An Appalachian Summer Festival 2021 Playbill

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Summer Paula Exhibition Poundstone Page 25 Celebration Page 23





Emerson String Quartet


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Parsons Dance

Quo Vadis, Aida?

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35th Annual Rosen Sculpture Walk Page 41


Jason Isbell and the 400 Unit Page 43


Canadian Brass Page 45




Meet the Artists of Freedom Summer:

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Page 59

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The Road to Mandalay

Freedom Summer


Tessa Lark & Michael Thurber

Brian Stokes Mitchell & Megan Hilty Page 69

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Tesla Quartet





Page 71

Page 75




Alan Cumming and Ari Shapiro: Och & Oy! a considered cabaret


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Rosen-Schaffel Competition 10th Anniversary Celebration Page 81






Complicity Page 85



Julian Gargiulo: Pianist with the Hair Page 87


Ranky Tanky Page 89


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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.

Appalachian Home Care

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

WDAV 89.9 FM Davidson, NC


Charter Spectrum

WNC Magazine Asheville, NC

WFDD 88.5 FM Winston-Salem, NC

Winston-Salem Journal

Our State Magazine Greensboro, NC

WASU 90.5 FM Boone, NC

Greensboro News & Record

Classic Hits 100.7/99.1 Boone, NC

YES! Weekly Greensboro, NC

Creative Loafing Charlotte, NC

Mountain Times

WATA Boone, NC

WHKY 1290 AM & 102.3 FM Hickory, NC

WETS 89.5 FM Johnson City, TN


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Photo: Eduardo Patino

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WELCOME! Dear Friends: It is my pleasure to welcome you to Appalachian State University and the 2021 season of An Appalachian Summer Festival! This summer marks the 37th festival season, and a celebration of the stellar artistry that defines AppSummer. This summer also presents an opportunity to celebrate so much more: the arts as a social experience with the power to bring us together. The past year has been filled with challenges we have never before experienced. If a worldwide pandemic has taught us nothing else, we have learned that our community is strong and resilient because of the bonds that connect us. Arts programming builds those bonds in a way nothing else does. Through the arts, we celebrate the human spirit and the power of creativity. And through the arts, we explore ideas that define our world and shape our perspective. While many things may divide us, the arts have the power to unite us. Following a year in which we were unable to be together, we know that public health and safety is of paramount importance to the festival audience, and we are proud of the safeguards and measures the festival has taken to ensure that its audiences feel safe and comfortable. What better way to come together again than by experiencing, together, the superb line-up of world-class performing and visual arts programming that has come to characterize summer in the High Country? Thanks to all of the donors, sponsors, supporters and audience members who have remained loyal to the summer festival over the past year and who have helped to ensure that the summer festival, no matter what, continues to flourish. See you at the festival! Sheri Everts, Chancellor Appalachian State University

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. KENT TARBUTTON Chair JENNY MILLER Vice Chair HOWARD BRAFMAN Secretary IRA ABRAMS CAROL BERNS CAROL BLUMBERG KAY BORKOWSKI PENN BROYHILL SUE CHASE LORRAINE CHILDERS JEANNINE COLLINS FAYE COOPER CHUCK EYLER ADRIENNE FINKEL JOSETTE GLOVER ELLEN HARRELL LEONIE KRUGER


Ex-officio Members: Vice Chancellor for University Advancement


Vice Chancellor and Chief of Staff


Director of Arts Engagement and Cultural Resources


Dean, Hayes School of Music

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


Previous Year Advisory Board Chair (2019)


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37 years of unforgettable performances... 37 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 37-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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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 37th season in 2021, 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 BERGE H. and MELINÉ A. MARKARIAN BUDD and NANETTE MAYER ARNOLD P. and MURIEL S. ROSEN MARTIN L. and DORIS B. ROSEN ROBERT and MINNIE SNEAD J. BERNARD and SHIRLEY S. SPECTOR ROBERT L. and LILLIAN A. TURCHIN





2013 Members








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An Appalachian Summer Festival is presented by the Office of the Chancellor


OFFICE OF THE CHANCELLOR Vice Chancellor and Chief of Staff

Thanks to Our Friends of An Appalachian Summer Festival 2020 and The Schaefer Center for the Performing Arts 2020-21 Volunteer Coordinator:


ARTS & CULTURAL PROGRAMS: Director of Arts Education & Outreach


Assistant Director of Arts Education & Outreach





Volunteer Coordinator:

Director of Artist Relations

LAURA KAUFMAN Director of Operations

SCOTT HAYNES Lead Technician


ADAM CAMPBELL Box Office Manager

MAURA MCKENZIE Director of Marketing & Public Relations


Assistant Director of Marketing & Public Relations


Director of Development


KAREN TREFZ Administrative Assistant

HANNAH BENNETT TURCHIN CENTER FOR VISUAL ARTS: Director of Visitor Services Director of Arts Education & Outreach


Assistant Director of Arts Education & Outreach



Curatorial Specialist






Thanks to Our Friends of An Appalachian Summer Festival 2021


Director of Arts Engagement and Cultural Resources




CRAIG DILLENBECK Curatorial Specialist

ERIN DURHAM Director of Development

MELINDA FRIDDELL Curatorial Assistant

GABRIELLE KNIGHT Director of Donor and External Relations


Director of Marketing & Public Relations

LYNN REES-JONES Budget Director

KAREN TREFZ Administrative Assistant



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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 tax-deductible gift or pledge. Visit our website at, call 828.262.6084, ext. 104 or inquire at the ticket counter. 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



Artist Relations Assistants:





DWAYNE DAVIDSON TAYLOR FERRELL JOSIAH FORD DEVON HICKMAN SAREA KELLY MARY CATHERINE LYNCH ROB MCCORMAC ALEX NAISMITH COLLIN REGISTER SANIYE WILSON 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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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 $500,000 - $999,999 Mr. Paul H. Broyhill The Cannon Foundation, Inc. Mr. & Mrs. John Cooper/Mast General Store Lawrence & Barbara Freiman Mariam Cannon Hayes Nanette & Budd Mayer Martin & Doris Rosen SkyBest Communications, Inc. (a wholly-owned subsidiary of SkyLine Membership Corporation) $250,000 - $499,999 Ford Motor Company 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 Wendy & Mike Brenner The Max & Victoria Dreyfus Foundation, Inc. J.C. Goodnight William S. Goodnight 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 Sen. & Mrs. James T. Broyhill Mr. & Mrs. Keith Cloyed Armfield & Rachel Coffey Susan & Harvey Durham Lynn & Barry Eisenberg Adrienne Finkel A.J. Fletcher Foundation The Friedman Family: Ingrid, Mary & Nick 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 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 The Bruce J. Heim Foundation 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 Appalachian Home Care, LLC Homer & Margie Barrett Joan and Albert Benbasat 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 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 Peak Insurance Group - Chuck and Anna Eyler 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 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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2021 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, 2020 through June 15, 2021. Please note this list does not include gifts to other areas within Appalachian State University. PREMIER SPONSORS BENEFACTOR’S CIRCLE ARTIST’S CIRCLE $100,000 and Above $1,200-$2,999 $6,000-$9,999 Bonnie & Jamie Schaefer / Frank & Kay Borkowski Chetola Resort/Kent & Shelley Tarbutton Westglow Resort and Spa The Bruce J. Heim Foundation Creekside Electronics, Inc. / Lane & Joan Robinson The Rosen-Schaffel Endowment for Susan & Harvey Durham Classical Music Programming Ralph Glaser, Jr. & John A. Pfeifer BRAVO! CIRCLE An Appalachian Summer Festival Programming (in memory of Tina Silverstein) $3,000-$5,999 Endowment / Nancy & Neil Schaffel Susie Greene Michael & Judy Adler Jerry & Rebecca Hutchins Natalie & Penn Broyhill LEAD SPONSORS Joe Logan Sue & Steve Chase $50,000-$99,999 (in honor of Lynn & Barry Eisenberg) (in honor of the wonderful festival staff) Barbara Freiman Jenny & Wayne Miller Anthony S. diSanti & Deborah W. diSanti (in memory of Larry Freiman) Edith S. Peiser Courtyard by Marriott (in memory of Tina Silverstein) Diane & Ed Eisenberg FESTIVAL SPONSORS Bill Pelto & Linda Larson Lynn & Barry Eisenberg $25,000-$49,999 CDR Gerarda Persad & CW3 John Persad (in memory of Larry Freiman & Tina Silverstein) Steve & Lainey Brooks Sally & Russell Robinson Merle & Louis Feinberg Martin & Doris Rosen Giving Fund / Linda & Alton Russell Adrienne Finkel Debbie Rosen Davidson & David Rosen / Alex Sink Holiday Inn Express Charles & Nancy Rosenblatt Foundation Minnie & Bob Snead Sandy & Marc Kadyk The Muriel & Arnold Rosen Endowment for the Arts Jeannette Kimmel Helene & Stephen Weicholz PATRONS Suzanne Lasky Gerard & Bill Liebman $600-$1,199 Mike & Pam McKay / The Art Cellar Gallery CHANCELLOR’S CIRCLE Ira & Brenda Abrams Roger & Helen Michelson $10,000-$24,999 Carol & Morty Blumberg PNC Bank Appalachian Home Care, LLC / Ellen Harrell Hanes & Lida Boren Peabody’s Wine & Beer Merchants Joan & Albert Benbasat Howard & Kathryne Brafman Peak Insurance Group (in memory of Esta Perlow) Stephanie Poet Cohen Janet P. Pepin & Francesca K. Field Boone Area Visitors Bureau (in memory of Dolly & Jim Poet) R. Y. & Eileen L. Sharpe Foundation Wendy & Mike Brenner Barbara Watkins Daye University Bookstore Broyhill Family Foundation, Inc. Drs. James & Kathryn Douthit Julie and Gary Simon Circle S Foundation / Keith & Letty Stoneman Randy & Margaret Edwards (in honor of Steve & Lainey Brooks) Goodnight Brothers Nick & Mary Friedman Sandi Finci Solomon Ralph S. Grier Molle Grad Mast General Store / John, Faye & Lisa Cooper Donald & Marilyn Green McDonald's of Boone/Venda & Ralph Lerch Megan Hayes & Michael Kitchell Myron B. & Anne C. Liptzin (in honor of Kaaren & Lowell Hayes, Peter & Joni Petschauer & the matriarchs of AppSummer) (in memory of Tina Silverstein, Larry Freiman Larry & Nanci Tolbert Nance & Mark Tafeen) Mike & Christina Rosenthal Christine Petti Schwab Charitable Fund / Charlie & Dottie Sykes (in memory of Dr. A.F. Petti) Sam Tallman & Mike Zuravel Neil & Nancy Schaffel Julie & Tom Trueman Gary Silverstein Mary Underwood & Ben Henderson (in memory of Tina Silverstein) Bill & Judy Watson SkyBest Communications, Inc. Todd Wright Nancy Tafeen (in memory of Mark Tafeen & Tina Silverstein)


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CONTRIBUTORS $300-$599 Connie Adams Dr. Charlie & Ann Baker Lorraine Childers Elizabeth Cone Tracey & Paul Ford Hank Foreman & John Baynor Melinda Friddell Anna Gaugert & Thomas Martin Sali Gill-Johnson Simms & Doris Leitner Renée & David Lieberman Dr. Berge & Meliné Markarian Priscilla Rich Denise & William Ringler (in memory of Tina Silverstein, Larry Freiman, & Mark Tafeen) Traci D. Royster (in honor of Mrs. Denise R. Ringler) Dr. Morris & Margery Segall Cyn D. & John Weaver

FRIENDS $125-299 Kate R. Barrett Byron E. Bean (in honor of Bonnie Bean) Jonathan & Marisue Beloff Carol Berns & Ted Silver John & Bettie Bond James & Margaret Bragg Dan Gaugert & Terry Harper (in honor of Anna Gaugert) Dr. Louis N. Gottlieb & Gloria Lipson Laura & Kenny Kaufman Jane Lonon Gregg & Bonnie Marland Howard Miller & Nancy Clark Susan B. Morgan Doug & Susan Morton Susan & Bruce Pettyjohn (in memory of Tina Silverstein & Mark Tafeen) Bob & Karen Powell (in memory of Jack Branch) Marty Rice Barbara & Ed Rosasco Lynn B. Sanders Patrick K. Setzer ‘90 ‘98 Barbara Sugerman (in memory of Barry Sugerman) Karen Trefz Claudia Van Essen (in memory of her mother, Inge Van Essen) Allison West & Rick Suyao Mary & Dale Whisenant Steve & Deena Zaron

MEMBERS up to $124 Jane Barghothi Francine Barr (in memory of Tony Wrobel) Dr. & Mrs. Harold Carrin Jeanne Dairaghi, (in memory of Lawrence (Larry) Freiman) Cecilia Hamilton Jeff Handler Lindsay & Jesse Miller (in memory of Tina Silverstein) Tish & Tom Rokoske (in honor of Ralph Glaser & John Pfeifer) Marilyn Seward Jim & Sandy Sheatsley Helen Sirett & Ken Hendrix Deborah Strube Charles Surber Daisy Goodnight Waldrep Marlene Walter (in memory of Muriel & Arnold Rosen) Ina J. Warren Tanya Shook Wilder Bob & Maggie Wilson

AN APPALACHIAN SUMMER FESTIVAL’S ENDOWMENT CHALLENGE The following donors have made generous gifts or pledges toward An Appalachian Summer Festival’s Endowment Challenge, as part of an extraordinary commitment of $1,000,000 by Neil and Nancy Schaffel. For every gift to the festival endowment over the next four years, the Schaffels will match the gift dollar for dollar, up to $1 million. The challenge will play a critical role in helping the festival to reach its goal of generating a $5 million endowment fund in time for the festival’s 40th anniversary season in 2024. CHALLENGE DONORS Neil & Nancy Schaffel Challenge Participants (to date) Wendy & Mike Brenner Steven & Lainey Brooks Faye & John Cooper Barbara Freiman Susie Greene Joni & Peter Petschauer Bonnie & Jamie Schaefer Creekside Electronics / Lane and Joan Robinson


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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 App Summer patrons

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, Pepper’s Restaurant, Red Onion and Lost Province Brewing Co. In Blowing Rock: Timberlake’s Restaurant at Chetola Resort


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THE ARTS AT APPALACHIAN The Schaefer Center Presents...

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.

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. 2021-2022 Season: • Virtual Performances • Educator Workshops • In-Person Weekend Family Events • Featuring Sonia De Los Santos, Reggie Harris, ArtsPower Theatre on Demand’s From the Mixed-Up Files of Basil E. Frankweiler, Ellis Paul, BalletX and MORE! Details at

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!

Cannon Music Camp 2021 Performance Schedule

Cannon Music Camp invites you to join us for a free online masterclass for each band and orchestra instrumental, singers, pianists, and even guitarists! Presented by Cannon Music Camp and Hayes School of Music faculty, the asynchronous masterclass offerings are designed to enrich musical knowledge and prepare students for future auditions. Each masterclass will have unlimited access and will be available late June to early July on Cannon Music Camp’s website ( and on our YouTube channel. Featured for the instrumentalists will be demonstrations and recordings of the new 9-10 and 11-12 North Carolina All-State Band Solos! Thursday, June 25 7pm

Faculty Recital I

Sunday, June 28 2pm

Kaleidoscope Concert Featuring a variety of large and small ensembles Faculty Recital II

Friday, July 3 7pm Sunday, July 5 2pm 7pm

Honors Recital I Selected camper solo performances Piano Performances

Tuesday, July 7 7pm

Honors Recital II Chamber Groups

Thursday, July 9 7pm

FINALE CONCERT I Percussion Ensemble String Orchestra

Friday, July 10 7pm

FINALE CONCERT II Chamber Singers Treble Choir Concert Choir Wind Ensemble

Saturday, July 11 10am 12pm


Hayes School of Music

Department of Theatre & Dance

Department of Art

The Hughlene Bostian Frank Visiting Writers Series


Cannon Music Camp 813 Rivers Street, Rosen Concert Hall Appalachian State University, Boone, NC

Belk Library & Information Commons: Global Film Series

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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Summer Exhibition Celebration FRIDAY, JULY 2

6 – 9:00 pm, Turchin Center for the Visual Arts Free Event The Turchin Center for the Visual Arts would like to thank our friends at Allen Wealth Management for their support of the Summer Exhibition Celebration. This evening's event is dedicated to the memory of Tina Silverstein, a long-standing friend, leader and generous supporter of the Turchin Center's exhibition, education and outreach programming.

Celebrate summer and the opening of new exhibitions at the Turchin Center for the Visual arts – explore, discover and connect through the arts! This is an opportunity for art lovers to surround themselves with stunning artwork and meet the accomplished artists exhibiting in the galleries at the Turchin Center. Spend time with fellow community members who believe that art is something to be shared, cherished and celebrated. Experience diverse artwork by nationally and internationally renowned artists right here at the crossroads of Appalachian State University and downtown Boone. In order to ensure the health and safety of our visitors and staff, Covid-19 protocols and procedures will be in place. Registration: Event is free; however, registration is requested.


July 2 – December 11, 2021

Hodges Gallery Sharing space with Hoss Haley’s monumental work transports the viewer to a place where a clear separation between human creation and organic influence is undefined, yet beautifully intertwined. Color and texture are suggested but are ultimately ruled by nature. The marrying of raw nature and human intervention is what makes Haley’s work so captivating, allowing the opportunity to forget traditional rules, and marvel at a creation Hoss Haley, ERRATIC maquette beyond our understanding.

Wendy Babcox: Every Olive Tree in the Garden of Gethsemane June 4 – November 6, 2021

Gallery A This exhibition is a suite of photogravure images of each of the 23 olive trees in the garden. Situated at the foot of the Mount of Olives in East Jerusalem, the Garden of Gethsemane is known to many as the site where Jesus prayed the night before his crucifixion. The oldest tree has been carbon-dated to Wendy Babcox, Gethsemane-14 1092, a date almost coincidental with the first of the Crusades. The oldest trees are a living and symbolic link to this distant past, while the younger saplings bridge the present moment with an unknowable future.

Where are the birds? Retracing Audubon: Artwork by Krista Elrick June 4 – November 6, 2021

Gallery B This exhibition and book project reexamine John James Audubon’s epic life journey and the production of his beloved tome, The Birds of America. While the name Audubon is familiar and the drawings he created are still wildly popular, his eloquent writings are less well known. Retracing Audubon features Krista Elrick, Cincinnati Bluffs contemporary photographs made by Krista Elrick of the American landscapes in which Audubon traveled 200 years ago. Also included are quotes from Audubon’s journals and entries Elrick made in her own travel notebooks two centuries later.



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98.6: A Creative Commonality

Ruminations: Cheryl Prisco

Mezzanine Gallery Humans and chimpanzees share 98.6% of the same DNA. Both species have forward-facing eyes, opposing thumbs that accompany grasping fingers, and the ability to walk upright. Far greater than just the physical similarities, both species have large brains capable of exhibiting great intelligence as Artwork created by chimpanzees at well as an incredible emotional Zoo Knoxville. range. Chimpanzees form tight social bonds, especially between mothers and children, create tools to assist with eating, and express joy by hugging and kissing one another. In the case of chimpanzees and other great apes, research has shown that they also display a creative instinct, they respond to color, and many of them enjoy painting as a type of enrichment. This exhibition features a fascinating perspective on their work, in partnership with organizations committed to conservation and the well-being of these remarkable animals that share so much in common with us.

Community Gallery Rumination (noun) 1. a deep and considered thought about something. “I am addicted to color and pattern, drawn to irreverence and visual dissonance. In place of paint and brush I cut, color, and shape wood elements, creating abstract low relief assemblages. The process of my Cheryl Prisco: Fractured work, the shaping and fitting, the painting and placement of multiple pieces, is the physical manifestation of rumination. My feelings, attitudes and concerns are visually recorded in color and composition. Each assemblage is a rumination, a story, one in the making and one in the viewing.” —Cheryl Prisco This exhibition has been generously supported, in part, by a gift from Adrienne Finkel.

July 2, 2021 – February 5, 2022


Rowhouse Workshop: Brian Phillips - ISA March 5 – August 7, 2021

Mayer Gallery Rowhouse Workshop is an interactive exhibition showcasing the unique personalities of rowhouse blocks in Philadelphia. The exhibition leads visitors through a series of rowhouse block installations, sharing collectively curated songs, recipes, images, Brian Phillips / ISA, Rowhouse Workshop and videos. The exhibition’s arrival in Boone, NC emphasizes the potential for Rowhouse Workshop to be a template for other cities, neighborhoods and communities to reflect on their shared histories, experiences and social connectedness.

March 5 – August 7, 2021


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SATURDAY, JULY 3 5:00 and 8:00 pm, Schaefer Center for the Performing Arts Livestream (8pm show only)


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

Boone Area Visitors Bureau, Mast General Store, Goodnight Brothers, SkyBest Communications, Inc., and Appalachian Home Care LLC. This performance was also supported, in part, by a generous gift from Circle S Foundation and Keith and Letty Stoneman.

Paula Poundstone is known for her smart, observational humor and a spontaneous wit that has become the stuff of legend. Time magazine listed Paula’s HBO special, Cats, Cops and Stuff, as one of The 5 Funniest Stand-Up Specials Ever. She was the first woman, in its then 73rd year, to share the dais with the President and perform standup at the White House Correspondents’ Dinner. She was the first woman, in its then fifth year, to win the CableACE award for Best Stand-up Comedy Special. Her second book, The Totally Unscientific Study of the Search for Human Happiness, was one of eight semi-finalists for the Thurber Prize for American Humor, the highest recognition of the art of humor writing in the United States. The audio book was one of five finalists for the Audio Book of the Year AUDIE award. Paula can be heard weekly as the host of the comedy podcast Nobody Listens to Paula Poundstone. She has voiced several animated characters, including “Forgetter Paula” in the Academy Award-winning feature film Inside Out, has appeared on numerous TV shows, including The Late Show with Stephen Colbert, and has filed commentaries for CBS Sunday Morning. Paula continues as a panelist on NPR’s Wait Wait... Don’t Tell Me! She is recognized in innumerable lists, documentaries and literary compendiums noting influential standup comedians of our time.


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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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The 2021 Broyhill Chamber Series is dedicated to the memory of Larry Freiman, a devoted supporter of classical music programming at An Appalachian Summer Festival, who with his wife Barbara has provided significant annual support for this series.


7:00 pm, Schaefer Center for the Performing Arts plus livestream Sponsored by McDonald’s of Boone

Philip Setzer, Violin (1st in Beethoven) Eugene Drucker, Violin (1st in Purcell and Shostakovich) Lawrence Dutton, Viola Paul Watkins, Cello Chacony in g minor Quartet No. 14, Op. 142 Quartet in a minor, Op. 132

Henry Purcell Dmitri Shostakovich Ludwig van Beethoven Photo: Jürgen Frank

The Broyhill Chamber Ensemble Concert Series is generously supported by the Muriel and Arnold Rosen Endowment for the Arts, the Rosen-Schaffel Endowment for Classical Music Programming, the Broyhill Family Foundation, Barbara Freiman, and by Ralph and Venda Lerch/McDonald’s of Boone. Generous performance underwriting has also been provided by Joni and Peter Petschauer.

