An Appalachian Summer Festival Playbill 2018

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July 1-August 4, 2018


on and around the campus of Appalachian State University

APPSUMMER.ORG “... a month-long whirlwind of top-notch classical, jazz and folk performers, plus ballet, dance, drama and visual arts.” - Southern Living Magazine


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Broyhill Chamber Ensemble




Amazonia Page 25

Page 27







In Between Page 31


Summer Exhibition Celebration at the Turchin Center

Broyhill Chamber Ensemble



Page 33


Kool & the Gang Page 41

Page 38








Page 25

Aspen Santa Fe Ballet

Page 43


Michael Feinstein


Page 23


Swallows and FILM SERIES: Amazons In The Fade


I’m With Her

and special guest

Page 53

Storm Large Page 55

Page 45



Eastern Festival Orchestra



Viva Cuba Page 25

Misha Dichter



Page 23




Hayes School of Music A Fantastic Woman Faculty Recital



Wunderkinder Page 25

Page 81


Summer 1993 Page 85

The Hot Sardines

Page 75





The Legend of Buster Neal

Page 69

Page 67

Page 57

Broyhill Chamber Ensemble



with pianist



Page 23

Rhiannon Giddens

Broyhill Chamber Ensemble




Symphony by the Lake

Page 93

Page 79

at Chetola

32nd Rosen Sculpture Walk Page 94



Page 87




RosenSchaffel Competition Page 99

Jasper Jones Page 25

Appalachian Energy Summit: eTown Page 105




Paradise Page 107


Book/Film Club Page 23





From the Land Kristin of the Moon Chenoweth Page 108 Page 109


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SKYBEST COMMUNICATIONS, INC. a wholly-owned subsidiary of SkyLine Membership Corporation)






CLASSIC HITS 100.7/99.1 (Boone, NC) WHKY 1290 AM (Hickory, NC) WDAV 89.9 FM (Davidson, NC) WFDD 88.5 FM (Winston-Salem, NC) WASU 90.5 FM (Boone, NC) YES! WEEKLY (Greensboro, NC) CREATIVE LOAFING (Charlotte, NC)


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Photo: Eduardo Patino

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

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

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

ABOUT AN APPALACHIAN SUMMER FESTIVAL Presented by Appalachian State University’s Office of Arts & Cultural Programs, this annual celebration of the performing and visual arts is held every July in venues across the university campus, and features an eclectic, diverse mix of music, dance, theatre, visual arts and film programming. An Appalachian Summer Festival began in 1984 as a chamber music series, and retains strong roots in classical music, combined with a variety of other programming geared to almost every artistic taste and preference. Celebrating its 34th season in 2018, 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 has 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 vision, generosity and hard work helped build An Appalachian Summer Festival. The festival owes its success in large part to these extraordinary individuals.









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


EX-OFFICIO MEMBERS: Dean, Hayes School of Music

JAMES DOUTHIT Vice Chancellor for University Advancement

RANDY EDWARDS Vice Chancellor and Chief of Staff

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

MELINDA FUDGE Director of Arts Engagement and Cultural Resources



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


CYN D. WEAVER Supervisors:



Vice Chancellor and Chief of Staff

HANK T. FOREMAN Director of Arts Engagement and Cultural Resources

DENISE RINGLER SALES, MARKETING, MEMBERSHIP & DEVELOPMENT Director of Development, Hayes School of Music, Arts and Cultural Programs, Turchin Center for the Visual Arts

MELINDA FUDGE Director of Marketing and Public Relations, Arts and Cultural Programs

ANNA GAUGERT Director of Visitor and Donor Services, Turchin Center for the Visual Arts

JACKIE GARNER Director of Sales and Patron Relations, Arts and Cultural Programs

SARAH HEUSTESS Director of Marketing, Turchin Center for the Visual Arts

LYNN REES-JONES Director of Donor and External Relations, Turchin Center for the Visual Arts

LINDSAY MILLER ARTIST RELATIONS Director of Artist Relations, Arts and Cultural Programs

SALI GILL-JOHNSON VISUAL ARTS PROGRAMMING Installation Manager and Lead Preparator, Turchin Center for the Visual Arts

CRAIG DILLENBECK Assistant Director and Curator, Turchin Center for the Visual Arts

MARY ANNE REDDING TECHNICAL MANAGEMENT Director of Technical and Production Services, Arts and Cultural Programs

SCOTT HAYNES Lead Technician, Arts and Cultural Programs

CONOR MCKENZIE ARTS EDUCATION & OUTREACH Director of Arts Education and Outreach, Office of Arts Engagement

CHRISTY CHENAUSKY Assistant Director of Arts Education and Outreach, Office of Arts Engagement

MOLLY ECKERT Director of Community Outreach Turchin Center for the Visual Arts

PEGGE LAINE ADMINISTRATION Director of Administration, Turchin Center for the Visual Arts

SANDRA BLACK Business Manager, Arts and Cultural Programs



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STUDENT & TEMPORARY STAFF Artist Relations Assistants, Arts and Cultural Programs

BRIAN DORCY (Electronic Media Broadcasting) KARAH SMITH (Public Relations) Sales/Marketing Assistants, An Appalachian Summer Festival

AN APPALACHIAN SUMMER FESTIVAL Dear Friends of Appalachian Summer Festival, It is a pleasure to welcome each of you to an Appalachian Summer Festival. We are very proud to serve on the Advisory Board which helps to spread the word about this treasured cultural resource that enriches our lives and helps to make the High Country such a special place. All of us who attend the performances have been privileged to be part of one of our nation’s most eclectic and unique arts festivals. No other festival, much less one produced by a state university, offers such a broad spectrum of programming across a diversity of arts disciplines. Frequently heralded by publications such as The New York Times for the breadth and quality of its programming and recently proclaimed one of the “top 20 events in the Southeast” by the Southeast Tourism Society, none of the festival’s many offerings would be possible without you, our friends and patrons who attend our many events. The primary goal of the festival is to educate, entertain and to promote new and emerging artists. None of this could happen without the support of our chancellor, our director, a dedicated and talented staff, the students and dozens of volunteers, donors and very generous sponsors. Whether the High Country is your permanent home or summer vacation spot, the festival provides us not only with entertainment but it also provides a wonderful boost to the economic development of the entire area. We welcome folks from the entire Southeast and beyond and appreciate knowing how much their time is enjoyed not only during the performances, but also at our local restaurants and hotels. If you have been entertained by your experience with the festival, please remember that your ticket purchase only covers about one third of the cost of presenting the series. We are immensely grateful for your support and for those who have generously provided the funds over the past thirty-four years. All gifts are greatly appreciated and are necessary to ensure the success and continuation of this unique cultural series that enhances our quality of life. Please refer to page 13 to see how you can make a difference in retaining the high quality of enjoyment for our festival. Enjoy the performance and please know that we are happy you are here. Best,

Lynn Eisenberg Chair, Festival Advisory Board

WESLEY ALEXANDER (Health Care Management) COLBY ANDERSON (Accounting) BRIAN ARMSTRONG (Biology) JAMES BURROWS (Political Science) KYLE CARMODY (Accounting) HANNAH CARY (Social Work) CALEB HEDGECOCK (International Business) KYNDAL HUTCHINSON (Art and Visual Culture) SCOTTY JOBE (Hospitality and Tourism Management) KARLA KATIBAH (Elementary Education) MAURA MCKENZIE (Nursing) NICK PATTISON (Computer Information Systems) GLENN RAMEY (Theater Arts) ALEC SAULS (Finance and Banking) SAVANNA TANNER (Public Relations) ERIN TURNER (Public Relations) ABIGAIL WATKINS (Marketing) AMBER WORLEY (Management) Production Staff, An Appalachian Summer Festival

SWAN ASKEW (Music Industry Studies, Recording and Production)

JONATHAN BELL KARL BOYNTON (Music Industry Studies) NATHAN HANNER (Music Industry Studies) CAROLINE LOVINS (Interdisciplinary Studies) ADRIANNA MCCASSIM SHEA MCKISSACK (Music Industry Studies) DAVID MURRAY (Communication Studies) CHRIS POPE COLLIN STERNE JOHN STYCH (Electronic Media Broadcasting) TIMOTHY TRAVIS Visual Arts Gallery & Exhibition Staff, Turchin Center for the Visual Arts EXHIBITIONS TEAM:

KELSEY WAGNER (Appalachian Studies Alumni) JASON WRIGHT (Graphic Design Alumni) SOPHIA CRIST (Art History & Studio Arts) FRONT OF HOUSE/GALLERY AMBASSADORS:

ELIZABETH BEVACQUA (Art Management) FRITZ FINLAY (Commercial Photography, minor: anthropology)

PATRICK JAMES (Anthropology, minor: social studies) PATRICIA COLLIN JEWELL (History/Social Studies) RAVEN MOFFETT (Studio Art) SARAH MONTESCLAROS (Political Science, minor: communication)

LAUREN SMART (Political Science) FELICIA SUTTON (Art and Visual Culture) JUSTIS TUCKER (Interdisciplinary Studies) JOE WILSON (Spanish, minor: philosophy) 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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REMEMBERING FESTIVAL FOUNDERS NANETTE MAYER AND GRADY MORETZ This year, the festival mourns the loss of two of its valued founders, Nanette Mayer and Grady Moretz. Nanette and Grady, beloved members of the festival family, provided the support and leadership that established the festival and laid the groundwork for its future success. We are pleased to share more about the lives of these remarkable arts supporters below.

Nanette Mayer Nanette Mayer was a founding member and lifelong supporter of An Appalachian Summer Festival and the Turchin Center for the Visual Arts at Appalachian State University. She and her husband, Budd – both honorary alumni – gave of their time as well, serving on boards for both the summer festival and the Turchin Center. “Appalachian has been proud to claim the Mayers as valued members of the university family for more than 25 years,” Chancellor Sheri Everts said. “Through their family’s foundation, they generously supported a broad cross section of important arts and humanities programs.” A West Wing gallery in the Turchin Center bears the Mayers’ name and displays works by nationally and internationally renowned visual artists, as well as many of the finest artists of the region. The Mayers set a high bar for philanthropy. In addition to their support of the arts at Appalachian, many other areas on campus have benefitted from their generosity, including the Center for Judaic, Holocaust and Peace Studies, Belk Library and Information Commons, the Department of Theatre and Dance, the Hayes School of Music and the Yosef Club. In 2012, both Mayers were awarded honorary doctorate degrees. Honorary degrees are awarded for broad support of university programming that has made a difference in the lives of students and the quality of life for residents across the High Country. Nanette Mayer was born in 1924 in Youngstown, Ohio, and grew up in Pittsburgh, Pennsylvania, where her father, Si Steinhauser, was a well-known newspaper columnist. She had many fond memories of a happy childhood spent amongst luminaries like Tommy Dorsey and Frank and Nancy Sinatra, who knew her father. She is preceded in death by her husband, who passed away in 2016. The couple married in 1945, following his service in the Special Services of the Air Corps during World War II. They were married for 70 years. The Mayers moved to Arlington, Virginia, and then Baltimore, Maryland, where their daughter, Riki, was born. Two years later, the Mayers moved to Miami, Florida, where their son Robert was born in 1952. Nanette Mayer served as her husband’s right hand as he built a highly successful business, but the arts were never far from the center of her life. A lover of dance, she served as an Arthur Murray ballroom instructor, and later opened an interior design firm, building on her keen artistic instincts and an impeccable sense of style, to create exquisite design plans and physical spaces. Following retirement, the Mayers divided their time between homes in South Florida and the mountains of North Carolina. Reflecting on her friend’s life, Denise Ringler, director of arts engagement and cultural resources at Appalachian said, “Nanette surrounded herself with art and music that brought joy to her life and focused her energy on what really mattered: the people around her. Her progressive worldview was sparked by an intellectual curiosity and love of learning that remained with her throughout life and ignited her passion for philanthropy and social responsibility.” Nanette Mayer is survived by her daughter, Riki Alexander, and her grandson, Taro Alexander; Robert Mayer and his wife, Pat, along with their children, Andy, Daniel and Kevin Mayer; as well as eight great-grandchildren.

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Grady Moretz Born June 29, 1929 in Watauga County, D. Grady Moretz was a son of Dillard Grady Moretz, Sr. and Grace Rhyne Moretz. Grady was a lifelong member of Grace Lutheran Church. After attending UNC Chapel Hill, he served a four-year tour in the US Navy during the Korean Conflict. He was a co-founder, owner and operator of Appalachian Ski Mtn. A noted civic leader, Grady was involved in numerous community and professional organizations. He served on the Watauga County School Board during the successful bond referendum for consolidation of the local high schools into Watauga High School. He was a founding member of the Watauga Education Foundation, and a member of the Watauga County Hospital Board of Trustees before serving 40 years on the Blowing Rock Hospital Board, 20 years as chairman. He was president of the Boone Jaycees, during the building of the Boone Jaycees Park near Horn in the West, was a member of the Boone Tourism Development Authority soon after its inception, and was a founding member of An Appalachian Summer Festival. Grady was an organizing member and president of both the North Carolina Ski Areas Association and North Carolina High Country Host, and was instrumental in creating the 1981 North Carolina Skier Safety Act legislation. He was president of the Southeastern Ski Areas Association and represented the southeast region on the National Ski Areas Association (NSAA) Board of Directors, serving as an officer and a member of numerous committees. In 2005, he was the sole North American recipient of the NSAA Lifetime Achievement Award. He was a die-hard Tar heel fan and was a proud supporter of Appalachian State University. In 2015, Grady was awarded an honorary doctorate degree. Over the years, hundreds of Appalachian students have worked at the ski resort, learned to ski or snowboard there, and some have gone on to careers in the ski industry. Grady and his family often hosted university and alumni events at their ski lodge. He and his wife, Reba, have enriched the lives of countless faculty and students at Appalachian with their support of scholarships and academic, arts and athletics programs. His vision and business acumen was instrumental in founding An Appalachian Summer Festival. Grady is survived by his wife of 63 years, Reba Smith Moretz; son, Brad Moretz, wife Jennifer, and their children, Jensen and Avery Elizabeth Moretz, and daughter, Brenda Moretz Speckmann, husband, John, and their children, Wiley and Sophie Speckmann, all of Blowing Rock.



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


57 percent of festival expenses must be covered by critical private support Your support will make it possible to build the audiences of tomorrow, showcase rising artists, raise national visibility and public awareness of the festival and continue to present the “best of the best!�



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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 Rowland’s & Westglow Resort & Spa/The Bonnie Schaefer Family Foundation

$500,000 - $999,999 Mr. Paul H. Broyhill The Cannon Foundation, Inc.

Mariam Cannon Hayes Nanette & Budd Mayer

Martin & Doris Rosen SkyBest Communications, Inc.

(a wholly-owned subsidiary of SkyLine Membership Corporation)

$250,000 - $499,999 Mr. & Mrs. John Cooper/ Mast General Store Ford Motor Company

Lawrence & Barbara Freiman McDonald’s of Boone/ Venda Lerch Northern Trust Company

Boone Area Visitors Bureau/Town of Boone The Max & Victoria Dreyfus Foundation, Inc. Mr. & Mrs. Willard A. Gortner Anthony & Deborah di Santi Mrs. Florence Hecht, Neal & Isabelle Amdur, & the Flagler & Naples-Fort Myers Greyhound Tracks Dr. & Mrs. Marc Kadyk Joan & Bernie Keele/Storie Street Grille

The Martin & Doris Rosen Giving Fund/ Debbie Rosen Davidson and 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

Robert and Lillian Turchin Mrs. Nan Van Every Mr. and Mrs. Ken Wilcox

$100,000 - $249,999 R.Y. & Eileen L. Sharpe Foundation Tina & Gary Silverstein J. Bernard & Shirley Spector Mrs. Allene Broyhill Stevens Keith & Letty Stoneman Mark & Nancy Tafeen Helene & Stephen Weicholz

$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 A.J. Fletcher Foundation The Friedman Family: Ingrid, Mary & Nick J.C. Goodnight William S. Goodnight Goodnight Brothers Produce, Inc.

Dr. & Mrs. Brent Hall Mr. & Mrs. Sol Halpert Dieter & Karyn Herterich Dr. & Mrs. Berge Markarian Bob & Minnie Snead Kent & Shelly Tarbutton/Chetola Resort Mr. J. Wallace Wrightson Mr. & Mrs. Arthur Yergey

$25,000 - $49,999 Appalachian Ski Mountain/ The Moretz Family Drs. William & Sally Atkins Frank & Kay Borkowski Wendy & Mike Brenner Kathleen Price Bryan Family Fund Mr. & Mrs. Arthur Courshon Byrdie & Ed Denison Dewoolfson Down Products Susan & Harvey Durham Ted & Adrienne Finkel Mr. Jim Furman – Wendy’s of Boone Dr. & Mrs. Lowell Furman Mr. & Mrs. Robert F. Gilley Sonya Rabin Greenfield

Susie Greene Holiday Inn Express Billy & Ray Howell Mr. & Mrs. Harry F. Jacobs Ethel & George Kennedy Family Foundation Laurelmor – A Ginn Company Resort Edgar & Nan Lawton Lexington Furniture Industries Linville Ridge Country Club Anne C. & Myron B. Liptzin Mr. & Mrs. James T. Lynagh Hospitality Mints, Inc. Karen P. Minges Daniel & Harlene Mitchum Rosanne & Ken Peacock

Edith S. Peiser Betty & Jesse Pike Perfection Equipment Company Drs. Raymond & Judith Pulley John & Joy Safer Mr. & Mrs. Lawrence Singer Sandi Finci Solomon T.G. Solomon Marshall Stein & Denise Grohs David & Ginny Stevens Ms. Helen Taulman Park Terrell/Nationwide Insurance Agency Mr. & Mrs. Dolph von Arx Cindy Wallace & Allen Moseley Mr. & Mrs. Samuel Whalen

$10,000 - $24,999 Homer & Margie Barrett William & Linda Blanton Blue Ridge Mountain Club Charter Communications, Inc. Sue & Steve Chase 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 Foundation of Jewish Philanthropies Ralph Glaser, Jr. & John A. Pfeifer Mr. & Mrs. Julian Good

Mr. & Mrs. Harold Granoff Ralph S. Grier The Bruce J. Heim Foundation Mr. & Mrs. Ronald G. Hester Kenneth Hubbard Michael & Sara Mayhew Larry & Nanci Tolbert Nance Nationwide Insurance/The Charles Eyler Agency The Nesor Foundation Panoramic Hospitality Old World Galleries Edmund F. Perls Anonymous Ron Redmon & Tom Normand Fred & Priscilla Robinette Mr. & Mrs. Frank Ross, Jr.

