up hope of a career as a performer; turning to composition, he wrote the several brilliant collections of short, descriptive and atmospheric pieces that established his position as Germany’s leading composer. Throughout his career, Schumann’s output consisted of a series of works in related forms and styles. In 1840, the year of his marriage to Clara Wieck, he wrote almost nothing but songs, more than 130 of them, in a great outpouring of love and gratitude. His attention was diverted to the orchestra in 1841, when he wrote four symphonic compositions and the first movement of his Piano Concerto. In 1842, he put other work aside to concentrate on chamber music. That April, he ordered scores of all the Mozart and Beethoven string quartets available; he studied them for two months and then, between June and October, in a furious burst of creative energy, composed three string quartets, a


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piano quartet and this piano quintet. This quintet has a very important position in Schumann’s oeuvre: it is credited with first spreading his reputation as a significant composer as well as creating the standard instrumentation for the form of piano quintets to come. Schubert, with his Trout Quintet, had used a different instrumentation in his creation of a piano quintet structure: he left out the second violin, always present in quartets; instead, he scored his work for a double bass. Schumann established the quintet instrumentation that became fixed after him, using the standard string quartet (two violins, viola, and cello) to which he added a piano. Since his time, Brahms, Dvorák, Franck, Fauré, Elgar, Bloch, Shostakovich and many others have used the Schumann model. Schumann dedicated the quintet, imbued with a unique sense of novelty, to his wife, Clara, who played the piano part for its first performance. At the second performance of the work, Mendelssohn took over at the piano because Clara suddenly had become ill. Mendelssohn praised the work but suggested that Schumann replace the second trio of the Scherzo with something more spirited; Schumann, receptive to his suggestion, reworked it, making the changes in time for the first public performance, on January 8, 1843, in Leipzig. The first movement, “Allegro brillante,” begins with a powerful, expansive main subject and bold opening chords in all instruments. Schumann skillfully utilizes this declarative main subject for elements of all the secondary subjects in this marvelously melodic movement. The second and very poetic subject begins in the piano with a kind of abbreviated statement of the theme; the cello and viola, responding antiphonally to the piano, embellish the second theme. The development utilizes two measures of the opening theme in a very quick tempo; a very regular recapitulation closes the movement. The slow second movement, “Un poco largamente, in modo d’una Marcia” (“In

the Style of a March”) showcases two contrasting episodes. Actually, the march has more of a somber character than a parade-like feel. The violin introduces brief phrases with an almost uncanny and compulsive emphasis on the note of middle C, which becomes a broad theme that the violin and cello play. The middle section comforts the listener with lyricism; then the quietly intense initial clipped march theme returns, acting almost as a refrain. Finally, the march yields to a stormy Agitato section where the piano plays the lead role, providing a backdrop of triplets behind ominous brooding in the strings. The critic Arthur Cohn noted that at the time of silent motion pictures, original music was rarely composed to accompany films, but instead filmmakers searched diligently for already composed music in certain thematic moods to aid in the pantomimic drama. As a theme of menace fitting certain types of silent films, this second movement served frequently. The Scherzo third movement, “Molto vivace,” made up of virtually nothing but ascending and descending scales, creates a sense of exhilaration because of its rhythmic and harmonic variety. Two completely contrasting trios both depend on rhythmic patterns for their effects. Although the first feels pleasant and relaxed, the second has a very different character, displaying restlessness in a rustic dance often described as music reminiscent of the Hungarian gypsies. Schumann rewrote the latter section after Mendelssohn suggested that he replace it to make the work livelier. The vigorous finale, “Allegro ma non troppo,” combines elements of the sonata and rondo forms. Counterpoint, specifically the fugue, dominates the last movement. The movement begins with a kind of Slavic theme that soon occupies all five instruments. When Schumann introduces the second theme, it is accompanied by a disguised version of the first theme. In the coda, Schumann brings back the first movement’s theme and combines it with that of the last movement in a double fugue style, creating a most impressive

and memorable conclusion and giving the work a sense of unity. Program Notes: Susan Halpern, © 2019

BCe Bios:

Biographical information for gil Morgenstern appears on page 35. Cellist Ole Akahoshi from Germany has performed in recitals and as a soloist with many of the world’s leading orchestras on four continents. He has The neil and nancy won numerous Schaffel Chair competitions including Concertino Praga and Jugend Musiziert. He is also recipient of the fellowship award from Charlotte White’s Salon de Virtuosi. Akahoshi has performed in many prestigious concert halls worldwide and his performances have been featured on CNN, NPR, Sender-Freies-Berlin, RIASBerlin and Korean Broadcasting Station, among others. He has also made recordings for the Albany, New World Records and Composers Recording Inc., to name a few. He has collaborated with distinguished artists such as Sarah Chang, Ani Kavafian, Wolfgang Schultz, Naoko Yoshino and Hyuna Yu. At age 11, Ole Akahoshi was the youngest student to be accepted by Pierre Fournier. He has received his bachelor’s from Juilliard and master’s degree from Yale University. Akahoshi has served as teaching assistant for both Aldo Parisot and Janos Starker. He has been teaching at the Manhattan School of Music since 2004. He joined the faculty of the Yale School of Music in 1997 and is assistant professor of cello at Yale University. Christine lamprea is a dynamic artist with a growing reputation as a firebrand cellist with a “commitment to the highest standards” (Palm Beach Daily The Joni and Peter News). Recent Petschauer Chair performances include the Schumann concerto at Carnegie Hall’s


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Stern Auditorium, the premiere of a concerto written for her by Jeffrey Mumford, as well as a last minute replacement for Lynn Harrell with Symphony Silicon Valley. As a recitalist, Christine recently performed premieres of her own arrangements of Colombian music for Supreme Court Justice Sonia Sotomayor and the Colombian Ambassador to the United States. Other credits include Illinois’ Krannert Center for the Performing Arts, Florida’s Kravis Center for the Performing Arts, the Los Angeles County Museum of Art, Pepperdine University, and the Washington Performing Arts Society. Ms. Lamprea began her concert career in 2013 upon winning Astral Artists’ National Auditions, the Sphinx Competition, and the Schadt National String Competition. She has since performed with orchestras such as the Detroit Symphony, Houston Symphony, and the San Antonio Symphony. In 2018, she received the Sphinx Medal of Excellence for her contributions to the field as an artist of color. Violist Jessica thompson is a passionate chamber musician who performs regularly throughout the United States and abroad as a member of The ralph and Venda the Daedalus Quartet. lerch Chair The quartet, Grand Prize winner of the 2001 Banff International String Quartet Competition and resident quartet at Lincoln Center’s Chamber Music Society Two from 2005-07, is currently in residence at the University of Pennsylvania. As a member of Daedalus, Ms. Thompson has premiered works by such composers as Fred Lerdahl, Joan Tower, Richard Wernick, and Lawrence Dillon. Ms. Thompson has also toured with Musicians from Marlboro and has performed at numerous festivals, including the Portland Chamber Music Festival, the Halcyon Music Festival (Portsmouth, NH), the Newport Music Festival, and the Charlottesville Chamber Music Festival. She performs often as a member of the East Coast Chamber Orchestra.

Ms. Thompson has appeared as soloist with the Minnesota Orchestra and in recital in cities such as Philadelphia, Minneapolis, and Washington, DC. She currently teaches at Princeton and Columbia Universities. She is a graduate of the Curtis Institute of Music, where she studied with Karen Tuttle. Jerusalem-born pianist and conductor Benjamin hochman’s eloquent and virtuosic performances blend artistic bravura with poetic interpretation The Broyhill Family exciting audiences and Foundation Chair critics alike. Winner of the prestigious Avery Fisher Career Grant in 2011, Mr. Hochman has established a vibrant international musical presence through concerts with the New York and Los Angeles Philharmonics, Chicago, Pittsburgh, Houston, Seattle, San Francisco and Vancouver Symphonies, Prague Philharmonia, Istanbul State Orchestra and his Carnegie Hall debut with the Israel Philharmonic Orchestra. Recent and forthcoming performance highlights include Bartok Concerto No. 3 with the Whatcom Symphony, Mozart Concerto K. 414 with Santa Fe Pro Musica, and chamber music collaborations at Santa Fe Chamber Music Festival, Strings Music Festival in Steamboat Springs and Merkin Concert Hall (with musicians of the New York Philharmonic). Solo projects include a traversal of the complete Mozart Piano Sonatas at Bard College Conservatory and Israel Conservatory (Tel Aviv) as well as recitals at Goucher College, Delaware, Seattle, Hanover NH and Chatham NY. This season he presents world premieres by Jesse Brault, Gilad Cohen and Max Grafe. A graduate of the prestigious Juilliard Conducting Program where he studied with Alan Gilbert, he has also attended the Tanglewood Conducting Seminar, performed in masterclasses for Fabio Luisi and David Zinman, and served as musical assistant to Louis Langree at the 2016 Mostly Mozart festival. Recent and forthcoming guest conducting appearances include the Orlando Philharmonic, Santa