The Emerson String Quartet has maintained its status as one of the world’s premier chamber music ensembles for more than four decades. “With musicians like this,” wrote a reviewer for The Times (London), “there must be some hope for humanity.” The Quartet has made more than 30 acclaimed recordings, and has been honored with nine GRAMMYs® (including two for Best Classical Album), three Gramophone Awards, the Avery Fisher Prize, and Musical America’s “Ensemble of the Year” award. The Quartet collaborates with some of today’s most esteemed composers to premiere new works, keeping the string quartet form alive and relevant. The group has partnered in performance with such stellar soloists as Reneé Fleming, Barbara Hannigan, Evgeny Kissin, Emanuel Ax, and Yefim Bronfman, to name a few. The Emerson String Quartet’s 2019-2020 season, which began with a seven-city tour of Australia, included a number of highprofile projects. The Quartet made appearances at the Park Avenue Armory in New York, Friends of Chamber Music in Vancouver, Wharton Center for Performing Arts in East Lansing, MI, South Mountain Concerts, Wooster Chamber Music, Chamber Music Cincinnati, Chamber Music Louisville and Friends of Music Concerts in Millwood, NY. Overseas, the Quartet embarked on two European tours, with stops in Serbia, Austria, Switzerland, Italy, Germany, and Denmark. The Quartet’s extensive discography includes the complete string quartets of Beethoven, Mendelssohn, Brahms, Bartók, Webern, and Shostakovich, as well as multi-CD sets of the major works of Haydn, Mozart, Schubert, and Dvořák. In October 2020, the group releases a recording of Schumann’s three string quartets for the PENTATONE label. The ensemble also has recorded music by Tchaikovsky, Smetana, Debussy, Ravel, Barber, and Ives. In April of 2019, the Quartet joined forces with GRAMMY®-winning pianist Evgeny Kissin to release their debut collaborative album for Deutsche Grammophon, recorded live at a sold-out Carnegie Hall concert in 2018.


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Formed in 1976 and based in New York City, the Emerson String Quartet was one of the first quartets to have its violinists alternate in the first chair position. The Quartet, which takes its name from the American poet and philosopher Ralph Waldo Emerson, balances busy performing careers with a commitment to teaching, and serves as Quartet-in-Residence at Stony Brook University. In 2013, cellist Paul Watkins — a distinguished soloist, award-wining conductor, and devoted chamber musician — joined the original members of the Quartet to form today’s group. In the spring of 2016, the State University of New York awarded full-time Stony Brook faculty members Philip Setzer and Lawrence Dutton the status of Distinguished Professor, and conferred the title of Honorary Distinguished Professor on part-time faculty members Eugene Drucker and Paul Watkins. The Quartet’s members previously had received honorary doctorates from Middlebury College, the College of Wooster, Bard College, and the University of Hartford. In January of 2015, the Quartet received the Richard J. Bogomolny National Service Award, Chamber Music America’s highest honor, in recognition of its significant and lasting contribution to the chamber music field. The Emerson String Quartet enthusiastically endorses Thomastik strings.

“The Emerson performances represented an extraordinary fusion of experience and authority with audacity and freshness.” — The Boston Globe


Grammy Award for Best Chamber Music Performance: • 1989 Bartók: 6 String Quartets • 1993 Ives: String Quartets Nos. 1, 2; Barber: String Quartet Op.11 (American Originals) • 1997 Beethoven: The String Quartets • 2000 Shostakovich: The String Quartets

• 2005 Mendelssohn: The Complete String Quartets • 2006 Intimate Voices • 2009 Intimate Letters Grammy Award for Best Classical Album: • 1989 Bartók: 6 String Quartets • 2000 Shostakovich: The String Quartets Gramophone Classical Music Awards: • Chamber (Record of the Year) 1989 Bartók: String Quartets Nos. 1–6 • Chamber 2000 – Shostakovich, Complete String Quartets (Nos 1–15) Emerson String Quartet appears by arrangement with IMG Artists, LLC, 7 West 54th Street, New York, NY 10019. 212-994-3500 Eugene Drucker and Philip Setzer alternate in the first violin position.

Program Notes

Chacony in G Minor, Z. 730 for String Quartet... Henry Purcell (arr. Benjamin Britten) (Purcell: Born September 10, 1659 in Westminster, England; died there November 21, 1695) Britten: Born November 22, 1913 in Lowestoft, England; died December 4, 1976 in Aldeburgh, England)

Henry Purcell, one of the most renowned composers in England’s history, was the organist at the Chapel Royal and Westminster Abbey, where he is buried. He wrote for the church, for the theater, and for every kind of private performance. Like Mozart and Mendelssohn, he had a long and productive career that was condensed into a lifetime of only 36 years. Purcell was the only composer before J.S. Bach whose work is included in the repertory of the symphony orchestra. He is best known to today's audiences for the cameo appearance his music makes in Benjamin Britten's Young Person's Guide to the Orchestra. Between 1690 and 1695 alone, Purcell composed music for almost 50 plays; the music was so extensive, in some cases, as virtually to convert the plays into operas. His instrumental music includes eight

suites and many short pieces for harpsichord, two sets of trio sonatas published in 1683 and later, a collection of Fantasias written around 1680. Purcell composed the Chacony for an ensemble of viols, bowed stringed instruments with frets, which are typically held vertically like cellos or double basses. Unfortunately, the date when Purcell composed this Chacony, an independent work, is not known; perhaps it was part of incidental music Purcell wrote for a play or some other specific occasion. A chacony (Fr. chaconne It., ciaccona) consists of a series of variations over a repeated bass figure. Its title is unusual and seems to be unique: it would have been more likely to call the composition ‘chaconne’ after the French, as the similar term refers to a piece consisting of variations written over a repeating bass line known as ostinato. Benjamin Britten admired Purcell’s music and [adapted Purcell’s expressive Chacony in G minor into a work for string quartet in 1948, in part to familiarize players and audiences with his distinguished predecessor’s music. In the Purcell/Britten Chacony, an eight-measure bass statement, introduced by the lower strings, serves as the foundation for 18 variations. In some of the variations, the bass figure appears in the higher-voiced instruments. Purcell became the last major figure to explore this particular format. He created his music at the transitional moment when the older viol family of instruments was beginning to yield to the more brilliant timbre of violins. Britten, who completed the arrangement for string quartet in 1948 and revised it for string orchestra in 1963, chose not to alter Purcell’s original order of notes, but devised a “credible dynamic structure and consistency of dotted rhythms and distribution of parts,” according to English composer/musicologist Philip Lane. Britten wrote: “The theme, first of all in the basses, moves in a stately fashion from a high to a low G. It is repeated many times in the bass with varying textures above. It then starts moving around the orchestra. There is a quaver version with heavy chords above it, which provides the material for


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several repetitions. There are some free and modulating versions of it, and a connecting passage leads to a forceful and rhythmic statement in G minor.” According to Britten, the work concludes with “a pathetic variation, with dropping semi-quavers (16 notes), and repeated ‘soft’ passages – Purcell’s own instruction.” Chacony is scored for strings in four parts. Quartet No. 14 in F Major, Op. 142... Dmitri Shostakovich (Born September 25, 1906 in St. Petersburg; died August 8, 1975 in Moscow)

Shostakovich’s String Quartet No. 14 in F-sharp major, Op. 142, is usually regarded as the most accessible of his late quartets. Shostakovich began composing this work while he was visiting the composer Sir Benjamin Britten in England in the summer of 1972; he completed it in Moscow on April 23, 1973. It is dedicated to the cellist Sergei Shirinsky, whom Shostakovich highlighted with many solo passages for the cello. Quartet No. 14 displays a very personal lyricism, which commentators suggest may have been inspired by the quality of Shirinsky’s playing. Fyodor Druzhinin, the violist of the Beethoven Quartet, said Shostakovich “not only trusted the musicians he loved, but he also heard their way of playing when he composed.” This group was his own personal “instrument,” much as the Schuppanzigh Quartet had been Beethoven’s. The Beethoven Quartet performed the work on October 30, 1973 at the Composers’ Club in Moscow, but the official premiere took place in St. Petersburg (then Leningrad) on Nov. 12, 1973. The work was awarded the Glinka prize in 1974. A year before beginning this quartet, Shostakovich had a heart attack, his second. Following it, he suffered weakness in his limbs, and in late 1972, was diagnosed with lung cancer. He underwent radiation therapy for the cancer and had extended hospital stays during which doctors prohibited his working. After his release from the hospital, greatly weakened, he traveled with his wife to Berlin for the premiere of his opera Katerina Izmaylova, a

revision of his earlier work Lady Macbeth of the Mtensk District, then still banned in the Soviet Union. Shortly after they returned to Russia, Shostakovich completed Quartet No. 14. In Shostakovich: A Life Remembered, Elizabeth Wilson tells how the composer played his newly completed quartet with the Beethoven Quartet during the illness of the second violinist. When the rehearsal was over, Shostakovich was visibly excited. He got up and said: “My dear friends, this has been for me one of the happiest moments of my life!” He not only was pleased that the Quartet had turned out well, also that they liked his “Italian bit,” by which he meant a short but wonderfully beautiful and sensual melody in the second movement and in the Finale's coda. This very melodic quartet is accessible to listeners, even though, like those of Beethoven, Shostakovich’s late quartets evidence a fine-tuning of the composer’s musical language and process and are not only intensely personal, but also include experiments in musical structure. The quartet has three movements with an essentially fast-slow-fast tempo sequence. The first movement begins with a simple, charming, and rhythmic cello thematic statement over a repeated viola note. The second group of themes is introduced again by the cello and continued by the first violin. The movement goes on to explore these themes, ending with a cello recitative and reprise of the theme that introduces an extended coda, which can be seen almost as a preface to the slow movement as well as a conclusion of the first movement. The movement hints of sonata form, but only in a free and episodic way. The second movement, Adagio, is delicate, lyrical, and also spare with poignantly affecting textures. This movement again gives prominence to the cello. The cello joins in after a protracted, melancholy violin solo, which includes all the notes of the chromatic scale, and then the two take part in a long exchange of expressive counterpoint. Subsequently, both violins, with viola pizzicato scored between them,

provide the backdrop for a greatly expressive cello line. As in many of Shostakovich's quartets, the slow movement is linked to the Finale without a break. The composer takes the Allegretto final movement’s main theme from his opera Katerina Ismailova. He quotes a romantic theme associated with Katerina’s lover Seryozha, an affectionate form of the name Sergei, and thus a reference to the cellist dedicatee of the quartet. The body of the finale is dramatic and passionate, quick and almost explosive. It then becomes slower and more lyrical as the second movement theme is reprised with serenity. The violin-cello duet from the first movement appears again too, leading to a quiet, extraordinarily lyrical and contemplative coda in which we hear the second of the two “beautiful and sensual” melodies referred to by Druzhinin when he speaks of the Italianate sound before the ending comes, settling firmly and finally in the tonic key. String Quartet No. 15 in A minor, Op. 132... Ludwig Van Beethoven (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna)

Between 1816 and 1826, Beethoven composed a series of extraordinary masterpieces: Symphony No. 9, Missa Solemnis, five piano sonatas, and the five string quartets with opus numbers 127 to 135. Just before these works began to appear, his output had been slim, possibly because the compositions of his middle years had exhausted the possibilities of the classical forms that he had inherited from Haydn and Mozart. His final works were to require new subjects, new forms, and new powers of creation. Beethoven’s last quartets have such great density, combining concentration and tension with such great weight, that they puzzled musicians for generations. The technical and interpretative difficulties they presented were usually blamed on the composer’s deafness. Early critics thought that during his years without hearing, Beethoven had lost touch with musical reality, yet we now believe that his deafness liberated him from a concern


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for common practicality and freed his imagination for greater invention. Beethoven composed Quartet No. 15, Op. 132, in 1825 as part of a group of three dedicated to his faithful supporter, Prince Nikolas Galitzin, who organized the first performance of the Missa Solemnis, Op. 123, in St. Petersburg in 1824. Its premiere took place on Nov. 6, 1825 with the Schuppanzigh Quartet performing. Galitzin’s fortunes had begun to fall; consequently, he paid for only one quartet, but Beethoven and Galitzin’s correspondence reveals much about their relationship. It was no ordinary thing, in those days, for a Russian prince, even one on the decline, to address a commoner as “Dear and Respected Monsieur van Beethoven.” This work enlarges the quartet structure to five movements. It begins with a freely expanded sonata form, Allegro, which opens with a slow introduction, Assai sostenuto. Commentators have long noted that the opening angular theme has a strikingly similar shape to the main subject

of the Grosse Fuge and to the opening fugue theme of the Op. 131 quartet. One commentator, Erich Schenk, demonstrated that it derives from a thematic configuration used in the Baroque period symbolizing feelings like pain, sorrow, and even preparedness for death. The second movement, Allegro ma non tanto, is a lively scherzo-like intermezzo in moderate tempo with a contrasting middle section that has a rustic character and is dominated by drone basses. Beethoven, who had been very ill that spring, headed the chorale theme of the third movement, “A Convalescent’s Sacred Song of Thanks to the Divinity, in the Lydian Mode” (“Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart”) In this double-variation form movement, he employs modal harmony, which produces an antique and religious atmosphere. When the initial slow and unearthly section, Molto Adagio, becomes Andante, it gathers more motion and a contrasting almost dance-like rhythm, to which Beethoven appended,

“Feeling new strength.” Passages in the two tempi alternate. Beethoven marked the measures that begin the last Molto Adagio section “with the greatest inner emotion.” The first violin connects the contrasting fourth movement, a brief march, Alla Marcia, assai vivace, to the rondo finale, Allegro appassionato, with a kind of recitative. Barry Cooper, one of Beethoven’s more recent biographers, mentions that Beethoven regarded the recitative as a separate movement and referred to the quartet as having six movements. Beethoven based the fifth movement, described by his biographer Solomon as an “urgent, floating waltz melody... an etherealization and dancing fulfillment of the ‘Feeling New Strength’ section” on a long, elegant melody he had once considered for his Symphony No. 9. Contrasting episodes and a unique development of great force and intensity reign until a long coda, Presto, brings the quartet to a close. Program Notes: Susan Halpern, © 2021

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Quo Vadis, Aida? In Bosnian, Serbo-Croatian, Dutch and English with English Subtitles

WEDNESDAY, JULY 7 7pm; link accessible for 24 hours Online On July 11, 1995, the Serbian Army, under the command of Gen. Ratko Mladic, overran the town of Srebrenica, which had been declared a safe haven by the United Nations. Along with thousands of other helpless Muslim civilians, Aida, a local teacher and translator for the UN seeks refuge for her family at a UN camp led by Dutch soldiers. As an insider to the negotiations between the UN forces and General Mladic’s troops, Aida must find a way to save her husband and two young sons from one of the worst atrocities of the ethnic wars that forever changed the former country of Yugoslavia. Bosnia/Herzegovina, Not Rated, Directed by Jasmine Zbanic (2020), 103 mins This series has been sponsored by a generous gift from Helene and Stephen Weicholz. Special thanks to our film curator, Dr. John Pfeifer.



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THURSDAY, JULY 8 4:00 and 8:00 pm, Schaefer Center for the Performing Arts Artistic Director

David Parsons Executive Director



MICHAEL MEGLIOLA Lighting Supervisor

CHRISTOPHER S. CHAMBERS Programs and casting subject to change.

Parsons Dance dedicates the performance to the memory of its Co-Founder and Resident Lighting Designer Howell Binkley, whose brilliant lighting made him a star. For us, he was also a cherished and generous friend.

~ TONIGHT’S PROGRAM ~ NASCIMENTO (1990) Choreography by David Parsons Lighting by Howell Binkley Music by Milton Nascimento Original costumes by Santo Loquasto, recreated by Barbara Delo EOGHAN DILLON ZOEY ANDERSON DEIDRE ROGAN HENRY STEELE DAMOND LEMONTE GARNER CROIX DIIENNO RACHEL HARRIS MEGAN GARCIA

Nascimento was commissioned by the Festival in the Sun at the University of Arizona at Tucson. Special thanks to Milton Nascimento, who composed this score as a gift to Parsons Dance, and to A. Alexandra Jupin, Executive Director of the Festival in the Sun.

BALANCE OF POWER (2020) Choreography by David Parsons Lighting by Christopher S. Chambers Music by Giancarlo De Trizio* Costumes by Barbara Erin Delo ZOEY ANDERSON or CROIX DIIENNO

Balance of Power was generously commissioned by Linda Stocknoff. *Music: “Balance of Power.” Written and Performed by Giancarlo “GC” de Trizio. Published by GrooveMusic (ASCAP).

Parsons Dance is a New York City-based contemporary American dance company, internationally renowned for its energized, athletic ensemble work. Founded in 1985 by Artistic Director David Parsons and Tony Award-winning lighting designer Howell Binkley, the company has toured to more than 447 cities, 30 countries, and five continents and has appeared at such notable venues as The Kennedy Center for the Performing Arts, Sydney Opera House, Maison de la Danse, Teatro La Fenice, and Theatro Municipal do Rio de Janeiro. Parsons Dance performs works selected form the vast and varied repertory of more than 75 works created by David Parsons. In addition, established choreographers like Trey McIntyre and Robert Battle are invited to re-stage works from the American canon on its dancers. And, through its GenerationNOW Fellowship, the company offers commissions to young American choreographers whom Parsons mentors through the creative process. Parsons Dance is committed to providing enriching experiences beyond its performances as it seeks to engage audiences of all ages through education and outreach programs; through post-show discussions, open rehearsals, studio showcases, video workshops, open company classes, summer workshops for pre-professional dancers; and in-school workshops for public school students. The company is especially proud of its AutismFriendly Programs initiative, launched in 2016, that features sensory-friendly workshops and relaxed performances for audiences of all abilities. All these activities are driven by the vision of Artistic Director David Parsons, who, for 35 years, has combined his choreographic gifts and talent for training highly skilled dancers with a real passion for the art form. DAVID PARSONS (Artistic Director/CoFounder) has enjoyed a remarkable career as a director, choreographer, performer, master teacher and producer.


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SIDE EFFECTS (2021) Choreography by David Parsons Assistant Choreography by Eoghan Dillon Music by David Cloobeck* Costumes by Amanda Gladu EOGHAN DILLON ZOEY ANDERSON DEIDRE ROGAN HENRY STEELE DAMOND LEMONTE GARNER CROIX DIIENNO RACHEL HARRIS MEGAN GARCIA Side Effects was created in collaboration with the Parsons Dancers. *Music: “Side Effects” Composed, Recorded and Produced by David Cloobeck. Published by Cloobeck Music.

CAUGHT (1982) Choreography by David Parsons Lighting Concept by David Parsons Lighting Design by Howell Binkley Music by Robert Fripp – “Let the Power Fall” Costume Design by Judy Wirkula ZOEY ANDERSON or HENRY STEELE Caught is maintained in the active repertory of Parsons Dance through generous support from the Jim and Linda Ellis Foundation. Please be advised that strobe lights will be used during this piece.

Preview of THE ROAD (To premiere November 2021) Choreography by David Parsons Lighting by Christopher S. Chambers Music by Yusuf/Cat Stevens Costumes by Christine Darch EOGHAN DILLON ZOEY ANDERSON DEIDRE ROGAN HENRY STEELE DAMOND LEMONTE GARNER CROIX DIIENNO RACHEL HARRIS MEGAN GARCIA The Road has been made possible so far by Tilles Center for the Performing Arts, Vickie Morris, and Chuck Andrews.

This performance was supported by a generous gift from Christine Petti, in memory of Dr. A.F. Petti.