Gerard & Judith Rothschild Sazingg Jewelers The Sesame Foundation The Shane Family Foundation Gus & Frances Stavros Tarheel Capital Charles Gordon Travis Tweetsie Railroad Mary Underwood & Ben Henderson/ Bare Essentials Natural Market United Technologies Corp. US Airways Mr. & Mrs. Alberto Vadia Mr. Edward Vincz Jeffrey & Cher Zavik Betty E. Yount

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2018 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, 2017 through May 31, 2018. Please note this list does not include gifts to other areas within Appalachian State University. PREMIER SPONSORS $100,000 and Above Bonnie and Jamie Schaefer / Westglow Resort and Spa & Rowland’s Restaurant The Rosen-Schaffel Endowment for Classical Music Programming

LEAD SPONSORS $50,000 - $99,999 Larry & Barbara Freiman (in memory of Nanette Mayer) Broyhill Family Foundation, Inc.

FESTIVAL SPONSORS $25,000 - $49,999 Martin & Doris Rosen Giving Fund/Debbie Rosen Davidson & David Rosen/ Charles & Nancy Rosenblatt Foundation The Muriel & Arnold Rosen Endowment for the Arts Helene & Stephen Weicholz

CHANCELLOR’S CIRCLE $10,000 - $24,999 Boone Area Visitors Bureau Wendy & Mike Brenner Circle S Foundation/Keith & Letty Stoneman Goodnight Brothers Produce Company Ralph S. Grier Mast General Store/John & Faye Cooper (in memory of Nanette Mayer & Grady Moretz) McDonald's of Boone/Venda & Ralph Lerch Neil & Nancy Schaffel (in memory of Nanette Mayer) Tina & Gary Silverstein SkyBest Communications, Inc.

ARTIST’S CIRCLE $6,000 - $9,999 Chetola Resort/Kent & Shelley Tarbutton Creekside Electronics, Inc. Peter & Joni Petschauer (in memory of Nanette Mayer) Mark & Nancy Tafeen

BRAVO! CIRCLE $3,000 - $5,999 Holiday Inn Express Judy & Michael Adler Sandy & Marc Kadyk Appalachian Home Care/Ellen Harrell Morris & Kathleen Lioz The Alfred B. & Josette L. Glover Family Foundation Anne C. & Myron B. Liptzin Joan & Albert Benbasat (in memory of Esta Perlow & Vivian Kravitz) Mike & Pam McKay/The Art Cellar Gallery Natalie & Penn Broyhill Roger & Helen Michelson (in memory of Nanette Mayer) Sue & Steve Chase (in memory of Nanette & Budd Mayer) Daniel W. & Harlene E. Mitchum Courtyard by Marriott Panoramic Hospitality Lynn & Barry Eisenberg (in memory of Nanette Mayer) Peabody’s Wine & Beer Merchants Merle & Louis Feinberg Scholars Bookshop at the University Bookstore Adrienne Finkel Sandi Finci Solomon Nick & Mary Friedman Hampton Inn & Suites

BENEFACTOR’S CIRCLE $1,200 - $2,999 Jenny & Wayne Miller Appalachian State University Athletics Edith S. Peiser (in memory of Nanette Mayer) Frank & Kay Borkowski (in memory of Grady Moretz) Bill Pelto & Linda Larson The Bruce J. Heim Foundation Steven Price & Christopher Frye (in memory of Emma Carter Price) Susan & Harvey Durham (in memory of Joe Phelps) R. Y. & Eileen L. Sharpe Foundation Ralph Glaser, Jr. & John A. Pfeifer (in memory of Nanette Mayer) Edmund & Louise Reiss Susie Greene (in memory of Nanette Mayer) Minnie & Bob Snead Jerry & Rebecca Hutchins Kenneth & Gerry Wilcox Dr. and Mrs. Berge H. Markarian


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PATRONS Ira & Brenda Abrams Dr. Charlie & Ann Baker Judith & Robert Beber Dick & Margaret Beckman Jonathan & Marisue Beloff Hanes & Lida Boren Howard & Kathryne Brafman Pal & Nakita Brooks Lisa Cooper Drs. James and Kathryn Douthit

$600 - $1,199 Randy & Margaret Edwards Judith Feinberg & Sonny Harris Megan Hayes & Michael Kitchell (in honor of Kaaren & Lowell Hayes and in memory of Dot Barber) Molle Grad Sarah & Troy Heustess (in memory of Nanette Mayer) Linda & Ed Kelly

Barbara & Mark Moskowitz Larry & Nanci Tolbert Nance (in memory of Nanette Mayer) Carol Quintero & Laurie Weiner Russell & Sally Robinson Sam Tallman & Mike Zuravel Julie & Tom Trueman Tweetsie Railroad/Chris & Cathy Robbins Mary Underwood & Ben Henderson

CONTRIBUTORS Anonymous Katy & Mickey Boles (in honor of Lynn Eisenberg) Stephanie Poet Cohen (in memory of Jim & Dolly Poet) Dottie & Barry Cook Mr. and Mrs. Stuart Darrow Byrdie Rae Denison (in memory of Edward L. Denison) Adrienne Finkel (in honor of Dr. John Pfeifer) Tracey & Paul Ford

$300 - $599 Hank Foreman & John Baynor Gaugert Financial, Inc. (in honor of Anna Gaugert) Sali Gill-Johnson (in memory of Nanette Mayer) Mona Holtz Russell & Christine James Millie King (in honor of Shannon McManus & Stephanie Joines) Renée & David Lieberman Mr. & Mrs. James Long

Bruce & Susan Pettyjohn (in memory of Nanette & Budd Mayer) Priscilla Rich Denise & William Ringler (in memory of Nanette Mayer & Grady Moretz) Traci D. Royster (in memory of Nanette Mayer) Drs. Bernard & Michaela Segall Dr. Morris & Margery Segall Marilyn C. Smith Steven & Darlene Wagner Janet H. Wilson

FRIENDS Connie Adams Anonymous Ellis & Barbara Aycock Rao Aluri & Mary Reichel Bill Barbour Kate R. Barrett Carol Berns & Ted Silver Marian & Bernie Bernstein John & Bettie Bond Craig & Rose Bridgeman (in memory of Grady Moretz) Christy & Brad Chenausky Dee Dundon Nelson & Rhonda Faro Melinda Fudge Anna Gaugert Mr. & Mrs. Dan Glowa (in memory of David Glowa & Ben Bradley)

$125 - $299 Dr. Louis N. Gottlieb Gerald & Sydney Gura Karen & Clark Havighurst (in honor of Michael & Annie Liptzin) Scott & Kathleen Haynes Laura & Kenny Kaufman John & Janice LaCapra Jane & Grady Lonon Leslie & Richard Mayeron Gregg & Bonnie Marland Conor McKenzie Susan B. Morgan Carmen & Patty Patella Mike & Sandra Perry Bob & Karen Powell (in memory of Jack Branch)

Tish & Tom Rokoske (in memory of Michael Trum) Barbara & Ed Rosasco Mary Rupp (in memory of Richard “Dick” Rupp) Patrick K. Setzer Joanie & Robert Shirley Bernice Snow Barbara Sugerman (in memory of Barry Sugerman) University Overlook & Office Suites Claudia Van Essen Cyn D. & John Weaver Chuck & Lynne Weiss (in honor of Dr. John Pfeifer) Mary & Dale Whisenant

MEMBERS Julia R. Adams (in memory of Gerald Adams) Elizabeth H. Armistead Irene J. Baros (in honor of Dr. Berge Markarian) Francine Barr (in memory of Harriet Prochaska) Michael & Joan Bell Larry & Carol Brown Dr. and Mrs. Harold Carrin Elaine & Jim Crowell Barbara W. Daye Ms. Billy Elliott (in memory of Michael S. Elliott) Bette Joy Field

up to $124 (in honor of Dr. Berge Markarian) Sandra Folts Gene G. Foster Susan Graham (in memory of Dot Barber) Jeff Handler Marylin T. Holzberg (in honor of Dr. Berge Markarian) Rosemary Horowitz & Jerry Hyman Robin Hunt & Kenneth Steele Susan Lutz Bonnie Marmor & Steven Goldstein Patricia Mauldin Susan & Doug Morton Beth Mueller (in memory of Barbara Quatrano)

Joanne Puliatti Kathryn S. Rominger George & Kim Saad Drs. Bernard & Michaela Segall (in honor of Louis & Merle Feinberg) Marilyn Seward Jim & Sandy Sheatsley Helen Sirett & Ken Hendrix Charlotte & Jimmy Thomas Ineke Thomas Carol & Hank Thompson Deb Tibbett Wright & Tracy Tilley (in memory of Grady Moretz) Daisy Goodnight Waldrep Bob & Maggie Wilson


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WELCOME TO THE HIGH COUNTRY! 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 along the Blue Ridge Parkway, the Boone area provides many opportunities to relax and enjoy nature’s beauty.

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 selected performances are offered at various accommodations in the High Country!






10% OFF for Festival Patrons: Rate Code IXNM9








FINE ARTS & GREAT FOOD Make it a memorable evening with dinner and a show! Discounts are offered at the following restaurants for festival ticket holders.

IN BOONE: Makoto’s Japanese Steakhouse & Sushi Bar Red Onion Pepper’s Restaurant Lost Province Brewing Co. The Local

IN BLOWING ROCK: Rowland’s Restaurant at Westglow Resort & Spa Timberlake’s Restaurant at Chetola Resort & Spa


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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. 2018-19 SERIES: Theatreworks USA’s “Pete the Cat” October 2 NC Symphony October 17 Didgeridoo Down Under November 2 Ballet Folklórico de México November 14 Theatreworks USA’s “Magic School Bus” March 13 Banff Mountain Film Festival World Tour: Student Edition March 20 The World of Musicals April 5

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 multi-faceted 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!







Faculty Recital I

Sunday, July 1 2 pm

“Kaleidoscope Concert” Featuring a variety of large & small ensembles

Friday, July 6 7 pm

Faculty Recital II

Sunday, July 8 2 pm

Honors Recital I Selected camper solo performances

Tuesday, July 10 7 pm

Honors Recital II Chamber Groups

Thursday, July 12 7 pm

FINALE CONCERT I Percussion Ensemble String Orchestra

Friday, July 13 7 pm

FINALE CONCERT II Chamber Singers Men’s Choir Treble Choir Concert Choir Wind Ensemble

Saturday, July 14 10 am


12 pm


1 pm

FINALE CONCERT V Symphony Orchestra Cannon Music Camp 813 Rivers Street, Rosen Concert Hall Appalachian State University, Boone, NC

Concerts are free and open to the public. Concerts are subject to change, please visit for updates or call 828-262-4091. Concerts will be streamed live on our website.


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Interactive and informative lectures provide an insider’s look at the festival programming from experts in the field. Bring a bagged lunch to enjoy during the lecture! July 11- A Walk With the Curators: Kelsey Wagner and Mary Anne Redding Appalachian State University alumna and Turchin Center curatorial assistant Kelsey Wagner will discuss the history of human-elephant relations and the anthropology of conservation across Asia and Africa in relation to her exhibit The Elephantine in the Anthropocene. Turchin Center curator Mary Anne Redding will provide her curatorial insights into working on this summer’s international biennial, Art from Down Under: Australia to New Zealand. Immediately following the lecture, Mary Anne and Kelsey will lead participants on a walking tour of the international exhibitions. July 18- Collaboration and the Creative Process: Noyes Capehart and Peter Petschauer Writer and collector Peter Petschauer teams up with artist-writer Noyes Capehart for this fun and fascinating glimpse into the process of writing novels and poetry, while exploring the ways in which collaboration can create a stronger and more meaningful artistic outcome. July 25- The Suppression of Music in Nazi Germany: Racelle R. Weiman The Nazi state banned and condemned music that was purported to be alien to the sensibilities of European culture, according to a racist theory applied to all aspects of society. Using the label “degenerate,” Nazi censors suppressed all Jewish composers and musicians, compositions and music by Jews, and by extension, music that had ‘foreign’ sounds such as jazz and swing. Despite the bans, a small ‘subversive’ resistance by youth groups, and astoundingly, Jewish prisoners in concentration camps, persisted. The lecture is accompanied by live music and is part of Appalachian State University’s 2018 Martin & Doris Rosen Summer Symposium on the Holocaust. August 1- AppSummer Book/Film Club: John Pfeifer Presented in conjunction with the Weicholz Global Film Series as part of the summer festival, this inaugural Lunch and Learn

book club event honors the tenth anniversary of presenting quality foreign films at An Appalachian Summer Festival. Festival attendees will have the opportunity to read From the Land of the Moon by Milena Agus, discuss the book at this event, and see the film adaptation of the novel on August 3, on the big screen at the Schaefer Center.

VISUAL ARTS WORKSHOPS Explore your inner artist with a workshop! Artists of all skill levels welcome. Enrollment is limited and pre-registration is required. FOR KIDS & TEENS:

TODDLER POWER HOUR July 14 & 28, August 11 & 25 Ages 3-5

CREATIVE KIDS STUDIO July 14 & 28, August 11 & 25 Ages 6-10

MIXED MEDIA MANIA July 9-13 Grades 4-9

TRASH ART July 23-27 Grades 4-8 FOR ADULTS:

METALSMITHING 101 Tuesdays, July 10-August 7 Ages 16 and up

ASPEN SANTA FE BALLET MASTERCLASS with Anthony Tiedeman Tuesday, July 10, 6-7:30 pm Appalachian State University Dance Studio, Varisty Gym Free Event Advance registration preferred: or 828-262-6084 x 101 Ages 10 and up with ballet/modern dance experience (Participants under 16 must be accompanied by a parent)


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An Appalachian Summer Festival embarks on adventures around the world with Young People Global Film Series featuring films from the United Kingdom, Brazil, Cuba, Ukraine, Germany and Australia. Dr. John Pfeifer will present a brief introduction prior to each film.


Viva Cuba Recommended for most ages (In Spanish with basic English subtitles)

Malú and Jorgito are best friends whose close bond is threatened by their parents’ differences. When the children learn that Malú’s mother is planning to leave Cuba forever, they decide to run away to the other side of the island. CUBA; UNRATED; DIRECTED BY JUAN CARLOS CREMATA MALBERTI (2005); 80 MINUTES

Presented in partnership with the Martin & Doris Rosen Summer Symposium





Recommended for all ages

Recommended for ages 12+ (In German with English subtitles, some violence)

After a small plane crash, Saï, a capuchin monkey born and raised in captivity, finds himself alone and lost in the wilderness of the Amazon rainforest. With danger lurking at every turn, Saï’s instincts protect him from predators and the perils of the jungle.

Wunderkinder tells a tale of three musically gifted children, who develop a friendship despite their different religions and nationalities. When the Nazis invade, their world is suddenly turned upside down.





Swallows and Amazons

Jasper Jones

Recommended for all ages

Recommended for ages 13+ (some violence, themes surrounding racism, suicide and incest)

Based on the international best-selling children’s classic by Arthur Ransome, Swallows and Amazons details the summer vacation adventures of the Walker family in 1930. Escaping the boredom of a long holiday with their mother, four children sail to an island in the middle of a vast lake and set up camp. They soon discover they may not be alone. UNITED KINGDOM; UNRATED; DIRECTED BY PHILIPPA LOWTHORPE (2016); 97 MINUTES

Adapted from the award-winning young adult novel of the same name, Jasper Jones is a moving coming-of-age story about Charlie Bucktin, a bookish boy of 14. During the scorching summer of 1969, Jasper Jones, the town’s mixed-race outcast, leads Charlie deep into the forest and shows him something that will change his life forever. AUSTRALIA; UNRATED; DIRECTED BY RACHEL PERKINS (2017); 105 MINUTES



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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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Sponsored by McDonald’s of Boone

Gil Morgenstern, violin; Francesca dePasquale, violin Alexis Pia Gerlach, cello; Benjamin Hochman, piano Piano Trio Op. 90, No. 4, “Dumky” Lento maestoso - Allegro Poco Adagio - Vivace Andante - Vivace Andante moderato - Allegretto scherzando Allegro Lento maestoso - Vivace

Antonín Dvořák

Francesca dePasquale, violin; Alexis Pia Gerlach, cello; Benjamin Hochman, piano From my Homeland Moderato Andantino - Moderato

Bedřich Smetana

Gil Morgenstern, violin; Benjamin Hochman, piano INTERMISSION Romance in d minor, Op. 6, No. 1

Sergei Rachmaninoff

Francesca dePasquale, violin; Benjamin Hochman, piano Piano Trio in d minor, Op 32, No. 1 Allegro moderato Scherzo. Allegro molto Elegia. Adagio Finale. Allegro non troppo

Anton Arensky

Gil Morgenstern, violin; Alexis Pia Gerlach, cello; Benjamin Hochman, piano The Broyhill Chamber Ensemble Concert Series is generously supported by the Broyhill Family Foundation (in memory of Faye Broyhill) and by Ralph and Venda Lerch/McDonald’s of Boone. Additional performance underwriting has been provided by Joni and Peter Petschauer, the Muriel and Arnold Rosen Endowment for the Arts and the Rosen-Schaffel Endowment for Classical Music Programming. With special thanks to Appalachia Cookie Company, for a generous donation of refreshments during this evening’s intermission. Biographical information for this evening’s performers beings on page 90.

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


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“Morgenstern played a program that tested every part of a violinist’s equipment and he did it all beautifully.” Gil Morgenstern has also shared the stage with such eminent musicians as Lynn Harrell, Philippe Entremont, André-Michel Schub, Jeffrey Kahane, Sharon Isbin, and Heinz Holliger, and has collaborated with United States Poet Laureate Robert Pinsky, Pulitzer Prizewinning poet Yusef Komunyakaa, the actress Claire Bloome, and performance artist Laurie Anderson. Morgenstern’s discography includes works by Beethoven, Fauré, Copland, Ravel, Kodaly, Sessions and the awardwinning American composer George Tsontakis. His latest recording, 20th Century Duos for Violin and Cello, was the No. 1 classical CD for over a month on eMusic, the largest online store for independent music in the world, and was one of the top ten best-selling classical music albums on Amazon. The New York Times raved, “the music is terrific and the performances compelling on this surprisingly exciting and excellently engineered recording.” Morgenstern records for the Koch

International Classics, MMC and Engine Company labels, and can regularly be heard on National Public Radio and classical music radio stations across the country. Morgenstern is also deeply committed to education, specializing in the synthesis between academic subjects and the arts. In 2014, Morgenstern was named Artist-in-Residence for Interdisciplinary Studies at Avenues: The World School in New York City. Gil Morgenstern’s many honors include a command performance at the White House when he was just 21 years old, a performance at the inaugural festivities for President Clinton, and a citation from the floor of the House of Representatives entered in the Congressional Record for outstanding service in the arts. Highlights of Gil Morgenstern’s recent and upcoming seasons include interdisciplinary performances at Lincoln Center, New York City’s 92nd Street Y, and Harvard University, as well as performances in Rome, Florence, Venice, Capri, Toronto, London, and Alaska. Gil Morgenstern lives in New York City.