Fe Pro Musica and The Orchestra Now. He is founder and music director of the Roosevelt Island Orchestra in NYC. A graduate of the Curtis Institute of Music and the Mannes College of Music, where his principal teachers were Claude Frank and Richard Goode, he has recorded for Artek, Avie and Bridge Records. His latest album for Avie, Variations, was named by The New York Times one of the Best Classical Music Recordings of 2015. Currently on the piano faculty of Bard College Conservatory of Music, Mr. Hochman is a Steinway Artist and lives in New York City. Described by critics as “scintillating” and celebrated for her “rich, expressive playing” (MusicalAmerica), violinist Francesca DePasquale is the First The Joni and Peter Prize winner of the 2010 Petschauer Chair Irving M. Klein International String Competition and recipient of the prestigious 2014-2016 career grant from the Leonore Annenberg Fellowship Fund for the Performing and Visual Arts. Earning her the 2015 Classical Recording Foundation Young Artist Award, her self-titled debut album released in March of 2016 encompasses works that scope from Bach to a new commission from composer Paola Prestini for violin and electronics. For the album and accompanying recital tour, Francesca was praised for “sincerity, intensity” and “individual voice” (Philadelphia Inquirer), and “immaculate and discreet phrasing” (Strad Magazine). Additionally, she was featured in Strings magazine and on SiriusxM, WNYC, WQxR, WRTI (Philadelphia), and WFMT (Chicago). 2019-2020 season highlights include chamber music appearances for Noree Chamber Soloists’ Portsmouth Music Festival and Bruno Walter Auditorium at Lincoln Center series, Chamber Music Society of Fort Worth, Friends of Chamber Music (Reading, PA) with the Aletheia Piano Trio, and Manhattan Chamber Players at the Timucua Arts Foundation, Sanibel Music Festival, Vancouver


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Chamber Music Society, and Valley Concert Society. Additionally, solo recital and concerto appearance highlights include recitals presented by the Juilliard School, Rutgers University, and Goddard Riverside, as well as Barber Concerto with the Riverside Philharmonic and Shostakovich Concerto no. 1 with the Philadelphia Youth Orchestra. Since her debut as soloist at age 9 touring Spain with the Main Line Chamber Orchestra, Francesca has appeared as soloist with numerous orchestras, including the Gustav Mahler Orchestra, the Bach Festival of Philadelphia, Colburn Orchestra, Galesburg Symphony, Peninsula Symphony, and Santa Cruz Symphony. As recitalist, she has collaborated with artists Meng-Chieh Liu, Natalie Zhu, John Root, and Reiko Uchida on series such as the Philadelphia Chamber Music Society, National Sawdust, Rutgers University, the University of Pennsylvania, California Music Center, and the Perlman Music Program. An active chamber musician, Francesca has performed with renowned artists Adrian Brendel, Paul Coletti, Thomas Cooley, Jennifer Frautschi, Kim Kashkashian, Nicholas Kitchen, Ronald Leonard, Robert Levin, Pavel Nersessian, Merry Peckham, Itzhak Perlman, Jeffrey Sykes, Roger Tapping, Richard Todd, Donald Weilerstein, and Helena Winkelman. Francesca is a member of the artist roster for Manhattan Chamber Players and Noree Chamber soloists, and performs frequently with Marinus Ensemble and Chameleon Arts Ensemble. Additionally, she has performed for the Chamber Music Society of Fort Worth, Open Chamber Music at IMS Prussia Cove, Friends of Chamber Music (Reading, PA), An Appalachian Summer Festival’s Broyhill Chamber Ensemble, Chesapeake Chamber Music, Heifetz International Music Institute, Music at Bunker Hill, 23Arts Initiative, Jupiter Symphony Chamber Players, Music in the Vineyards, Olympic Music Festival, Music@Menlo, Colburn Chamber Music Society, and the Perlman Music Program. Additionally, she has collaborated with dancers Isabella Boylston and James Whiteside for the Fall for Dance Festival