Raised in Kansas City, Mo., Parsons made it to New York at the age of 17 when he received a scholarship to the Alvin Ailey School. After Ailey, he became an understudy with the Paul Taylor Dance Company and then joined the company as a principal dancer. He stayed for eight years. During summers, he toured with MOMIX; he appeared with Mikhail Baryshnikov and Mark Morris in the first White Oak tour; and he launched his choreographic career by setting work on the Taylor Company and on the National Ballet of Canada, Hubbard Street Dance Chicago, Batsheva Dance Company, and the Paris Opera Ballet. After leaving the Taylor company, Parsons was a guest artist with New York City Ballet for four years before his artistic prowess led him to undertake such diverse projects as choreographing Aida at Arena di Verona and producing and co-choreographing María de Buenos Aires at the Skirball Center, as well as creating the choreography for Fool’s Fire, a 1992 film directed by Julie Taymor. Perhaps one of his most thrilling assignments was choreographing and directing the dance elements for Times Square 2000, the 24-hour festivities in Times Square celebrating the turn of the Millennium. Since then, Parsons has participated in many projects, such as choreographing A Knight’s Tale, a new musical theater work directed by John Caird, who previously directed the Broadway and West End productions of Les Misérables and the London National Theatre’s production of Candide. Staged at Tokyo’s iconic Imperial Theatre in summer 2018, the work featured Japanese pop stars. In addition to the more than 75 works that he has created for Parsons Dance, Parsons has received commissions from such companies as American Ballet Theatre, New York City Ballet, Alvin Ailey American Dance Theater, the American Dance Festival, Jacob’s Pillow, the Spoleto Festival, and Het Muziektheater in Amsterdam, with his most recent from the Kansas City Ballet, who staged his work A Play for Love in May 2019. Heralded by The New York Times as “one


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of the great movers of modern dance,” Parsons has received many accolades throughout his career, including three Choreography Fellowship Grants from the National Endowment of the Arts; the American Choreography Award; the Dance Magazine Award; a Howard Gilman Fellowship, and the Dance Masters of America Annual Award. In May 2018, he received the Capezio Award, one of the most prestigious awards in dance. HOWELL BINKLEY (Resident Lighting Designer 1985-2020 / Co-founder) was the proud co-founder of Parsons Dance for which he has designed more than 70 pieces. His Broadway designs include: Ain’t Too Proud (2019 Tony nomination), Come from Away (2017 Tony nomination), Allegiance, After Midnight (2014 Tony nomination), How to Succeed... (2011 Tony nomination), West Side Story (2009 Tony nomination), Gypsy starring Patti LuPone, In The Heights (2008 Tony nomination), Avenue Q, The Full Monty, Parade, Kiss of the Spider Woman (1993 Tony nomination). He has made extensive regional and dance works for companies such as Alvin Ailey, American Ballet Theatre, Hubbard Street Dance Chicago, and The Joffrey Ballet’s Billboards. He is a five-time Helen Hayes Award recipient and received the 1993 Sir Laurence Olivier Award and the Canadian Dora Award for Kiss of the Spider Woman. Howell also received the 2006 Henry Hewes Design Award; the 2006 Outer Critics Circle Award; and the 2006 Tony Award for Jersey Boys. In addition, he won both the 2017 Tony Award and the 2018 Sir Laurence Olivier Award for the lighting design of Hamilton. EOGHAN DILLON (Rehearsal Director, Dancer) was born in Ireland, moved to Canada when he was four and began dancing when he was 12. In 2012, he was awarded a full scholarship to The Ailey School. After Ailey, he trained at The School at Jacob’s Pillow and then performed with The Peridance Company before arriving at Parsons Dance, where he danced with the company for four years

and then became its Educational Coordinator. For nearly five years, Eoghan has excelled as a leader of the Parsons’ programs for special needs students. Eoghan has received choreographic commissions from METDance, Dark Circles Contemporary Dance Company, and Ballet Memphis and, while dancing with Parsons, worked with acclaimed choreographers like Robert Battle, Kate Skarpetowska, Trey McIntyre, and Ephrat Asherie. ZOEY ANDERSON (Dancer) was born and raised in Utah, where she trained in contemporary, ballet, jazz and ballroom dance at Center Stage. She was the ballroom national smooth champion in 2010. Zoey graduated cum laude from Marymount Manhattan College in 2015 with a BFA in Ballet under the direction of Katie Langan. She has performed works by Dwight Rhoden, Lar Lubovitch and Aszure Barton, among others. In 2013, Zoey performed with Nikolais Louis in the Yang Liping International Dance Festival in Kunming China. Other credits include the Broadway premiere gala of On the Town, the film The Curious Case of Benjamin Button, Dancing with the Stars webisodes, and Macy’s Passport Tour with P. Diddy. Zoey was nominated for the 2018 Outstanding Performer Bessie Award for her sustained achievement in Parsons Dance and is the recipient of the 2019 Clive Barnes Dance Artist Award. Zoey joined the company in 2015. DEIDRE ROGAN (Dancer) began her dance training in Fort Myers, FL at Gulfshore Ballet, under the direction of Melinda Roy and Roberto Muñoz. Deidre has worked with such choreographers as Judith Jamison, Milton Myers, Matthew Rushing, Hope Boykin, Ronald K. Brown, and Cheryl Copeland. She performed as a United States Arts Ambassador for President Barack Obama during the Opening Ceremony of the

2016 Hannover Messe. She is a three-time recipient of the BIG ARTS awards scholarship and a National Young Arts award scholarship. Deidre graduated with Honors from the Ailey/Fordham BFA Program in Dance and was a member of Ailey II from 2014 through 2016. She was an understudy with Parsons Dance for the 2016-17 season before joining the company in Fall 2017. HENRY STEELE (Dancer) was born and raised in Wollongong, NSW, Australia. He was a competitive gymnast for eight years, and a national gold medalist for three years. During his final years as a gymnast, he began making the transition to dance. In 2016, Henry graduated from Point Park University with a BFA in Modern and Jazz dance. At Point Park, he performed works by choreographers such as Lar Lubovitch, Mark Morris, Ronin Koresh, and Troy Powell. He has danced professionally with Owen/Cox Dance Group, Texture Contemporary Ballet, and toured internationally with The Bad Boys of Ballet. Henry joined Parsons Dance in 2017. DAMOND LEMONTE GARNER (Dancer), from Charlotte, NC, studied violin, musical theater, and dance at Northwest School of the Arts before receiving a BFA from Point Park University, where he performed works by renowned choreographers including Alexandra Damiani, Sidra Bell, Lucinda Childs, Lar Lubovitch, and Jessica Hendricks. After graduating in 2018, DaMond joined METdance in Houston, Texas and performed works by Kyle Abraham, Christian Denice, and Kate Skarpetowska, among others. He also appeared as a guest artist with Texture Contemporary Ballet, The Black Iris Project, and The Francesca Harper Project. DaMond joined Parsons Dance in 2020.


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CROIX DIIENNO (Dancer) was raised in Philadelphia and studied civil engineering at Bucks County Technical High School before pursuing a dance career. His training focused on classical ballet technique while he also studied hip-hop, modern, and jazz. Croix has worked and studied under Emmy Award-winning choreographers Mandy Moore and Josh Bergasse, as well as Scott Jovovich, Suzi Taylor, Jess Hendricks, Rhonda Miller, and has performed Paul Taylor’s Company B. His professional experience includes dancing for such regional theaters as the PCLO (Pittsburgh) in its productions of Peter Pan, Oklahoma, Brigadoon, and Grease. RACHEL HARRIS (Dancer) was born and raised in Charlotte, NC, where she began training at Dance Productions and later attended the University of Southern California Glorya Kaufman School of Dance, where she received a BFA in 2020 and is currently pursuing an MA in Journalism for the Arts. She has attended summer intensives at Jacob’s Pillow, The Ailey School, Ballet X, and Abraham.In.Motion. She has performed as a soloist in works by Crystal Pite, William Forsythe, Barak Marshall, Dwight Rhoden, Paul Taylor, and many others as well as USC’s West Side Story. She is a founding member of Zeitgeist Dance Company and has danced with many noted artists including recording singer/actress Brandy. This is Rachel’s first season with Parsons Dance. MEGAN LEIGH GARCIA (Understudy Dancer) began training at Progressions Performing Arts in Spring, Texas. She graduated summa cum laude from the University of Arizona in 2019 with a BFA in dance and a business administration minor. She was privileged to perform

works by Nacho Duato, Martha Graham, Bella Lewitzky, Larry Keigwin, and more. Megan attended intensives at Hubbard Street, Giordano Dance, River North Dance, the Houston Metropolitan Dance Company, and the Rockettes. After graduation, Megan was offered the role of Rockette in the 2019 Christmas Spectacular. She performed in 102 shows, and was interviewed by TODAY, News 4 New York, and Telemundo. Megan is certified to teach Giordano technique, and is freelancing in New York when she isn’t touring with Parsons Dance. CHRIS S. CHAMBERS (Lighting Designer): Dance: Ailey II, American Repertory Ballet, Ballet Memphis, Boca Tuya, Jose Limon Dance Foundation, Lustig Dance Theatre, Parsons Dance, Yin Yue Dance Company, Manchester Ballet, Ram Island Dance. Theatre: Houses on the Moon, Cape Playhouse, North Shore Music Theatre, Connecticut Repertory Theatre, York Theatre, Curtain Call Inc., Boston College, Montclair State University, University of Hartford, Mount Washington Valley Theatre Company, Resort Players, M+D Productions, Weston Playhouse. A Connecticut native, Chris currently lives in New York. He holds a Master of Fine Arts from the University of Connecticut and is a proud member of USA 829. GIANCARLO “GC” DE TRIZIO (Composer, “Balance of Power”) is an award-winning drummer, composer, producer and GRAMMY® voting member. Originally from Italy, he received a degree in Classical Percussion from the Conservatory of Bari and a Bachelor’s in Performance from The Berklee College of Music in Boston. GC has toured the world with Bruce Springsteen’s saxophonist Jake Clemons, Tunisian Artist Emel Mathlouthi and vocal group Women of the World. Other collaborations: Sting, Angelique Kidjo, Miesa, Billy Porter, Jason Alexander (from Seinfeld), Korean pop stars Sohyang, Hwang Chi Yeol, film composer Alan Silvestri, Oscar winners Pasek & Paul, Mykal Kilgore and more. Music Festivals: Blue Note Jazz Festival, Newport Jazz Festival, NYC Summer Stage, Nuits d’Afrique. Broadway credits: Hamilton, The Lion King, Dear Evan Hansen, The Book of Mormon.

DAVID CLOOBECK (Composer, “Side Effects”) is a 21-year-old multi-instrumentalist, songwriter, composer, and music producer from Stamford, Conn. The drummer, pianist, bassist, and – most notably – alto saxophonist has studied with faculty from Juilliard, New England Conservatory, Eastman School of Music, The New School, and Manhattan School of Music. David is currently a third-year student at Berklee College of Music, where he majors in Songwriting and Music Production. He is a versatile writer who has produced music in styles such as hip-hop, jazz, classical, funk, R&B, and pop. David hopes to use his skills as a songwriter/producer in the music industry. REBECCA JOSUE (Executive Director) joined Parsons Dance in 2010 as the Company Manager and Stage Manager, and has been lucky enough to tour with the company both nationally and internationally for her first five seasons. Rebecca became the General Manager for the 2013-2014 season and was appointed Executive Director in June 2019. Before joining Parsons Dance, Rebecca was a freelance company manager, stage manager, producer, theater administrator, and director. She has worked at New York Stage and Film, Mabou Mines, The Public Theater, New World Stages, La Mama, and the Under the Radar Festival among other places in company management, production management, stage management, and development. A graduate of Wesleyan University, Rebecca completed the Senior Leaders Program for Non-Profit Professionals at Columbia Business School in May 2019, earning her a Certificate in Business Excellence.

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PARSONS DANCE 124 East 91st Street, 2B, New York, NY 10128 212-869-9275 • Executive Director: Rebecca Josue Business Manager: Robert J. Ford Director of Institutional Support: Kate Taylor Lighting Supervisor: Christopher S. Chambers Production Coordinator & Lighting Associate: Michael Megliola Artistic Associate: Eoghan Dillon Executive Assistant and Research Analyst: Grace Puckett Marketing Consultants: Martha Cooper and Will Albach ARTISTS’ REPRESENTATIVE MARGARET SELBY, President, Selby/Artists MGMT 262 West 38th Street, Suite 1701, New York, NY 10018 | Office: 212-382-3260 Parsons Dance gratefully acknowledges the following for their support: Booth Ferris Foundation, Howard Gilman Foundation, The Harkness Foundation for Dance, The Hyde and Watson Foundation, Meringoff Family Foundation, New Music USA, NYC COVID-19 Response and Impact Fund in The New York Community Trust, The O’Donnell-Green Music and Dance Foundation, The Fan Fox and Leslie R. Samuels Foundation, The SHS Foundation, The Shubert Foundation, Theater Development Fund, and generous individual donors. Parsons Dance is supported, in part, by public funds from the National Endowment for the Arts, the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, and the New York City Department of Cultural Affairs in partnership with the City Council. SUPPORT PARSONS DANCE Donate online at Parsons Dance can accept gifts of stock and mutual funds. Please contact us at 212-869-9275 to learn about the advantages of contributing securities.



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A hidden waterfall. A slice of homemade pie. A scenic mountain drive. We take you to the places locals love and show you the views of a lifetime. It’s the best of North Carolina, delivered monthly.




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Connecting with Place: Cyanotype Workshop for Educators FRIDAY, JULY 9

1:00 - 4:00 pm, Turchin Center for the Visual Arts Shauna Caldwell, Instructor Workshop participants will learn about historic and contemporary uses of the cyanotype printing process and will get hands-on experience with the process to utilize in their classrooms. After printing and developing their own cyanotype photographs, participants will experiment with toners made from regional plants to achieve a wide range of colorful photographs deeply rooted in place and ecological connection. CEU: 3 contact hours. An additional two contact hours is available for participating in the 35th Annual Rosen Sculpture Walk on Saturday, July 10 at 10am. For more information, see page 41. Location: Indoor classroom with social distancing / outdoor classroom on the campus of Appalachian State University Audience: K-12 educators Materials: All materials needed for the session are provided by TCVA Cost: FREE; registration is required. Space is limited. Questions: Christy Chenausky, Director of Education and Outreach, at

Shauna Caldwell is an artist from Boone, NC. She received BFAs in both studio art and art education. In addition to working as Assistant Director of Arts Education and Outreach for the Turchin Center for Visual Arts and the Office of Arts and Cultural Programs at App State, she is currently pursuing a MA in Appalachian Studies. Her roots in Appalachia and relationship with the environment shape her creative work.


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Local Art, Global Heart PBS North Carolina brings you eclectic performing and visual arts from across the state and around the world. We’re proud to support Appalachian State University’s Summer Festival.

Learn more at

Music at the Museum Diali Cissokho & Kaira Ba Photo: Bruce dePyssler


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10:00 am – Noon, Schaefer Center for the Performing Arts (participants will gather outdoors at the reception tent adjacent to the Center) Free Event

The Rosen Competition Turns 35!

Matt Amante Teeter Tower

Joan Benefield Hoodoos

David Boyajian Unfurling Rising

Hanna Jubran Light Pulse

Gretchen Lotz Blue Nautilus*

Charles Pilkey Steampunk Babylon

A legacy of artistic excellence

The Rosen Sculpture Competition and Exhibition is a national juried competition presented annually by An Appalachian Summer Festival and the Turchin Center for the Visual Arts. Since its establishment by Martin and Doris Rosen in 1987, the Rosen Competition continues a tradition of showcasing contemporary American sculpture in outdoor settings across the beautiful campus of Appalachian State University. Celebrating its milestone 35th anniversary in the summer of 2021, the competition has become firmly established as a cultural treasure and a significant point of pride for Appalachian State University and our entire region. The competition has garnered national praise for the free access to the “best of the best” in contemporary sculpture it offers for countless residents and visitors across North Carolina and beyond. The Rosen Family proudly continues the legacy of Martin and Doris by generously supporting this important program dedicated to sharing the power and joy of public art, creating a fascinating glimpse into the world of contemporary sculpture, and building new audiences for the visual arts.

Celebrate with us this summer!

Rudy Rudisill Phoenix

Tom Scicluna Scheme

Wayne Vaughn The Dance

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

Glenn Zweygardt Remembering Giotto

The Rosen Outdoor Sculpture Competition & Exhibition is made possible by the continued generosity of the Rosen Family: The Martin & Doris Rosen Giving Fund/Debbie Rosen Davidson and David Rosen/Charles & Nancy Rosenblatt Foundation.

This year, nine sculptures have been selected, with an additional work of sculpture installed at the Blowing Rock Art and History Museum (BRAHM). Cash prizes are awarded to three artists whose work is chosen by the juror. To celebrate the competition’s 35th anniversary, join juror Rachel Stevens on an educational outdoor tour of the sculpture finalists. The tour concludes with an outdoor lunchtime reception adjacent to the Schaefer Center, and will feature an awards presentation, a tribute to the Rosen family, a reflection on the 35th anniversary and a “look back” at some of the competition’s most memorable moments!


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The Rosen Sculpture Walk will take place rain or shine. In the event of heavy rain, a presentation by the juror, including images of the sculptures, will be held indoors at the Schaefer Center.

Martin & Doris Rosen

Vision, generosity, and a pursuit of excellence are some of the many qualities that characterized the lives of Martin and Doris Rosen. From their years devoted to building a successful business, to their lives after retirement, revolving around family, philanthropy, and a commitment to the arts, this exceptional couple left an indelible mark on the communities in which they lived and worked. Thanks to the continuing generosity of the Rosen Family, Martin and Doris’ legacy of support for quality visual arts programming has been continued by their children, and enables this beloved exhibition program to continue to develop and flourish. In July 1997, the Rosens donated Hephaestus, a large commissioned sculpture by Bruce White, to Appalachian State’s Permanent Collection, and it adorns the Rivers Street frontage area of the Schaefer Center for the Performing Arts to this day. On the occasion of the Rosens’ 50th wedding anniversary in October 1999, their children established the Martin and Doris Rosen Scholarship to assist rising junior or senior art majors at Appalachian State. Tireless supporters of the arts, the Rosen Family has given so much of themselves over the years to ensure that the arts remain a strong foundation of campus and community life in the High Country. We wish to extend to them our deepest appreciation.

Experience the Performing Arts in FRESH mountain air!

Appalachian Summer Series Book your performance. Book 10% off your room. Breakfast always included. Call for details!


1943 Blowing Rock Road BOONE 28607



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JASON ISBELL AND THE 400 UNIT SATURDAY, JULY 10 8:00 pm, Kidd Brewer Stadium Ticket Prices: $60 Wings, $75 Center, $100 Floor


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

Boone Area Visitors Bureau, Mast General Store, Goodnight Brothers, SkyBest Communications, Inc., and Appalachian Home Care LLC. With special thanks to Mr. John Carter from WBTV, our emcee for the evening.

What happens after an artist has achieved his dreams? That was the major question Jason Isbell was asking himself leading up to the creation of his newest album, Reunions, recorded with the 400 Unit and produced by celebrated producer Dave Cobb. After all, four-time Grammy winner Isbell is at the top of his game. He is widely acclaimed as one of our best songwriters and possesses a devoted audience who have pushed his last two albums to the tops of the charts. “Success is a very nice problem to have, but I think, ‘How do I get through it and not lose what made me good in the first place?’” he says. “A lot of these songs and the overall concept of this album is, how do I progress as an artist and a human being and still keep that same hunger that I had when I wasn’t quite so far along in either respect.” Isbell’s solution: to go back in time with his hard-gained knowledge. The result is a seamless collection of 10 new songs that delve into relationships with lovers, friends, children, parents, and one’s self. There are rousing anthems that will have stadiums singing along, lyrical standouts that highlight some of Isbell’s best writing to date, moving looks at youth and childhood, a deep dive into the challenges of relationships, and deeply personal songs about alcoholism and parenthood. All of them offer us an artist at the height of his powers and a band fully charged with creativity and confidence.


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The 2021 Broyhill Chamber Series is dedicated to the memory of Larry Freiman, a devoted supporter of classical music programming at An Appalachian Summer Festival, who with his wife Barbara has provided significant annual support for this series.


7:00 pm, Schaefer Center for the Performing Arts plus livestream Sponsored by McDonald’s of Boone

Damigella Tutta Bella Toccata and Fugue in d minor Vals Peruano "Libertango" “Penny Lane” Scheherazade, Op. 35 "Danny Boy" “Amazing Grace” and “Tuba Tiger Rag”

Claudio Monteverdi/arr. Caleb Houston Johann Sebastian Bach/arr. Mills Enrique Crespo Astor Piazzolla/arr. Burgstaller Paul McCartney/John Lennon, arr. Christopher Dedrick Nikolai Rimsky-Korsakov/arr. Ridenour Traditional/arr. Caleb Hudson Traditional/arr. Henderson

The Broyhill Chamber Ensemble Concert Series is generously supported by the Muriel and Arnold Rosen Endowment for the Arts, the Rosen-Schaffel Endowment for Classical Music Programming, the Broyhill Family Foundation, Barbara Freiman, and by Ralph and Venda Lerch/McDonald’s of Boone. Generous performance underwriting has also been provided by Joni and Peter Petschauer. Free Facebook Livestream @TheViolinChannel or @AnAppalachianSummerFestival

With an international reputation as one of the most popular brass ensembles today, Canadian Brass has truly earned the distinction of “the world’s most famous brass group.” Masters of concert presentations, Canadian Brass has developed a uniquely engaging stage presence and rapport with audiences. Each of their concerts will show the full range from trademark Baroque and Dixieland tunes to new compositions and arrangements created especially for them – from formal classical presentation to music served up with lively dialogue and theatrical effects. The hallmark of any Canadian Brass performance is entertainment, spontaneity, virtuosity and, most of all, fun – but never at the expense of the music: Whatever the style, the music is central and performed with utmost dedication, skill and excellence. Friends Chuck Daellenbach and Gene Watts first came together in 1970 to form a brass quintet — a chamber music setting not entirely new, but never before having garnered the success and storied career Canadian Brass would achieve over the next 40 years. Initially, Gene took on the role of developing new repertoire while Chuck was the moving force in marketing, publishing and managing the business. Three empty chairs were quickly filled and together, the group’s imagination and consummate musicianship elevated the art of the brass quintet to what it is today. Here was not only an opportunity to explore the possibilities of an all-brass chamber group but a challenge to bring the sound and the excitement of brass music to new audiences. Masters of concert presentations, Canadian Brass has developed a uniquely engaging stage presence and rapport with audiences. Each of their concerts will show the full range from trademark Baroque and Dixieland tunes to new compositions and arrangements created especially for them – from formal classical presentation to music served up with lively dialogue and theatrical effects. The hallmark of any Canadian Brass performance is entertainment, spontaneity, virtuosity and, most of all, fun – but never at the expense of the music: Whatever the style, the music is central and performed


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with utmost dedication, skill and excellence. With a discography of over 130 albums and an extensive world-wide touring schedule, Canadian Brass is an important pioneer in bringing brass music to mass audiences everywhere. They have sold well over two million albums worldwide, with 1.2 million sold in the Nielsen Soundscan era alone (since 1991). They continue to score Billboard chart positions — like with their rousing recording of patriotic songs and marches, Stars & Stripes: Canadian Brass Salute America, which spent eight weeks in the Top 25 on the Billboard Classical Chart, peaking at #2! Touring legends with an enthusiastic fan base, the Canadian Brass play to packed houses everywhere throughout the USA, Canada, Japan and Europe. They have also toured Australia, the Middle East, the Soviet Union and South America. They were the first brass ensemble from the West to perform in the People’s Republic of China (where they returned for a five-city tour to great acclaim in the spring of 2010 and several visits after this, including an appearance on Hunan TV for Chinese New Year), as well as the first brass group to take the main stage at the venerable Carnegie Hall. On numerous occasions Canadian Brass has been invited by the Canadian Government to play for visiting heads of states, becoming one of Canada’s greatest resources and musical ambassadors. Millions of television viewers have had Canadian Brass in their homes with appearances on The Tonight Show, Today and Entertainment Tonight, and recently to more than half a billion viewers for

Chinese New Year on China’s most popular station. They have appeared as guest artists on Evening at Pops with John Williams and the Boston Pops, Beverly Sills’ Music Around the World, numerous PBS specials, including a celebrated appearance on Sesame Street, and are frequent guests of many major symphony orchestras. Canadian Brass were the featured artists on the soundtrack to the 1988 film The Couch Trip, starring Dan Aykroyd and Walter Matthau. Consummate artists, the quintet has also created unique and interactive videos that have gained an international audience, including a series of DVDs featuring the brass in concert and teaching. They are on the cutting edge of technology, offering their fans multimedia airplay, downloads and YouTube videos and streaming opportunities, as well as digital applications with iPhone and other smartphone carriers. You can find them twittering and on Facebook with their fanbase growing daily! The varied Canadian Brass repertoire features brass standards as well as a wideranging library of original arrangements. These include the works of Renaissance and Baroque masters, classical works, marches, holiday favorites, ragtime, Dixieland, Latin, jazz, big band, Broadway and Christian music, as well as popular songs and standards. Having started with a very limited base, Canadian Brass has created their own musical world by transcribing, arranging and commissioning more than 600 works, including critically acclaimed compositions from Michael Kamen, Luther Henderson, Bramwell