PROGRAM NOTES: Antonín Dvořák Piano Trio Op. 90, No. 4, “Dumky” (Born September 8, 1841 in Nelahozeves; died May 1, 1904, in Prague) Antonín Dvořák’s father was a village innkeeper and butcher who hoped to pass his trade on to his son. Although Dvořák came from a humble and nonmusical background, his family did not deter him from beginning to study the violin and organ. By age sixteen, it became necessary for him to go to Prague to study. By the age of twentyone, 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 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. When he was 34, in 1875, Brahms recognized Dvořák’s talent and gave him significant


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help to propel him into his successful and ultimately great 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 works were quartets and quintets, modeled after those of Beethoven and Schubert. Piano Trio, Op. 90, is a late work, composed between November 1890, and February 1891. It was first performed in April 1891, with the composer as pianist at a concert in Prague celebrating Dvořák’s honorary Doctor of Philosophy degree from Charles University. This work, the most famous of the four trios Dvořák composed, is unusual in that it is constructed with only vestigial suggestions of the classical forms. In his search for a way to express his profound feelings for his homeland in music, Dvořák had occasionally inserted into his works a movement written in the form of a dumka, a Russian term for Slavic folk song. The term literally means lament or elegy. It usually has two parts, one slow and generally melancholy, the other fast and highspirited. Here, the entire work is made up of a series of six dumky. There is a constant alternation of slow and fast in the form, and there are psychological shifts in mood throughout. The six dumky are arranged in a carefully arranged sequence of keys, and are subtly varied in mood, yet they are nonetheless cleverly interrelated. Dvořák turned them into four movements. The first three are played without pause, making them, in effect, a single large movement. The next three are separated, giving the whole, in effect, the conventional number of four movements. The moods of the first three in the first movement alternate: first there is a lament then a gay dance. The two sections of the first dumka are based on related thematic material. The movement opens slowly, Lento maestoso and then almost doubles its speed to Allegro quasi doppio movimento. The second starts with a lament, Poco adagio, and transforms

into a dancing and very fast Vivace non troppo. The third has a single theme, and at its end, Dvořák brings back its opening music. The opening and closing music is Andante, plaintive and pensive; the middle is a lively Vivace non troppo. The fourth dumka again has varying speeds, but the dance part has more whimsy this time. A melancholy, lyrical Andante moderato alternates with an Allegretto scherzando and with a boisterous Allegro, after which the original slow music returns. The fifth dumka is more or less the trio’s scherzo, Allegro throughout, except for a few passages where recitative qualities predominate. The sixth dumka contrasts a tender Lento maestoso in a minor tonality with a fiery Vivace that becomes optimistically major and brings the work to a brilliant close. Dvořák never used this form in any of his other compositions, and as Arthur Cohn states: “It stands as one of the most perfect conceptions of folk art in chamber music.” Bedřich Smetana From My Homeland (Born March 2, 1824, in Litomysl, Bohemia; died May 12, 1884, in Prague) Smetana, a champion of nationalism in music, described the Czech countryside in his musical compositions and preserved their songs and dances in his works. He held a leading role in Prague’s musical life, serving as principal conductor at the National Theater, a position that gave him considerable power. He created a place in the opera house and concert hall for music that expressed the character of the Czech people. Most likely, Smetana composed the two pieces of From My Homeland, which he dedicated to Prince Alexander Thurn-Taxis, in the spring of 1880, just after he completed his large cycle of tone poems, Má vlast (“My Country”) at which time, he had become totally deaf. He described these duos: “They are written in a simple style, with a view to being performed in the home rather than at concerts... They are genuinely national in character, but with my own melodies.” The pieces From My Homeland were published in 1881 in Hamburg as Aus der Heimat by the

publisher, Hugo Pohle, who would not publish anything without a German title, even though Smetana requested the pieces be printed with both German and Czech titles. Smetana wrote these two charming pieces in the manner of the Slavonic dances that were bringing fame and fortune to his younger countryman, Antonin Dvořák. The first is intimate: a warm and simple three-part work in A major, a lyrical Moderato with an Animato as a contrasting middle section. The main theme strongly resembles the horn theme of Smetana’s tone poem, “From Bohemia’s Woods and Fields” from Má vlast. Like that piece, it is an expression of longing for the homeland, and like Moravian folk songs, it contains some sections in the major tonality and some in the minor. The second piece, in G minor, is more complex and more dramatic. It opens with a slow introduction, Andantino, and then whirls on in a sequence of lively tunes from the gentle to the more violent. It includes a lively dance called a skoèná, or skocna, a quick Czech dance in duple time. A minor key lyrical episode follows. Another section of the work is pastoral and canonic and has similarities to Blanik, a Smetana tone poem. Overall, this piece includes a wide and impressive range of colors. Sergei Rachmaninoff Romance in d minor, Op. 6, No. 1 (Born April 1, 1873, in Oneg, Russia; died March 28, 1943, in Beverly Hills, California) Sergei Rachmaninoff was a very versatile musician: a supreme pianist, an admired composer and a well-respected conductor. He made a conscious decision to devote his time to piano and to composition, resisting the tempting offers from the Boston and Cincinnati Symphony Orchestras to become their Music Director. Rachmaninoff studied at the Moscow Conservatory, where training at that time was decidedly not like that of the more nationalistic school which dominated the St. Petersburg Conservatory with the group known as the “Mighty Five,” made up of Borodin, Cui, Balakirev, Mussorgsky, and Rimsky-Korsakoff. The atmosphere in Moscow, where Tchaikovsky had


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previously taught, was decidedly more eclectic; young composers there were more likely to take style and forms from venerated composers of the past. A contemporary music critic described the Moscow atmosphere in which Rachmaninoff found himself: “Music here was a terrible narcosis, a sort of intoxication and oblivion, a going off into irrational planes... It was not form, or harmoniousness, or Apollonic vision that was demanded of music, but passion, feeling, languor, heartache.” It did not take long before Rachmaninoff suffered the “heartache” music was to bring him. When the Symphony No. 1 had a very poor reception, in 1897, the twenty-four year-old Rachmaninoff succumbed to severe depression and consequently, his career was almost cut short. It has been suggested that the two works of Op. 6, of which this is the first, are a response to his early opera Aleko, his graduation work for the Moscow Conservatory. Rachmaninoff is hardly remembered for his chamber music, with the exception of his Cello Sonata, (1901) as the small corpus of his chamber music comes from the earliest part of his career. Rachmaninoff composed this charming gem for violin and piano in 1893, when he was just twenty years old in a period he spent at his family’s idyllic country estate in Ivanovka. It is likely he dedicated the work to the violinist and composer Julius Conus. It is not known, though, when the premiere was or where. This Romance, Andante ma non troppo, is a moody, tragic and melodic piece in a minor tonality, one wholly

characteristic and by no means immature. With its soulful mien and melancholic lyricism, it feels very true to later Rachmaninoff writing. It begins with the violin playing the main theme immediately as the piece opens, against broken chords in the piano. The central section, in the relative major, introduces a counterstatement of theme with the violin playing in octaves, giving the piano an opportunity to play a more dramatic part with both maintaining the pathos evident from the beginning. The ternary form piece brings back a recapitulation of the initial section, somewhat altered, for the conclusion of the work. The violin has a very short cadenza before the piece comes to its doleful sounding end. Anton Arensky Piano Trio in d minor, Op 32, No. 1 (Born July 12, 1861 in Novgorod, Russia; died February 25, 1906 in Terijoki, Finland) Anton Arensky was one of the most eclectic Russian composers of his generation. He studied with and was the protégé of Rimsky-Korsakov at the St. Petersburg Conservatory, and then he taught harmony at the Moscow Conservatory. As he suffered from tuberculosis, he spent his final years in a sanatorium in Finland. Although many of his works have a generalized Russian feel, he was not as much of a nationalist as RimskyKorsakov. Tchaikovsky, whose music relied more on traditional antecedents than inspiration from Russian nationalism, influenced him with his lyrical style. Arensky’s music explored

the two divergent yet predominant influences of late 19th century Russian music. Although Arensky’s music is characterized by some use of bold rhythms and folk melodies, it is best known for the sonority of its luxuriant, romantic harmonies and poetic phrasing. His highly successful and elegant yet ingenuous Trio in D minor, Op. 32, known as Trio No. 1, was composed in 1894. It is a work of charm, containing a strong sense of melody and mastery of compositional techniques. He composed the trio in commemoration of Karl Davidov, a virtuoso cellist and teacher. In the first movement, three themes predominate. The first contains an extended melody; the second blossoms with a lovely ample cantilena; the third theme has an energetic and spirited character. A delicate coda brings the movement to an end. The second movement, a capricious Scherzo, is made up of a quick and light waltz main theme, which includes a virtuosic piano part. The middle section takes a slower tempo; here the piano accompanies the strings, whose extended melodic themes indicate Slavonic influence. The tender and haunting third movement, Elegia, is a serious, poetic rendering of a funeral march, which includes persuasive and powerful recitatives although the strings are muted, giving their intonations a feeling of reverence. Arensky ends the work with an energetic Allegro non troppo in which themes from the first and the third movement return again. Program Notes: Susan Halpern, © 2018

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Three very different Palestinian women share an apartment in the vibrant heart of Tel Aviv. Lalia, a criminal lawyer with a wicked wit, loves to burn off her workday stress in the underground club scene. Salma, slightly more subdued, is a DJ and bartender. Nur is a younger, religious Muslim girl who moves into the apartment in order to study computer science at the university. Nur is both intrigued and intimidated by her two sophisticated roommates. When her conservative fiancĂŠ visits, he is horrified by her secular friends, entreating her to hasten their marriage, leave Tel Aviv, and assume her rightful role as a dutiful wife. Despite their differences, these women find themselves doing the same balancing act between tradition and modernity, citizenship and culture, duty and freedom. ISRAEL; UNRATED; DIRECTED BY MAYSALOUN HAMOUD (2016); 96 MINUTES

Pre-film talk with Dr. John Pfeifer begins at 7pm, with the film beginning at approximately 7:30pm. Concessions, including popcorn, cookies, beer, wine and cold beverages are available for purchase. With special thanks to our generous sponsors for this series, Helene and Stephen Weicholz.

In Between (Bar Bahar) In Hebrew and Arabic with English subtitles



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Sponsored by McDonald’s of Boone

Gil Morgenstern, violin; Francesca dePasquale, violin: Alexis Pia Gerlach, cello; Kathryn Lockwood, viola; Benjamin Hochman, piano; John Taylor Ward, baritone Aubade Georges Enescu Francesca dePasquale, violin; Kathryn Lockwood, viola; Alexis Pia Gerlach, cello Louange à l’immortalité de Jésus Olivier Messiaen Gil Morgenstern, violin; Benjamin Hochman, piano “Song Without Words” Felix Mendelssohn Op 19: No 3 in A Major for Piano Benjamin Hochman, piano Op. 62, No. 1 for Violin and Piano, arr. Kreisler Gil Morgenstern, violin; Benjamin Hochman, piano “Dover Beach”, Op. 3 Samuel Barber John Taylor Ward, baritone; Francesca dePasquale, violin; Gil Morgenstern, violin Kathryn Lockwood, viola; Alexis Pia Gerlach, cello Krieger’s Ahnung Franz Schubert Fischerweise Erlkönig John Taylor Ward, baritone; Benjamin Hochman, piano INTERMISSION Piano Quintet in c minor, Op. 1, No. 1 Ernst von Dohnányi Allegro Scherzo. Allegro Adagio, quasi andante Finale. Allegro animato Gil Morgenstern and Francesca dePasquale, violin; Kathryn Lockwood, viola Alexis Pia Gerlach, cello; Benjamin Hochman, piano The Broyhill Chamber Ensemble Concert Series is generously supported by the Broyhill Family Foundation (in memory of Faye Broyhill) and by Ralph and Venda Lerch/McDonald’s of Boone. Additional performance underwriting has been provided by Joni and Peter Petschauer, the Muriel and Arnold Rosen Endowment for the Arts and the Rosen-Schaffel Endowment for Classical Music Programming. With special thanks to Appalachia Cookie Company, for a generous donation of refreshments during this evening’s intermission. Biographical information for this evening’s performers beings on page 90.

Georges Enescu Aubade (Born August 19, 1881, in Liveni-Virnaz, Romania; died May 4, 1955, in Paris) Georges Enesco, who studied in Paris with Massenet and Fauré, was a virtuoso violinist, and a conductor as well as the teacher of Yehudi Menuhin, and the composer of operas, chamber music and many orchestral works. In recognition of his valuable contributions to the arts in Romania, both the village where he was born and a street in the capital city of Bucharest were renamed for him. Enesco completed his Aubade for string trio in 1899, publishing it three years later while he was composing Romanian Rhapsodies, for which he gained much fame. Aubade, a brief, concise yet very charming and skillful work, contains a lilting scherzo and trio. An aubade functions as a counterpart to a serenade, as it is a love song that is sung not in the evening like the serenade is, but rather in the morning, when the lovers part. This romantic music, with its rustic Romanian folk character, is most lovely with the cello sounding much like a strumming guitar. The aubade carries out its aim to woo; the trio represents the goodbye kiss of the lovers. This romantic music has a rich texture, evoking for us a lover departing after an evening of love. Olivier Messiaen Louange à l’immortalité de Jésus (Born December 10, 1908, in Avignon; died April 28, 1992 in Paris) Olivier Messiaen, one of the most original and influential of French composers since Debussy and Ravel, was born in the south of France, the son of literary parents. He began to teach himself music when he was eight years old, and at eleven, he entered the Paris Conservatory. The Church of the Trinity in Paris, where he became organist in 1931, and the Conservatory, where he was appointed Professor of Harmony after his release from a German prison camp, were his professional bases for almost all of his adult life. Messiaen, a man of simplicity and directness, always practiced his art with unique and absolute individuality. The two leading figures in the generation of European


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musicians who came to maturity after the Second World War were his pupils, Pierre Boulez and Karlheinz Stockhausen, who remained his faithful disciples even after they had pursued their own artistic paths. He never imposed his own personal esthetic preferences on those who came from all over the world to study with him. Messiaen’s music has absolute individuality. As a creative artist, Messiaen’s special interest fell into three groups of threes: religion, nature and love; time, color and form; piano, organ and orchestra. His large number of works, he said, “religious or not, are acts of faith.” He often took the sounds of nature and transferred them into musical material; bird songs especially captivated him and he organized them in highly original ways, sometimes drawing from the principles of non-European music. Despite the complexity of his musical language and his choice of musical forms, much of his work is directly accessible and powerfully communicative. Messiaen composed his Quartet for the End of Time in 1940 while he was a prisoner of war in Germany during World War II. Written for clarinet, violin, cello and piano, the music was “directly inspired, he said, by part of Chapter 10 of the Biblical book of Revelation: “I saw a mighty angel come down from heaven, clothed with a cloud: and a rainbow was upon his head, and his face was as the sun, and his feet as pillars of fire: and he set his right foot upon the sea, and his left foot on the earth. And the angel which I saw stand upon the sea and upon the earth lifted up his hand to heaven, and swore by him that liveth for ever and ever that there should be time no longer: but in the days of the voice of the seventh angel, when he shall begin to sound his trumpet, the mystery of God shall be finished.” The cello sings the calmly ecstatic hymn Praise to the Eternity of Jesus, the fifth of the Quartet’s eight movements, to the accompaniment of simple, persistent, piano chords. Louange à l’éternité de Jésus is, the composer said, a long and infinitely slow phrase on the eternity of the Word, which time can never exhaust.

Felix Mendelssohn Selections: “Songs Without Words” (Born February 3, 1809 in Hamburg; died November 4, 1847, in Leipzig) The art of songwriting was carried to new heights in the early decades of the 19th century, and soon composers began to write similarly lyrical pieces for instruments alone. The idea of a song without words may have originated with Mendelssohn and his greatly talented sister, Fanny, when they were still children. Such pieces became very popular among the European public, and Mendelssohn’s reputation as a composer for the keyboard was actually built, in part, upon these miniatures. The rise of the piano as the predominant instrument for home music-making in Mendelssohn’s time is a phenomenon that is related to the plethora of songwriting, with and without words. Karl Schumann, a famous German musicologist and Lieder scholar, characterized Mendelssohn’s Lieder ohne Worte as not simply “pillars of the piano repertoire,” but also as“a household possession, as widespread in Germany as the Grimm brothers’ fairy tales,... and no less beloved in Victorian England.” The existence of the Songs without Words is first documented in 1828, when the nineteen-year-old composer gave one of them to Fanny, his sister, for her birthday. He had already written several by then, and in 1832, the first collection of the eight was published in London. He composed them initially for family and friends but then decided to revise and publish them. He continued adding to the series until the end of his life. The last two collections of them, Opus 85 and Opus 102, were published posthumously including some additional miniatures that he had rejected from earlier sets. These cycles are partly lyrical, partly virtuoso pieces, which explore the artistic capabilities of the piano in free form. Many of these pieces are now known by fanciful titles that were added later by others. Mendelssohn himself, when asked to explain the content of the piano songs and their relationship to vocal songs, pointed out that his are purely musical, non-literary expressions. He said, “Even

if I had specific words in mind, I would not tell, for the same words mean different things to different people, but the song [that is, the music itself] arouses the same feeling in everyone – a feeling that cannot be expressed in words.” The genuineness and simplicity of the ‘songs’ spoke to several qualities that were much in favor at that time: the form of the small piece, a certain amount of sentimentality, the expression of folk song characteristics, the use of polyphonic texture, and the new possibilities of piano sound. The latter were made available through the “English” Broadwood action and the double escapement first introduced in piano building by Erard in 1821. In fact, one of the reasons the series is justly renowned is its pianistic importance historically. The themes of most of the songs are naturally long and song-like, woven into a tripartite ABA structure. Most of the compositions retain a unified mood throughout and also typically conclude with a codetta, although some of the best-loved pieces deviate from the form most usually used. Mendelssohn did not give Op. 19, No. 3 its title, but its persistent and echoing horn calls have given it the name Jägerlied (“Hunter’s Song”). The sense of pursuing imitative lines reinforces the sense that it is a hunting scene. The first part creates a feeling of the outdoors. Later, the horn passage begins to mount excitedly to a climax with great brilliance, using a figure foreshadowed in the opening of the piece. Quickly, the horses, dogs and men seem to disappear from view, becoming fainter as the ending approaches. The other selection being performed in this concert is the brief, joyful Op. 62, No. 1 in G Major, Andante espressivo, known as “May Breezes,” dedicated to Clara Schumann and arranged by Fritz Kreisler for violin and piano. Samuel Barber “Dover Beach”, Op. 3 (Born March 9, 1910, in West Chester, Pennsylvania; died January 23, 1981, in New York) Samuel Barber was one of the most distinguished members of the generation of American composers who came to