alongside composer Stefan Levin, as well as performed with Orpheus Chamber Orchestra, the Brooklyn based orchestral collective The Knights, and A Far Cry. Francesca is the violinist of the Aletheia Piano Trio alongside pianist Fei-Fei and cellist Juliette Herlin. Formed in 2013 at the Juilliard School, the trio gave debut performances at the Rose Studio and Alice Tully Hall at Lincoln Center in New York and the Terrace Theater at the Kennedy Center in Washington, D.C. The Aletheia Piano Trio has performed for Shenson Chamber Music Concerts (Washington, D.C.), PLAY the Classics at Bethel Woods (Bethel, NY), Friends of Chamber Music (Reading, PA), Macon Concert Association at Wesleyan College (Macon, GA), Concerts in the Barn (Quilcene, WA), Chamber Music Society of Palm Beach (Palm Beach, FL), Saint Vincent College Concert Series (Latrobe, PA), Shandelee Music Festival (Livingston Manor, NY), and the Busan Maru International Music Festival (Busan, Korea), which included Beethoven Triple Concerto with the Gustav Mahler Orchestra and conductor Wilson Ng. Additionally, the trio regularly tours China, performing at Poly Theatres throughout the country. Recent media highlights include several broadcasts on Performance Today of Haydn Trio No. 39 in G major, HOB xV/25 “Gypsy”, recorded live in performance for the Chamber Music Society of Palm Beach. Francesca is a member of the violin faculty at Rutgers University Mason Gross School of the Arts as well as Assistant Violin faculty and Chamber Music faculty for the Juilliard School Pre-College Program. Additionally, she is a member of the violin faculty at the Heifetz International Music Institute and its Program for the Exceptionally Gifted, as well as assistant chamber music faculty emeritus for the Perlman Music Program Sarasota Residency. Previously, Francesca served as the Starling Fellow teaching assistant to Itzhak Perlman from 20132016 and teaching assistant to Catherine Cho from 2013-2018 at the Juilliard School, as well as Visiting Assistant Professor at Oberlin Conservatory of Music during the Fall of 2018. A graduate of the Juilliard and Colburn Schools, Francesca

studied with Itzhak Perlman, Catherine Cho, and Robert Lipsett. Previous teachers include Hirono Oka and William dePasquale, with additional mentorship from Norman Carol and Arnold Steinhardt. Francesca performs on a 1968 Sergio Peresson violin and a Jean “Grand” Adam bow. For more information please visit On the piano faculty at Mannes College in New York City, J.Y. song has been noted for her varied programming and idiosyncratic musical tastes. Critic Harris The arnold and muriel Goldsmith commented rosen Chair on her “truly astounding technical and imaginative resources,” and has described her performances as “tigerishly intense” and “exquisite.” J.Y. Song’s recordings on the Pro Piano label have received rave reviews. Her recording of Debussy Etudes was distinguished with a Diapason d’Or and designated a “Desert Island Selection” by Gramophone’s International Piano Quarterly. Among Ms. Song’s numerous awards are the Petschek Award (Juilliard’s highest honor to a pianist), the first ever Christel Award from the American Pianists Association, the Gold Medal at the Palm Beach Invitational International Piano Competition, and the distinction of Pro Piano Artist of the Year. In addition to providing insightful reinterpretations of traditional repertoire, J.Y. Song has been an advocate of new music, recording works by Ezequiel Viñao and Jiang Wen Ye. This last recording inspired a film by the celebrated director Hou Hsiao-Hsien, Café Lumière, which was nominated for a Lion d’Or at the Venice Film Festival. Raised in Switzerland, J.Y. Song studied at the Conservatoire de Genève and the Conservatoire de Lausanne with Alexis Golovine, Eduardo Vercelli, and JeanFrançois Antonioli. She graduated from Stanford University with distinction and honors, acquiring both a B.S. in Microbiology and Immunology and a B.A. in Music, and receiving the Sudler Prize for outstanding achievement in the creative