Tovey, Don Gillis and more. They have transformed a previously neglected group of instruments with a limited repertoire into a versatile and vital ensemble that can play everything from Gabrieli to Gershwin! Canadian Brass is especially noted for their famous Holiday Concerts at Christmastime and was at the forefront of re-establishing Scott Joplin with today’s audiences through their research, arrangements and recordings of his “rags” and other works. Education plays a key role in the story of Canadian Brass, and each member is uniquely attuned to training the next generation of players. On their travels around the world, they often pause for masterclasses and are more than happy to work with students and young audiences. Canadian Brass is currently Ensemble in Residence at the University of Toronto after having been Chamber Quintet-in-Residence for many years at the Music Academy of the West in Santa Barbara, California, and has created an innovative brass summer course at the Eastman School of Music. Their support of education is also clearly viewed in their outreach and interaction with El Sistema, the acclaimed global music education program in Venezuela. In conjunction with the Hal Leonard Corporation, the Canadian Brass have made available their extensive library of brass music for performers of all levels as well as learning tools. Since 1998 Canadian Brass has been a recording artist at Opening Day Entertainment Group (ODEG) (distributed by IDLA) releasing over 25 CDs on the imprint to date. Opening Day is owned and run by Chuck Daellenbach


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together with his wife, MB. Canadian Brass sheet music and recordings are available in their online store. With four decades under their belts, Canadian Brass continues to thrill audiences around the world — and they don’t look like they are letting up anytime soon! Canadian Brass is: founding member Chuck Daellenbach (tuba), Brandon Ridenour and Caleb Hudson (trumpets), Achilles Liarmakopoulos (trombone) and Jeff Nelsen (horn). The Canadian Brass is represented by IMG Artists in New York. The official website for Canadian Brass is Keep up with Canadian Brass via, facebook/canadianbrass, Canadian Brass YouTube channel and Instagram. Canadian Brass performs on 24-karat gold-plated Canadian Brass Collection instruments and is an exclusive Opening Day recording artist. Canadian Brass recordings are available at Canadian Brass appears by arrangement with IMG Artists, 7 West 54th Street, New York, NY 10019 (phone 1-212-994-3500)


Chuck Daellenbach, Tuba, has brought music, imagination and humour to Canadian Brass since the group was formed in 1970. Playing a key role in all of the group’s groundbreaking projects, world travels and on over 130 recordings, Chuck and his gold-plated and carbon bell tuba are the bedrock of the massive

Canadian Brass repertoire — from Baroque to jazz. Chuck comes from a long line of German and Swiss musicians and, during his upbringing in Wisconsin, his father gave him daily music lessons. As a teenager, Chuck began studies with legendary Chicago Symphony tuba player Arnold Jacobs, and throughout his career whenever possible would stop in to see his mentor, Mr. Jacobs. After earning a Ph.D. at the age of 25 from the Eastman School of Music, Chuck headed north to teach at the Music Faculty at the University of Toronto. His academic plans were soon derailed when he met trombonist Gene Watts. Together they formed this unique brass quintet with Chuck on tuba. For the next 38 years, Gene and Chuck guided Canadian Brass to the top of their field, through thousands of performances and fantastic opportunities including two “command” performances for the Queen of England. Chuck’s dialogue during concerts has kept audiences engaged, helping to establish an appreciation for great music of all types to musicians and non-musicians alike. Possibly the most recognized tuba player in the world, Chuck has performed with many of the greatest musicians and conductors. The definition of a multi-tasker, Chuck always has several projects in the works at once. These include a series of hundreds of brass works published by Hal Leonard (many accompanied by CDs) played by music students and professional players around the world. He runs Canadian Brass Publishing and together with his wife, MB,

they manage Opening Day Entertainment Group [Odeg], the ensemble’s recording label. They reside in Toronto, Ontario, with their sons, Chris and Willis. Caleb Hudson, Trumpet, is the newest member of the Canadian Brass, having graduated from the Juilliard School with both Bachelor and Master of Music degrees. Acclaimed by the New York Times as “brilliantly stylish,” Caleb has performed as an international soloist, including a recital that was broadcast nationally on NPR’s Performance Today. Caleb is known for his piccolo trumpet mastery of Bach’s infamous Brandenburg Concerto No. 2, having performed it around the world with ensembles including Orpheus Chamber Orchestra, Orchestra of St. Luke’s, Israel Philharmonic Soloists, and Chamber Music Society of Lincoln Center. Possessing a wide range of musical styles, his experience ranges from soloing in Carnegie Hall to performing with early music ensembles, even appearing on Jimmy Kimmel Live. He is an alumnus of Interlochen Arts Academy and Ensemble Connect, a fellowship program of Carnegie Hall that promotes community outreach and music education. Caleb enjoys writing and arranging music for Canadian Brass, having many works performed, published, and recorded. They can be heard on two albums, Canadian Brass: Perfect Landing and Canadian Brass: Great Wall of China. In 2015, his original composition “White Rose Elegy” was

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performed as a world premiere in Lincoln Center by the Canadian Brass and New York Philharmonic Principal Brass. Caleb is Assistant Professor of Trumpet at the prestigious University of North Texas College of Music, where he is devoted to teaching and sharing his love for music with students. Achilles Liarmakopoulos, Trombone, joined the Canadian Brass in 2011. He has toured extensively throughout North America, Europe and Asia, performing and educating in the world’s most important venues and institutions. Achilles holds degrees from the Yale University School of Music, Curtis Institute of Music, San Francisco Conservatory and the Philippos Nakas Conservatory in his hometown of Athens, Greece. Upon completion of his studies, he won the position of principal trombone of the Greek Radio Symphony Orchestra. Achilles has also performed with the Malaysian Philharmonic, Jacksonville Symphony and the European Union Youth Orchestra, among many others. As a recitalist, Achilles has performed in China, Panama, Spain, France, the Netherlands, Austria, Finland, Greece, USA and Canada, having been awarded honors at competitions around the globe. At the age of 18, he gave two solo performances at Walt Disney Hall as the Grand Prize Winner of the Pasadena Showcase House Instrumental Competition judged by members of the Los Angeles Philharmonic. He has gone on to win prizes at the Christian Lindberg International Competition, the Yamaha Music Foundation of Europe (YMFE) and the International Trombone Festival’s Robert Marsteller/ Conn-Selmer and Larry Wiehe solo competitions, to name a few. Achilles was also awarded the Alexandros S. Onassis Foundation and the Greek State Scholarship Foundation educational scholarships.

His discography includes five solo albums — Obvious, with French harp Soloist Coline-Marie Orliac; Ethereal with 20th and 21st century lyrical works from around the world; Trombone Atrevido, dedicated to Choro music from Brazil; Discoveries, with contemporary compositions on the ODEG label; and Tango Distinto, with Astor Piazzolla’s music on the NAXOS label — five recordings with the Canadian Brass, and numerous appearances on classical, pop, Latin, and other albums. Achilles also performs around the world with Pink Martini, and he has also performed with salsa icon Ruben Blades. He is also an adjunct trombone professor at Brooklyn College at CUNY University in New York. Jeff Nelsen, Horn One of the many Canadian pig-farmraised magician horn players in the world, Jeff Nelsen has thrilled audiences and mentored students for over 25 years. Having recently entered his ninth year touring and recording as solo horn with Canadian Brass, Jeff Nelsen has also performed concerti with orchestras on six continents, and in the horn sections of dozens of orchestras including the New York and Los Angeles Philharmonics, and the Boston, Chicago, St. Louis, Cincinnati, and Montreal symphonies. One thrilling event in summer 2019 was performing in Carnegie Hall as guest principal horn with the Philadelphia Orchestra and fellow Canadian, maestro Yannick Nézet-Séguin. Jeff is Professor of Music (horn) at the prestigious Indiana University Jacobs School of Music where he teaches full-time as a horn, chamber music, and performance coach. He is founder of Fearless Performance LLC, a company that focuses on training musicians and entrepreneurs to improve their mental game so they consistently perform their best. In 2011 he gave his celebrated TED Talk on Fearless Performance. A huge Broadway musical fan, Jeff played the complete run of two Broadway shows in NYC that were nominated for Tony

awards — Chitty Chitty Bang Bang (Sherman Brothers) and The Pirate Queen (Boublil and Schönberg). Jeff has toured with Michael Bolton and Barry Manilow, has recorded with Michael Bublé and the pop band Barenaked Ladies, and has performed on dozens of movie and video game soundtracks. Jeff most enjoys performing with his wife, mezzo-soprano Nina Yoshida Nelsen, on recital and orchestral pops series. Jeff was President of the International Horn Society from 2014-16. Jeff performs on his Dieter Otto 180 K-JN (Nelsen Model) horn he co-designed with German horn-maker Martin Ecker, and his mouthpiece he co-designed with Scott Laskey. He publishes a collection of sheet music through his company, Perform Music, and has upcoming releases of online video courses on “Beginner Horn Fundamentals” with The Musician’s Toolkit, and on “How to Teach Fearless Performance” with The Royal Conservatory in Toronto. Aside from creating musical magic, Jeff is an enthusiastic magician, and often adds touches of illusionary arts to performances. He is a magician member of the Academy of Magical Arts at the world-famous Magic Castle in Los Angeles. His most magical time is spent with his enchanting wife and their two spellbinding sons, Rhys and Blair. In tonight's performance, Brandon Ridenour will be replaced by Elmer Churampi. Brandon Ridenour, Trumpet, is a stylistically diverse trumpet soloist, collaborative artist, composer and arranger. Recognized as “...heralding the trumpet of the future” (Chicago Sun Times) and for “demonstrating the trumpet’s huge potential for lyricism” (Cleveland Plain Dealer), he has combined his wide-ranging activities as soloist and chamber musician with his passion for composing and arranging, resulting in his distinctive artistic voice and vision. At the age of 20, Brandon became the youngest member ever to join the iconic


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Canadian Brass, a position he held for seven years. With the group, he played in distinguished venues around the world, performed on television, recorded 10 albums, appeared on NPR’s Tiny Desk, and received three Juno Award nominations. He also created a catalog of new arrangements for the ensemble, which are still performed today. Brandon rejoined Canadian Brass in 2019 and continues to create new repertoire for the group. Brandon is a winner of numerous competitions, including Concert Artists Guild, International Trumpet Guild, and the American Composers Forum. He has played with a diverse array of musicians, including Sting, James Taylor, Marvin Hamlisch, Yo-Yo Ma, Wynton Marsalis, Esperanza Spalding, John Williams, and esteemed ensembles such as the New York Philharmonic, National Symphony Orchestra, Los Angeles Philharmonic, International Contemporary Ensemble, the Knights, Orpheus, Orchestra of St. Luke’s, and the Mahler Chamber Orchestra. In 2019, Brandon launched Come Together, an album of reimagined Beatles music celebrating the 50th anniversary of the classic Lennon/McCartney song. Brandon has since developed this collaborative album into a larger social impact and environmentalism project, with the mission of conveying, through music, the importance of humanity coming together to take better care of our planet and each other. Brandon began arranging both solo and collaborative music for the trumpet in order to expand the possibilities for his instrument, sometimes including a melding of musical styles and creating a new cross-genre repertoire. In addition to showcasing these works in his own recital and concerto performances, his arrangements are also featured by the ensembles Founders (a quintet featuring trumpet/piano, violin/voice, clarinet, cello and bass) and USEFULchamber, both of which Brandon is a founding member. He has recorded three previous solo albums, most recently Fantasies and Fairy Tales, which features his own virtuosic

arrangements of classical masterworks for trumpet and piano. Brandon began his musical journey at age five, studying piano with his father, pianist Rich Ridenour. He received his B.M. from the Juilliard School of Music in the studios of Mark Gould and Ray Mase. Outside of music, Brandon has studied sketch writing and improv at the Upright Citizens Brigade Theatre company and has always been a not-so-closeted fan of comedy. He currently lives in Brooklyn, NY.

Program Notes

Damigella Tutta Bella - Claudio Monteverdi arr. Caleb Hudson (Born May 15, 1567, in Cremona; died November 29, 1643, in Venice)

Monteverdi began his musical career as a choirboy in the Cathedral of Cremona, studied composition with the choirmaster there, and learned to play the organ and viol. His training was thorough, conventional and disciplined, yet somehow allowed him to begin to see new possibilities for his musical art. His novel ideas, however, did not prevent him from being appointed, in 1613, to the most prestigious musical post in Europe, Music Director of St. Mark’s in Venice, a position he held until his death. Monteverdi, a powerful innovator with a high degree of selfawareness, was the first composer to insist on personal freedom of expression in his work. He warred with conservative theorists and critics of an older generation because he was dedicated to what he called the “modern way of composing,” and he expressed the radical aesthetic notion that “the modern composer builds on the foundation of truth.” His radical ideas clashed with those who, until then, had held that a composer was an impersonal practitioner of a craft, one who created objects with little or no concern for the value of their content. Damigella Tutta Bella is included in Claudio Monteverdi’s 1607 collection, Scherzi musicali a tre voci (Musical Jokes for Three Voices). Soon after the first performances of

Monteverdi’s opera Orfeo, Monteverdi’s brother released a printed volume of Claudio’s music entitled Scherzi Musicali. In the preface, it was explained quizzically that Monteverdi brought these pieces, or at least their style of composition, from Italy, after a 1599 trip to Flanders. The pieces are lighthearted Italian canzonette (a short, light vocal piece in Italian style) used for courtly diversions. Damigella, tutta bella is typical of the grouping. Its text consists of four lighthearted stanzas on the topic of love. The musical setting is completely strophic with three voices, two upper voices and a bass, and four stanzas framed by an instrumental ritornello (a short instrumental refrain) set for a similar trio texture of two violins and basso continuo. Both have vigorous rhythms of the gagliarda, then a popular Italian dance, which alternates a measure of 6/8 time with one of 3/4 time. In the preface of the publication, directions were given that the ritornello should be played twice initially, and in the middle stanzas, the scoring of the voices could be shifted to create variety. Canadian Brass trumpeter Caleb Hudson arranged this Renaissance composition for Bb piccolo trumpet, Bb trumpet, horn, trombone, and tuba. Toccata and Fugue in D minor, BWV 565... Johann Sebastian Bach / arr. Mills (Born March 21, 1685, in Eisenach; died July 28, 1750, in Leipzig)

In July 1708, a young Johann Sebastian Bach, just 23 years old, was appointed to the post of court organist and chamber musician to the Duke of Weimar. Here he also played violin in the resident orchestra. The two qualities that were the moving forces in Bach’s life, love of God and love of music, were driving forces in the life of the Duke as well, and thus Bach blossomed in Weimar. The excellent organ of the castle’s church was rebuilt and improved for Bach. As his fame grew, he was given freedom to accept occasional engagements elsewhere and, according to legend, a musician who once walked by a simple village church where Bach was trying out the organ said, “That can be only the Devil or Bach!”


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Bach probably wrote the Toccata and Fugue in D minor around the time he went to Weimar. It is a work of youthful exuberance, a brilliant showpiece, in which he shows himself as a musician of dazzling virtuosity. The Toccata and Fugue became one of his best known compositions for organ and has remained a great favorite in this arrangement for brass. In the early 19th century, when Bach’s music was almost unknown, Beethoven studied it and Mendelssohn played it for Goethe. In the 20th century, many musicians made orchestral versions of it so that symphonic concert audiences could also enjoy it. A toccata is not a fixed musical form but a piece in which rhapsodic and contrapuntal sections are freely combined. The word toccata entered the musician’s vocabulary from the Italian, in which it literally means “touched.” Because a musician theoretically touches an instrument’s keys, the term eventually came to connote “played on an instrument,” and was first used as the title of instrumental compositions in the 16th century. This toccata serves as the brilliant introduction to one of Bach’s greatest fugues. In a fugue in which multiple instruments perform, the subject is announced by one instrument, which continues on with a different idea or countersubject when a second instrument joins in to play the subject. The fugue is distantly derived from the idea of a round, in which a theme makes successive imitative entrances but does not have a countersubject. The fugue is more complex and sophisticated: each instrument not only goes on to the countersubject, which repeats until all the instruments are involved, but the remaining part of the fugue allows fragmentation, development, and the combining of the subject and the countersubject. The first transcription of this work for brass was this arrangement by Frederick Mills, created in 1979 for the Canadian Brass. It became an iconic work in the ensemble’s repertoire.

Vals Peruano from Suite Americana, No. 1... Enrique Crespo (Born October 17, 1941 in Montevideo, Uruguay)

Enrique Crespo, a trombonist, is a wellknown arranger of pieces for brass ensemble in a variety of styles including baroque, classical, jazz, folk, and popular music from Latin and South America. A founding member of the German Brass ensemble, Crespo studied music and architecture in Montevideo and in Buenos Aires and trombone and composition in Berlin. He has worked as a jazz soloist, arranger, and bandleader for TV productions and has held the position of principal trombonist of the Bamberg Symphony Orchestra and the Radio Symphony Orchestra Stuttgart. Crespo’s work changed the landscape of the world of brass music considerably. It represents a fusion of musical traditions because throughout his life, he joined his Latin American traditions with jazz and Western Classical music. In his arrangements and compositions, he dedicated his life to expanding the body of music available to brass players. Several of his works are among the most frequently performed brass selections today. The five pieces of Suite Americana No. 1, composed in 1977, have become a part of the standard repertoire of brass chamber music. In its five movements, the Suite offers several compositions inspired by geography and history. Vals Peruano, the third movement of Suite Americana, is a Peruvian waltz. This waltz is similar to the European waltz, but has a local flavor that developed following its importation to South America by Spanish colonialists. Libertango... Astor Piazzolla, arr. Burgstaller (Born March 1921, in Mar del Plata, Argentina; died July 5, 1992, in Buenos Aires)

Inventor of the modern nuevo tango and master of its typical instrument, the bandoneón, Piazzolla was an extraordinary musician who won the great admiration of both avant gardists of the classical world and connoisseurs of the Argentine tango.

Piazzolla was very prolific, composing over 3000 pieces, 500 of which he recorded himself. Piazzolla studied with the classical masters Alberto Ginastera and Nadia Boulanger who helped him gain a rare command of form and expression and allowed him to recognize that his voice could be found in the tango tradition. For a long time, Piazzolla was forced to contend with those who would not give credence to his music. He reacted adamantly: “I’m sick and tired of hearing people saying that what I do isn’t really Tango. And since I’m tired, I say to them, ‘Ok, so it’s not Tango, it’s music from Buenos Aires’ ... But what do you call music from Buenos Aires? Tango. So what I do is Tango!” Although born in Argentina, Piazzolla grew up in New York City where he learned to play the bandoneón. Returning to his native country at the age of sixteen, he established himself as a working musician and performed with many popular ensembles before forming his own tango orchestra, the Orquesta del 46, in 1946. In 1958, Piazzolla returned to the US and started to work in a musical style heavily influenced by the sounds of jazz. With this innovative move, Piazzolla laid out the foundations of Nuevo Tango, injecting modernity into the tango, transforming it so that today it is called “the new tango,” to distinguish it from the classic fairly erotic dance that forms the roots of his music. His compositions also reflect the influence of classical 20th century music such as that of Stravinsky. Piazzolla’s Argentine tango follows his equation for “nuevo tango”: “tango + tragedy + comedy + whorehouse” and joins Spanish, Jewish, German, and Italian elements with other features from the New World. Libertango was Piazzolla’s first Italian album; it was published and recorded in 1974 in Milan. He described it as “a sort of song to liberty, a celebration of being in a new place with new ideas.” Libertango’s title merges the word “libertad” (Spanish for liberty) and “Tango,” symbolizing Piazzolla’s break from classical tango to


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Tango Nuevo. It has become one of his most popular works. Hard-thrusting, spectacularly rhythmic and quite different from anything Piazzolla had created before, it caused critics to comment that it was as if he were seeking a new sound to appeal to his new European audience. They found this new music heart wrenching, sentimental, strong, and tragic. This exciting tango has been arranged for brass quintet by Canadian Brass past member, Joe Burgstaller. It is scored for for two Bb trumpets (one can be a piccolo), horn, trombone, and tuba. “Penny Lane” The Beatles – Songs for Brass... Paul McCartney (with John Lennon), arr. Christopher Dedrick What many claim to be the greatest single of recording music history was the Beatles’ record with “Penny Lane” on one side and “Strawberry Fields Forever,” on the other. Lennon’s “Strawberry Fields Forever” presents some images from his childhood in a reflective and, some say, hallucinatory way. After it was completed, McCartney decided to use that idea for his own song, resulting in “Penny Lane.” Paul McCartney wrote “Penny Lane” with some collaboration from John Lennon, specifically on the lyrics. In actuality, the seeds of the idea to write “Penny Lane,” a memory song, were germinating as far back as October of 1965, but the song debuted in December 1966. McCartney explained, “We were writing childhood memories: recently faded memories from eight or ten years before, so it was a recent nostalgia, pleasant memories for both of us. All the places were still there, and because we remembered it so clearly we could have gone on.” Lennon added: “We really got into the groove of imagining “Penny Lane,” you know - the bank was there, and that was where the tram sheds were and people waiting and the inspector stood there, the fire engines were down there. It was just reliving childhood.” In a 1980 Playboy interview, Lennon comments about his input into writing the song: “I wrote some of the lyrics. I can’t remember which. It was all Paul’s melody.”

According to music critic/musicologist Wilfred Mellers in his 1973 book Twilight of the Gods: “For both musical and verbal reasons, the song comes out as childishly merry yet dreamily wild at the same time. The hallucinatory feeling concerns problems of identity rather than drugs specifically, asking what, among our childhood memories, is reality and what is illusion.” Christopher Dedrick, composer, orchestrator, conductor, sound editor, musician, singer, and recording artist, died in 2010. He arranged much music for the Canadian Brass including the albums All You Need Is Love, The Canadian Brass Plays Bernstein, and A Christmas Experiment. Scheherazade, Suite after The Thousand and One Nights, Op. 35... Nikolai Rimsky-Korsakov, arr. Ridenour (Born April l, 1873, in Oneg, Russia; died March 26, 1943, in Beverly Hills, California)

Rimsky-Korsakov with his peers, Balakirev, Cui, Mussorgsky, and Borodin worked together as a group known as “The Five” or the “Mighty Handful.” These young composers dedicated themselves to the advancement of Russian Nationalism. Rimsky-Korsakov was more or less an autodidact; he never had formal training in the techniques of music composition, and when he was appointed as the first Professor of Composition at the St. Petersburg Conservatory, he confessed he didn’t know how to harmonize a chorale. He said he had “never written a single contrapuntal exercise in [his] life and that he didn’t even know the names of the augmented and diminished intervals or chords.” Yet he successfully taught himself as he taught his students. Later, as the principal teacher of Igor Stravinsky, his influence on 20th century composers extended farther than he could have ever imagined. Early in 1888, Rimsky-Korsakov first considered writing an orchestral work based on incidents selected from The Arabian Nights, also known as The Thousand and One Nights. This anthology of tales from Asia, India, and the Arab lands was collected for the first time around 1500 in Cairo and appeared in

Europe in the 18th century. Rimsky-Korsakov described the book’s framework: the Sultan Schahriar, convinced of the falseness and unfaithfulness of women, vows to put each one of his many wives to death after he spends a night with them. The Sultana Scheherazade saves her life by arousing so much interest in a story she tells him that, always in anticipation of another story, he postpones her execution repeatedly. Scheherazade tells Schahriar of many wonders, blending the words of poetry and of folksong into marvelous tales of adventure, love, and war, continuing from night to night until 1,001 nights have passed, at which time the Sultan finally abandons his murderous plan. The symphonic suite Scheherazade became Rimsky-Korsakov’s most widely played work. Years after its composition, he explained that although The Thousand and One Nights provided the direct inspiration for the music, there are few specific ties between them. He initially intended to give the movements vague headings like Prelude, Ballade, Adagio, and Finale, hoping that audiences would enjoy his work as a purely symphonic composition that shared certain themes; however, his friends persuaded him that listeners deserved to know more, so he agreed somewhat reluctantly, “to direct the hearer’s fancy along the path that mine had traveled, yet leaving details to the imagination.” He divulged that the broad low-register theme first heard in the opening movement is generally, but not always, used to represent the stern Sultan Schahriar. The passages (originally for solo violin) represent Sultana Scheherazade as she tells her wondrous tales. Both themes carry forward into later movements. In the 1st movement, “The Sea and Sinbad’s Ship,” the music evokes a ship at sea rocking on billowing waves as Sinbad the Sailor tells of the wonders he has seen on his great voyages to distant lands. “The Story of the Kalender Prince” and a few of the other 1,001 tales tell of the princes who go wandering around the world disguised as kalenders, itinerant


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beggar priesta or monks. In the 3rd movement, the orchestra sings lovely songs of “The Young Prince and the Young Princess.” The finale, a grand summing up of what preceded, includes a parade of pictures, new and old. The series of musical images begins with “Festival at Baghdad” and continues with “The Sea.” In a great tempest, “The Ship Goes to Pieces against a Rock that is Surmounted by a Bronze Warrior” and in the “Conclusion,” the voice of Sultana Scheherazade fades into the distance for the last time. Rimsky-Korsakov’s Scheherazade was adapted for trumpet solo with accompaniment by trumpet virtuoso and past Canadian Brass trumpeter Brandon Ridenour.