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maturity shortly before the Second World War. He began his music studies when only six years old, and at seven, he was already composing. At fourteen, he entered the Curtis Institute of Music, and at twenty-one, joined its faculty. Barber’s music was always firmly rooted in the traditional vocabulary and technique he learned at the Curtis Institute, which did not prevent him from composing works of great fantasy and expressivity. His music is rich in texture, free in rhythm, and always melodic. He wrote two operas, two symphonies, three concertos and a great deal more in almost every musical form. The poem, Dover Beach, one of a pair of meditations based on the shores of the English Channel, was first published in 1867, in the last collection of works by Matthew Arnold (1822-1888). In 1931, young Samuel Barber composed this setting of it for voice with string quartet, and in the early performances he sang the voice part himself, with his light, lyrical baritone voice. It was a seminal piece, he later said, that led the way directly to his many songs, his dramatic concert pieces for voice and orchestra, and to his operas. In effect, Barber’s Dover Beach is really a quintet, one part of which is sung, and it may even be imagined as the slow movement of a longer work that was never written. The text is treated in a way that stayed with Barber all through the remaining fifty years of his career: each syllable carefully declaimed so that the music never obscures sense of the words. Arnold’s free verse lends itself very well to Barber’s method. The poem has four sections, but Barber combines the middle two to make a three-part composition. Franz Schubert Two Schubert Lieder: “Krieger’s Ahnung,” D. 957 and "Erlkoing," Op. 1, D. 328 (Born January 31, 1797 in Vienna; died November 19, 1828, in Vienna) Schubert’s lyricism and ability to create a variety of moods with a continuity of texture are celebrated in his tremendous output of songs (more than 600 in all). Schwanengesang (“Swan Song”) is a collection of 14 songs that Schubert

composed just before his death; it is not a song cycle as it lacks a narrative thread. Schubert’s publisher, Thomas Haslinger, thinking it would be popular, marketed it posthumously as Schubert’s “farewell to song.” Its first seven songs set poems by Ludwig Rellstab (1799-1860), a multitalented music critic famous for giving Beethoven’s Op. 27 No. 2 piano sonata its title “Moonlight”. Themes of lost love and communion with nature dominate Rellstab’s songs. “Kriegers Ahnung” (“Warrior’s foreboding”) depicts a soldier surrounded by his sleeping comrades at night, remembering dreaming at his sweetheart’s breast and the comfort she gave him. The opening and closing passages convey an undertone of the fatefulness of the singer’s words. The piano accompaniment indicates the racing of the unnamed soldier’s heartbeat. “Erlkönig,” (“Elf King”), was composed in 1815, a year when Schubert composed almost 150 songs. Set to a dramatic ballad, part of Goethe’s 1782 singspiel Der Fischerin, this famous song is a succinct tale of desperate passion in which the composer used traditional recitative innovatively with singular results. The poem, in strict meter and regular four-line stanzas, recounts the tale of a father riding through woods at night with his son. The evil Elf King, who the boy sees but the father cannot, calls out temptations to the child. Many times, the boy cries out to his father for help, but the father discounts his fears. Only when he becomes aware that the boy is wounded does the father comprehend the threat, and although he rides furiously with strength and skill, his boy dies before they reach safety. The three characters have simple lines, pitted against a continuous background of repeated triplet octaves in the piano, often compared to the sound of the horse galloping. Each is distinct: the child frightened and frantic, the father selfassured, and the Erlkönig, relaxed yet enticing the child. As the child becomes increasingly terrified, he sings in an increasingly higher range, repeating his cries, “Mein Vater, mein Vater!” (“My father, my father!”) with growing force. The triplet figure ends only when the narrator declares the child’s death.

Ernst von Dohnányi Piano Quintet in c minor, Op. 1, No. 1 (Born in Hungary in 1877; died in New York in 1960) A virtuoso pianist known for his technique, musical insight and large and varied repertoire, Dohnányi also had extraordinary versatility as a composer, conductor, teacher and administrator. As a conductor, he introduced Hungary to the music of Bartok and Kodaly, but had little interest in utilizing the traditional music of the Hungarian people in his own compositions. Dohnányi’s music is an outgrowth of the German Romantic tradition. He composed many vocal, orchestral and chamber music works, as well as several operas and many piano pieces. His style is unmistakably his own, and his music is varied. Dohnányi was only eighteen and a student at Budapest’s Royal Academy of Music when he composed the Piano Quintet in C minor, Op.1. The Quintet, which premiered in Budapest with Dohnányi at the piano, so impressed Brahms, that he arranged a performance in Vienna, which launched Dohnányi’s international career. Like many Romantic works, this early but very accomplished work contains a variety of moods. Dohnányi here, as in many of his later compositions, uses a cyclic technique, having the first theme return at the end to unify the work. In the first movement, Allegro, the piano exclaims its insistent anguish in the first theme, but the strings announce the second theme alone. By the second movement Scherzo, Allegro vivace, the predominant emotion has become a brooding thoughtfulness, yet the use of syncopation gives the movement an energetic lilt. In the third slow movement, Adagio, quasi andante, a feeling of brightness and clarity emerge. The fourth movement, Finale, Allegro animato, has a five-beat rhythm that triumphantly and vigorously brings the work to its end. Program Notes: Susan Halpern, © 2018


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Celebrate summer at the Turchin Center and “engage, discover and connect through the visual arts!” The Summer Exhibition Celebration is an opportunity for art lovers to meet the artists, enjoy refreshments, live music, and spend time with fellow arts patrons while viewing collections in eight galleries filled with a diverse mix of contemporary art from local, regional, and international artists.

FEATURED EXHIBITIONS Art from Down Under: Australia to New Zealand July 6-December 8 Main Gallery

John Maillard, Lake Pukaki, 2016, UV ink on aluminum

This exhibition supports the university’s mission of promoting global awareness and learning opportunities by providing exposure to contemporary and indigenous art. Work will range across several media, including painting, sculpture, installation, photography, printmaking, book arts and ceramics, providing a fascinating perspective on the rich cultural traditions characterizing this part of the world. Artists from both countries will be on hand during the exhibition period to engage with campus and community groups.

Sustained Ingrain: Contemporary Woodcuts from East to West July 6-November 3 Galleries A & B The oldest method of making prints emerged in China during the first millennium and, despite constantly emerging and changing technologies, has sustained itself as a rich, viable and relevant option for printmaking today. This exhibition features 12 artists from China and 12 artists from North America. Diverse in its range of cultural context, creative vision, and innovative process, each artist works Humberto Saenz, Rinocerontes, 2015 extensively in the enduring, Woodcut, serigraphy wild and wonderful medium of woodcut. Guest curated by Scott Ludwig and Liu Jing.

The Persistence of Weeds: Hannah Cole July 6-January 12, 2019 Mezzanine Gallery

Hannah Cole, Chicory, 2016 Acrylic on canvas

Hannah Cole’s paintings are rooted in the unique experiences of her own life, and in conversation with the larger history of American painting. She paints the daily surroundings that normally go unnoticed– a glimpse of the bookshelf, or the manhole cover she walks over on her route to the grocery store. She makes every mark by hand, without shortcuts. In fact, Cole will hand-paint one of her artworks directly onto the gallery wall.

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The Elephantine in the Anthropocene: Kelsey Merreck Wagner July 6-January 12, 2019 Community Gallery In Africa, elephants are killed every 15 minutes for their tusks. Wagner’s exhibition explores historic hunting practices in African countries, the ivory trade in Asia, and how modern conservation is working Kelsey Merreck Wagner, Untitled, 2017 to save the species. Handmade paper, findings, yarn Cultural sensitivity and interdisciplinary collaboration are necessary to stop this ecological crisis. While humans are the invasive species, they can also be part of the solution.

CONTINUING EXHIBITIONS High Country Herbarium: Preserving Plants & Plant Communities in the Southern Appalachians February 2-August 4 Mayer Gallery

The Turchin Center is celebrating its 15th anniversary in 2018!



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Kool & the Gang have influenced the music of three generations. Thanks to songs like Celebration, Cherish, Jungle Boogie, Summer Madness and Open Sesame, they’ve earned two Grammy Awards, seven American Music Awards, 25 Top Ten R&B hits, nine Top Ten Pop hits and 31 gold and platinum albums. Kool & the Gang has performed continuously for the past 43 years, longer than any R&B group in history. Their bulletproof funk and jazzy arrangements have also made them the most sampled band of all time. SERIES SPONSORSHIP PROVIDED BY WESTGLOW RESORT & SPA AND ROWLAND’S RESTAURANT, MADE POSSIBLE THROUGH THE GENEROSITY OF BONNIE AND JAMIE SCHAEFER. PERFORMANCE SPONSORSHIP PROVIDED BY: BOONE AREA VISITORS BUREAU, MAST GENERAL STORE, GOODNIGHT BROTHERS, SKYBEST COMMUNICATIONS, INC. WITH SPECIAL THANKS TO MR. JOHN CARTER OF WBTV, OUR EMCEE FOR THE EVENING.

This evening’s performance has been supported by a generous gift from Keith and Letty Stoneman.



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Out of nowhere, Katja’s life falls apart when her Turkish husband Nuri and German-born son Rocco are killed in a bomb attack. Her friends and family try to give her the support she needs, and Katja somehow manages to make it through the funeral. But the mind-numbing search for the perpetrators and geopolitical reasons behind the senseless killing complicate Katja’s painful mourning, opening wounds and doubts. The eventual trial against a young, neo-Nazi couple pushes Katja to the edge, but there’s simply no alternative for her; she wants justice. GERMANY; R; DIRECTED BY FATIH AKIN (2017); 105 MINUTES

Pre-film talk with Dr. John Pfeifer begins at 7pm, with the film beginning at approximately 7:30pm. Concessions, including popcorn, cookies, beer, wine and cold beverages are available for purchase. With special thanks to our generous sponsors for this series, Helene and Stephen Weicholz.

In The Fade (Aus dem Nichts) In German, Greek and English with English subtitles



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Founder: Bebe Schweppe Artistic Director: Tom Mossbrucker Executive Director: Jean-Philippe Malaty Artists: Katherine Bolaños, Sadie Brown, Jenelle Figgins, Anna Gerberich, Seia Rassenti Watson, Austin Reynolds, Evan Supple, Anthony Tiedeman, Pete Leo Walker, Joseph Watson, Jenny Winton Production Stage Manager: Danny Bacheldor Lighting Supervisor: Seah Johnson Representation: U.S & Canada Cathy Pruzan, Artist Representative 4709 Paradise Drive Tiburon, CA 94920 415-789-5051

Europe Bernard Schmidt Productions, Inc. 16 Penn Plaza, Suite 545 New York NY 10001 212-564 4443

Israel Offer Zaks OZ Productions +972-52-8765341

Return to a Strange Land Choreography: Jiří Kylián Music: Leoš Janáček Costume and Decor Design: Jiří Kylián Lighting Design: Kees Tjebbes Staged by: Jeanne Solan Katherine Bolaños, Anna Gerberich, Evan Supple, Anthony Tiedeman, Pete Leo Walker, Joseph Watson Premiere: May 17, 1975, Stuttgart Ballet Aspen Santa Fe Ballet’s production of Return to a Strange Land is made possible through the generosity of Sherry and Eddie Wachs.


Ballet’s dynamic story in the American West In 1996, Aspen Santa Fe Ballet Founder Bebe Schweppe invited Tom Mossbrucker and Jean-Philippe Malaty to create a ballet company in Aspen. A unique, multidimensional arts organization developed rapidly from the ballet school Schweppe had established in the Rocky Mountains. “Bebe’s vision for Aspen to have its own ballet company was the project of a lifetime,” says Malaty, ASFB’s Executive Director. “We embarked together on a serendipitous adventure. More than twenty years later, the connection between the dancers and our two communities is deep and inextricable.” Forging a new frontier The company began modestly with seven dancers. Growth was organic. Friends in the field – Gerald Arpino, Trey McIntyre, Septime Webre, Dwight Rhoden – offered start-up repertoire. Moses Pendleton’s popular Noir Blanc was a seminal event for the young ASFB. It launched a tradition of commissioning new works. An open, exploratory style emerged as Mossbrucker and Malaty tapped the creative scene in Europe where classical ballet was breaking from its boundaries. The athletic and adventurous American dancers found themselves at a crossroads of dance history. The divide between ballet and modern dance was dissolving. Innovative business model In 2000, the Aspen, Colorado-based ballet company forged a dual-city relationship with Santa Fe, New Mexico, broadening its scope and lending crucial revenue diversification. Under this hybrid business model, a roster of arts activities flourishes year-round in both cities. Performance, education, presentation, and community outreach all join in the mix. In 2014, ASFB shared resources with a local troupe, Juan Siddi Flamenco Santa Fe (JSFSF). This entrepreneurial project led to artistic heights at Jacob’s Pillow and New York’s Joyce Theater. Fortified with new experience and relationships, JSFSF continues to thrive in its own right. New commissions ASFB’s mission places highest priority on developing new dance works and nurturing relationships with emerging choreographers. The company fostered the early careers of now in-demand global


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Dream Play ASFB Commissioned Work Choreography: Fernando Melo Co-creator: Shumpei Nemoto Music: Erik Satie, Frédéric Chopin Lighting Design: Seah Johnson Costume Design: Jérôme Delbey Scenic Design Construction: Danny Bacheldor Katherine Bolaños, Sadie Brown, Jenelle Figgins, Seia Rassenti Watson, Austin Reynolds,Evan Supple, Anthony Tiedeman, Pete Leo Walker, Joseph Watson, Jenny Winton Premiere: July 8, 2017, Aspen Santa Fe Ballet, Aspen, CO. Aspen Santa Fe Ballet's production of Dream Play is made possible through the generosity of Kelley and Mark Purnell. In Dream Play, the audience is invited to experience a constant shift of perspective... between the whimsical world created by the artists and the raw process that generates its animation. It is my hope that this theatrical experience will stimulate your imagination and generate countless interpretations for your enjoyment. It’s important to note the creative process and the development of the physical vocabulary was a collective act in which all parties involved proposed ideas and solutions. - Fernando Melo INTERMISSION

Huma Rojo ASFB Commissioned Work Choreography: Cayetano Soto Music: Ray Barretto, Nat “King” Cole, Xavier Cugat and His Orchestra, Abbe Lane, Pérez Prado and His Orchestra Lighting Design: Seah Johnson Costume Design: Kim Laursen for Maison Ullens* Katherine Bolaños, Sadie Brown, Jenelle Figgins, Seia Rassenti Watson, Austin Reynolds, Evan Supple, Anthony Tiedeman, Pete Leo Walker Premiere: February 13, 2016, Aspen Santa Fe Ballet, Aspen, CO. Aspen Santa Fe Ballet’s production of Huma Rojo is made possible through the generosity of the Grinspoon/Troderman family, in honor of Harold Grinspoon, and Jacob’s Pillow Dance. *Special thanks to Maison Ullens and Kim Laursen for their design and creation of costumes for Huma Rojo. This evening’s performance has been supported by a generous gift from Barbara and Larry Freiman.

dance makers like Nicolo Fonte (nine commissioned Fonte works in the ASFB repertoire), Jorma Elo (three commissioned Elo works), Edwaard Liang, Jacopo Godani, Helen Pickett, Cayetano Soto, Alejandro Cerrudo, and others. Works by late 20th century masters – William Forsythe, Jiří Kylián, Twyla Tharp – round out the repertoire. “We value building relationships with choreographers who become integral to the company. The natural beauty of our surroundings has a profound impact on creativity. Our choreographers find it inspiring to create here,” says Mossbrucker, ASFB’s Artistic Director. Renowned in the U.S. & abroad Based in the American West, ASFB occupies the vanguard of its field, brandishing a strong national reputation. Repeat engagements at the American Dance Festival, Harris Theater for Music and Dance, Jacob’s Pillow Dance Festival, Joyce Theater, The Kennedy Center, Saratoga Performing Arts Center, and Wolf Trap testify to the company’s popularity and ability to please audiences. The company has toured overseas as well, with prestigious invitations and bookings in Brazil, Canada, France, Greece, Guatemala, Israel, Italy, and Russia. Premier funders – National Endowment for the Arts, New England Foundation for the Arts / National Dance Project, Joyce Foundation, Shubert Foundation, Wolf Trap Foundation, Jerome Robbins Foundation, and Princess Grace Foundation – have supported ASFB’s growth. Into a bright future Since its founding in 1996, ASFB has carved a reputation as a dance-lover’s dance company. It has genuinely reshaped the field, introducing new choreographic talent to national stages, fostering a new breed of exceptional dancer, and stimulating audiences with high-caliber performances. Fueled by an annual budget of over $4 million and an endowment nearly twice that size, the company’s strong artistic vision is supported by solid financial footing.

BIOS Bebe Schweppe, Founder, grew up in Augusta, Georgia, and started dancing at the Georgia Dance Theatre, under Frankie Levy at the age of seven. She was invited by Robert Joffrey to study


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at his school in New York on a full scholarship at age eleven. Bebe moved to Aspen in 1975 and fifteen years later founded the Aspen Ballet School. Her presence was a catalyst in the region. In 1996, she invited Jean-Philippe Malaty and Tom Mossbrucker to develop a small professional company in Aspen. Through their combined energies, the Aspen Ballet Company was born a year later. Shortly after, new performing opportunities beckoned in Santa Fe, upon which the company was renamed Aspen Santa Fe Ballet. Bebe speaks with pride when she considers the changes that have occurred over the years to her “baby.” “The Company has evolved to having earned a name of its own – ASFB. What a treat! It is recognized by other artists and respected by all. This is of course due in large part to JeanPhilippe and Tom.” She cites that “their strength has been in their unique ability to perceive and design a repertoire that entertains all parts, whether it’s the audience or the dancer.” Tom and JeanPhilippe have “greatly succeeded” in realizing her dreams for the company, she says. “I am thankful that I had the dream and was lucky and persistent enough to convince JP and Tom to relocate from New York City. Never did I imagine that one day the company would be performing nationally and internationally and never did I imagine that one day they would be performing works by internationally famous choreographers. Although I had the dream, I never imagined so much. I feel very lucky.” Jean-Philippe Malaty, Executive Director, was born in the Basque region of France. After receiving his baccalaureate in dance, he accepted scholarships to study at Mudra, Maurice Béjart’s school in Brussels, and at John Cranko’s ballet academy in Stuttgart. Invited by acclaimed instructor David Howard to study in New York, JeanPhilippe traveled to America under Howard’s tutelage. Jean-Philippe’s performance career began with Joffrey II. He also danced as a guest artist with Los Angeles Classical Ballet, Ballet Hispanico, and the Lyric Opera of Chicago. Jean-Philippe segued from the stage to an administrator role while still in his twenties. A key member of Aspen Santa Fe Ballet’s start-up team, JeanPhilippe has been central to developing

the company’s unique dual-city-based hybrid business model. He directs operations in two locations, overseeing a $4 million budget that he allocates to the company, two schools, an esteemed presenting series, and an award-winning folkloric outreach program. JeanPhilippe’s first love is teaching and when his schedule permits, he conducts master classes at schools and universities. In 2013, Jean-Philippe shared an honor with Artistic Director Tom Mossbrucker when the Santa Fe Community Foundation bestowed its Piñon Award on the company. In 2012, the Denver Bonfils-Stanton Foundation granted Jean-Philippe a Livingston Fellowship in recognition of his significant leadership role in Colorado’s non-profit sector. In 2010, in recognition of ASFB’s contribution to the field of dance, JeanPhilippe and Tom were honored with the Joyce Theater Foundation Award. A naturalized U.S. citizen, Jean-Philippe is proud to have forged a company alive with American energy, invention, and eclecticism. “Dance is a celebration of the human spirit, and not a celebration of steps. Here at Aspen Santa Fe Ballet, we foster the spirit and the love of dance.” – Jean-Philippe Malaty Tom Mossbrucker, Artistic Director, has been artistic director of Aspen Santa Fe Ballet since 1996. For the past seventeen years Tom has built a prestigious arts organization sharing two homes in Aspen and Santa Fe. In his role as artistic director, Tom cultivates highly sophisticated and challenging works of contemporary ballet. His shining achievement is ASFB’s roster of 27 ballets created on commission by leading global choreographers. Tom began to dance at age four, studying tap in his hometown of Tacoma, Washington. He pursued classical ballet training at the School of American Ballet and the Joffrey Ballet School. His twenty years as a principal dancer with the Joffrey Ballet, performing in over 70 ballets under the direct coaching of founders Robert Joffrey and Gerald Arpino, coincided with a period of high artistic achievement for the company. Tom danced in ballets by great twentieth century choreographers: Fredrick Ashton, George Balanchine, Laura Dean, William Forsythe, Jiri Kylián, Mark Morris, Paul Taylor and Twyla Tharp.