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arts. She earned a D.M.A. at The Juilliard School, where she studied with Jerome Lowenthal, and completed an M.B.A. at NYU Stern School of Business. Ms. Song has served for eight years as artistic director of the EAMA and Classics Abroad piano programs at the Ecole Normale de Musique de Paris. Her diverse interests have led her to explore entrepreneurial opportunities in music, most recently founding a tech startup, ToneRow, dedicated to bringing performing arts training to enthusiasts worldwide. She now teaches Leadership & Innovation at The Juilliard School. Kathryn lockwood has been hailed as a violist of exceptional talents in reviews around the country and abroad for her performances as a chamber musician and The arnold and muriel soloist. Kathryn was a rosen Chair founding member of the Pacifica Quartet and was the violist in the Lark Quartet for the last 16 years. She currently performs in duoJalal with percussionist and husband Yousif Sheronick, and teaches at both the University of Massachusetts/Amherst and at the John Cali School of Music at Montclair State University. Kathryn is the Artistic Director for the “Four Seasons of Music” Series and the Music@MoMA Series. She has premiered, commissioned, and recorded solo and chamber works for duoJalal, Lark Quartet and Pacifica Quartet on Cedille, Bribie, Innova, Arabesque, and Bridge Records. Kathryn plays on an unknown Italian viola from the 18th

Century Brescian School and performs during the summer for the Broyhill Chamber Ensemble in NC, Elm City ChamberFest in CT and at the Telluride ChamberFest in CO. Violinist Avi nagin was recently appointed Second Violin of the critically acclaimed Amernet String Quartet, a role he will assume fully in August 2019. He will also be joining The neil and nancy Schaffel Chair the faculty of Florida International University, where the quartet serves as Ensemble-in-Residence. A graduate of The Colburn School and the Yale School of Music, Avi is an active recitalist, chamber musician, orchestral player and educator. He has performed in collaboration with members of the Ebène and Orion Quartets, as well as with Paul Coletti, Benny and Eric Kim, Ronald Leonard and Julian Schwarz. Earlier this season, Avi served as Associate Concertmaster of the Sarasota Opera, also leading the orchestra as Concertmaster in the company’s production of Mozart’s The Magic Flute. Prior to joining the Amernet, Avi was Principal 2nd Violin of the Princeton Symphony Orchestra, Principal 2nd Violin of Symphony in C, section violin with the New Haven Symphony Orchestra, and regularly performed with the New Jersey Symphony Orchestra. The summer of 2019 marks Avi’s third year on the violin and chamber music faculty of the Eastern Music Festival, where he also performs in the Eastern Festival Orchestra under the baton of Maestro Gerard Schwarz as well

as performing frequently with the Eastern Festival Chamber Players. This summer’s other festival appearances include the Maverick Concerts (NY) and the Artosphere Festival (AR), and he will be joining the faculty at East Tennessee State University’s inaugural chamber music festival. In past summers, Avi has served as Concertmaster of the Lake George Music Festival (NY) and Principal 2nd Violin of the Manchester Music Festival (VT) As an educator in the NY area, Avi served as violin faculty and chamber music coordinator at the JCC Thurnauer School of Music (NJ), chamber music faculty for the New York Youth Symphony, substitute faculty at The Juilliard School’s Pre-College Division, and a “Teaching Artist” with Yale University’s Music in Schools Initiative. During his time as a student, Avi attended prestigious masterclasses and festivals around the world, including twice attending the International Musician’s Seminar at Prussia Cove (UK), where he appeared in masterclasses for Philippe Graffin, András Keller, and legendary violinist Ivry Gitlis. At Carnegie Hall, Avi was the youngest participant invited to appear in Leon Fleisher’s Brahms Chamber Music Workshop, where he worked with Mr. Fleisher, Yo-Yo Ma, and Pamela Frank as well as performing at Carnegie’s Weill Recital Hall. Avi held leadership positions in the orchestras of Tanglewood and Aspen, and has also attended Kneisel Hall, the Heifetz Institute and the Meadowmount School of Music. Avi’s principal teachers include Ani Kavafian, Robert Lispett, Daniel Phillips and Ann Setzer, and he has studied chamber music with Arnold Steinhardt, Sylvia Rosenberg and Paul Coletti.