Dixieland Tribute: “Amazing Grace” and “Tuba Tiger Rag” arr. Henderson The late Luther Henderson was a master arranger, who even was a behind-thescenes collaborator for many years with Duke Ellington. In addition, as a primary arranger for the Canadian Brass, he created over 130 arrangements for this brass ensemble including many of their signature numbers. The beloved hymn “Amazing Grace” has been arranged in Dixieland style by Henderson specifically for the Canadian Brass, who also commissioned Henderson to create a transcription of “Tuba Tiger Rag” as a cheerful tribute to Dixieland. This version gets its name from the fact that the tuba performs the famous “growl” lick. Program Notes: Susan Halpern, © 2021

Photo Credit: Rebekkah J. Meixner-Hanks


“Danny Boy”... Traditional, arr. Caleb Hudson “Danny Boy,” originally a ballad, was set in 1910 or 1913, by Frederic Weatherly (1848-1929) an English songwriter and lawyer who also wrote novels, children’s

books, libretti, and the lyrics to some 1500 ballads and songs. Irish Americans and Irish Canadians have long considered “Danny Boy” an unofficial anthem. Its meaning has been controversial: it is debated whether it is a message from a parent to a son going off to war or even perhaps an uprising, or whether it might be addressed to someone leaving as part of the Irish diaspora. The song has also always been popular for funerals, but Catholics do not allow it to be played during Mass. This lament about separation or the finality of death, as well as the power of love, has universal appeal. Trumpeter Caleb Hudson created this arrangement of one of the most beloved folk songs of all time, “Danny Boy.” Hudson, the newest member of the Canadian Brass, has performed as an international soloist and enjoys writing and arranging music for Canadian Brass, having many works performed, published, and recorded.

Hayes Auditorium, Broyhill Theatre A Tony Award Winning Musical C-O-M-E-D-Y!

Ticket Prices Adult $38–43 | Student/Child $18–20 PG-13

June 19–27

July 25–August 1 | 828.898.8709

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LUNCH & LEARN SERIES JULY 12, 19, 22 & 26

Noon, Zoom Webinar and YouTube Premiere Register at Free The Lunch and Learn Lecture Series features interesting and informative virtual programming that provides a behind-the-scenes view of the festival’s offerings in the visual arts, music, theater and dance.

July 12 - Where are the birds? Retracing Audubon: Artwork by Krista Elrick Panel Discussion: Krista Elrick, Mary Anne Redding and Gregory Nobles Where are the birds? Retracing Audubon is an exhibition and book project reexamining John James Audubon’s epic life journey and the production of his hugely popular Birds of America. Elrick retraced Audubon’s journeys to learn more about him and what had happened to the birds, animals, communities and landscapes he traveled through. Much to her surprise, she found the lushly forested watersheds and waterways that Audubon had passionately described in his journals vastly altered with many of the bird species extinct and their supporting habitat all but disappeared. Wishing to pay homage to what had been lost, Elrick made dozens of black-and-white images of the country she traveled through as it

looks now, some 170 years later. Elrick’s book, A Country No More: Rediscovering the Landscape of John James Audubon, is a fascinating volume that gives us a fresh and provocative perspective not only on the changing American landscape, but on Audubon himself, his times, and his enduring legacy. BIOGRAPHIES Photographer Krista Elrick has been an exhibiting artist and activist for more than 35 years. She has worked with scientists and Indigenous peoples throughout her career, all of whom have helped her to reframe and refine her ideas about environmental and cultural change. Elrick is interested in the changes that have occurred in natural ecosystems over prolonged periods of time as a direct result of human intrusion into the landscape. Film-based, in-camera exposures, combined with silver gelatin prints, are the foundation of her creative work. While her photographic process is rooted in the 19th century, it is today’s wetlands, forests, and watersheds that serve as her backdrop. In tandem, migratory birds and the ecosystems that sustain them are the focus of her current body of work. She sees these once harmonious relationships as disrupted. Because of this disruption, she photographs the land in fragments and then construct collages to create newly pieced dynamics. Elrick’s recent projects include Grasslands/Separating Species, with photographs by Krista Elrick, Dana Fritz, David Taylor, Jo Whaley, and Michael Berman with essays by Mary Anne Redding, William deBuys, and Rebecca Solnit (Radius Books 2010) in conjunction with an exhibition at 516 ARTS in Albuquerque; and Imagine a City that Remembers: The Albuquerque Rephotography Project, by Anthony Anella and Mark Childs, foreword by V. B. Price, photographs by Krista Elrick (University of New Mexico Press 2018). Elrick received an MFA from Arizona State University in 1990 and now lives and works in Santa Fe, New Mexico. A Country No More is her first solo book. Mary Anne Redding has more than 35 years’ experience working as a curator, archivist, librarian, educator, arts administrator, and writer. She received a B.A. in English literature from Ohio University, an M.A. in arts administration from the School of the Art Institute of Chicago, an M.L.S. from the University of Illinois, as well as an advanced certificate in museum studies from Arizona State University.



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Recent exhibitions include Where Are the Birds? Retracing Audubon: Artwork by Krista Elrick (2021), Creative Democracy: The Legacy of Black Mountain College (2018), Art from Down Under: Australia to New Zealand (2018), and Collective Vigilance: Speaking for the New River (2017), all at the Turchin Center for the Visual Arts at Appalachian State University; Contemplative Landscape at the New Mexico History Museum in Santa Fe (2011–2012); and A Passionate Light: The SX-70 Polaroids of H. Joe Waldrum at the Albuquerque Museum of Art and History and the New Mexico History Museum (2011). Her publications include Gila, with photographer Michael Berman (Museum of New Mexico Press, 2012), and with Krista Elrick, Through the Lens: Creating Santa Fe (Museum of New Mexico Press 2009), which accompanied the exhibition of the same name at the Palace of the Governors/New Mexico History Museum. Formerly the chief curator of the Turchin Center for the Visual Arts at Appalachian State University in Boone, NC, and curator for the Marion Center of Photographic Arts and chair of the photography department at the Santa Fe University of Art and Design, she is currently the curator of the Sioux City Art Center in Sioux City, Iowa. Gregory Nobles received his A.B. in history cum laude from Princeton University and his Ph.D. in history from the University of Michigan. He is now Professor of History Emeritus at the Georgia Institute of Technology, where he spent 33 years as a faculty member and administrator. During that time, he held two Fulbright professorships — Senior Scholar in New Zealand (1995) and John Adams Chair in American History in the Netherlands (2002) — and residential fellowships at the Charles Warren Center at Harvard University, the American Antiquarian Society in Worcester, Massachusetts, the Huntington Library in San Marino, California, the Princeton University Library, and the Newberry Library in Chicago, Illinois. In 1995, he was elected to membership in the American Antiquarian Society and in 2004 was named to the Distinguished Lectureship Program of the Organization of American Historians. Nobles was the 2016–2017 Mellon Distinguished Scholar in Residence at the American Antiquarian Society and in 2018–2019 the Robert C. Ritchie Distinguished Fellow in Early American History at the Huntington Library. He is the author, co-author, and co-editor of five acclaimed books, including, Whose American Revolution Was It? Historians Interpret the Founding, with Alfred F. Young (New York University Press, 2011), American Frontiers: Cultural Encounters and Continental Conquest (Hill and Wang, 1998) and most recently, John James Audubon: The Nature of the American Woodsman (University of Pennsylvania Press, 2017).

July 19 - Dulatown: Documentary Film Screening and Panel Discussion Panelists: Beth Davison (filmmaker), Leslie Dula McKesson and Kelly Ervin. Moderated by Shauna Caldwell. Dulatown, located in Lenoir, NC, is a community settled in 1855 and populated mostly by African Americans who share a kinship and the last name of Dula. The two branches of the family started in 1846 when a woman named Harriet Harshaw was sold to “Squire” Alfred Dula, who fathered eight of her 12 children. Alfred Dula provided for Harriet and her children through the gifting of land before his death and in his will thus establishing Dulatown. Dulatown embraces its history at a bi-annual reunion where in recent years both Black and white Dula relatives come together around their shared history and genealogy to publicly acknowledge they share more than just a surname. Filmmaker Beth Davison explores this story in the documentary Dulatown. BIOGRAPHIES Dr. Beth Davison is the director, producer and editor of the documentary Dulatown. Dr. Davison is a faculty member in the Interdisciplinary Studies and Co-Director of University Documentary Film Services. She teaches research methods, statistics and media classes for Interdisciplinary Studies. Her documentary projects, screened internationally, in film festivals and on public television include The Denim Dynasty, Eva & Moe and Dulatown. The History of the Moses H Cone Estate screens regularly for tourists of the National Park Service’s Cone Manor Theater. For additional information visit: or Dr. Leslie Dula McKesson holds three degrees from Appalachian State University: M.A. in higher education, Ed.S. in higher education, and ED.D in educational leadership. She received her bachelor’s degree from the University of North Carolina at Chapel Hill. Harriet and Alfred were her great-great-grandparents. Dr. McKesson tells her family’s story in the award-winning book Black and White: The Story of Harriet Harshaw and Squire James Alfred Dula. She also narrated the documentary Dulatown.

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McKesson was the dean of Business, Public Services and Academic Support at Western Piedmont Community College and has also worked as an adjunct professor of education and leadership at both Lenoir-Rhyne University and Appalachian State University. For additional information visit: Ms. Kelly Ervin is a retired mathematics educator from Caldwell County Schools. She received her bachelor’s degree in Elementary Education from Lenoir-Rhyne and her master’s degree in Middle Grades Mathematics from Appalachian State University. She is a greatgreat-granddaughter of Harriet and Alfred Dula. According to Beth Davison, she is a valuable historian of Dulatown and Caldwell County history.

July 22 - Testimony – Indonesian Lullaby: Surviving the Shoah in the Netherland: Dr. Alfred Münzer, Holocaust Child Introduction by Dr. Racelle Weiman Dr. Al Münzer, who was born to a Jewish family in the Netherlands during World War II, will give testimony about his survival during the German occupation. When his father was ordered to report to a German labor camp in 1942, the entire family went into hiding, sending the children to various neighbors and rescuers. A DutchIndonesian family hid Al(fred) in The Hague. His sisters stayed elsewhere, until they were betrayed and deported to Auschwitz where they were murdered. Al came to the United States in 1958 with his mother, who had survived several camps and death marches. A short documentary on the rescue that Dr. Weiman helped to produce will be made available for asynchronous viewing ahead of this program. This presentation is part of the 2021 Martin & Doris Rosen Summer Symposium on “Children in the Holocaust” by Appalachian State University’s Center for Judaic, Holocaust, and Peace Studies. Since its inception in 2002, the purpose and goal of the symposium has been to provide information and insights about the victims,

perpetrators, and consequences of the Nazi Holocaust. For more information, please visit the Symposium website at BIOGRAPHIES Dr. Alfred Münzer is a recently retired physician specializing in diseases of the lung who was Director of the Pulmonary Medicine Department at Washington Adventist Hospital in Takoma Park. He has served as President of the American Lung Association. In 2000 he was awarded the Will Ross Medal, the highest honor given by the association for volunteer service at the national level. He currently chairs the Board of Trustees of Action on Smoking and Health (ASH) and remains intimately involved in the global implementation of the first treaty developed under the auspices of the World Health Association, the Framework Convention on Tobacco Control. Dr. Münzer was born in the Netherlands during WWII and lost his father and two sisters in the Holocaust. He spent the first four years of his life hidden from the Nazi occupiers with an Indonesian family residing in The Hague. He and his mother immigrated to the United States in 1958. For the past eight years he has been a volunteer at the U.S. Holocaust Memorial Museum translating diaries from Dutch into English for a five-volume series called Jewish Responses to Persecution and as a docent for the museum’s permanent and special exhibitions. Dr. Münzer has told the story of his family and of his rescue countless times through the museum’s First-Person series and to groups of judges, law enforcement officers, and high school and college students. Five years ago, he had the especially moving experience of sharing the story of his rescue by an Indonesian family with a group of Indonesian students at Temple University. At their invitation, Dr. Münzer went to Indonesia to bring the lesson of courage and compassion in a time of hate to an audience completely unfamiliar with the Holocaust. Four years ago, he was invited to speak at a Holocaust Commemoration in Scotland where he, a child survivor of the Holocaust, was paired with Arn Chorn Pond, a child survivor of the Khmer Rouge. Their bond brought him to Cambodia where he witnessed first-hand the power of music and the arts in bringing healing and reconciliation to a people ravaged by atrocities and genocide. He now serves on the board of the organization dedicated to that vision, Cambodian Living Arts. Dr. Racelle Weiman has 30 years of professional expertise in Holocaust Studies and Interreligious/Interethnic Dialogue, with a focus on educational multi-media tools and skills, leadership development and communitybuilding. She specializes in designing creative and transformative approaches to minority rights and prejudice reduction. Her groundbreaking work in the field of Holocaust and Genocide education, conflict resolution and



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interreligious dialogue includes the production of award-winning films and curriculum, and the development and execution of exhibitions of all sizes and mediums, festivals and conferences, international tours and projects, workshops, academic courses and leadership training, and social entrepreneurship on a global level. Dr. Weiman has served as the co-director of the Martin and Doris Rosen Summer Symposium since 2017.

July 26 - Cheryl Prisco, Ruminations: From the Studio to the Gallery Join us for this video featuring artist Cheryl Prisco, currently exhibiting at the Turchin Center, as she explores her process and practice, from the studio to the gallery. Rumination (noun) 1. a deep and considered thought about something. Cheryl Prisco is an abstract artist who is addicted to color and pattern, drawn to irreverence and visual dissonance. In place of paint and brush she cuts, colors, and shapes wood elements, creating abstract low relief assemblages. The process of her work, the shaping and fitting, the painting and placement of multiple pieces, is the physical manifestation of rumination. Her feelings, attitudes and concerns are visually recorded in color and composition. Each assemblage is a rumination, a story, one in the making and one in the viewing. Join Prisco as she explores her process and practice — from her studio to the gallery. ARTIST’S STATEMENT “As with all artists, I need to make for my overall wellbeing; it is a necessity, a compulsion. I did not surrender to it completely until relatively recently at the age of 55. Now two years in, which has included 15 exhibitions, honors including two artist grants, purchase prize award, best of show award and a public art commission — I am making up for lost time. Why now? I cannot say for certain but I believe it was the experience of almost losing my partner back in 2017. That abrupt reminder of mortality and transience has made me feel an intensity and urgency in everything. My work reflects this intensity visually in color and tactile dimensionality.” — Cheryl Prisco


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Meet the Artists of Freedom Summer TUESDAY, JULY 13 7:00 pm, Zoom Webinar Register at Free


In advance of NC Black Repertory Company's production of Freedom Summer, streaming on Thursday, July 15 as part of An Appalachian Summer Festival, NC Black Rep Artistic Director Jackie Alexander moderates this behind-the-scenes panel discussion with playwright Cynthia Grace Robinson and the leads of her powerful Civil Rights-era drama, Nikyla Boxley and Mariah Guillmette.

A recording of the webinar will be accessible online at An Appalachian Summer Festival YouTube channel through July 16.

Cynthia Grace Robinson (Playwright) is a playwright, producer, and educator. Cynthia’s plays include Dancing on Eggshells (The Billie Holiday Theatre); Peola’s Passing (Samuel French Off Off Broadway Theatre Festival; New Perspectives Theatre Company; Festival de Teatro Alternativo, Bogota, Colombia); When Night Falls (Eugene O'Neill semi-finalist; Developed at Rising Circle Theater Collective/INKtank Play Development Lab); Gold Star Mother (EstroGenius Festival); Ascension (National Black Theatre Festival; New York International Fringe Festival); Thunder: A Musical Memoir (New York International Fringe Festival); Nightfall (The Fire This Time Festival); Rome in Love (48 Hours in... Harlem, The National Black Theatre); In this Life (in development). Awards and honors include: Eugene O'Neill Theater Center Playwriting Conference (Semi-finalist); Playwrights of Color Summit/Quick Silver Theater Company (Semi-Finalist); The Rivers Writers Unit at The Lark; Rising Circle Theater Collective/INKTank Residency; AUDELCO Award for Excellence in Black Theatre (Nominee); SUNY Westchester Foundation Faculty Excellence Award for Scholarship; SUNY Chancellor’s Award for Excellence in Scholarship and Creative Activities; Final Forty Playwright, Samuel French Off Off Broadway Short Play (Finalist); Black and Latino Playwrights Conference (Finalist); NYU Calvin B. Grimes Scholar-in-Residence Inaugural award winner; Tribeca All-Access Open Stage Inaugural award winner; Best New Play IRNE (Nominee); Thomas Barbour Memorial Playwright’s Award (Finalist). Publication: The Book of Estrogenius 2012: A Celebration of Female Voices (Gold Star Mother). Cynthia is co-director of The Fire This Time New Works Lab, a member of The League of Professional Theatre Women, and a member of The Dramatists Guild of America, Inc. Cynthia holds a B.A. in English from Syracuse University and an M.A. in English Education from New York University. Her post-graduate studies include Trinity College, University of Oxford in the U.K.


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Nikyla Boxley (Carrie) is thrilled to be back at the North Carolina Black Rep! Recent credits: The Niceties, Maid’s Door (NCBRC), We Are Proud to Present... Grateful for everyone in my corner, always. Graduate of University of North Carolina School of the Arts (BFA, c/o 2019). IG: @nikylaboxley Mariah Guillmette (Nora) is a recent graduate of the Drama Department at UNCSA. Her most recent shows include The Last Days of Judas Iscariot, OTMA, and Airline Highway. Mariah is currently based in LA, but she is delighted to be returning to Winston-Salem and the stage at NC Black Repertory Company.

Jackie Alexander (Director) is an awardwinning actor, writer, producer, and director, former Artistic Director of The Billie Holiday Theatre in New York, and current Artistic Director of The North Carolina Black Repertory Company, producers of The National Black Theatre Festival (NBTF). His debut novel, Our Daily Bread, was published by Turner Publishing in September 2012. His debut feature film, Joy, was awarded Best Feature Film 2002 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 Desire, The Right Reverend Dupree in Exile, and Birthright. A short list of additional directing credits includes The Waiting Room, Lemon Meringue Façade, Jelly’s Last Jam (Best Musical 2017 NOLA

Big Easy Awards and 2019 NBTF Opening Night Production), and the world premieres of The Sting of White Roses, Plenty of Time, Fati’s Last Dance, Finding Home, Matisse’s Self-Portrait, and Maid’s Door (Seven AUDELCO Awards including Best Play). 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; 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

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The Road to Mandalay In Burmese with English Subtitles

WEDNESDAY, JULY 14 7pm; link accessible for 24 hours Online Two young Burmese immigrants flee their country’s civil war and desperate poverty to work illegally in Thailand. During their journey from Myanmar to Thailand, Guo falls in love with Lianqing. In Bangkok, they both find different ways to make enough money to realize their dreams. Guo gets a job at his cousin’s textile factory while Lianqing works 14-hour days washing dishes. Having found work, Lianqing focuses her efforts on acquiring an illegal Thai ID card. When she achieves this goal, the young couple’s relationship is in question. Myanmar/Thailand, Not Rated, Directed by Midi Z (2016), 108 mins This series has been sponsored by a generous gift from Helene and Stephen Weicholz. Special thanks to our film curator, Dr. John Pfeifer.



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NC Black Repertory Company:

Freedom Summer


THURSDAY, JULY 15 8:00 pm, Virtual Livestream

Freedom Summer tells the story of two sisters — Nora, who has started a new life “passing” as a white woman in Boston, and Carrie, who is preparing to travel to the deep South to register Blacks to vote. The bodies of three civil rights workers have just been found in Mississippi, leading the sisters to question the price of civil rights, Black identity, and what it means to be free.


Set against the backdrop of the 1964 Mississippi Voting Rights Project, Freedom Summer is a powerful reminder of the price paid by so many in pursuit of civil liberties, and the importance of making your voice heard in the political process.


Nikyla Boxley (Carrie) Mariah Guillmette (Nora) Eric Dowdy (News Reporter) Jordan Matthews (Delivery Man) Casey Burton (Driver) Cast biographies can be found on page 57

Production Crew Playwright: Cynthia G. Robinson Director: Jackie Alexander Set Design: Lizbeth Ramirez Lighting Design: Aja Jackson Costume Design: Frenchie Slade Sound Design: Juan Isler Stage Manager: Ashley Winkfield Technical Director: Scott Haynes Lighting Operator: Conor McKenzie Sound Operator: Adam Campbell

About the Company

The North Carolina Black Repertory Company’s mission is to engage, enrich and entertain with innovative programming that resonates across the community and challenges social perceptions. Founded in 1979 by Larry Leon Hamlin, the North Carolina Black Repertory Company (NC Black Rep) is the first professional Black theatre company in North Carolina. NC Black Rep is committed to exposing diverse audiences to Black classics, the development and production


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of new works, improving artistic quality, and sustaining Black theatre internationally. This continues to be the benchmark by which all projects are measured. Further, NC Black Rep was founded as a vehicle from which theatre professionals can earn a living through their craft. The Company is universally recognized for its artistic and administrative achievements and its international outreach program, the National Black Theatre Festival® (NBTF). NC Black Rep produces Black Theatre classics, up-and-coming

African American writers, and at least one world premiere each season. The annual Martin Luther King, Jr. Birthday Celebration and the holiday presentation of Nativity According to the Gospels have become two of the Company’s staples. The NC Black Rep Teen Theatre Ensemble illustrates NC Black Rep’s mission to develop, train and showcase the theatrical talent of local teens. In addition to its productions, the NC Black Rep is involved in a broad range of community outreach programs and partnerships.