Signature roles included Iago in Jose Limon’s The Moor’s Pavane; Champion Roper in Agnes DeMille’s Rodeo; Billy in Eugene Loring’s Billy the Kid; and Romeo in John Cranko’s Romeo and Juliet. This rich dance background Tom brings to coaching dancers today. In 2013, Tom shared an honor with Executive Director Jean-Philippe Malaty when the Santa Fe Community Foundation bestowed its Piñon Award on the company. In 2010, in recognition of ASFB’s contribution to the field of dance, Tom and Jean-Philippe Malaty were honored with the Joyce Theater Foundation Award. A former board member of Dance USA, Tom currently serves on the board of The Gerald Arpino and Robert Joffrey Foundation. “We strive for continuity and enjoy bringing choreographers back to create second and third works... to us that is success.” – Tom Mossbrucker

DANCERS Katherine Bolaños, a native of Oklahoma City, is in her fourteenth season with ASFB. Katherine began her professional career with Ballet Oklahoma where she remained for seven years performing mostly classical roles. As a guest artist with the Los Angeles Ballet Ensemble, she toured extensively in Taiwan and China. “I love the partnering in contemporary work and moving in a way that’s very slow, expressive, and creature-like. I enjoy rehearsing in the studio as much as performing on stage. The studio gives the freedom to grow artistically. On stage I feel like I’m in a different world.” Sadie Brown, now in her fifth season with Aspen Santa Fe Ballet, began to dance in her hometown of Evansville, Indiana. She also studied at the Boston Ballet School, The Harid Conservatory, and the Walton School for Girls in Grantham, England. Sadie performed for three seasons with the Grand Rapids Ballet and as a guest artist with Evansville Dance Theater, Evansville Ballet, and Michigan Classic Ballet. Her guesting with Ballet Bratislava took her to Slovakia and Austria. “Dance allows me to explore emotions on such deep levels. When it’s time to perform, all those emotions come out. There is no better feeling than to have such free expression.”


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Jenelle Figgins, a Washington D.C. native, began training at the historic Jones-Haywood School of Ballet and Duke Ellington School of the Arts. She then won a full scholarship to Dance Theatre of Harlem’s Kennedy Center residency. After earning a B.F.A. with honors from SUNY Purchase, she attended Springboard Danse Montreal. Jenelle is a 2014 recipient of the Princess Grace Award. Previously with Dance Theatre of Harlem, Jenelle is now in her third season with Aspen Santa Fe Ballet. “I want to continue to learn by pairing movement with aspects of humanity. There is so much selfdiscovery in collaboration – and being part of a creation process makes me happy.” Anna Gerberich began her training at Central Pennsylvania Youth Ballet with Marcia Dale Weary. In 2004, she was invited by Jean-Pierre Bonnefoux and Patricia McBride to apprentice with the Charlotte Ballet. In 2005 she was hired into the company and was promoted to Principal within four years. After 11 years with Charlotte Ballet, Anna accepted a position with the Joffrey Ballet. Anna received the Pointe Magazine NERDA Award of Promise in 2001. In 2014 Anna had the pleasure to appear in the Kennedy Center Honors, performing Balanchine’s Who Cares in acknowledgment of Patricia McBride. This is Anna’s second season with Aspen Santa Fe Ballet. Seia Rassenti Watson danced with Flamenco Y Mas as a youngster in Arizona, then trained in classical ballet with Linda Walker at the Tucson Regional Ballet. After graduating from the Kirov Academy of Ballet in Washington, DC, she danced with North Carolina Dance Theater where she worked with Dwight Rhoden. Seia is in her ninth season with ASFB. “I feel most comfortable in the contemporary mode. I trained classically because I knew it would help me become a better dancer. But I really love the freedom and personal expression of the work we do here. I found my niche.” Austin Reynolds, from Detroit, Michigan, enters his first full season with Aspen Santa Fe Ballet after studying at Interlochen Arts Academy, Springboard Danse Montreal, and The Juilliard School. He has had the pleasure of

performing the repertoire of Jiří Kylián, Alexander Ekman, and Ohad Naharin, as well as in new creations by Jennifer McQuiston Lott, Stephan Laks, Matthew Neenan, and Zvi Gotheiner. “I am grateful to join a company that commissions new work and, with that, I am excited to make new discoveries alongside this inspiring group of individuals.” Evan Supple, a native of Toronto, Ontario, trained at Elite Danceworx before moving on to earn a B.F.A. from Marymount Manhattan College, Class of 2016. While at Marymount, he danced in works by Dwight Rhoden, Paul Taylor, Aszure Barton, Desmond Richardson, and Alexandra Damiani. He also toured internationally as a member of the Nikolais-Louis Dance Theatre in 2013. Additionally, Evan was a featured soloist in the closing ceremony of the 2015 Pan-Am Games. He spent summers with Complexions, Canada’s National Ballet School, and Springboard Danse Montreal. This is Evan’s second season with Aspen Santa Fe Ballet. Anthony Tiedeman, a graduate of The Juilliard School, brings to Aspen Santa Fe Ballet his exposure to works by master choreographers Merce Cunningham, Paul Taylor, and José Limón. Training in Lar Lubovitch’s choreography led Anthony to join Lar Lubovitch Dance Company for its Fall 2014 Joyce Theater season. A New Jersey native, Anthony has traveled abroad for summer intensives at Springboard Danse Montreal and Nederlands Dans Theater. This is Anthony’s third season with ASFB. “When I first saw Aspen Santa Fe Ballet at the Joyce, I was blown away by the intense physicality and strong, yet beautiful, technique. It’s a balance I try to bring to my own dancing.” Pete Leo Walker , is in his third season with Aspen Santa Fe Ballet following five seasons with Charlotte Ballet, where he performed a diverse repertoire of neoclassical and contemporary works. A native of Jacksonville, FL, Pete began training at Dansations Performing Arts Center and continued at the Nutmeg Conservatory for the Arts. Pete is a 2011 recipient of the Princess Grace Award. In 2013 he was featured as one of Dance Magazine’s “Top 25 to Watch.” “My mom was a part of the Rock Steady

Crew in Brooklyn. She taught me to pop and lock, so contemporary classical ballet is the closest to my heart – with a technical element.” Joseph Watson, now in his ninth season with Aspen Santa Fe Ballet, began formal dance training at TWIGS (To Work In Gaining Skills), a respected after-school program in his home town of Baltimore. After graduating from the Baltimore School for the Arts, Joseph attended The Juilliard School, earning his BFA in dance. He was a member of North Carolina Dance Theatre prior to joining ASFB. “I try not to overthink a performance. I just tell myself that I’m about to go on stage to do what I love. I love the zen feeling I get when I’m out there.” Jenny Winton, newcomer to Aspen Santa Fe Ballet, began ballet at age six at the San Francisco Ballet School and trained there on full scholarship, performing featured child roles throughout the years. In 2008 she was invited to join the second company of the Pennsylvania Ballet and, in 2009, she joined The Joffrey Ballet in Chicago, where she danced for five years. Jenny then shifted gears to tour the country for two years performing the iconic role of Penny in the musical, Dirty Dancing. “Aspen Santa Fe Ballet’s repertoire has so much integrity and range that I knew it would allow me to use all of my tools, from theater to ballet.”

CHOREOGRAPHERS Hailed as one of the world’s foremost living choreographers, Jirí Kylián was born in Prague, and studied at the city’s Conservatory and London’s Royal Ballet School before joining the Stuttgart Ballet (Germany) under John Cranko in 1968. In 1973 he was invited by the Nederlands Dans Theater in Den Haag as a guest choreographer. By 1975, he was appointed the company’s Artistic Director. Jirí achieved his international breakthrough with Sinfonietta in 1978, set to music composed by his compatriot Leoš Janáček. His international reputation kept growing with such works as Symphony of Psalms (1978), Forgotten Land (1981), Svadebka (1982), Stamping Ground (1983) and L’Enfant et les Sortilèges (1984). Apart from developing choreographic works, Kylián has also built up a unique


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organizational structure for and within the Nederlands Dans Theater , adding two new dimensions to the Dutch ballet company. The world-famous Nederlands Dans Theater I has been expanded by Nederlands Dans Theater II (‘The Young and Dynamic Company’ of dancers between the age of 17 and 22) and Nederlands Dans Theater III (dancers/performers beyond the age of 40) – each company with a distinctively individual repertoire. In April 1995, Jiří Kylián celebrated 20 years directing the Nederlands Dans Theater by mounting the large-scale dance production Arcimboldo, which involved all the dancers of Nederlands Dans Theater I, II and III. On that occasion, he received one of the Netherlands’ highest honors, becoming Officier in de Orde van Oranje Nassau. In 1999, Kylián passed the artistic direction to the new generation. He stayed connected to the company as a choreographer until December 2009. In the years between 1973 and today he has created 74 ballets for NDT. His entire body of work counts 98 creations to date. Besides creating for NDT, Kylián has made original works for the Stuttgart Ballet, Paris Opera, Swedish Television, Bayerisches Staatsballet München and the Tokyo Ballet. His creations are danced by more than 100 companies and schools world-wide. Fernando Melo is originally from Rio de Janeiro, Brazil. At the age of 16 he was awarded a scholarship to train at the Vienna State Opera Ballet. He has been in Europe ever since, building his career as a dancer and choreographer and creating works around the world. Among the companies he has choreographed for are:

Göteborgsoperans Danskompani (Sweden), where he is also currently rehearsal director; Deutsche Oper am Rhein Düsseldorf (Germany), Introdans (Holland), Staatstheater am Gärtnerplatz, München (Germany), Luzerner Theater (Switzerland), Luna Negra Dance Theater, Ballet Hispanico New York (U.S.A.), and Norrdans (Sweden). In addition, Fernando choreographs for opera. His recent projects include “Die Schöpfung” by Joseph Haydn for Vocal Futures, London, (U.K.), “Daphne” by Richard Strauss at the Théâtre du Capitole in Toulouse, (France), “Solaris” by Detlev Glanert at the Oper Köln (Germany) and “L’Opera Seria” by Florian Leopold Gassman at La Monnaie in Brussels (Belgium). Born and based in Barcelona, Cayetano Soto has created work for major companies worldwide. His technical, high-pitched and unpredictable choreography can be seen at international festivals in Europe, USA and Canada. Soto started his dance education in Barcelona at the Institut del Teatre and continued his studies at the Koninklijke Conservatorium in The Hague. After receiving his degree in Classical Dance, Soto danced with IT Dansa Barcelona in 1997, before joining Ballet Theater Munich a year later where he created several successful ballets and one of his first signature pieces, Fugaz. Since 2005, Soto has worked as a freelance choreographer with Nederlands Dans Theater, Royal Ballet of Flanders, Balé da Cidade de São Paulo, BJM Montréal, Introdans, Introdans voor de Jeugd, Ballet BC, Gauthier Dance Company, Companhia Nacional de Bailado, Perm Opera and Ballet Theater,

Národní Divadlo Brno, Aspen Santa Fe Ballet, Tanz Luzern Theater, Ballet Hispanico and Northwest Dance Project in Portland. He also created several ballets with German companies including Stuttgarter Ballet, Staatstheater Braunschweig, Augsburg Ballett, Ballett in Revier, Staatstheater Nürnberg and Ballett Dortmund. In 2009, he began a continuous collaboration with Aspen Santa Fe Ballet and Introdans voor de Jeugd, creating a number of new ballets. For Ballet Dortmund he created a new full evening version of Carmen. Due to the success in Dortmund, Národní Divadlo Brno in Czech Republic staged Carmen in 2010. Soto also choreographed Dancing Mozart’s mass in c-minor with live orchestra for 4 dancers in the Church of St. Egidean in Nürnberg. Fascinated by the German American fashion label Talbot Runhof, Soto started to collaborate with the designers in several projects. Talbot Runhof designed the costumes of Carmen for Dortmund Ballet and Soto choreographed a new solo work to present their new collection at the Fashion week in Paris. The costumes of the new creation Sortijas for Ballet Hispanico of New York will be also designed by the duo. Soto was awarded the First Prize for his ballet 24FPS by the choreographic competition Uncontainable Project 2006 of the Royal Ballet of Flanders. Canela Fina, commissioned by Bale da Cidade de São Paulo, was awarded as best dance production of 2008 by the Brazilian newspaper Folha de São Paulo. In 2011, Soto was nominated for the Golden Mask Award in Russia, for his choreography Uneven.


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A band of extraordinary chemistry and exquisite musicianship, I’m With Her features Sara Watkins, Sarah Jarosz, and Aoife O’Donovan. Collectively, the multi-Grammy-Award-winners have released seven solo efforts, co-founded two seminal bands (Nickel Creek and Crooked Still), and contributed to critically acclaimed albums from a host of esteemed artists. But from its very first moments, their full-length debut See You Around reveals the commitment to creating a wholly unified band sound. With each track born from close songwriting collaboration, I’m With Her builds an ineffable magic from their finespun narratives and breathtaking harmonies. The result is an album both emotionally raw and intricate, revealing layers of meaning and insight within even the most starkly adorned track. SERIES SPONSORSHIP PROVIDED BY WESTGLOW RESORT & SPA AND ROWLAND’S RESTAURANT, MADE POSSIBLE THROUGH THE GENEROSITY OF BONNIE AND JAMIE SCHAEFER. PERFORMANCE SPONSORSHIP PROVIDED BY: BOONE AREA VISITORS BUREAU, MAST GENERAL STORE, GOODNIGHT BROTHERS, SKYBEST COMMUNICATIONS, INC.

I’m With Her (Sara Watkins, Sarah Jarosz, Aoife O’Donovan)



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Shaken & Stirred: Michael Feinstein and special guest Storm Large



Five-time Grammy Award-nominated Michael Feinstein joins forces with vocalist Storm Large to present an unforgettable evening of music. Accompanied by a 5-piece band with music ranging from the Great American Songbook to the music of the James Bond and Mad Men era, Michael and Storm will delight you with their brilliant singing and amusing anecdotes. Shaken & Stirred will pay tribute to a wide range of artists such as Al Green, Frank Sinatra, Bill Haley, Nat King Cole, James Taylor, Chicago, Stevie Wonder, Smokey Robinson, Donny Hathaway and others. SERIES SPONSORSHIP PROVIDED BY WESTGLOW RESORT & SPA AND ROWLAND’S RESTAURANT, MADE POSSIBLE THROUGH THE GENEROSITY OF BONNIE AND JAMIE SCHAEFER. PERFORMANCE SPONSORSHIP PROVIDED BY: BOONE AREA VISITORS BUREAU, MAST GENERAL STORE, GOODNIGHT BROTHERS, SKYBEST COMMUNICATIONS, INC.



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EASTERN FESTIVAL ORCHESTRA Gerard Schwarz, conductor Misha Dichter, piano Eva Wetzel, violin*


Overture to Candide

Leonard Bernstein

The White Peacock

Charles Tomlinson Griffes

Piano Concerto in F Allegro Adagio; Andante con moto Allegro agitato

George Gershwin

Misha Dichter, piano INTERMISSION Maurice Ravel

Tzigane, rapsodie de concert Eva Wetzel, violin Suite No. 2 from Daphnis et Chloé

Maurice Ravel

*Winner 2017 Rosen-Schaffel Competition for Young and Emerging Artists This performance has been supported in part by the Rosen-Schaffel Endowment for Classical Music Programming at An Appalachian Summer Festival, and is dedicated to the memory of Muriel and Arnold Rosen, whose vision and generosity led to the founding of An Appalachian Summer Festival. This evening’s performance has been supported by a generous gift from Barbara and Larry Freiman.