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the helene and stephen WeichOlz GlOBal film series

A Translator (Un Traductor) In spanish and russian with english subtitles

WeDnesDAY, JulY 31

7:00 pm, schaefer Center for the Performing Arts A translator tells the true story of a Russian Literature professor at the University of Havana who is ordered to work as a translator for the child victims of the Chernobyl nuclear disaster when they are sent to Cuba for medical treatment in the late 1980s. Torn from the abstract world of academia and forced into the relentlessly real world of medicine, the college professor must find a way to connect with the kids and serve as an empathic translator between the doctors and the children’s parents. Cuba/Canada; Not Rated; Directed by Sebastiån Barriuso Gonzalez-Mora and Rodrigo Barriuso Gonzalez-Mora (2018); 107 minutes pre-film talk with dr. John pfeifer begins at 7:00 pm, with the film beginning at approximately 7:30 pm. concessions, including popcorn, cookies, beer, wine and cold beverages, are available for purchase. With special thanks to our generous sponsors for this series, helene and Stephen Weicholz.



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a schaefer pOpular series event

thursDAY, August 1

8:00 pm, schaefer Center for the Performing Arts


Westglow Resort & Spa and Rowland’s Restaurant, made possible through the generosity of Bonnie and Jamie Schaefer. PERFORMANCE SPONSORSHIP PROVIDED BY:

Boone Area Visitors Bureau, SkyBest Communications, Inc., Wells Fargo, Goodnight Brothers, Mast General Store

About Punch Brothers

Punch Brothers are the quintet of mandolinist Chris Thile, guitarist Chris Eldridge, bassist Paul Kowert, banjoist Noam Pikelny and violinist Gabe Witcher. Says the Washington Post, “With enthusiasm and experimentation, Punch Brothers take bluegrass to its next evolutionary stage, drawing equal inspiration from the brain and the heart.” Their latest album, All Ashore, was released in July 2018 on Nonesuch Records and won the 2019 Grammy for Folk Album of the year. The Independent called All Ashore, “ album of rich instrumentation and understated beauty that reveals deeper nuances on each and every listen.” As Thile says, the album is “a meditation on committed relationships in the present day, particularly in the present climate.” He continues, “We were hoping to create something that would be convincing as a complete thought, in this case as a ninemovement, or nine-piece, thought. Though it’s rangy in what it’s talking about, and in the characters who are doing the talking...” Punch Brothers returned to the same room at United Recording Studios in Hollywood (formerly Ocean Way) where they had recorded both The Phosphorescent Blues and their 2010 Jon Brion– produced Antifogmatic. Thile says they felt they had “established a rapport” with the space; the same “level of trust and love that breeds confidence” also led them to produce the album themselves, for the first time. “After four previous experiences we felt like we knew what we wanted. Going in we knew what we needed it to sound like and I think we had a specific enough vision to make the reality match up with that — as opposed to having someone navigate us toward something,” Thile explains. “Also, T Bone last time around, with engineer Mike Piersante, led us to a sonic place where we knew we wanted to be again.” Punch Brothers formed in 2006. Its first Nonesuch record, Punch, was released in 2008 and combined elements of the band’s many musical interests. In 2009,


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they began a residency at NYC’s intimate club The Living Room, trying out new songs and ultimately spawning Antifogmatic (2010). In 2012, the band released Who’s Feeling Young Now?, which Q praised for its “astonishing, envelope-pushing vision,” while Rolling Stone said, “The acoustic framework dazzles – wild virtuosity used for more than just virtuosity.” Recently, Chris Thile took over hosting duties of Live from Here (formerly A Prairie