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JASON ISBELL AND THE 400 UNIT SATURDAY, JULY 10 8:00 pm, Kidd Brewer Stadium Ticket Prices: $60 Wings, $75 Center, $100 Floor


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

Boone Area Visitors Bureau, Mast General Store, Goodnight Brothers, SkyBest Communications, Inc., and Appalachian Home Care LLC. With special thanks to Mr. John Carter from WBTV, our emcee for the evening.

What happens after an artist has achieved his dreams? That was the major question Jason Isbell was asking himself leading up to the creation of his newest album, Reunions, recorded with the 400 Unit and produced by celebrated producer Dave Cobb. After all, four-time Grammy winner Isbell is at the top of his game. He is widely acclaimed as one of our best songwriters and possesses a devoted audience who have pushed his last two albums to the tops of the charts. “Success is a very nice problem to have, but I think, ‘How do I get through it and not lose what made me good in the first place?’” he says. “A lot of these songs and the overall concept of this album is, how do I progress as an artist and a human being and still keep that same hunger that I had when I wasn’t quite so far along in either respect.” Isbell’s solution: to go back in time with his hard-gained knowledge. The result is a seamless collection of 10 new songs that delve into relationships with lovers, friends, children, parents, and one’s self. There are rousing anthems that will have stadiums singing along, lyrical standouts that highlight some of Isbell’s best writing to date, moving looks at youth and childhood, a deep dive into the challenges of relationships, and deeply personal songs about alcoholism and parenthood. All of them offer us an artist at the height of his powers and a band fully charged with creativity and confidence.


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The 2021 Broyhill Chamber Series is dedicated to the memory of Larry Freiman, a devoted supporter of classical music programming at An Appalachian Summer Festival, who with his wife Barbara has provided significant annual support for this series.


7:00 pm, Schaefer Center for the Performing Arts plus livestream Sponsored by McDonald’s of Boone

“Wooden Soldier”* Bach C Major - Tumble Time*

Tessa Lark and Michael Thurber Johann Sebastian Bach / Lark and Thurber Bach c minor - d minor - F Major Johann Sebastian Bach “Cedar and Sage”* Lark and Thurber Bach b minor - “Weather Vane”* - Bach G Major Johann Sebastian Bach / Lark and Thurber “Appalachian Fantasy” (violin solo) Tessa Lark Beatles "Blackbird" (bass and vox) Paul McCartney, arr. Thurber “Sweet Georgia Brown” Ben Bernie and Maceo Pinkard “Autumn Leaves” Joseph Kosma “Tom and Nancied”* Lark and Thurber “Until We Meet Again”* Lark and Thurber *originals by Lark and Thurber

The Broyhill Chamber Ensemble Concert Series is generously supported by the Muriel and Arnold Rosen Endowment for the Arts, the Rosen-Schaffel Endowment for Classical Music Programming, the Broyhill Family Foundation, Barbara Freiman, and by Ralph and Venda Lerch/McDonald’s of Boone. Generous performance underwriting has also been provided by Joni and Peter Petschauer. Free Facebook Livestream @TheViolinChannel or @AnAppalachianSummerFestival

Award-winning violinist Tessa Lark and virtuoso composer/bassist Michael Thurber have come together to create a duo unlike any other. By fusing their classical and American music influences, they have created a wholly original sound, which they bring to audiences around the country in a charismatic live show. Highlights of their 2019-20 season include a headlining debut performance at Lincoln Center’s Mostly Mozart Festival; a debut at Philadelphia's Kimmel Center in collaboration with legendary flautist Marina Piccinini; the guest-hosting of a live broadcast of NPR’s From the Top; and engagements with Palm Arts (Telluride, CO), Musical Masterworks (Old Lyme, CT), Joye in Aiken (Aiken, SC), the Fine Arts Society of Southeastern Kentucky (Corbin, KY), and Coastal Concerts (Lewes, DE). Lark and Thurber met years ago as alumni of From the Top. They began developing their duo collaboration in 2016 after a one-off performance at an event for WQXR in New York City. The two quickly realized how much they had in common musically. “This duo is a place for us to explore our varied musical influences,” says Lark. “I grew up in Kentucky playing bluegrass long before I started my career as a classical musician, so I’ve always longed for an outlet to integrate my American music roots into my performances.” Thurber adds, “Our diverse musical appetite is what has always drawn Tessa and me together. The fiddle and bass are both such versatile instruments and have played vital roles in so many different musical traditions around the world. It feels very natural to explore the full range of our musical heritage and not be bound by genre.” Outside of their duo, Lark and Thurber have enjoyed successful careers of their own. In the classical music world, Tessa has earned many of the top honors available to young artists, including a GRAMMY nomination for her 2019 recording of Michael Torke’s Sky: Concerto for Violin with the Albany (NY) Symphony Orchestra; a 2018 Borletti-Buitoni Trust Fellowship; a 2016 Avery Fisher Career


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Grant; Silver Medal in the 2014 International Violin Competition of Indianapolis; and a First-Place finish in the 2012 Naumburg International Violin Competition. Michael has a reputation as one of the most versatile musical talents of his generation. Whether he's playing bass on The Late Show with Stephen Colbert, composing music for the Royal Shakespeare Company, co-founding the smash YouTube channel CDZA, or hosting his Thurber Theater variety show at Joe’s Pub in New York City, Thurber’s musical voice defies genre and category. In their respective careers thus far, Tessa and Michael have had the privilege of collaborating with some of the world’s leading musicians in a wide variety of genres, among them Mitsuko Uchida, Edgar Meyer, Itzhak Perlman, and Mark O’Connor (Tessa), and Yo-Yo Ma, James Taylor, Vulfpeck, Jon Batiste, and CeeLo Green (Michael). The duo’s debut album, Invention, which intersperses arrangements of J.S. Bach’s Two-Part Inventions with original compositions by Lark, Thurber, and Eddie Barbash, was released on August 8, 2019. The duo Tessa Lark & Michael Thurber is represented worldwide by New York-based Sciolino Artist Management.

Program Notes

Tessa Lark and Michael Thurber Creating a wholly original sound that defies genre and category, Lark and Thurber have blended influences from bluegrass, jazz, and classical works together in their original compositions. Prior to forming their duo, both Lark and Thurber enjoyed successful careers of their own. Born Tessa Lark Frederick and raised in the central Kentucky town of Richmond, Lark has been playing classical and improvised music for much of her life. She took up the mandolin at age four, followed by the violin two years later. By age nine, she was occasionally joining her father, a biology professor and banjo picker, in Narrow Road, a gospel-bluegrass band.

At 11, Lark began to participate in the Cincinnati Starling Preparatory Strings Project, a training program led by Kurt Sassmannshaus. “I would always start every drive with Appalachian Journey and Edgar Meyer’s piece 1B,” she says, referring to the folk and classical crossover album featuring Meyer with Yo-Yo Ma and Mark O’Connor. “That was my soundtrack to going off on my musical journeys.” Lark has earned consistent praise from critics and audiences for her astounding range of sounds, technical agility, captivating interpretations, and multigenre programming and performances. A 2020 Grammy nominee in the Best Classical Instrumental Solo category for Michael Torke’s “Sky”, recipient of a 2018 Borletti-Buitoni Trust Fellowship, a 2016 Avery Fisher Career Grant, the Silver Medal in the International Violin Competition of Indianapolis, and winner of the 2012 Naumburg International Violin Competition, Lark has won widespread praise from critics and audiences for her versatility, technical agility, and musical elegance. A budding superstar in the classical realm, she is also a highly acclaimed fiddler in the musical traditions of her native Kentucky. Michael Thurber is also one of the most versatile musical talents of his generation. Whether playing bass on The Late Show with Stephen Colbert, composing music for the Royal Shakespeare Company, co-founding the extremely successful YouTube channel collective CDZA, or hosting his “Thurber Theater” variety show at Joe’s Pub, Thurber’s musical voice defies genre and category. He currently serves on the Board Of Directors for NPR’s “From The Top” and is an Adjunct Faculty member at NYU’s Clive Davis Institute. He studied music at The Interlochen Arts Academy and The Juilliard School. As a theater composer and lyricist, Thurber made his international debut with his score of Antony and Cleopatra, a co-production between The Royal Shakespeare Company and New York’s The Public Theater. He has since written numerous scores for The Public Theater, Manhattan Theater Club, and has developed original musicals with

The Eugene O’Neill Theater Center, Joe’s Pub in New York, The Kimmel Center, Williamstown Theater Festival, SPACE At Ryder Farm (NY), and Theater Latte Da in Minnesota. His one-man musical The Booty Call appeared Off-Broadway in 2016. In 2015, Thurber joined Jon Batiste and Stay Human as bass player for The Late Show with Stephen Colbert, where he has performed with YoYo Ma, James Taylor, Cee Lo Green, and Jack Black. Thurber’s concert music has been performed by orchestras around the country, including The Louisville Orchestra, The Williamsburg Symphony, The Evansville Philharmonic, and The Interlochen Arts Academy Orchestra. The husband/wife team of Lark & Thurber met as alumni of “From The Top.” They began developing their duo collaboration in 2016 after a one-off performance at an event for WXQR in New York City and soon realized their musical commonality. “This duo is a place for us to explore our varied musical influences” Lark says. “I grew up in Kentucky playing bluegrass long before I started my career as a classical musician, so I’ve always longed for an outlet to integrate my American music roots into my performances.” Thurber adds, “Our diverse musical appetite is what has always drawn Tessa and I together. The fiddle and bass are both such versatile instruments that have played vital roles in so many different musical traditions around the world. It feels very natural to explore the full range of our musical heritage and not be bound by genre.” As they developed as a duo, they searched for a concept that would anchor all of their musical selections and have said that they immediately gravitated to the music of J.S. Bach. “Bach's music has always been our musical home base and a benchmark of musical perfection. In particular, his Two-Part Inventions have occupied a central place in our hearts. These beautiful bite-sized works of counterpoint illuminate the full expressive possibility for two musical voices. You can hear these melodies laugh, mourn, swoon, and argue as they meticulously intertwine.”


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In the spirit of these Inventions, they have 'invented' their own set of duos. Just as Bach's Inventions are explorations in counterpoint, their duos, which they have paired with the Bach Inventions, explore the full range of what is possible with their distinct, specific voices on the violin and the bass. They note, “Both the violin and bass have played an integral role not only in European music but in all forms of American music, from Appalachia to New Orleans. In our compositions, we explore these different styles and dive into our own musical heritage as Classical musicians, but also as Americans." Many of the comments, below, about the pieces Lark and Thurber have created together come from the comments the composers made in a streamed concert during the 2020 pandemic. “Wooden Soldier”... Michael Thurber/Eddie Barbash/Tessa Lark (Lark: Born in 1989; Thurber: born in 1987)

Lark and Thurber created “Wooden Soldier” in conjunction with Eddie Barbash, a saxophonist, who plays American roots music and is known for his work as a core member of Jon Batiste and Stay Human; Barbash was also part of the house band for The Late Show with Stephen Colbert through 2016. The lilting “Wooden Soldier” resembles Appalachian fiddle tunes. Thurber says the music took on this character because of Lark’s background with the mandolin and with her bluegrass and folk background. “Blackbird”... Beatles, Paul McCartney arr. Thurber: (Thurber only: bass and vox) McCartney wrote this piece about the civil rights struggle for African Americans after reading about race riots in the United States not long after an incident in Little Rock when the federal courts forced desegregation of the Arkansas capital's school system. McCartney told GQ. “I just thought it would be really good if I could write something that if it ever reached any of the people going through those problems, it might give them a little bit of hope. So, I wrote ‘Blackbird.’” In 2008, McCartney said that he and George

Harrison “had the first four bars of the Bach Bourrée in E minor for lute and that was as far as my imagination went. So I made up the next few bars, and it became the basis of ‘Blackbird.’” “Sweet Georgia Brown” “Sweet Georgia Brown” was written in the 1920s by Maceo Pinkard and Ken Casey and popularized by the big bandleader Bernie Bernie. The most famous version of “Sweet Georgia Brown” is a 1949 instrumental recorded by Brother Bones & His Shadows. The Harlem Globetrotters used that version, adopting it in 1952, for their “Magic Circles,” when the players passed around the ball in a circle displaying their impressive techniques and dexterity. The original version had lyrics that were about a black prostitute. Many soloists and groups, including Bing Crosby, Louis Armstrong, Ella Fitizgerald, The Grateful Dead, and the Beatles, have covered this song with different lyrics, varying by cover. The Beatles’ version contains the line, “In Liverpool she even dared to criticize the Beatles’ hair with their whole fan club standing there.” “Autumn Leaves” “Autumn Leaves” is an old jazz standard that originated with a French song with music by Joseph Kosma and lyrics by poet Jacques Prévert, called “Les feuilles mortes” (literally, the dead leaves) Johnny Mercer, an American songwriter, adapted it with English lyrics in 1947. “Tom and Nancied”... Lark and Thurber “Tom and Nancied” is named for one of their favorite couples, friends Thurber says have a joie de vivre (joy in living). He recounted that when he and Tessa go to Tom and Nancie’s house, they have a wonderful time drinking wine, thinking they’re solving the problems of the world. But all of them, without realizing it, have a little too much, and the next morning are aware of the results of their indulgence, which they have dubbed “feeling “Tom and Nancied.” The tune was written to depict an evening with Tom and Nancie; Tessa and Michael

arrive at their friends’ house and chatter pleasantly, before breaking open some old wine. Then the conversation gets better and better as the evening gets wilder and wilder, and their friends sometimes talk over each other; eventually Tessa and Michael go home to bed happy and loving, but then comes the dread of the next morning, when they are feeling the effects of the wine. Later that next day, however, they feel ready to do it all over again. “Until We Meet Again”... Lark and Thurber This piece Thurber and Lark wrote together during the coronavirus pandemic in 2020. They dedicated it to those who were struggling to keep their heads up because of being distanced from loved ones. “Until We Meet Again” has echoes of Celtic fiddle laments brought to America centuries ago. Program Notes: Susan Halpern, © 2021


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Experience a night of Broadway hits and unforgettable music with Tony Award®-winning Brian Stokes Mitchell (Man of La Mancha, Shuffle Along, Ragtime) and Tony Award-nominated Megan Hilty (NBC’s Smash, Broadway’s Wicked) in concert.


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

Boone Area Visitors Bureau, Mast General Store, Goodnight Brothers, SkyBest Communications, Inc., and Appalachian Home Care LLC. This performance was also supported, in part, by generous gifts from Ralph S. Grier, Lainey and Steven Brooks, and Nancy Tafeen.

Dubbed “the last leading man” by The New York Times, two-time Tony Awardwinner Brian Stokes Mitchell has enjoyed a career that spans Broadway, television, film, and concert appearances with the country’s finest conductors and orchestras. He received Tony, Drama Desk, and Outer Critics Circle awards for his star turn in Kiss Me, Kate. He also gave Tony-nominated performances in Man of La Mancha, August Wilson’s King Hedley II, and Ragtime. Other notable Broadway shows include Kiss of the Spider Woman, Jelly’s Last Jam, Women on the Verge of a Nervous Breakdown and Shuffle Along. In 2016, he was awarded his second Tony Award, the prestigious Isabelle Stevenson Tony for his Charitable work with The Actors Fund. That same year Stokes was inducted into the Theatre Hall of Fame. An extremely versatile and in-demand singer, Stokes has performed at venues spanning jazz, opera, pops, country, and musical theater worlds. He has worked with John Williams, Marvin Hamlisch, Gustavo Dudamel, Keith Lockhart, Michael Tilson Thomas, The Smithsonian Jazz Masterworks Big Band, The Mormon Tabernacle choir and the Muppets. Stokes has made multiple appearances at Carnegie Hall beginning with his debut with the San Francisco Symphony through his televised performance in South Pacific opposite Reba McEntire to his sold-out solo concert, which he continues to perform throughout the U.S. He has been invited twice to perform at the White House (both times aired on PBS’s “Great Performances”) and has performed multiple times for Presidents Clinton and Obama. Stokes has delved deeply into various music disciplines. In addition to singing, he began piano studies at the age of 6. A self-professed autodidact, his musical curiosity led him to teach himself composing, arranging and orchestration, starting in his teens. He later studied film scoring, orchestration, and conducting both privately and through UCLA and subsequently scored and conducted a number of Trapper John, MD episodes, a series on which he was also a regular cast member. His musical talent has extended


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to the present day as producer, arranger and orchestrator on his three solo albums, including Simply Broadway and his latest recording, Plays With Music. Stokes has appeared on more than 20 albums. His extensive screen credits began with a guest starring role on Roots: The Next Generations, followed by a seven-year stint on Trapper John, MD, and have continued with memorable appearances on everything from PBS’ Great Performances to The Fresh Prince, Frasier, Glee, Jumping the Broom and his most recent recurring roles on Madam Secretary, Mr. Robot, The Path, Billions and The Good Fight. Other recent TV appearances include The Blacklist, Elementary, and Bull. As a voice-over artist, he has played dozens of characters on animated TV episodes including performing “Through Heaven’s Eyes” in Dreamworks’ The Prince of Egypt. As a writer, Stokes has contributed to the book Hirschfeld’s Harlem, wrote the preface to At This Theatre, and co-authored the children’s book Lights on Broadway.

For fun, he has been known to fly planes and jump out of them (usually not at the same time), and he can ride a bicycle on a high wire. Stokes has enjoyed working with numerous charitable organizations from the March of Dimes to the USO. He is on the board of Americans For the Arts and is serving his 14th term as Chairman of the Board of the Actors Fund. You can see more credits and information at: IMDB, Broadway Database, BroadwayWorld, Wikipedia Megan Hilty is probably best known for starring as Ivy Lynn on the musical-drama series Smash on NBC. Most recently, she starred in the Lifetime movie Patsy and Loretta, for which she received a Critics Choice nomination and won a Women’s Image Award for her portrayal of the country music legend Patsy Cline. Megan rose to prominence for her work on Broadway, where she played Glinda the Good Witch in Wicked. She then created the role of Doralee Rhodes in 9 to 5 the

Musical, and was nominated for a Tony Award for her performance as Brooke Ashton in Noises Off. She also received rave reviews for her portrayal of Lorelei Lee in Gentlemen Prefer Blondes and Annie Oakley in Annie Get Your Gun as part of the Encores! staged concert series at City Center. Megan has released three full-length albums, It Happens All The Time, Megan Hilty: Live At The Cafe Carlyle, and A Merry Little Christmas. In addition to her many on-camera television credits, Megan’s voice can be heard in numerous animated series for Disney, Nickelodeon, Netflix and DreamWorks. She has performed with renowned orchestras all over the world, including the New York Pops, the National Symphony Orchestra, the Cincinnati Pops, the New York Philharmonic, and the Boston Pops, as well as headlining her own show at the Sydney Opera House. Megan now lives in Los Angeles with her husband, actor/writer/musician Brian Gallagher, and their two small children, Ronan and Viola.


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The 2021 Broyhill Chamber Series is dedicated to the memory of Larry Freiman, a devoted supporter of classical music programming at An Appalachian Summer Festival, who with his wife Barbara has provided significant annual support for this series.