Gerard Schwarz enters his 14th year with the Eastern Music Festival in 2018. He joined the Festival as music advisor in 2005, became principal conductor in 2006 and music director in 2008. He also serves as music director of the All-Star Orchestra, an ensemble of top musicians from America’s leading orchestras which includes eight members of the EMF faculty. All-Star Orchestra is featured in a new television series that has aired throughout the United States on PBS reaching 3.5 million viewers. It is the basis for their Khan Academy education platform. As in baseball, Schwarz created an “all-star” team of top musical athletes who have thus far recorded 12 episodes to encourage a greater understanding and enjoyment of classical music. All 12 programs have been released by Naxos and have been awarded four Emmy Awards and the Deems Taylor Television Broadcast Award from the American Society of Composers, Authors and Publishers. Schwarz is conductor laureate of the Seattle Symphony and is a renowned interpreter of 19th century German, Austrian and Russian repertoire, in addition to his noted work with contemporary American composers. With more than 300 world premieres to his credit, Schwarz has always felt strongly about commissioning and performing new music. As EMF music director he initiated the Bonnie McElveen-Hunter Commissioning Project that has thus far commissioned John Coriglian, Richard Danielpour and Lowell Lieberman. For the 2016 Festival, renowned Academy and Grammy Award winning conductor, composer and pianist Andre Prévin, has created a new work. In all, McElveen-Hunter has committed to 10 new works from American composers. During Schwarz’ tenure with the Festival, he has expanded audiences to the largest in its history, incorporated a composer in residence program, developed three new concert series and added new educational initiatives. The Festival Orchestra has also recorded a critically praised recording of


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the music of Alan Hovhaness for Naxos. A prolific recording artist, Schwarz’s total discography numbers over 350. His pioneering cycles of American symphonists such as William Schuman, David Diamond and Howard Hanson have received high critical praise, as have his acclaimed series of Stravinsky ballets, symphony cycles of Robert Schumann, Gustav Mahler and Dmitri Shostakovich as well as orchestral works of Richard Wagner, Richard Strauss and Rimsky-Korsakov. More than 50 discs featuring Gerard Schwarz and the Seattle Symphony – with works by 54 composers ranging from the Baroque to contemporary periods – were released in the last two years on Naxos, Delos, Artek and Brilliance Audio. Representing the breadth and depth of the conductor’s vast repertoire, the recordings vary in genre, including major 20th century ballets by Stravinsky, Strauss, Bartók, Ravel and Prokofiev, as well as multi-disc cycles of works by Schumann, Strauss, Wagner and Stravinsky. Schwarz’ dedication to the promotion of American music is also represented with recordings featuring the works of 26 American composers. The Hanson cycle, first released on Delos, was a mainstay on Billboard’s classical music best-selling list for 41 weeks, including six weeks at number three; earned Grammy nominations and was named 1989 Record of the Year by Stereo Review. The new Russian series on Naxos has been acclaimed as “a high point in the extensive Schwarz/Seattle discography” (Classics Today), “very fine” (The Guardian) and “a powerhouse in Russian Romantic repertoire” (Music Web International). In addition to his numerous recordings with the Seattle Symphony, he has also recorded with the Berlin Radio Symphony, Czech Philharmonic, English Chamber Orchestra, Juilliard Orchestra, London Symphony, Los Angeles Chamber Symphony, New York Chamber Symphony, Orchestre National de France, Philadelphia Orchestra, Royal Liverpool Philharmonic, Tokyo Philharmonic and, of course, Eastern Music Festival. His most recent release is of Rimsky-Korsakov’s 1st and

3rd Symphonies with the Berlin Radio Symphony Orchestra. The Maestro’s long-standing commitment to education continues through his partnership with the AllStar Orchestra and Kahn Academy, the ground breaking organization that provides a free world-class education to anyone anywhere. Thus far their educational platform has reached 5 million students. A gifted composer and arranger, Schwarz has expanded his compositional activities in recent years. His Trio for Violin, Horn and Piano was called a work of “sophistication and intelligence” by critic R.M. Campbell. Earlier works include In Memoriam and Rudolf and Jeanette (dedicated to the memory of his grandparents who perished in the Holocaust), both recorded by Naxos; Human Spirit, a composition for children’s choir and orchestra and his duos for violin and cello were called “redolent of the gentle humanism central to much of the music Schwarz loves to conduct” by The Seattle Times. His arrangements of suites from Strauss’ Der Rosenkavalier, Debussy’s Pelléas et Mélisande and Humperdinck’s Hansel and Gretel as well as many orchestral works are programmed in concerts worldwide. A Journey, a large scale orchestral tone poem, was commissioned by Dave Gannet and received its world premiere at the Eastern Music Festival in July 2012. Schwarz’s work for concert band Above and Beyond was premiered by the United States Marine Band in 2013 and is now available on Naxos. His newest work for that ensemble, a transcription of Rudolf and Jeannette, was premiered in February 2016. His orchestral work A Poem was recently given its first performance by the Hartford Symphony. A sought-after guest conductor, Schwarz has led the most renowned orchestras throughout the world. He is also known for his operatic performances in addition to his concert work, having appeared with the Juilliard Opera, Kirov Opera, Mostly Mozart Festival, San Francisco Opera, Seattle Opera (where he has led 21 productions) and Washington National Opera conducting the operas of Wagner, Janáček, Strauss, Mozart,

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


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series and the successful Soundbridge Seattle Symphony Music Discovery Center; regular programming of innovative themed festival weeks; in addition to dramatically increased audience attendance and classical subscription weeks. Schwarz’ final season in Seattle was emblematic of the conductor’s passionate dedication and support for contemporary music, with a total of 22 world premieres, 18 of these premieres being a part of the Gund/Simonyi Farewell Commissions, an unprecedented commissioning initiative celebrating his farewell season as music director. In his nearly five decades as a respected classical musician and conductor, Schwarz has received hundreds of honors and accolades. Over the years, he has received four Emmy Awards, 14 Grammy nominations, eight ASCAP Awards and numerous Stereo Review and Ovation Awards. He holds the Ditson Conductor’s Award from Columbia University, was the first American named conductor of the year by Musical America and has received numerous honorary doctorates, including from his alma mater, The Juilliard School. In 2002 the American Society of Composers, Authors and Publishers honored Schwarz with its Concert Music Award and in 2003 the National Academy of Recording Arts & Sciences gave Schwarz its first IMPACT lifetime achievement award. Active in music advocacy on a national and state level, he served on the National Council of the Arts and is honorary chairman of the Board of Young Musicians Excelling, an organization in Washington State which supports music education in the Pacific Northwest. Most recently, the City of Seattle recognized his outstanding achievements by naming the street alongside the Benaroya Hall “Gerard Schwarz Place” and the State of Washington gave him the honorary title of “General” for his extraordinary contributions as an artist and citizen.

Misha Dichter traces his musical heritage to the two great pianistic traditions of the 20th century: the Russian Romantic School as personified by Rosina Lhevinne, his mentor at The Juilliard School and the German Classical style that was passed on to him by Aube Tzerko, a pupil of Artur Schnabel. Dichter reveals this dual legacy in his solo recitals and appearances with virtually all the world’s major orchestras, performing the grand virtuoso compositions of Liszt, Rachmaninoff and Tchaikovsky, as well as music from the central GermanViennese repertoire – works by Mozart, Beethoven, Schubert and Brahms. Dichter’s acclaimed recordings for Philips, RCA, MusicMasters and Koch Classics further illustrate his musical interests. They include the Brahms piano concerti with Kurt Masur and the Leipzig Gewandhaus Orchestra, Brahms solo works including the Handel Variations, Beethoven piano sonatas, the complete Liszt Hungarian Rhapsodies, the Liszt Piano Concerti with André Previn and the Pittsburgh Symphony and Gershwin’s Rhapsody in Blue with Neville Marriner and the Philharmonia Orchestra, as well as music of Chopin, Mussorgsky, Schubert, Schumann, Stravinsky and Tchaikovsky. A noted exponent of Liszt’s piano works and a champion of the composer’s forwardlooking contributions to the development of music, Dichter was honored in 1998 with the “Grand Prix International du Disque Liszt,” presented for his Phillips recording of Liszt piano transcriptions. Dichter’s first recording with Cipa Dichter is a three-CD album of Mozart’s complete piano works for four hands on the Musical Heritage Society label. American Record Guide called the recording “an unmitigated delight,” and Music Web International named the album a 2005 “Record of the Year.” Dichter was born in Shanghai in 1945, his Polish parents having fled Poland at the outbreak of World War II. He moved with his family to Los Angeles at the age of 2 and began piano lessons

four years later. In addition to his keyboard studies with Aube Tzerko, Dichter studied composition and analysis with Leonard Stein. He subsequently came to New York to work with Mme. Lhevinne at The Juilliard School. At the age of 20, while still enrolled at Juilliard, he entered the 1966 Tchaikovsky Competition in Moscow, where his choice of repertoire – music of Schubert and Beethoven, Rachmaninoff and Stravinsky – reflected the two major influences on his musical development. Dichter’s stunning triumph at that competition launched his international career. Almost immediately thereafter, he performed Tchaikovsky’s Piano Concerto No. 1 at Tanglewood with Erich Leinsdorf and the Boston Symphony, a concert that was nationally broadcast live on NBC and recorded for RCA. In 1968, Dichter made his debut with Leonard Bernstein and the New York Philharmonic, performing this same concerto. Dichter is an avid tennis player and jogger, as well as a talented sketch artist. His drawings have been exhibited in New York art galleries. Dichter lives in New York City with his wife, pianist Cipa Dichter, who will join him at EMF for a dual piano chamber recital on July 16, 2018. The Dichters have two grown sons. Violinist Eva Wetzel began studying piano at age 3 and violin at age 4. She attended the pre-college program at the Robert-SchumannHochschule Düsseldorf, graduated from the University of North Carolina School of the Arts High School and is pursuing her Bachelor of Music at UNCSA with Professor Ida Bieler. She has won many national and international competitions, including “Jugend Musiziert,” the Omega Talent Hunt and the MANC String Competition. She had the opportunity to attend the Aspen Music Festival and School to study with Professor Cornelia Heard. Eva is playing a violin by Marc de Sterke from 2011.


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PROGRAM NOTES: LEONARD BERNSTEIN Bernstein was born in Lawrence, Massachusetts on August 25, 1918, and died in New York City on October 14, 1990. Overture to Candide Of Leonard Bernstein’s notable output for the stage, the score he found most problematic was the one he created in 1956 for the operetta Candide. Following in the comic tradition of Gilbert and Sullivan, Candide was initially proposed by playwright Lillian Hellman as a stage adaptation of Voltaire’s novella with incidental music composed by Bernstein. The result, however, fantastically lies somewhere between Broadway and the opera house. After its opening run of a paltry 73 performances on Broadway in 1956– 1957, Bernstein would revise and tweak his course off and on for the remainder of his life. Despite this perpetual tinkering, however, the rollicking Overture never changed. The Overture opens with a fanfare that serves as a recurring motif throughout the operetta, followed by three different melodies from the show, including the lyrical duet “Oh Happy We” and the sparkling “Glitter and Be Gay” that are ingeniously woven together. The Overture to Candide is one of the most uplifting and energetic overtures in the repertoire and remains a perennial favorite in the concert hall. CHARLES GRIFFES Griffes was born in Elmira, New York on September 17, 1884, and died in New York City on April 8, 1920. The White Peacock Charles Tomlinson Griffes was one of the most promising American composers of the early 20th century before his untimely death at age 35 during the worldwide influenza pandemic of 1920. He spent four years studying at the Stern Conservatory in Berlin beginning in 1903, studying composition with Englebert Humperdinck during the winter and spring of 1905-1906, and his early compositions are heavily influenced by the masters of German Romanticism.

He returned to the U.S. in 1907, taking up a job as director of music for the Hackley School in Tarrytown, New York, that he would hold until his death in 1920. Around 1911 Griffes began turning away from the German tradition, finding inspiration in the exotic sounds of French Impressionism and the mystical harmonies of Russian composer Scriabin, and he incorporated these techniques into his own writing style. Then in 1916 he began writing in an “oriental” style, inspired by his friends Adolf Bolm, a dancer with the Ballet Russes, Michio Ito, Japanese dancer and pantomimist, and Eva Gauthier, a soprano who spent several years in Japan and shared Japanese melodies with Griffes. During his last years, Griffes also became enamored with the poetry of William Sharp, who published under the pseudonym Fiona McLeod. Sharp’s poetry encapsulates a bucolic depiction of the natural world, often written in free form with simple yet striking imagery. Sharp’s poem The White Peacock inspired Griffes’ composition by the same name, originally written as a piano piece in 1915 and later orchestrated for ballet in 1919. The Philadelphia Orchestra under the direction of Stokowski gave the concert premiere on December 19, 1919, and for this occasion Griffes provided the following description: “It pictures a wonderful garden filled with gorgeous color, where a white peacock moves about slowly ‘as the soul, as the breath of all this beauty.’ [from The White Peacock by William Sharp] The music tries to evoke the thousand colors of the garden and the almost weird beauty of the peacock amid these surroundings.” GEORGE GERSHWIN Gershwin was born in Brooklyn, New York on September 26, 1898, and died in Hollywood on July 11, 1937. Concerto in F for Piano and Orchestra The premiere of Gershwin’s Rhapsody in Blue on Paul Whiteman’s “An Experiment in Modern Music” concerto on February 12, 1924, not only made the young Broadway composer famous, it also resulted in the commissioning of his next great symphonic composition,

the Piano Concerto in F. Walter Damrosch, conductor and director of the New York Symphony Society, attended Rhapsody’s premiere and was so struck by what he heard that he immediately commissioned Gershwin to compose a concerto for his orchestra. Gershwin was thrilled with the opportunity and immediately accepted the proposal, although it was more than a year later when he finally had the time to seriously devote his attention to the concerto. He composed the concerto one movement at a time, initially calling it by the name “New York Concerto” before replacing this more frivolous title with the more serious “Concerto in F.” Gershwin later described his intentions with the work: “Many persons had thought that the Rhapsody was only a happy accident. Well, I went out, for one thing, to show them that there was plenty more where that had come from. I made up my mind to do a piece of absolute music. The Rhapsody, as its title implies, was a blues impression. The concerto would be unrelated to any program. And that is exactly how I wrote it.” Nevertheless, even in his pure symphonic writing, Gershwin never abandoned the popular music styles that made him a famous songwriter: the en vogue Charleston, the syncopation of ragtime, and the eternal heart and soul of jazz, the blues. Gershwin played the lauded premiere of the Concerto in F to a sold-out audience at Carnegie Hall on December 3, 1925, with Walter Damrosch conducting the New York Symphony. Before this premiere performance, he published a succinct description of the concerto in the New York Tribune: The first movement employs the Charleston rhythm. It is quick and pulsating, representing the young enthusiastic spirit of American life. It begins with a rhythmic motif given out by the kettledrums, supported by other percussion instruments, and with a Charleston motif introduced by horns, clarinets and violas. The principal theme is announced by the bassoon. Later, a second theme is introduced by the piano. The second movement has a poetic nocturnal atmosphere which has come to


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be referred to as the American blues, but in a purer form than that in which they are usually treated. The final movement reverts to the style of the first. It is an orgy of rhythms, starting violently and keeping to the same pace throughout. MAURICE RAVEL Ravel was born in Ciboure, BassesPyrénées on March 7, 1875, and died in Paris on December 28, 1937. Tzigane, rapsodie de concert for Violin and Orchestra The Ravel family moved from the village of Ciboure, located just across the mountains from Spain, to Paris while Ravel was still an infant, but the influence of this region remained a significant part of his life and his music. Ravel’s mother was Basque and grew up in Madrid, and her Spanish cultural heritage left an indelible impression on her son. Spanish composer Manuel de Falla visited Paris and 1907, and later wrote, “Ravel’s was a Spain he had felt in an idealized way through his mother... I understood with what fascination her son must have listened to these memories that were undoubtedly intensified by the additional force all reminiscence gets from the song or dance themes inseparably connected with it.” This interest in folk music and the exotic sounds of other cultures can be heard throughout Ravel’s writing – his works reference music (real or imagined) from across the globe, from Spain to the Far East and sub-Saharan Africa. Ravel was inspired to compose Tzigane in 1924 after hearing the BritishHungarian violinist Jelly d’Arányi’s captivating performance of traditional gypsy melodies. With consultation from d’Arányi, Ravel created a work of incredible virtuosity and flash. Tzigane opens with an extended 58 measure cadenza, which lasts nearly half the length of the complete piece and explores the rich lower register of the instrument. After this extended “warm-up,” the orchestra joins in a rollicking gypsy-like melody while the violin flashes through pyrotechnics and extended techniques inspired by Niccolò Paganini’s 24 Caprices – double stops, glissandi, octaves, left-hand pizzicato, ricochet and much more.

Ravel created a frantic and exciting gypsy-flavored romp that has become a perennial favorite of violinists and audiences alike. Daphnis et Chloé, Suite No.2 Sergei Diaghilev sought the recognition of Russian art outside of Russia and, perceiving the French fascination with Russian culture among fin-di-siecle artistic circles, sponsored a section of Russian artwork at the 1906 Paris Salon d’Automne, an annual exhibition of avant-garde artworks. Upon establishing a direct connection between Russia and Paris, Diaghilev embarked upon the creation of a new ballet company, called the Ballets Russes, in 1909. The Ballets Russes was both instantly popular and somewhat controversial, known for “featuring the exotic, the erotic, and the occult” as their aesthetic. Diaghilev brought together the greatest choreographers, composers, visual artists and dancers of the early 20th century, and their collaborative visions produced works whose tremendous influence is still felt today, more than a century later. To receive a commission from Diaghilev was to reach the highest peak in the world of Parisian art, and Ravel was among the first composers Diaghilev approached to create a new work for his troupe. Ravel was thrilled with the opportunity to write for Diaghilev and immediately began working on the scenario with choreographer Michel Fokine. The ballet was to tell the story of Daphnis and Chloé from Greek antiquity, attributed to the Greek writer Longus, and retold by the 16th century French poet Jacques Amyot. The narrative is formulated around the passion between the two title characters, and the adventure of Chloé’s capture by pirates, rescue by the Greek god Pan and his fauns, and ultimate union between Chloé and Daphnis. Settling upon the libretto, however, was an arduous task for Ravel and Fokine, and in June of 1909 Ravel described the difficulties to a friend, writing, “I must tell you that I’ve just had an insane week: preparation of a ballet libretto for the next Russian season. Almost every night, work until 3 a.m. What complicates

things is that Fokine doesn’t know a word of French, and I only know how to swear in Russian.” The struggle went far beyond the barriers of language, however, with Ravel later saying, “My intention in writing [Daphnis et Chloé] was to compose a vast musical fresco in which I was less concerned with archaism than with reproducing faithfully the Greece of my dreams, which is very similar to that imagined by French artists at the end of the eighteenth century,” but Fokine visualized “ancient dancing depicted in red and black on Attic vases.” The immense score, which at almost an hour in length is the longest of Ravel’s orchestral works, was not completed until 1912. By the time Daphnis et Chloé entered production, near constant feuding between Fokine and the Ballets Russes’ young star, Vaslav Nijinsky, almost derailed the production and ultimately led to Fokine leaving the company at the end of the 1912 season. Furthermore, the dancers could not grasp Ravel’s thrilling but irregular 5/4 meter final dance. Ravel even had the dancers chanting “Ser-gei Diaghi-lev” in rehearsals to feel the unusual groupings of five beats. These difficulties, combined with a lack of sufficient rehearsal time and unfortunate timing within the Ballets Russes season (Daphnis et Chloé premiered just 10 days after the scandalous premiere of The Afternoon of a Faun) lead to mixed reviews of the ballet and a relatively short run. Despite its problems as a stage production, the orchestral score represents the epitome of Ravel’s brilliant skill in orchestra with its astonishing range of tone colors and powerful use of leitmotifs. Ravel created two orchestral suites of music from the ballet, with the second suite performed most frequently. It is comprised entirely of music from the third scene of the ballet and begins with one of the ballet’s most magical moments – the sound of daybreak, as the natural world gradually awakens with the sound of birds, the stirring of shepherds, and the ever-warming presence of the sun. By the end, Daphnis and Chloé have found their way into each other’s arms, and an extraordinary celebration unfolds.