Home Companion) in 2016 and released Thanks for Listening in late 2017 – a collection of songs written for Chris’ popular radio show. Chris Eldridge partnered with Julian Lage for the Mount Royal and Noam released his fourth solo album, the Universal Favorite. Both Mount Royal and Universal Favorite earned Grammy nominations and were produced by Gabe Witcher, who was also behind Sara Watkins’ latest, Young in All The Wrong Ways. Paul Kowert has been recording and

touring with the Dave Rawlings Machine and recently released Unless, the debut album from Hawktail, Paul’s band with Jordan Tice, Brittany Haas and Dominick Leslie.

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the helene and stephen WeichOlz GlOBal film series

Never Look Away (Werk Ohne Autor) In german and russian with english subtitles

WeDnesDAY, JulY 31

7:00 pm, schaefer Center for the Performing Arts inspired by real events and spanning three eras of German history, Never Look Away tells the story of a young art student named kurt Barnert who falls in love with fellow student ellie. What neither of them knows is that their lives are already connected through a terrible crime ellie’s father committed decades ago. Germany; rated r; directed by florian henckel von donnersmarck (2018); 189 minutes pre-film talk with dr. John pfeifer begins at 7pm, with the film beginning at approximately 7:30pm. concessions, including popcorn, cookies, beer, wine and cold beverages, are available for purchase. With special thanks to our generous sponsors for this series, helene and Stephen Weicholz.



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a schaefer pOpular series event

Concert & Dance Party WITH

THE TEMPTATIONS sAturDAY, August 3 7:30 pm, holmes Convocation Center

For more than 50 years, the temptations have prospered, propelling popular music with a series of smash hits and sold-out performances throughout the world. The Temptations hits include “My Girl,” “It’s Growing,” “Since I Lost My Baby,” “Get Ready,” “Ain’t Too Proud to Beg,” “Beauty Is Only Skin Deep,” and “I Wish It Would Rain” among others. The group includes original member Otis Williams, with singers Ron Tyson, Terry Weeks, Larry Braggs and Willie Greene Jr. SERIES SPONSORSHIP PROVIDED BY: Westglow Resort & Spa and Rowland’s Restaurant, made possible through the generosity of Bonnie and Jamie Schaefer. PERFORMANCE SPONSORSHIP PROVIDED BY: Mast General Store, SkyBest Communications, Inc., Wells Fargo, Goodnight Brothers, Boone Area Visitors Bureau With special thanks to Mr. John Carter from WBTV, our emcee for the evening.

For more than 50 years, the temptations have prospered, propelling popular music with a series of smash hits and sold-out performances throughout the world. “The crowds are bigger, the sales are sizzling,” says one industry report. “The outpouring of affection for this supergroup has never been greater.” The history of The Temptations is the history of contemporary American pop. An essential component of the original Motown machine, that amazing engine invented by Berry Gordy, The Temps began their musical life in Detroit in the early ’60s. It wasn’t until 1964, however, that the Smokey Robinson written-and-produced “The Way You Do the Things You Do” turned the guys into stars. An avalanche of hits followed, many of which — “My Girl,” for instance — attained immortality. “It’s Growing,” “Since I Lost My Baby,” “Get Ready,” “Ain’t Too Proud to Beg,” “Beauty Is only Skin Deep,” “I Wish It Would Rain”... the hits kept coming. The classic lineup was Otis Williams, Melvin Franklin, Paul Williams, Eddie Kendricks and David Ruffin. Beyond the fabulous singing, The Temps became known for smooth stepping and flawless presentations. The Temptations Walk became a staple of American style. Flair, flash and class. Millions of fans saw their Temptations as cultural heroes. When the ’60s and ’70s turned political, The Temps got serious. They changed their tone, dress and music. Producer Norman Whitfield led the way. His Temptations hits, many featuring Dennis Edwards who had replaced David Ruffin, burned with intensity. “Runaway Child” “Cloud Nine,” “I Can’t Get Next to You,” “Papa Was a Rolling Stone,” and “Psychedelic Shack” still smolder. Other stellar singers — Richard Street, Ali-Ollie Woodson, Theo Peoples — joined and adding their luster to the groups’ growing fame. No matter the change in personnel, The Temptations remained true to The