7:00 pm, Schaefer Center for the Performing Arts plus livestream Sponsored by McDonald’s of Boone

Joseph Haydn (1732–1809) – String Quartet in C major, Op. 76 No. 3, “Emperor” Allegro Poco adagio. Cantabile Menuet. Allegro—Trio Finale. Presto Antonín Dvoṙák (1841–1904) – Selections from Cypresses, B. 152 I. Moderato - “Know that on My Love to Thee” II. Allegro ma non troppo - “Death Reigns in Many a Human Breast” III. Andante con moto - “When Thy Sweet Glances on Me Fall” XI. Allegro scherzando - “Nature Lies Peaceful in Slumber and Dreaming” XII. Allegro animato “You Ask Why My Songs” Béla Bartók (1881–1945) – String Quartet No. 1 in A minor, Op. 7 Lento Poco a poco accelerando all’allegretto Introduzione: Allegro—Allegro vivace The Broyhill Chamber Ensemble Concert Series is generously supported by the Muriel and Arnold Rosen Endowment for the Arts, the Rosen-Schaffel Endowment for Classical Music Programming, the Broyhill Family Foundation, Barbara Freiman, and by Ralph and Venda Lerch/McDonald’s of Boone. Generous performance underwriting has also been provided by Joni and Peter Petschauer. Free Facebook Livestream @TheViolinChannel or @AnAppalachianSummerFestival

A string quartet for the ages, Tesla Quartet is known the world over 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). From cutting edge contemporary works to established masterpieces, the Tesla Quartet’s emotive and thoughtful interpretations reveal the ensemble’s deep commitment to the craft and to their ever-expanding repertoire. The quartet recognizes the power of their platform to amplify underrepresented voices and to encourage the proliferation of an equitable and just future for society as well as a hospitable climate for posterity. Now entering its second decade, the quartet performs regularly across North America and Europe, with recent highlights including their debut at New York’s Lincoln Center, a return to London’s Wigmore Hall, and performances at Stanford University’s Bing Concert Hall as winners of the prestigious John Lad Prize. Other recent international engagements include tours of Brazil, China, and South Korea. Notable festival appearances include the Banff Centre International String Quartet Festival; the Joseph Haydn String Quartet Festival at the Esterházy Palace in Fertőd, Hungary; the Mecklenburg-Vorpommern Festival in Germany; and the Festival Sesc de Música de Câmara in São Paulo, Brazil. Having served as the Marjorie Young Bell String Quartet-in-Residence at Mount Allison University in New Brunswick, Canada from 2016-2017, the Tesla Quartet also recently completed a four-year community residency in Hickory, North Carolina that included performances and workshops at local colleges, universities, and in the public school system, as well as a dedicated chamber music series. Remaining true to their ethos, the Tesla Quartet has proved unwavering and resilient in the face of global depression. From the safety of their own homes, they overcame technological hurdles in order to cheer on the healthcare heroes of the New York Presbyterian Hospital network with weekly concerts throughout the city’s darkest hours. Addressing the needs of those within the music community, the


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Quartet commissioned 12 works by composers from across North America for their online series Alternating Currents, an homage to Beethoven and a celebration of diverse voices. Tesla Quartet has also helped pioneer ImmerSphere, an immersive augmented reality virtual concert experience, bringing familiar community stages directly into the homes of concertstarved audiences. With renewed hope for a brighter future, the Tesla Quartet is focusing its efforts in the coming seasons on inspiring climate action with the commissions of several full-length works for string quartet that touch on different aspects of the climate crisis and recovery, in addition to premiering Jeff Nytch’s piece decrying deforestation, Song of the Lorax. In 2018, the Tesla Quartet released its debut album of Haydn, Ravel, and Stravinsky quartets on the Orchid Classics label to critical acclaim. BBC Music Magazine awarded the disc a double 5-star rating and featured it as the “Chamber Choice” for the month of December, and Gramophone praised the quartet for its “tautness of focus and refinement of detail.” They released their second disc on the Orchid Classics label in October 2019, Joy & Desolation, a collaboration with clarinetist Alexander Fiterstein featuring quintets by Mozart, Finzi, John Corigliano and Carolina Heredia. The Classic Review raved, “From the outset, the quartet plays as a single instrument. Their sound is balanced across registers, their timbres and articulations matched," and The ArtsFuse called it “a compelling, diverse album from one of the best chamber ensembles (and clarinetists) out there.” The Tesla Quartet builds upon years of early success at numerous competitions, including multiple top prizes at the prestigious 2016 Banff International String Quartet Competition, 2015 International Joseph Haydn Chamber Music Competition, and 2012 Wigmore Hall London International String Quartet Competition. The group originally 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 Aspen Music Festival’s Center for Advanced Quartet Studies, the Britten-Pears Young Artist Program, and the Norfolk Chamber Music Festival. The Tesla Quartet is Ross Snyder (violin), Michelle Lie (violin), Edwin Kaplan (viola), and Serafim Smigelskiy (cello). Learn more at


“Impassioned interpretation was the rule throughout. ...There were many refined moments of sweet repose too, particularly in the coda that were given duly sensitive treatment by the ensemble, an important contrast that helped to display the many sides of Brahms’s musical personality... [The ensemble] handled it all with an astute combination of power and grace, shifting gears seamlessly throughout the manifold textures.” —Stephen Bonfield, Calgary Herald “The Tesla Quartet (US) followed with Debussy’s String Quartet, the fleeting atmospheres of which have defeated some of the world’s finest. This was a subtly coloured performance that balanced confidently between intimacy and extraversion. A real sense of four players listening to each other did not obstruct a natural rapport with the audience.” —The London Evening Standard “The Tesla players... offered an impressive program of music reaching across centuries of compositional creativity. And they did so with a superb capacity to find the inner heart of everything they played, regardless of era, style or technical demand.” —Don Heckman, The International Review of Music

“Their commitment to excellence has paid off for them in a big way in a short time. ...When a chamber group can make you feel like you are listening to a full orchestra, you have to admit there’s some real magic taking place.” —Midwest Record

Program Notes

String Quartet Op. 76, in C Major No. 3 (“The Emperor”)... Joseph Haydn (Born March 31, 1732, in Rohrau; died May 31, 1809, in Vienna)

In 1795, Joseph Haydn returned from his second visit to London and settled in Vienna to live out his remaining years as music’s grand old man, the greatest living composer. Mozart, whom he had so greatly admired, had died too young four years before, and Beethoven, who was to lead the next generation, in 1795, was still only the musical season’s best debutante. England had showered wealth and honors on Haydn; he had lingered there for two months after his last concert before going home to the Continent. By the standards of the time, Haydn had unusual longevity because he had reached the age of 63. By his last years, he had written more than a hundred symphonies, but after the dozen masterpieces that he had composed expressly for his London audiences, he never wrote another. Yet with the new knowledge of Handel’s oratorios that he had acquired in London, the elder Haydn modernized and revitalized that form in his own The Creation and The Seasons. He also composed six masses and some other sacred music for the princely Esterházy family for whom he had served as staff conductor and composer for 30 years. In his last years, he wrote almost nothing except a few string quartets, music that sums up a lifetime of invention of the highest order. In 1797, he wrote the six quartets we know as Op. 76, and, in 1799, the two of Op. 77. He began another in 1803 but gave up after two movements, which he allowed to be published in 1806 with the apologetic message, “All my


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strength is gone; I am old and weak.” The last eight completed quartets are written with the kind of controlled freedom that comes only with great maturity. Their rich instrumental texture anticipates the future. Count Joseph Erdödy, Chamberlain and Privy State Counselor to the Emperor, commissioned the six quartets of Op. 76, and, of course, Haydn dedicated them to him. The Erdödys were an important family, noble and musical, related by marriage to Haydn’s former employers, the Esterházys. Count Ladislaus Erdödy appears on the list of the subscribers to Mozart’s Vienna concerts in 1783. Beethoven dedicated his two Trios, Op. 70 (1808), and two Cello Sonatas, Op. 102 (1815), to his pupil, the Countess Maria, the wife of Count Peter Erdödy. There are no virtuoso passages in this quartet; the writing does not yet have the full independence of parts that Beethoven was to achieve, but the instruments are all actively involved. The seeming simplicity Haydn was able to achieve in the quartet is here its most creative feature. The first movement, Allegro, has distinctive rhythms that are repeated in the third movement, Menuetto: Allegro, when Haydn reverses the long-short into a short-long pattern, adding brightness to the Minuet. The melody Haydn introduces in the beginning of the first movement prevails throughout, but it undergoes many transformations in character. The Poco Adagio cantabile second movement is the spiritual center of the work. It is based on the variation of one of Haydn’s own songs, which became the Austrian national hymn “Gott erhalte Franz den Kaiser,” (“God Save Franz, the Kaiser”) and then the national anthem of Germany. This composition of great simplicity and dignity is made up of four variations, and, in each, a different member of the quartet carries the melody, which is kept basically the same throughout. The third movement, Menuetto, begins with a loud peasant dance, which is then followed by a more polished, quieter contrasting Trio, before the recapitulation of a shortened minuet. The finale, Presto, is substantial, opening in a minor key and reverting to the major

before the end. As Paul Griffith explains in his book, The String Quartet, this “pushes the center of gravity towards the end of the work in a way Haydn had previously achieved by means of fugue, and prominence of major and minor within a single movement can be used to achieve expressive extremes.” Much of this energetic movement is based on a triplet rhythm that the instruments quickly pass back and forth. Cypresses... Antonín Dvořák (Born September 8, 1841, in Nelahozeves; died May 1, 1904, in Prague)

Dvořák came from a humble and non-musical background. His father was a butcher and innkeeper, but that did not deter his son from beginning to study the violin and organ. By age 16, it became necessary for him to go to Prague to study. By the age of 21, he had shifted to playing the viola, traditionally the instrument taken up by failed violinists, and had joined the orchestra of the National Theater. By that point he was already composing too, initially creating lengthy compositions in the classical forms. He did not become well-known for another decade except marginally in the local Prague community of musicians. It was with his colleagues in the orchestra that he experimented with his first efforts at writing chamber music. In 1875, Brahms recognized Dvořák’s talent and gave him significant help to propel him into his successful career. Brahms arranged for Dvořák to receive a generous grant from the Austrian Minister of Culture, which allowed him the freedom to concentrate on creative work in his early maturity. From the start, chamber music occupied an important position in Dvořák’s work. Many of his earliest pieces were quartets and quintets, modeled after those of Beethoven and Schubert. In July of 1865, when he was a young violist for the Czech Interim Theatre Orchestra, Dvořák wrote a set of 18 songs based on the poems of the Moravian writer Gustav Pfleger-Moravsky, entitled Cypresses. The songs were inspired by his unrequited love for a young actress of the

Czech Interim Theatre, his first love, Josefina Cermákova, who later became his sister-in-law after he married her younger sister, Anna. In this collection of songs, he included some in which his pride and love of country figured foremost. He dedicated the group to the composer Karel Bendl, although they were, in fact, symbolically addressed to Josefina. These 18 songs were never published in their original form during his lifetime. Much later, between April 21 and May 20, 1887, Dvořák rearranged Nos. 1, 2, 3, 9, and 11 for string quartet, making them a series of attractive miniatures in a highly characteristic idiom, and giving them the title Evening Songs. (He seems to have composed the cycle mostly late in the evening: the manuscript of one of the songs bears the note, “Composed by moonlight at 11pm.” He kept them completely unchanged from their song form in melody, rhythm and harmony, although he changed the key in one or two and lengthened particularly short songs by either repetition or by changing the instrumentation of parts to create variation. He generally gave the melody of the vocal part to one instrument while the others provided the accompaniment. Dvořák retained the original character of the songs, basing each on a single lyrical theme. He set them as hausmusik, which in that day meant that they would mostly be played in people’s parlors for entertainment by competent but amateur musicians. Each has the charm and individuality of Dvořák’s other compositions and, like his other chamber works, these demonstrate his melodic and romantic tendencies. In a few, a melancholy mood surfaces, but the dance rhythms dispel any heaviness that the sadness expressed may cause. The songs were first performed in string quartet form in January 1888 in Prague, but the work then disappeared until 1921, when Josef Suk revised and published them again under the present title, Cypresses, including 12 of the original 18 songs in all, enlarging the total number of pieces that were originally designated


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for quartet. In 1957, Dvořák’s original arrangements with the title Cypresses were published in full. In most of the movements, the first violin takes the part originally written for voice. In the other parts, Dvořák creates seamless string textures. The first of the songs, which sets the mood for the songs to follow, was originally the sixth of the song-cycle, “Já vím, že v sladké nadeji” (“I know that on my love”). The second was originally the third of the songs, “V tak mnohém srdci mrtvo jest” (“Death reigns”). “V té sladké moci ocí tvých” (“When thy sweet glances”), the third quartet piece and second song, is followed by “Ó, naší Iásce nekvete to vytoužené štestí” (“Never will love lead us”). An arrangement of the 12th song, “Zde hledím na tvuj drahý list” (“Here gaze I”), comes next. “‘Ó, zlatá ruže spanilá” (“O charming golden rose”) is the seventh of the songs; it is characteristic of the composer in its harmonies and tender in mood. The ninth song, “Kol domu se ted’ potácím” (“I wander oft”) and the 14th song of the original cycle, “Zde v lese u potoka” (“In deepest forest glade”), follow. The fourth song, “Ó, duše drahá, jedinka” (“Thou only dear one”), and “Tam stojí stará skála” (There stands an ancient rock), the 16th of the original cycle, are the next pieces in the series. With the 17th song, “Nad krajem vévodí lehký spánek” (“Nature lies peaceful)”, the expression of joy adds something new to the set, which concludes with an arrangement of the 18th and last song, “Ty se ptáš, proc moje zpevy” (“You are asking why”), ending with an expression of urgent questioning alternating with an answer projecting serenity. String Quartet No. 1, Op. 7 (Sz. 40)... Bela Bartók (Born March 25, 1881, in Nagyszentmiklos, Hungary; died September 26, 1945, in New York)

In 1905, Bela Bartók began the study of folk music of Hungary, which was to be the central element in his work during the remaining forty years of his life. In collaboration with the composer Zoltán Kodály, he collected and examined the music of the itinerant gypsies and

peasants fixed to the land in an area that stretched from Slovakia to Romania. He assimilated the styles of this music so thoroughly that it became impossible to tell the authentic folk tunes from the original material in his work. It was a progression, as one biographer brilliantly put it, “from real to imaginary folk music.” Bartók wrote two quartets around 1896, even before he entered the Royal Academy of Music at Budapest, but later, he suppressed them along with much other juvenilia; after he began his ethno-musicological research, he sketched another, which he numbered Quartet No. 1, Op. 7, and completed in January 1909. It is the cornerstone of a series of six magnificent string quartets that he completed over 30 years, a body of work that provides an extraordinary musical biography of the composer. Young Bartók’s interest in the style of the music of several composers contributed to this work. Ideas in Quartet No. 1 come from the influence of Beethoven, Brahms, Liszt, and Wagner; Bartók combines and applies their procedures in novel ways that bring a sense of them into the 20th century. The basic sonataform, in which contrasting ideas are discussed and then restated with new relationships among them, had been the essence of first movements for generations, but Bartók here uses a variant of sonata form in the second and third movements. Earlier slow movements in a songlike, threepart form traditionally were placed second or third, but Bartók chooses instead to open this quartet with one. The sequence of movements does not offer the usual group of fast tempos with some slow music in the middle. Instead, Bartók gives the quartet a sense of developing intensity by accelerating gradually and cumulatively from beginning to end with some necessary regressions, from time to time, for contrast. This work looks both forward and backward musically as it contains elements from a concerto written two years earlier for a violinist with whom he had then been in love; there are lines and textures that foreshadow the masterful

Music for Strings, Percussion and Celesta of 1936. The sad, slow music is like that of the Quartet No. 6 (1939), in which all the movements, even the quick ones, begin with a section headed Mesto, Italian for sad, gloomy, or mournful. The first movement, Lento, opens with the kind of contrapuntal writing that Bartók learned from Beethoven’s last quartets. The main idea is presented as a canonic duet for the violins and then for the cello and viola. It develops in intensity, rises to a climax, and then fades to the contrasting middle section, where the viola introduces a new, passionate subject over the cello’s openstring drone. This melody’s opening little descending twonote figure becomes important again in later movements. The first movement runs without pause into the next. A long phrase for the two lower instruments, then for the two violins, gradually accelerates to the main tempo, Allegretto, where three or perhaps four related but distinct ideas are stated extensively, developed, briefly recapitulated, and then brought to a quiet ending. The music begins again with a section Bartók identifies as an Introduction, Allegro. Its repeated notes, a feature from the second movement, will be an important characteristic of the third movement as well. The rhapsodic, long lines for the cello and then the first violin are reminders of the Hungarian folk music on which Bartók was simultaneously working. The finale begins when the tempo quickens to Allegro vivace, and the violins begin their drumming repeated notes at astringent sounding, close intervals over a big melody in the low instruments, another derivation from the second movement. In the course of development is a fugal treatment of this theme as the music surges and recedes, continuing to intensify in power until it reaches the three great chords of its final measure. Program Notes: Susan Halpern, © 2021

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In Hebrew, Filipino, Tagalog, and English with English subtitles

WEDNESDAY, JULY 21 7pm; link accessible for 24 hours Online Janet, Moishe and Tina have left their homeland in search of a better life in Israel. Siblings, Janet and Moishe, are among the 40,000 legal foreign guest workers from the Philippines who serve as health care workers, housemaids, construction laborers, and farm hands. Tina arrives at her Aunt Janet’s Tel Aviv doorstep illegally with the hopes of finding work and getting a work visa. Migrant workers are not allowed to bring their families to Israel, and children born to Filipino workers in Israel are not granted citizenship or residency even if their other parent is an Israeli citizen. When Janet and Moishe learn of a new law that allows the Israeli government to deport the children of foreign workers regardless of how long they have lived in Israel, they force their own children into hiding. Phillipines/Israel, Not Rated, Directed by Hannah Espia (2014), 103 mins. This series has been sponsored by a generous gift from Helene and Stephen Weicholz. Special thanks to our film curator, Dr. John Pfeifer.



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ALAN CUMMING & ARI SHAPIRO: OCH & OY! a considered cabaret SATURDAY, JULY 24 8:00 pm, State Farm Road Concert Lot

Alan Cumming (Cabaret, “The Good Wife”) and Ari Shapiro (NPR’s “All Things Considered,” Pink Martini) both transport audiences to other worlds through their stories. Now, they’re joining forces in SONG. Witness the exclusive debut of their new evening of tunes and tall tales titled Och & Oy! a considered cabaret. Musical direction by Henry Koperski. In a statement, Cumming said, “I’ve got to know Ari over the last few years, both socially and when he interviewed me for a couple of events. The last time was an evening in D.C., and by the end of it I realized our chemistry and the unusual combo of us, as well as the fact that Ari has an amazing voice, would make for a really great cabaret show. And kapow! We’re doing it! What I love most is it’s fresh and ever-changing.” Shapiro added, “When Alan first suggested that we create a show together, I didn't quite believe him. Then as we started to dig in to this collaboration, I realized how much our professional lives actually complement each other. We’re both storytellers who try to help audiences better understand themselves and the world around them. This show lets us explore those shared ideals on stage together, through stories and songs.”

Who Is Alan Cumming?


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

Boone Area Visitors Bureau, Mast General Store, Goodnight Brothers, SkyBest Communications, Inc., and Appalachian Home Care LLC. This performance was also supported, in part, by a generous gift from Joni and Peter Petschauer.

Alan Cumming is beyond eclectic. He was an award-winning Hamlet, and he had his own talk show. He was a tour de force solo Macbeth and he voiced a Smurf, twice. He shot a video portrait with Robert Wilson, and recorded a duet with Liza Minnelli. He made back-to-back films with Stanley Kubrick and the Spice Girls. He appeared in a Jay-Z video and he wrote a #1 New York Times best-selling memoir. He had a photo exhibition named Alan Cumming Snaps! and an award-winning fragrance named Cumming. He has played Dionysus, the Devil, God, the Pope and was shot by Herb Ritts for Vanity Fair as Pan. He was on a stamp. He was a teleporting Superhero, a Lee Jeans model and hosted the Tony Awards. He is a Tony and Olivier award-winning theatre actor, and a multiple Golden Globe, Emmy and SAG


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award-nominated television actor. His portrait was hung in the Scottish National Portrait Gallery in the spot previously occupied by the Queen, who made him an O.B.E. (Officer of the British Empire) in her 2009 Honours List for both his work and his commitment to the progression of LGBT rights in Britain and the United States of America. He switched on the lights of the Empire State Building. He is an Independent Spirit Award-winning producer and National Board of Review winning director. He has sung at Carnegie Hall, the Hollywood Bowl, the London Palladium and the Sydney Opera House. He is a Doctor of Arts, thrice. He was named Icon of Scotland in 2005 and is a vociferous campaigner for Scottish Independence. He has designed wallpaper. He owns a bar. Time magazine called him one of the three most fun people in show business. The New York Times described him as a bawdy counter-cultural sprite. The Guardian called him European, weird and sexually ambiguous. He isn’t nearly done yet.

Alan Cumming trained at the Royal Scottish Academy of Music and Drama, now the Royal Conservatoire of Scotland. After leaving the Academy he quickly found himself celebrated in his homeland for both his television work (including the Scottish soap Take the High Road) and his stand-up comedy — the legendary Victor and Barry, which he wrote and performed with drama school pal Forbes Masson. But it was the theatre that gave him his biggest break when, in 1998, he appeared in Manfred Karge’s Conquest of the South Pole at the Traverse in Edinburgh. The play transferred to the Royal Court in London’s West End and Alan was nominated for the Most Promising Newcomer Olivier Award. He went on to work with the Royal Shakespeare Company, and the Royal National Theatre, where he won an Olivier Award for his performance in Dario Fo’s Accidental Death of an Anarchist. For the National Theatre Studio, he directed Michel Tremblay’s Bonjour La, Bonjour and played Romeo in Romeo and Juliet. He was nominated for Olivier awards for La

Bête and Cabaret, and his sensational Hamlet at the Donmar Warehouse in London won him a TMA Best Actor award and a Shakespeare Globe nomination. He made his feature film debut in Ian Sellar’s Prague opposite Bruno Ganz and Sandrine Bonnaire, which premiered at the Cannes Film Festival in 1992. His introduction to American audiences came with Circle of Friends, followed shortly by Goldeneye and Emma. His first movie shot in Hollywood was Romy and Michele’s High School Reunion, and since then he has alternated between blockbusters such as X2:X Men United, the Spy Kids trilogy, and smaller independent films like Titus (opposite Anthony Hopkins and Jessica Lange), which he also produced and earned an Independent Spirit Award. With Jennifer Jason Leigh he wrote, produced, directed and acted in The Anniversary Party, which won them a National Board of Review award and two Independent Spirit nominations. More recently he appeared in George Lucas’ Strange Magic, Travis Fine’s Any Day Now (for which he won


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great acclaim and numerous Best Actor awards around the globe), Battle of the Sexes opposite Emma Stone and Steve Carrell, and starred in After Louie. In 1998, Cabaret opened on Broadway and Alan was instantly embraced by New York City and heralded for his stunning performance as the Master of Ceremonies. He won The Tony, Drama Desk, Outer Critics’ Circle, NY Press, Theater World, FANY and New York Public Advocate’s awards for his work, but for him the biggest prize was finding his new home. He has continued to work on Broadway in Noel Cowar’'s Design for Living, The Threepenny Opera opposite Cyndi Lauper, Off Broadway in Jean Genet’s Elle (which he also adapted), and The Seagull, opposite Dianne Wiest. He returned to the British stage in 2006 with the West End production of Martin Sherman’s Bent, closely followed by the National Theatre of Scotland’s production of Euripides’ The Bacchae, which opened the 2007 Edinburgh International Festival and toured Scotland, before transferring to London and New York. His next collaboration with the NTS and director John Tiffany was a radical reimagining of Macbeth, which premiered at the Tramway in Glasgow in 2012; the following year Alan's tour de force performance of all the play's roles stormed Broadway. He returned to Broadway, Studio 54 and Cabaret once more in 2014-15, recreating his now legendary performance opposite the Sally Bowles of Michelle Williams, Emma Stone and Sienna Miller. His many UK television appearances include The High Life (written and performed with his Victor and Barry cohort Forbes Masson), Bernard and the Genie (British Comedy Award), Mark Cousins’ Heavenly, and more recently the miniseries The Runaway, Queers, a series of monologues curated by Mark Gatiss to mark the decriminalization of homosexuality, and a highly acclaimed turn as King James in Doctor Who. In the U.S., he has appeared in Broad City, Sex in the City, Frasier, The L Word, and Web Therapy, and he is also the host of PBS’

Masterpiece Mystery. He played Eli Gold in seven seasons of the CBS series The Good Wife, for which he has received multiple Golden Globe, Emmy, SAG, Critics' Circle and Satellite awards nominations. He starred in the CBS series Instinct, which premiered in March 2018 and made history by being the first ever U.S. network drama to have a gay leading character. In 2015 he premiered his cabaret show Alan Cumming Sings Sappy Songs at the legendary Cafe Carlyle in New York City. The show was described by The New York Times as an “emotional firestorm,” has since toured all over America, Canada, Australia, England, and was the hit of the 2016 Edinburgh International Festival — a particular source of pride for Alan as this was where he first performed in cabaret, with Victor and Barry, 32 years earlier! The show was filmed for a PBS special and a live album of the same name was released in February 2016 to coincide with his sold-out debut at NYC’s Carnegie Hall. His next cabaret show, Legal Immigrant, debuted in 2018 and was recorded for Audible. His most recent show with NPR’s Ari Shapiro, Och and Oy!: a considered cabaret, debuted in August, 2019. As an author, Alan made his debut with a novel, Tommy's Tale, and in 2014 released a memoir titled Not My Father's Son, which became a #1 New York Times bestseller and was the recipient of the Slightly Foxed Best First Biography Award, two Audible awards, an Audie Award and a Lambda Literary award nomination. In 2016 Rizzoli published his book of stories and photographs, You Gotta Get Bigger Dreams. In 2017 he released a children’s picture book, The Adventures of Honey and Leon, a collaboration with his illustrator husband, Grant Shaffer, about their beloved dogs. The sequel, Honey and Leon Take the High Road, followed in 2019. An animated TV series of the books is currently in development. Alan’s activism and passion for various civil rights, sex education and social justice causes has earned him over 40 humanitarian awards.