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Gerard Schwarz, Music Director Grant Cooper, Resident Conductor José-Luis Novo, Resident Conductor

Les Roettges, Principal (1–4) Jake Fridkis Ann Choomack, Flute/Piccolo

Jason Vieaux Julian Gray Kami Rowan



Jeffrey Multer, John R. Kernodle, Jr.

Randall Ellis, Principal Susan Eischeid Karen Birch Blundell, English Horn/Assoc.


Principal Oboe

Meredith Johnson

Ariadna Bazarnik-Ilika Corine Brouwer Joan Griffing Courtney LeBauer (5) Fabián López Diana Lupo Elizabeth Phelps Jennifer Rickard Uli Speth



Shannon Scott, Principal Anthony Taylor Kelly Burke


Anthony Anurca, (3-5)

Randall Weiss, Timothy W. Lane Principal


Kristin Baird, violin Gina Buzzelli, violin Catherine Cole, percussion Sarah Cornett, viola Wanlin Cui, viola Isabel Dimoff, cello Trace Johnson, cello Alex Krawczyk, trombone Kevin Maa, cello Tania Moldovan, violin Justin Ouellet, viola David Parks, violin Kelsey Philbrick, violin Melanie Riordan, violin

Concertmaster Chair Nigel Armstrong, Assoc. Concertmaster John Fadial, 1st Asst. Concertmaster Shawn Weil, 2nd Asst. Concertmaster (1–4)

Second Violin Chair Jenny Grégoire, Asst. Principal

Catherine Cary Ioana Galu Susan McCallum (1–4) Avi Nagin Daniel Skidmore

VIOLA Dan Reinker, Principal Ben Geller, Assoc.Principal Chauncey Patterson, Asst. Principal Naomi Graf** Jamie Hofman Jennifer Puckett

CELLO Neal Cary, Principal Julian Schwarz, Assoc. Principal Amy Frost Baumgarten, Asst. Princ. Marta Simidtchieva Beth Vanderborgh Rebecca Zimmerman

BASS Leonid Finkelshteyn, Principal Joel Braun, Asst. Principal Luciano Carnéiro Marc Facci Meredith Johnson (1–4) Rick Ostrovsky

BASSOON George Sakakeeny, Principal Karla Ekholm


Kevin Reid, Principal Joy Branagan Kelly Hofman Andrew McAfee

TRUMPET Chris Gekker, Principal Jeffrey Kaye Judith Saxton, 3rd/Assoc. Principal

TROMBONE Gregory Cox, Principal (3-5) James Justin Kent,, Principal (1–2)** Mike Kris, Bass Trombone

TUBA Aaron Tindall, Principal

TIMPANI Eric Schweikert, Principal

PERCUSSION John Shaw, Principal Matthew Decker

HARP Anna Kate Mackle, Principal

PIANO Awadagin Pratt William Wolfram Marika Bournaki,, Collaborative Piano Esther Park, Collaborative Piano

Marc Facci


ON LEAVE Eunhye Grace Choi Sarah Coté Diane Phoenix-Neal David Yarbrough **One Year Position


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A Fantastic Woman (Una Mujer Fantastica) In Spanish with English subtitles



Marina, a transgender woman who works as a waitress and moonlights as a nightclub singer, has just moved into the apartment of her older lover. In the wake of his untimely death, Marina soon realizes that, from now on, everything about her will be brought into question: her involvement in her companion’s death, their unconventional relationship; and above all, her right to mourn her beloved partner. To make matters worse, the accusations, exclusions, and indignities may have more to do with her identity as a woman rather than the death of her significant other. CHILE; R; DIRECTED BY SEBASTIà N LELIO (2017), 104 MINUTES

Pre-film talk with Dr. John Pfeifer begins at 7pm, with the film beginning at approximately 7:30pm. Concessions, including popcorn, cookies, beer, wine and cold beverages are available for purchase. With special thanks to our generous sponsors for this series, Helene and Stephen Weicholz.



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Iconic, Intimate and Innovative


Nancy Schneeloch-Bingham, flute; Alicia Chapman, oboe, artistic director; Andrea L. Cheeseman, clarinet; Karen L. Robertson, horn; Jon Beebe, bassoon; James Douthit, piano; Nancy Bargerstock, violin; Eric Koontz, viola; Ellie Wee, cello; Adam Booker, double bass; Junie Cho, piano; Priscilla Porterfield, mezzo-soprano; Drew C. Leslie, trombone; Brent Bingham, trumpet; Jay Jackson, percussion; Todd Wright, saxophone; Andy Page, guitar; Rick Dilling, drum kit; Reeves Shulstad, program notes Trois pièces brèves (1930) Allegro Andante Assez lent – Allegro scherzando

Jacques Ibert (1890-1962)

INTIMATE... Nacht und Träume, D. 827 Night and Dreams

Franz Schubert (1797-1828)


John O. Ellis (b. 1945)

Quintet for Piano and Winds, K. 452 Larghetto

Wolfgang Amadeus Mozart (1756-1791)

Die Forelle, D. 550 The Trout

Franz Schubert

Piano Quintet in A Major, D. 667 “Trout” Tema (Andantino) con variazioni INTERMISSION INNOVATIVE... Penelope’s Song (2008) for amplified clarinet and electronics

Judith Shatin (b. 1949)

Economy Band (1971) Entrata Intermezzo Gallop

David Van Vactor (1906-1994)

Summer Jazz Django Jitterbug Waltz

John Lewis (1920-2001) Thomas “Fats” Waller (1904-1943)

INTRODUCTION The concert opens brightly with the neo-classic Trois pièces brève (1930) for wind quintet by Jacques Ibert (1890-1962). A talented student of the Paris Conservatoire, Ibert won the coveted Prix de Rome early in his career, catapulting him into the public eye. Despite his notoriety, Ibert was not a member of the famed ‘Groupe des Six’ composers (Poulenc, Honegger, Milhaud, Tailleferre, Auric, Durey). However, Ibert did share their ideology of turning away from the pedantic styles of the Second Viennese School (Schoenberg, Berg and Webern). His neo-classicism entertains and pleases. The energetic first movement, Allegro, opens with a flourish from all of the instruments, leading to a jig-like primary melody. This movement provides a brilliant flash of color from the woodwind ensemble. The flute and clarinet open the Andante contrapuntally, punctuated by the rest of the ensemble. This extremely brief movement is followed by a slow introduction to the final Allegro scherzando. The clarinet leads the ensemble into the faster portion of the movement with a duple, dotted-rhythm melody, which alternates with a contrasting bouncing, triple-metered melody through the end of the piece. INTIMACY The Intimate portion of this concert is bookended with salon music by Franz Schubert (1797-1828). During the nineteenth century, salons were often exclusive gatherings of like-minded musicians, poets, artists and other intellectuals who shared their creations, political and philosophical ideas, and, sometimes scandalously, each other’s affections. In Vienna, the salons frequented by Schubert were referred to as Schubertiads because of the popularity of his music amongst his friends. Lieder and chamber pieces, like the Piano Quintet, are genres he composed for those intimate spaces. Disobeying his father’s wishes for him to become a teacher, Schubert depended on the community connected to these salons to help him make a living. Matthäus Casimir von Collin (1779-1824), the poet of Nacht und Träume (Night and Dreams) D. 827, was a well-known dramatist in Vienna and included Schubert in his salons beginning in 1820, which greatly increased the composer’s social capital. Schubert set


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ICONIC... Schäfers Klagelied, D. 121 Shepherd’s Lament

Franz Schubert

Quintet for Piano and Winds, K. 452 Allegretto

W. A. Mozart

Quintet in G Minor, Op. 39 Tema con variazioni Allegro sostenuto, ma con brio Andantino

Serge Prokofiev (1891-1953)

Lieder translations for Schubert Nacht und Träume Night and Dreams

Schäfers Klagelied Shepherd’s Lament

Up yonder on the mountain Holy night, you sink down; A thousand times I stand, The dreams flow down, too, Like your moonlight through the rooms, Leant on my crook, and gazing Down on the valley land. Through the people’s silent chests. They listen softly with desire; I follow the flock to the pasture; They call, when day awakens: My little dog watches them still, Come back, holy night! I have come below, but I know not Sweet dreams, come back! How I descended the hill. Die Forelle The Trout In a clear little brook, There darted, about in happy haste, The moody trout Dashing everywhere like an arrow. I stood on the bank And watched, in sweet peace, The fish’s bath In the clear little brook. A fisherman with his gear Came to stand on the bank And watched with cold blood As the little fish weaved here and there. But as long as the water remains clear, I thought, no worry, He’ll never catch the trout With his hook.

The beautiful valley is covered With blossoms of every hue; I pluck them, alas! Without knowing Whom I shall give them to. I seek in the rain and the tempest A refuge under the tree: Yonder the doors are fasten’d, And all is a dream to me. Right over the roof of the dwelling I see a rainbow stand; But she has departed forever, And gone far out into the land. Far out in the land, and farther Perhaps to an alien shore; Go forward, ye sheep! Go forward, The heart of the shepherd is sore.

But finally, for the thief, Time seemed to pass too slowly. He made the little brook murky, And before I thought it could be, So his line twitched. There thrashed the fish, And I, with raging blood, Gazed on the betrayed one. This evening’s performance has been supported by a generous grant from the Broyhill Family Foundation in honor of Bill Pelto.

Collin’s poem in 1823. The piano accompaniment provides gentle rocking throughout this song, contributing to the soothing atmosphere created by the text. Always sensitive to text, Schubert shifted keys for the second verse to reflect the shift in topic from night to the hearts of men. Philadelphia-born Jazz trumpeter and composer John O. Ellis (b. 1945) was influenced by jazz club performances of Dizzy Gillespie and Miles Davis in his hometown. Indigo for trombone and piano combines lush, long tones and extensive lyrical melodies that invite the audience into an intense encounter. The piece is reminiscent of many of Miles’s solos, particularly those from the Porgy and Bess album. Miles was known for commanding the attention of his audiences, and Indigo entices listeners into that same kind of intimate experience. Wolfgang Amadeus Mozart’s Piano Quintet in E-flat Major, K. 452, was actually first performed as part of the composer’s Lenten subscription concert series in 1784. After moving to Vienna in 1781 to work as a freelance musician, Mozart made his living through teaching, commissions, performing and organizing concerts. Viennese theaters, like the Burgtheater where this piece was performed along with Mozart’s Piano Concerto K. 451 and the Linz Symphony, were only available during Lent because operas and plays were not performed during this part of the liturgical year. Mozart’s schedule was quite hectic during this season as he was planning and performing in more than twenty concerts. Although the piece was not intended for a smaller space, the interaction between the woodwinds and piano is quite intimate. After a relatively homorhythmic opening, the second movement of this quintet, marked Larghetto, becomes a lovely conversation. The instruments collegially pass around lyrical passages as if they were conversing at a salon. After the April 1, 1784 performance, Mozart wrote to his father that although he was quite tired after so much performing, the audience greatly appreciated his quintet and he considered it “the best I have yet written.” As the intimate portion of the concert closes, the Schubertiad resumes. Different from the tranquil dreaming of the first Lied, Die Forelle (The Trout) D. 550 is a lively setting of this poetic metaphor for ensnared creativity by Christian Schubart (1739-91). In 1816, Schubert made the decision not to continue his university education to


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become a teacher and, instead, lived as a freelance musician. He stayed with various friends and was incredibly productive, writing a huge portion of his Lieder during this time. The bubbling sixteenth-note passages ending with accented eighth notes that begin this Lied reflect the narrator’s joy as he watches the “capricious trout” in the brook. The modified strophic form reflects the narrator’s anger as he watches creativity struggle at the end of the angler’s rod. Two years after composing Die Forelle, Schubert was traveling in Upper Austria, visiting friends and living as a freelance musician. During his travels, amateur cellist Sylvester Paumgartner commissioned a Piano Quintet and supposedly stipulated the unusual instrumentation of replacing a second violin with a string bass. Paumgartner also requested the use of Die Forelle as the basis of the themeand-variations fourth movement, which reflects the popularity of Schubert’s Lieder. Each variation takes the lovely Lied theme through a range of emotions. INNOVATION Judith Shatin’s Penelope’s Song shifts our focus to innovation and we begin with the inventiveness of a famous noble wife, the Queen of Ithaca. Inspired by Homer’s Odyssey, this piece focuses on Odysseus’s wife Penelope creatively warding off suitors in her husband’s absence by vowing that she would take no suitor until she finished weaving a shroud for her husband’s aged father, Laertes. The suitors, eager to claim Odysseus’s wealth and power, were stymied because of Penelope’s nocturnal unraveling of what she wove by day. This piece is a tribute to her drive to maintain her own identity in her husband’s absence. The electronics were created from a recording made of Charlottesville weaver Jan Russell working on wooden looms. Shatin processed and shaped these materials, weaving a new sonic fabric. Innovation infuses Shatin's compositional style as a whole. Currently the William R. Kenan, Jr. Professor and Founder of the Virginia Center for Computer Music at the University of Virginia, Shatin is a composer and sound artist whose musical practice engages our social, cultural, and physical environments. She draws on expanded instrumental palettes, from machines in a deep coal mine, to the calls of animals, the shuttle of a wooden

loom, a lawnmower racing up a lawn, the ripping of tape. Timbral exploration and dynamic narrative design are fundamental to her compositional design, while collaboration with musicians, artists and community groups are central to her musical life. Synopsis and bio from

American composer, conductor and flautist David Van Vactor (1906-94) studied at Northwestern University (BM 1928, MM 1935), the Vienna Music Academy (1928-9), the École Normale, Paris (1931), and the Paris Conservatoire (1931). A prolific composer, Van Vactor wrote about 140 original works, including Economy Band No.1, for trumpet, trombone, and percussion (1966). His influences include Hindemith and Prokofiev. Dance rhythms and marches are characteristic of his style. Following his retirement from a twenty-five-year tenure as the director of the Knoxville Symphony, he was awarded the title of Composer Laureate of Tennessee (1975). For more than two decades (1952-1974), John Lewis served as the musical director and pianist for the Modern Jazz Quartet. The core group included Milt Jackson on vibraphone, Percy Heath on bass, and Connie Kay on drums. Lewis also composed for this group, and Django is one of his early and better-known pieces. Lewis joined Dizzy Gillespie’s bebop group in New York in 1946 and went on to get a master’s degree from the Manhattan School of Music in 1953. His compositional style reflects his interest in bebop and Baroque music both influenced by the trends of Cool jazz. Thomas Wright “Fats” Waller (1904-43) is well known as a stride pianist and jazz composer. The image that often comes to mind of Waller is his performance of “Ain’t Misbehavin’” in the 1943 film Stormy Weather. Waller’s first instrument, however, was the organ. Waller’s father was a Baptist lay preacher, so the playing the organ at his father’s services in Harlem was an early musical experience for the jazz musician. Jitterbug Waltz (1942), originally for solo piano, was recorded with Waller on the pipe organ. The descending primary theme of this piece oozes over a waltz triple meter

ICONOCISM Schubert’s Lieder certainly belong in the Iconic portion of this program as the composer set the standard for the genre during the Romantic period. During his short lifetime, Schubert composed over six hundred Lieder, many settings of Johann Wolfgang von Goethe’s poetry like Schäfers Klagelied (Shepherd’s Lament) (D. 121). Different from the earlier Lieder, this one was performed at a public concert on February 28, 1819. The relationship between the voice and piano reflects a partnership between the two that is iconic of Schubert’s style. The intensity of the accompaniment shifts as the verses move from describing the peaceful meadows to the storms the shepherd must endure as he watches over his flock. As Schubert belongs in the Iconic portion of the program so does Mozart. The last movement of the Piano Quintet, Allegretto, offers an invigorating rondo to follow the lamenting shepherd of the previous Lied. The piano introduces the rondo theme, an iconic example of the balanced phrase structure associated with the Classic period’s style. This movement, as the Larghetto movement heard earlier, engages the listener into a conversational texture, a hallmark of Mozart’s style. According to the concert organizer, oboist Alicia Chapman, the last musical offering is “one of the most colorful and challenging chamber works in the 20th century repertoire” and the other iconic artists with whom Serge Prokofiev (18911953) kept company greatly influenced the style of this piece. From 1923-36, after leaving the United States and before returning to the Soviet Union in 1936, Prokofiev focused his career in Paris. In order to establish himself in the artistic community, he rekindled relationships with Ballet Russes impresario Serge Diaghilev and Igor Stravinsky, who had been composing for that troupe. He had gained notoriety as a composer with Parisian audiences through performances of his Second Piano Concerto and the Scythian Suite (music intended for a Diaghilev ballet that was never danced). In 1924, riding on the momentum of those two successes, he began composing the Second Symphony along with a chamber piece in six movements for the Romanov Company, a touring ballet company. Prokofiev was introduced to the choreographer, Boris Romanov, by


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Diaghilev. Romanov wanted music for a series of short dances centered around the circus, to be called Trapetsiya (‘Trapeze’). Because of limited funding, Romanov only had five musicians, who played oboe, clarinet, violin, viola, and double bass – a pragmatic explanation for Prokofiev’s unique scoring. In this smaller-scale work, the echoes of Stravinsky’s primitive style from The Rite of Spring can be heard in the angular, wide-ranging melodies, rhythmic complexities and overall intensity of the movements presented for this concert. Notes on the program by Reeves Shulstad, Ph.D.