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Temptations tradition. They survived the whims of fashion, whether disco or techno, and stuck to their guns. “Great singing,” says Otis, “will always prevail.” In the ’80s, The Temps prevailed with smashes like the Otis Williams-penned “Treat Her Like A Lady.” Then in the ’90s, another Temptation explosion: It began with their appearance on Motown 25 in 1983; it continued with the NBC miniseries that chronicled the group’s history, a ratings triumph over two nights in prime time. An Emmy Award followed. then came a series of acclaimed records: Temptations Miniseries 1998 — Number 1 rated for two nights. Nominated for 5 Emmys, including best miniseries and winner of 1. For Lovers Only, a collection of love standards termed an instant classic by critics, remains among the most cherished of all Temptations recordings. Phoenix Rising went through the roof, a platinum-plus mega-hit featuring “Stay,” the Narada Michael Walden-produced song that topped the charts. Ear Resistible nailed a Grammy and a legion of new fans. Awesome, released in 2001, is The Temptations at their freshest, strongest and most appealing. Reflections was released in 2005, nominated for a Grammy and brought to the world The Temptations versions of some of Motown’s greatest songs. Get Ready This DVD, was released in 2006, was one of the largest-selling music DVDs ever The Temptations Musical, 2016 — based on Otis Williams’ book & miniseries.

the current lineup consists of: Otis Williams, ron tyson, terry Weeks, larry Braggs, Willie greene Jr. “The more we change,” says veteran Ron Tyson, “the more we stay true to ourselves. We’re about singing straight-up soul. It’s a style that will live on forever.” “The Temps have always been known for great lead singers”, says Williams. “Today we have four of the greatest leads in the proud history of the group.” The soaring voice of Philadelphia-born and -raised Ron Tyson, is perhaps the best high tenor in the business. Terry Weeks grew up in Alabama and spent eight years in the Air Force before his chance encounter with Otis. After an A Cappella audition on a Hollywood street corner; Otis was so impressed and brought him into The Temptations family. Larry Braggs is passionate, powerful and very spiritual. These are also the amazing attributes of the voice of this two-time Grammy-nominated artist. Cut from the same cloth as some of the world’s greatest vocalists, Larry has one of the most notable voices in the business. With a vocal range over three octaves and a command of the stage like no other, Larry has become one of the most electrifying entertainers on tour. This has gained him the respect and praise of his peers and fans all over the world. Willie Greene is a Bass vocalist who was born in Birmingham, Alabama. In the early ’60s, Willie first saw The Temptations on The Lloyd Thaxton Show. They sang “The Way You Do The Things You Do” and “Get Ready”. Even though I was just a child... I knew that I was a “Temptation forever!” Throughout my career I have had the honor, privilege and pleasure of recording and performing with Lyle Lovett, Ry Cooder, Dolly Parton, John Fogerty, George Harrison (The Beatles). ...This opportunity to become a part of the “Great Temptation Legacy” is truly God’s greatest musical gift to me! I would like to thank Mr. Otis Williams for his tenacity in

keeping the group together and granting me this opportunity! “Our challenge,” says Williams, “is to live in the present while respecting the past. Our past is filled with riches only a fool would discard. At the same time, we thrive on competition. As a Motowner, I grew up in the most competitive musical atmosphere imaginable. But we also understand that for a group with history, no matter how glorious that history might be, reinvention is the name of the game.” “When I tell people we are God’s group,” says Otis, a remarkable modest man, “I don’t mean it arrogantly. It’s just that we have been tested time and again and keep coming back. We have suffered the death of so many legendary singers: Paul Williams, David Ruffin, Eddie Kendricks, Melvin Franklin. Others like Dennis Edwards, Richard Street, Ali-Ollie Woodson and Theo Peoples have left, and yet our unity is tighter, our sound brighter and our popularity greater. Someone has watched over this group. Someone has protected our integrity. Someone has said, just go on singing and it’ll get better.” And so the temptations go on... and on... and on...


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