He lives in New York City with his husband, Grant Shaffer, and their two dogs, Jerry and Lala.

Who Is Ari Shapiro?

Ari Shapiro is the award-winning co-host of NPR’s “All Things Considered”, the most listened-to radio news program in the United States. As a journalist, he has reported from above the Arctic Circle and aboard Air Force One. He has covered wars in Iraq, Ukraine, and Israel, and he has filed stories from dozens of countries and most of the 50 states. Before joining the “All Things Considered” host team in 2015, he was NPR’s international correspondent based in London. Shapiro joined NPR’s international desk after four years as White House Correspondent during the Obama presidency. In 2012, he embedded with the presidential campaign of Republican Mitt Romney. He was NPR’s Justice Correspondent for five years during the George W. Bush administration. Ari is also a frequent guest singer with the “little orchestra” Pink Martini, from his hometown of Portland, Oregon. He has contributed songs to four of the band’s albums, singing in several languages, and joined them on stage with some of the world’s leading symphony orchestras. Since his 2009 debut at the Hollywood Bowl, he has performed in many of the world’s most storied venues, including The Royal Albert Hall in London, L’Olympia in Paris, and Carnegie Hall in New York. He has shared a stage with both Chita and Rita (Rivera and Moreno), among many others. He was featured in the American debut of the play Request Concert at the Brooklyn Academy of Music. He was also a guest singer in the Washington Ballet’s original production of The Sun Also Rises and a soloist at the Kennedy Center with the Washington Chorus in Igor Stravinsky’s Oedipus Rex. In 2016, Ari debuted his original one-man show, Homeward, and has since performed it around the US.


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7:00 pm, Free Virtual Stream

The festival, in partnership with the Hayes School of Music, proudly presents a special program celebrating the 10th Anniversary of the Rosen-Schaffel Competition for Young and Emerging Artists. Central to the festival’s founding principles is a belief in the importance of supporting young American artists, and promoting the professional endeavors of young artists pursuing careers in the fine arts. The competition is known for the pivotal role it has played in launching the careers of some of our state’s most promising young artists. This program honors the competition’s history, founders, and participants, and will feature performances by previous winners Andrew René and Morgan Short, as well as exclusive interviews with selected contestants, and competition sponsors Nancy and Neil Schaffel.

Musical Selections Included in the Program:


ROSEN-SCHAFFEL COMPETITION FOR YOUNG AND EMERGING ARTISTS The competition’s 2021 virtual celebration and retrospective is dedicated to the memory of Mark Tafeen, a long-standing festival supporter, who with his wife Nancy has provided generous annual support for the competition program for many years, based on their commitment to supporting young artists aspiring to careers in classical music.




Suite in Bb major HWV. 440 (1733) Allemande Courante Sarabande Gigue “Zitti, Zitti Trio” du Barbier de Seville (1820s)

George Frideric Handel (1685-1759), arr. Morgan Short

Nicolas-Charles Bochsa (1789-1856), Gioachino Rossini (1792-1868)

Morgan Short, harp Lieder eines fahrenden Gesellen "Wenn mein Schatz Hochzeit macht" "Ging heut' morgen über's Feld" "Ich hab' ein glühend Messer in meiner Brust" "Die zwei blauen Augen von meinem Schatz"

Gustav Mahler (1860-1911)

Andrew René, baritone Celebrating its 10th anniversary in 2021, the competition program was established in honor 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 2021 virtual celebration has also received generous support from both Nancy Tafeen and the Bruce J. Heim Foundation. In addition, the festival expresses its appreciation to Maestro Gerard Schwarz, Music Director of the Eastern Music Festival, and Dr. James Douthit, Dean, Hayes School of Music, for their assistance and support in developing and implementing this program.

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. During the summer of 2018, he performed the role of Don Magnifico in La Cenerentola with the Brevard Music Center. He recently won first place in the Heafner-Williams Vocal Competition, the Opera Guild of Charlotte Competition, and the Rosen-Schaffel Young Artist Competition. 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,


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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. In 2018, he played the Celebrant in Bernstein’s Mass, and, in 2019, he played Albert in Massenet’s Werther, and Garibaldo in Handel’s Rodelinda, all produced by the A.J. Fletcher Opera Institute. During the summer of 2019, he performed the role of Marcello in Puccini’s La bohème with Opera Wilmington. Mr. René received his undergraduate degree from Capital University where he studied with Élise DesChamps and Brian Banion, and, recently, his Master of Music degree from the A.J. Fletcher Institute of Opera of the University of North Carolina School of the Arts, where he studied with Dr. Marilyn Taylor and Robert Overman. Morgan Short (harpist) is an exclusive Classics Alive Artist represented by Jean Schreiber Management. As an international prizewinning harpist, she is quickly building a reputation as a gifted soloist having 18 concerto engagements to her credit. Morgan won her first concerto competition at age 16 performing the Debussy Danses with the US Navy Concert Band. She received the Ambassador Middendorf Award, and has since won the Grand Prize in a dozen concerto competitions, awarding her the opportunity to solo with numerous orchestras across the country. Winner of the Kathleen Price Award, her 2019 debut with the North Carolina Symphony performing Handel’s Concerto in B-flat Major was received with great enthusiasm, as the audience was “stunned by the uniquely beautiful sound of the instrument, which Short played with remarkable dexterity and sensitivity,” while “carrying the audience on a thoughtful and brilliantly executed musical journey.” (Classical Voice of North Carolina and Wesley Schulz, Associate Conductor, North Carolina Symphony)

A month later she performed Debussy’s Danses with both the Eastern Music Festival and the Appalachian Music Festival. Morgan’s harp playing was described as “exquisite” by Classical Voice of North Carolina. “This was French music with a real French flair and the results were breathtaking to experience.” According to Gerard Schwarz, Music Director of the Eastern Music Festival, “Morgan is well on her way to having a career as a harp soloist.” (Greensboro News and Record) Her most recent competition awards include First Prize in the American Harp Society National Competition (Advanced Division), First Prize (Strings) in the Ronald Sachs International Music Competition, and Grand Prize in the Classics Alive Artist Management Audition in Los Angeles, Grand Prize and Audience Prize in the Rosen-Schaffel Competition for Emerging Artists, Grand Prize in the Alexandria Symphony/Mary Graham Lasley Concerto Competition, Finalist in the Anne Adams Award National Competition sponsored by the American Harp Society, and SemiFinalist in the Friends of the Minnesota Orchestra Concerto Competition. Other honors include a 2019 Harp Fellowship at the Eastern Music Festival and an invitation to present a multimedia concert at the 2019 American Harp Society National Conference. Notable performance venues include: Carnegie Hall Stern Auditorium for a NY International Music Festival as guest artist for VTech at age 15; Arthur Zankel Music Hall, NY, as a featured soloist for the Saratoga Harp Colony; Mora Ferenc Museum (Hungary) and Galeri Caernarfon (Wales) for three international harp competitions and participation in a harp documentary. Morgan actively freelances as an orchestral harpist and has served as Principal Harpist for the New River Valley Symphony and numerous orchestras in North Carolina and Virginia performing in several operas and over two dozen fully staged Nutcracker performances. Additionally, she is a Substitute Harpist for the Charlotte Symphony. She has worked with renowned

conductors: Gerard Schwarz, Steven White, Stefan Sanders, James Ross, Wesley Schulz, Grant Cooper, Miriam Burns, Andrew Sewell, Larry Rachleff, and Xian Zhang, among others. Morgan’s 2019-2020 solo engagements included a recital for the American Harp Society Piedmont Chapter, and the First Friday’s Music Series at Ferrum College, along with two additional performances of Rodrigo’s Concierto de Aranjuez with the Alexandria Symphony under the direction of James Ross. In a recent podcast, Maestro James Ross remarked that Morgan performed this work with great “panache” and “power” at the 2019 Mary Graham Lasley Scholarship Competition. Morgan received a Bachelor of Music in Harp Performance and a Minor in Arts Entrepreneurship from the University of North Carolina School of the Arts (2020). She is currently a Dean’s Scholar at the New England Conservatory pursuing a Master of Music in Harp Performance with Jessica Zhou, Principal Harpist of the Boston Symphony. Follow Morgan at: @MorganShort.Harpist or subscribe to her YouTube Channel.

Andrew René Program Notes

Lieder eines fahrenden Gesellen by Gustav Mahler Mahler made his living primarily as a conductor. As such he was required to travel very often and was no stranger to loneliness. Professionally, his relationships were known to be rife with tension since he was a strict and harsh leader. Romantically, he dealt with much frustration and unhappiness in several affairs. And on top of all of that, he encountered anti-Semitism due to the prevailing political climate. Mahler’s life was comprised of a complex web of emotional experiences, so it is only natural that his music reflects this. Mahler’s Lieder eines fahrenden Gesellen is typically translated as Songs of a Wayfarer, although the last word can also be translated as “journeyman,” or a young man who has recently completed his


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apprenticeship in a trade. He wrote both the words and music. In Wenn mein Schatz Hochzeit macht, the young man watches as his beloved marries. Through nature, he attempts to find happiness during the second movement, Gieng heut’ Morgen über’s Feld, although by the end he realizes that his life can never blossom like the flowers. The journeyman encounters his beloved in a painful and turbulent dream in Ich hab’ ein glüend Messer. Finally, he recounts his experiences while attempting to find peace in Die zwei blauen Augen von meinem Schatz.

Morgan Short Program Notes

G. F. Handel

(born 1685; died 1759), arr. Morgan Short — Suite in Bb Major HWV. 440 (1733) *Movements: 1. Allemande, 2. Courante, 3. Sarabande, 4. Gigue

G.F. Handel’s Suite in Bb Major HWV. 440 is a Keyboard Suite which first appeared in the “Second Volume” of his famous Suites de Pieces pour le Clavecin. This collection was published in London in 1733. Suite HWV. 440 is a collection of four Baroque dances. Each movement features dynamic contrasts, vivid counterpoint, and florid ornamentation. This work fits the harp nicely as this instrument possesses a range of color which fits the ornateness of the Baroque era.

N.C. Bochsa (born 1789; died 1856), Gioachino Rossini (1792– 1868) — “Zitti, Zitti Trio” du Barbier de Séville (1820s)

N.C. Bochsa was a well-known harpist and composer from Northern France. He was quite a character, and eventually became a fugitive from French justice and sentenced to 12 years in prison. Ssupposedly he was found forging signatures and legal documents on numerous counts. Pretending to be an aristocrat and calling himself “Le Chevalier Bochsa,” he escaped justice and moved to London. This humorous work based upon Rossini’s “Trio Zitti, Zitti” is taken from the opera The Barber of Seville. This Trio comes from Act II, and it is translated, “Hush, Hush; slowly, slowly.” This scene transpires in the dead of night as the Count and Figaro attempt to rescue Rosina from the clutches of her evil guardian, Dr. Bartolo, who intends to force her to marry him.


Complete information and tickets at


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Presenting the 19th Annual Martin & Doris Rosen Virtual Summer Symposium


18 July July 2021 2021 -- 23 23 July July 2021 2021 18 Program Highlights: Prof. Michael Berenbaum (American Jewish University) on Anti-Semitism: Long Histories, Present Dangers (Sun, July 18, 10:30 am)

The full program and ZOOM registration links for

Dr. Patricia Heberer Rice (United States Holocaust Memorial Museum) on Children in the Nazi State (Mon, July 19, 2:00 pm) (“For Teachers” tab).

Holocaust Survivor Shimon Redlich (Israel) gives testimony on hiding in Nazi-Occupied Poland (Tues, July 20, 10:00 am) Sheryl Ochayon (Yad Vashem) on Jewish Children in Ghettos and Camps (Wed, July 21, 10:00 am) Prof. Deborah Dwork (CUNY) on Kindertransporte During the Holocaust (Wed, July 21, 2:00 pm) Holocaust and Kindertransport Survivor Margot Lobree (North Carolina) gives testimony (Thurs, July 22, 9 am)

the talks are available on our website at:

For more information, call the Center for Judaic, Holocaust, and Peace Studies at 828.262.2311 or send an email to “I remember. Long, long ago. A madman wished to change the world. Turn it upside down and inside out. Fill people and youth with one ideal: Take nothing on trust, let nothing stand. Fight for every inch of land. If something is down, then lift it up. If others stay silent, you must speak up.” -- Petr Ginz (1928-1944), Terezin Underground magazine Vedem author

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Complicity In Japanese and Mandarin with English subtitles

WEDNESDAY, JULY 28 7pm; link accessible for 24 hours Online Cheng Liang is a young Chinese immigrant living illegally in Japan who gets caught up in a theft ring, stealing water heaters and the like from homes and businesses in order to survive. Desperate for legitimate work, he buys and assumes a false identity at a considerable cost. With his new identity, Liu Wei gets a job in a traditional Japanese soba restaurant run by an aging soba master and his kind daughter. He starts his new life in Japan while always fearing to have his real identity disclosed and to be deported back to China. Japan/China, Not Rated, Directed by Kei Chikaura (2018), 116 mins This series has been sponsored by a generous gift from Helene and Stephen Weicholz. Special thanks to our film curator, Dr. John Pfeifer.



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The 2021 Broyhill Chamber Series is dedicated to the memory of Larry Freiman, a devoted supporter of classical music programming at An Appalachian Summer Festival, who with his wife Barbara has provided significant annual support for this series.


7:00 pm, Schaefer Center for the Performing Arts plus livestream Sponsored by McDonald’s of Boone

Photo: Tina Ravitz

The evening’s program will combine standard classical repertoire, tango transcription and original music, including works by Beethoven, Chopin, Liszt, Piazzolla, Gargiulo and more. The Broyhill Chamber Ensemble Concert Series is generously supported by the Muriel and Arnold Rosen Endowment for the Arts, the Rosen-Schaffel Endowment for Classical Music Programming, the Broyhill Family Foundation, Barbara Freiman, and by Ralph and Venda Lerch/McDonald’s of Boone. Generous performance underwriting has also been provided by Joni and Peter Petschauer. Free Facebook Livestream @TheViolinChannel or @AnAppalachianSummerFestival

“Expect to revise any preconceived notions you have about classical music concerts.” —Huffington Post

Julian Gargiulo, commonly referred to as “Pianist with the Hair” because of his distinctive look, is a renowned classical pianist and composer who performs all over the world, in prestigious venues from New York’s Carnegie Hall to Singapore’s Symphony Stage. He has performed in the United States, Canada, England, Italy, Greece, France, Germany, Russia, Singapore, Thailand, Cambodia, Philippines, Malaysia, China, and Australia, to both public and critical acclaim. In 2014, Julian was named a Steinway Artist. Julian performs regularly throughout the world in halls such as Carnegie Hall (U.S.), United Nations’ Dag Hammarskjöld Auditorium (U.S.), Moscow Conservatory Hall (Russia), Verona Philharmonic Hall (Italy), Esplanade (Singapore), and Seymour Theatre Centre (Australia). Collaborations include performances with soprano Olga Makarina (Metropolitan Opera), trumpet virtuoso Joe Burgstaller (Canadian Brass), and violinists Elizabeth Zeltser (NY Philharmonic) and Dmitri Berlinsky (Gold Medal Paganini Competition). TV and radio appearances include stations such as National Public Radio, SiriusXM, HGTV, RAI Uno (Italy), RAI 2 (Italy) Costume e Societá, RAI Tre (Italy), RAI International (Italy), RTN (Russia), CTV (Canada), Radio One - CBS (USVI), Paradise Radio (USVI) and SBS (Australia). Born and educated in Italy, with dual U.S. and Italian citizenship, Julian studied at the Verona State Conservatory (Randone), the Mugi Academy in Rome (Ciccolini) and the Moscow State Conservatory (Mezhlumov). In the United States, he received his Bachelor's Degree at Rowan University (Zuponcic), Master’s Degree at the Peabody Conservatory of the Johns Hopkins University (Slutsky), and his Doctor of Musical Arts Degree at the University of Maryland (Rodriguez). In 2005, Julian started the Water Island


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Music Festival in the Virgin Islands, currently in its 17th season, which brings together classical and jazz musicians for three days of music. Julian also devotes his time and talent performing and raising funds for numerous charities worldwide. Founder of 16000children, a non-profit dedicated to raising awareness for the children who die of hunger in the world every day, Julian also devotes his time and talent performing and raising funds for numerous other charities worldwide. In 2009, Julian was named Artistic Director of Crossing Borders, a Hunter College (NY) program which presents established foreign artists currently living in New York. In 2010, Julian began writing a classical music column for the main newspaper in the Cayman Islands, The Cayman Compass. In 2015, Julian presented the first edition of “Getting to Carnegie,” an International Music Competition that rotates yearly between violin, cello, and voice. Currently in its 8th Edition, after an initial online round, four finalists perform a composition

written by Julian at Carnegie Hall, and the audience votes for the winner. In 2018, Julian produced the short documentary Getting to Carnegie, which was an Official Selection in the New York Independent Film Festival and awarded the Marion Herrman Excellence in Filmmaking Award at the 2019 Sedona International Film Festival. His music and recordings have appeared in movies and documentaries, most recently in the official trailer of the latest Keira Knightley film, The Aftermath, produced by Ridley Scott. In 2020, Julian and his wife Elektra started a new music series called “One Classical Minute,” described as “High Culture in Low Doses” for everything you never wanted to know about classical music, and never bothered to ask. Julian currently splits his time between New York and Paris.

“He’s the only classical musician I know who could truly be regarded as a rock star as well.”

Craft Beer Downtown Boone

—The Courier Mail


with the



Wood Fired Pizza

Special Events

North Carolina with water from the headwaters of

the New River | 828.265.3506

Second Location

Opening Summer 2021

Lost Province at Hardin Creek Brewery + Taproom

All Season Porch


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

Boone Area Visitors Bureau, Mast General Store, Goodnight Brothers, SkyBest Communications, Inc., and Appalachian Home Care LLC. This performance was also supported, in part, by generous gifts from Barbara Freiman and Wendy and Mike Brenner.

Ranky Tanky have achieved many firsts for South Carolina’s West African-rooted Gullah community since their formation, earning yet another milestone earlier this year at the GRAMMY Awards by taking home the Best Regional Roots Album prize for their sophomore release, Good Time. The album, which also hit No. 1 on Billboard’s Contemporary Jazz Chart over the summer, combines songs carried down through generations in the Sea Islands of the Southeastern United States with the band’s own original compositions in the Gullah tradition. In Ranky Tanky's hands, this style of music has been described as “soulful honey to the ears” (NPR) while being covered by the New York Times, NPR’s “Fresh Air” and The Today Show, which had the band on for a performance earlier this year. Watch Ranky Tanky accept their GRAMMY for Best Regional Roots Album: eoCD1GA&feature=emb_title Watch Ranky Tanky perform “Freedom” on The Today Show here: _ZFgIk& Watch Ranky Tanky perform Freedom on The Late Show with Stephen Colbert #playathome Listen to the GRAMMY-winning record Good Time here: Ranky Tanky (a Gullah phrase for “get funky”) are five lifelong friends from Charleston, South Carolina who have established themselves as passionate global ambassadors for their local culture and community, helping to faithfully preserve the traditions originated by African Americans in the coastal South during slavery that are kept alive through the present day. The band have been featured on NPR's “Fresh Air,” The Today Show, PBS Newshour and The Late Show with Stephen Colbert #playathome. Ranky Tanky were honored to be featured artists in President Biden’s inauguration event, We The People. They were the subjects of a 10-page profile in Oxford American’s South


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Carolina Music Issue and were named 2020 Artist of The Year by the Charleston City Paper.

The Band

Kevin Hamilton (Bass) is a celebrated artist in Charleston’s vibrant jazz scene. He has performed internationally with diverse ensembles such as The Charleston Jazz Orchestra, Houston Person, Gregory Hines, and Rene Marie. Kevin Hamilton joined the U.S. Dept. of State’s OneBeat program in 2012 and holds a degree in music theory and composition from the College of Charleston. Quiana Parler (Vocalist) has one of the most sought-after voices in the South Carolina Low Country and has graced some of the most prestigious stages in the nation. Through a top placement on the hit TV show American Idol, she was discovered by Clay Aiken, with whom she toured nationally for seven years. Quiana has performed with Kelly Clarkson, Ruben Studdard and Miranda Lambert, worked

with producers David Foster, Adam Anders, Phil Ramone and Walter Afanasieff, and appeared on national television shows The View, Good Morning America, and Jimmy Kimmel Live, among others. Currently based in Charleston, SC, she performs locally and nationally with her 10-piece party band, Quiana Parler & Shiny Disco Ball Band. Clay Ross (Guitar, Vocals) has established himself as an in-demand sideman and innovative bandleader on the international music scene, winning multiple grants through the U.S. State Department and touring worldwide as a Cultural Ambassador. Now signed to the Motema Music label, he currently tours worldwide, leading his NYC-based band Matuto. “Mr. Ross is a very deft guitarist with a rich vocabulary of folk, blues, and jazz at his disposal...” – Wall Street Journal Charlton Singleton (Trumpet, Vocals) is the Artistic Director and Conductor of the Charleston Jazz Orchestra, a 20-piece jazz ensemble of some of the finest professional musicians in the Southeast and the resident

big band in Charleston, SC. He has toured across Europe and throughout the United States, and has also shared the stage with and/or worked with some of most talented entertainers in the world. Outside of music and entertainment, he is a devoted husband and proud father of two. Quentin E. Baxter (Drums) is a Grammynominated musician/producer currently on tour with Freddy Cole and Rene Marie. A prominent figure in the jazz community of his native Charleston, he is the Co-Principal of Charleston Jazz Initiative, a founding board member of Jazz Artists of Charleston, and an Adjunct Professor of Jazz Studies at the College of Charleston.


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Connecting our campus and surrounding community with world-renowned voices of in昀uence and change.


Wake Forest University’s Face to Face Speaker Forum offers an intimate perspective on some of the world’s leading thinkers in politics, arts and culture, business, and social justice. Face to Face will be in person for the 昀rst time for the 2021-22 season. Proceeds will support Wake Forest University student scholarships.


September 14, 2021 Malcolm Gladwell Bestselling Author of “Talking To Strangers,” “Blink” and “Outliers”


November 9, 2021 A Conversation Between

General Colin Powell, USA (Ret.) Secretary of State (2001–2005)

and Dr. Madeleine Albright Secretary of State (1997–2001)

February 16, 2022 Yo-Yo Ma Multiple Grammy Award-Winning Cellist, Cultural Ambassador and United Nations Messenger of Peace

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All events will be at Lawrence Joel Veterans Memorial Coliseum in Winston-Salem, North Carolina. For more information and to purchase a season subscription for all three events, please visit


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