BIOS Violinist Nancy Bargerstock has appeared in major concert venues and music festivals across the US, in Europe, and in the Far East as a recitalist, orchestral soloist, and chamber musician. She received B.M. and M.M. degrees in performance from the Juilliard School of Music in New York City, a soloist diploma in viola from the Orfeo Conservatory in Athens, Greece, and a D.M.A. from the University of North Carolina at Greensboro. Her musical mentors include Ivan Galamian, Sally Thomas, Felix Galimir, Jascha Brodsky, Joseph Gingold, and the Juilliard String Quartet. Bargerstock joined the faculty of the Hayes School of Music at Appalachian State University in 1999. Presently, she is Professor of Violin and performs regularly. In addition to applied violin instruction, she teaches string chamber music, pedagogy and literature, and orchestral repertoire classes. In 2016 Bargerstock was awarded the UNC Board of Governors Excellence in Teaching Award. Jon Beebe earned B.A. and M.M. degrees from the University of Nevada, Las Vegas, and a D.M.A. from the University of Wisconsin-Madison. In 1991 he received a Distinguished Alumni award from UNLV’s music department, and in 2017 he was the recipient of the Hayes School of Music’s Excellence in Teaching award. Beebe has performed with

the North Carolina Symphony, the Las Vegas Symphony, the Madison (WI) Symphony and the Wisconsin Chamber Orchestra, and has been principal bassoonist of the Oshkosh (WI) Symphony and the Western Piedmont Symphony in Hickory (NC). Beebe’s responsibilities in the Hayes School of Music include bassoon, music theory, chamber music (“Blazing Bassoons”), and a graduate course devoted to the philosophy of music. Dr. Beebe also serves as the Coordinator of Programming for the Hayes School of Music Performance Seminar and the Faculty Performance Series. Brent Bingham received his Bachelor and Master of Music degrees from Appalachian State University. Following graduate studies at Indiana University, he toured throughout the US as trumpeter and bandleader with the Royal Hanneford Circus. An active freelancer and clinician throughout the Southeast, Bingham also performs regularly with the Symphony of the Mountains (Kingsport, TN), Johnson City Symphony, and New River Brass. His trumpet teachers include Joe Phelps, Bill Adam, and Vince DiMartino. Adam Booker currently serves as assistant professor of double bass at Appalachian State University. His research in Early Jazz Double Bass Performance Techniques has been presented at conferences for such prestigious organizations as the Jazz Education Network, the International Society of Bassists and at the 2016 European Double Bass Congress in Prague, Czech Republic, as well as the upcoming 2018 European Double Bass Congress in Lucca, Italy. Booker is also a proud veteran of the US Navy, in which he served as a bassist for US Navy Band New Orleans until the end of his enlistment in 2005. Upon his Honorable Discharge from the Navy, Booker returned to central Texas to continue his formal education, earning a Doctor of Musical Arts in Jazz Double Bass Performance from the University of Texas,

Austin, as well as a M.M. in Composition and a B.M. in Jazz Studies from Texas State University, San Marcos. Alicia Chapman is assistant professor of oboe at the Hayes School of Music, principal oboist with the Asheville Symphony and a well-known clinician, coach, and collaborator in the Southeast Region. She served as the School of Music’s adjunct instructor of oboe since 2001 and joined the full-time faculty in 2015. Chapman is the director of the Collegium Musicum and coordinator of Woodwind Chamber Music. She is a founding member of Harmonia Baroque, Appalachian’s resident professional early music ensemble, performing on historical instruments. Chapman earned both Bachelor and Master of Music Degrees from the Mannes College of Music and the Doctor of Musical Arts degree from the City University of New York. Andrea Cheeseman is a clarinetist and teacher at the Hayes School of Music. She has served on the faculty at Appalachian State University since 2009, where she teaches studio lessons and a methods course, and coaches chamber music. Prior to her appointment at Appalachian, Cheeseman served on the faculties of Delta State University, Alma College and Hillsdale College. Cheeseman earned her Doctorate of Musical Arts and Master of Music degrees in clarinet performance from Michigan State University, and her Bachelor of Music degrees in clarinet performance and music education from Ithaca College. Pianist Junie Cho has appeared as soloist with orchestras, recitalist and chamber musician throughout the United States and in Europe and Asia. As a founding member and principal pianist of the New York Contemporary Music Band, Cho has given numerous performances of the World and U.S. premieres. After graduating with the


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President’s Award from Seoul National University and with magna cum laude from lndiana University, she continued her studies at the Mannes College of Music, and Manhattan School of Music where she earned a Doctor of Musical Arts degree. Cho has previously been on the piano faculty at the Brooklyn-Queens Conservatory of Music Diploma Programs in New York, where she also served as Dean of Students. After her return to the States from teaching as visiting professor of piano at Yeungnam University in Korea, she has joined the faculty at Appalachian State University Hayes School of Music in 2014. Percussionist Rick Dilling has been a member of the ASU jazz faculty since 1988. As a freelance player, Dilling performs with some of the region’s top jazz artists and is the drummer for the Asheville Jazz Orchestra, the Michael Jefry Stevens Trio, the Richard Sulman Group, the Todd Wright Quartet, and the Wendy Jones Quartet. He also leads his own dynamic band, Time Check, that pays tribute to the music of Buddy Rich. James Douthit currently serves as the Dean of the Hayes School of Music. Douthit has enjoyed an extensive career as a higher education administrator, collegiate professor, performing musician, and piano pedagogy clinician. Douthit has performed extensively in the United States and in Austria, Poland, China, and Great Britain. He holds a doctoral degree in piano performance from the Eastman School of Music, a masters degree in piano performance from Northwestern University, and a bachelor of music degree from Mars Hill University in Western North Carolina. Jay Jackson currently serves as the Associate Dean of the Mariam Cannon Hayes School of Music at Appalachian State University. He holds both a Bachelor’s and Master’s degree in

Music Education from Appalachian, and a Doctor of Musical Arts degree in instrumental conducting from the University of Kansas. Jackson taught in the North Carolina public school system for a period of seven years before pursuing college teaching and directing. He has also served the school as Associate Director of Bands and Director of Cannon Music Camp. In addition to his administrative duties at Appalachian, he continues to teach undergraduate instrumental music education courses and assists in the Student Teacher program for the School of Music. Eric Koontz joined the string faculty at the Hayes School of Music at Appalachian State University in 2005 and has been an artist/faculty member of the Brevard Music Center and of the Cannon Music Camp. He earned the Bachelor of Music degree at the Cincinnati College-Conservatory of Music, and the Master of Music and the Master of Musical Arts degrees from Yale University, with studies in viola performance and early music. His doctorate was earned at the University of North Carolina, Greensboro. Koontz has led the viola sections of the Barcelona Symphony Orchestra (Orquestra Simfònica de Barcelona i Nacional de Catalunya, Spain) and the Jerusalem Symphony Orchestra (Israel). As a chamber and symphonic violist, Koontz has recorded with the RCA, EMI, Ars Harmonica, Columna, Koch and Decca labels. Drew C. Leslie joined the faculty of the Hayes School of Music at Appalachian State University in the fall of 2011 and is currently the associate professor of trombone. Leslie received his Doctor of Musical Arts degree in trombone performance from the University of Texas at Austin, his M.M. from the Manhattan School of Music in New York City, and his B.M. from the University of Michigan. Additionally, he spent four summers studying and performing at the Aspen Music Festival and School, including two as a fellowship student. He is currently a member of the Blue Ridge Trombone Quartet and the North Carolina Brass Band.

Jazz guitarist Andy Page currently serves on the faculty at the Hayes School of Music at Appalachian, where he teaches applied jazz guitar, history of rock music, jazz in american society, and jazz/pop theory. Page has a Master’s degree in Jazz Studies from the University of Tennessee and a Bachelor’s degree in Music Performance from University of North Carolina, Wilmington. He has performed both nationally and internationally, and maintains an active schedule in the Southeast with a variety of jazz and rock ensembles. Priscilla Porterfield, mezzo-soprano, enjoys an active and varied career as a performer, choral director, and teacher of voice. She is the recipient of many awards and fellowships which have taken her for study and performance to the festivals of Interlochen, Aspen, Tanglewood, and Carmel (CA), and has twice been a winner in the District Metropolitan Opera Auditions. She sings regularly with chamber music groups and orchestras throughout North Carolina as well as the Midwest. A recipient of the Doctor of Musical Arts degree from the University of Michigan, she currently serves as a member of the voice faculty at Appalachian State University. Karen L. Robertson is professor of horn at the Mariam Cannon Hayes School of Music, where she teaches applied horn and horn methods, and coaches brass and woodwind chamber music. Before coming to Appalachian, she served on the faculties of the University of Missouri at Kansas City and William Jewell College in Liberty, Missouri. A native of Tennessee, Robertson received a Bachelor of Music degree from the Univerity of Tennessee, Knoxville, a Master of Music degree from the CollegeConservatory at the University of Cincinnati, and a Doctoral of Musical Arts degree at the Conservatory of Music, University of Missouri at Kansas City.


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Flutist Nancy Schneeloch-Bingham has performed throughout North America, Switzerland, United Kingdom, and Ireland. She is Director of the Hayes School of Music’s Ireland Program, an intensive study abroad course in Irish traditional music. SchneelochBingham also performs, teaches and coaches chamber music at Cannon Music Camp, a comprehensive summer music program on the Appalachian State University campus. She has received the Outstanding Teaching Award from the Hayes School of Music, as well as the North Carolina Board of Governor’s Excellence in Teaching Award. Schneeloch-Bingham is a founding member and frequent recitalist with early music ensemble Harmonia Baroque. She currently performs with the Symphony of the Mountains (Kingsport, TN) and the Johnson City Symphony. Associate Professor Reeves Shulstad has been a member of the Appalachian faculty since 2009. She completed her Masters and Ph.D. in Musicology at Florida State University. Shulstad teaches music history and appreciation, and music and gender courses at the Hayes School of Music. In addition to teaching, Shulstad is working on a book about microtonalist composer Tui St. George Tucker, a contemporary of John Cage who split her time between Greenwich Village and Camp Catawba, a boys camp outside of Blowing Rock, NC. Shulstad is also working on a critical edition of Tucker’s music. Other research interests include marginalized musical identities and the Scholarship of Teaching and Learning. Shulstad’s service

centers around her teaching and research interests as she is serving as an Inclusive Excellence Liaison for the HSOM, a past faculty fellow for the Center for Academic Excellence, Vice Chair of the Faculty Senate and one of ASU’s delegates for the UNC Faculty Assembly. Cellist Ellie Wee, D.M.A., has performed as a soloist, chamber musician, and orchestra player in the United States, France, Italy, Turkey, Japan, and Korea with such groups as Stonehill Trio, New England Chamber Ensemble, Menotti Lyric Opera, and Arizona Opera. She has taught at Arizona State University, Northeastern University, The College of St. Mary Magdalen, and Stonehill College, Easton, MA. She also appears as a regular guest artist to give recitals and master classes at Adnan Menderes University State Conservatory, Kusadaci, Turkey. Wee has received numerous awards and scholarships, including the Anna Rosenzweig String Award, the Regents’ Full Scholarship Award, and the Boston University Full Scholarship Award, among others. A dedicated teacher as well, her students have been chosen to participate in state and national-level honors orchestras, including the ASTA National High School Honors Orchestra. Moreover, her students were chosen as a winner of the Director’s Choice Award at the Lowell Philharmonic Orchestra Concerto Competition in 2014 and MMEA All Eastern District Senior Festival Audition in 2015. Todd Wright, one of the Carolina’s ambassadors for jazz, joined the Hayes School of Music faculty in 1990 as director of jazz studies. In 1993 he created the university’s Jazz Vocal Ensemble. He has been the recipient of several university and community service awards and was selected winner of a Jazz Fellowship Award given by the North Carolina Arts Council. He was chosen Appalachian State University nominee to the UNC Board of Governance in recognition of the O. Max Gardner Award. He is a clinician and adjudicates at jazz festivals. Wright has led Appalachian’s Jazz Ensemble on five European performance tours and others of his students have gone on to perform worldwide.


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Written and Directed by Jackie Alexander Cast Swish - Austin Frye Marcus - J’Laney Allen Jenkins Ira - Phillip Lynch Papa Melvin - Patrick Mitchell Buster - Nathan Purdee Hubcap - Lau’rie Roach Setting: Prologue – 1950 Carville, Louisiana Acts I & II – 2010 New Orleans, Louisiana Place: Prologue – Buster Neal’s front porch Acts I & II – Papa Melvin’s living room and back porch Prologue: Late-night Act I Scene 1: Friday Evening Scene 2: Later That Evening Scene 3: That Night Scene 4: Saturday Morning Scene 5: That Afternoon Act II Scene 1: Saturday Evening Scene 2: That Night Scene 3: Later That Night Scene 4: Dawn Sunday Morning Scene 5: Later That Morning There will be one ten-minute intermission. Performances by the North Carolina Black Repertory Company have been supported by a generous gift from Nancy and Mark Tafeen.

Austin Frye (Swish) is a native of Greensboro, N.C. While in high school, he developed a passion for acting, joining the drama club at West Guilford High School as well as enrolling in a TV production class at Weaver Academy. After graduating high school in 2011, Austin completed three short films with the NC School of the Arts and participated in his first feature film In Critical Condition in which he was awarded Best Supporting Actor at the NC Ashville Film Festival. In 2015, Austin returned to the stage to perform in A Raisin in the Sun, The Osanbi Deal, The Foreigner, Romeo and Juliet, American Buffalo and August Wilson’s Seven Guitars. In 2016, Austin portrayed the roles of Wining Boy in The Piano Lesson, Lyons in Fences, Rashad in The Meeting, and Edmund in Shakespeare’s King Lear. That year, he also performed in staged readings of Flyin’ West, The Amen Corner, and Topdog/ Underdog. In 2017, Austin starred in Stained Glass Playhouse production of Talking Bones, and has also completed his second feature film Full Count. Upcoming projects for Austin include Laurence Fishburne’s Riff Raff and the featurelength film, Milk Money. J’Laney Allen Jenkins (Marcus) is a recent graduate from the illustrious North Carolina Agricultural & Technical State University. While there, he was granted the opportunity to work closely with the campus radio station. He was a big hit at the station, where he hosted events, conducted celebrity interviews, co-hosted radio shows, and recorded public service announcements and commercials. Although he was known at the radio station, his true passion was the theatre. He performed in many shows at A&T, including: Elegba in In the Red and Brown Water; Calvin in No Dwelling: Homeless in America, Griot/Narrator in Black Nativity, Booth in Topdog/Underdog, and Soldier with a Secret in The Colored Museum. He was also a national award winner at The Kennedy Center American College Theater Festival. Jenkins firmly believes in the transformative power of theatre as a social, political, emotional, humanistic force; and looks to expand his experiences throughout the theatre and entertainment world. Phillip Lynch (Ira) Regional: The Right Reverend Dupree in Exile (The North


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Carolina Black Repertory Company); Company (Actor’s Express); RENT, Full Monty (City Stage); MEMPHIS: The Musical (Cape Fear Theatre Arts); HAIR!, Porgy & Bess, West Side Story, Les Misérables (Cape Fear Regional Theatre); Trouble In Mind, The Illusion (Triad Stage); The Color Purple, Love Machine: A Motown Musical, The Black Nativity (Barn Dinner Theatre); The Threepenny Opera, Alice, Pericles (Taylor Theatre); In The Blood, Polaroid Stories (Brown Auditorium). International: Lord, Why? (The Queen Elizabeth Theater).

Film/TV: Whatcha Cookin’. BFA Acting Candidate of the University of North Carolina at Greensboro. Patrick Mitchell (Papa Melvin) is celebrating over 30 years in the business. Recent roles include Aegeon in A Comedy of Errors, Tom Robinson in To Kill a Mockingbird, and Jack in Superior Donuts. As a director, he has worked with Studio Players in their annual 10-minute play festival and Clybourne Park. New York credits include Malcolm X in Jeff Stetson’s The Meeting and Othello in William Shakespeare’s Othello. He has worked

with such established companies as Nicu Spoons Theater in No Niggers, No Jews, No Dogs; New Perspective Theater in Anton Chekov’s The Cherry Orchard; and the Billie Holiday Theater in Jackie Alexander’s The Legend of Buster Neal (AUDELCO Award nominee, Best Ensemble; 2011 National Black Theater Festival Selection). Principle feature film roles include Staples and Freedom in the Cubecity films Dear J and Lazer Us: The Legend of Jimi Lazer, respectively. As a stand-up comedian, he has worked with Mark Curry, Sinbad and Jamie Foxx. He is a founding member of

~ SINCE 1989 ~


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Message Theater (one of Lexington Kentucky’s African American Theater companies) and an award-winning photographer ( His personality can be felt on the early morning drive with The Kiss of Lyfe on 93.9 WLXU-LP FM streaming live on . Nathan Purdee’s (Buster) work as an actor has been seen on ABC, CBS, NBC, HBO, Showtime, Netflix and PBS. Notable roles include mobsterturned-private investigator Nathan Hastings on the CBS soap opera The Young & The Restless from 1985-1992 and District Attorney Hank Gannon on the ABC soap opera One Life to Live from 1992-2003. As one of only two black cast members on The Young & The Restless in the late 1980s, his work paved the way for more African American additions to the cast. Purdee also portrayed Youngblood “Superfly” Priest in The Return of Superfly, the third and final installment in the classic “Superfly” trilogy. Purdee also founded his own production company, Karmic Release, Ltd. He served as Executive Producer on his first film, called “one of the outstanding documentaries of the year” by the Academy of Motion Picture Arts and Sciences. Additionally, Purdee works as a professional photographer and a recurring Actor/Trainer for John J. College for Criminal Justice and the Department of Corrections on Rykers Island in Queens, N.Y., creating and promoting multiple programs dedicated to training various law enforcement agencies and staff in community relations and non-aggressive alternatives to dealing with emotionally disturbed persons. Lau’rie Roach (Hubcap) is thrilled to be making his debut with the North Carolina Black Repertory Company. He is originally from Atlanta, Georgia. He graduated from the American Musical and Dramatic Academy (AMDA) in New York City. Now back in Atlanta, he’s had the opportunities to perform in The Lion, the Witch and the Wardrobe and Slur at the Alliance Theatre, and Exit Strategy at Kenny Leon’s True Colors Theatre Company. Some film credits include Po’ Psi Broke (DuPont Productions) and This World Alone (The Brothers Ray). Laurie is excited and blessed to be working with this amazingly talented cast and crew.

Jackie Alexander (Playwright/Director) is an award-winning 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. His debut novel Our Daily Bread was published by Turner Publishing in September 2012. His debut feature film Joy was awarded Best Feature Film by the Black Filmmakers Hall of Fame, and also earned Best Actor and Best Screenplay honors for Jackie on the festival circuit. Stage directing credits include the World Premieres of his critically acclaimed plays Brothers from the Bottom, The High Priestess of Dark Alley, The Legend of Buster Neal, The Desire, The Right Reverend Dupree in Exile, and Birthright. A short list of additional directing credits include Jelly’s Last Jam, The Waiting Room by Tony nominee Samm-Art Williams, Lemon Meringue Façade, written by and starring Ted Lange, and the world premieres of The Sting of White Roses, Plenty of Time, Fati’s Last Dance, Finding Home, Matisse’s Self-Portrait by two-time Obie award winner Charles L. Mee, and Maid’s Door by Cheryl L. Davis (winner of 7 AUDELCO awards). For more information, please visit Arthur Reese (Set/Lighting Designer) has set the mood for the past 29 years as Technical Director for the North Carolina Black Repertory Company. He has designed sets and lighting for, among others, the late Dr. Maya Angelou, John Amos, Samuel L. Jackson, and the Negro Ensemble Company. Reese has done technical work for many stars including Sidney Poitier, Debbie Allen, Oprah, Queen Latifah, Malcolm-Jamal Warner, and Denzel Washington. Reese won the 2006, 2007, 2008, and 2009 AfricanAmerican Image Makers Award for Best Lighting Design for his work at ETA Theatre. He is the co-author and director of By a Black Hand. Arthur Reese received his Master of Fine Arts degree from the University of Virginia. Additionally, he is the Technical Director of North Carolina Central University’s Department of Theatre and Dance.

Frenchie La’Vern (Costume Designer) is a native of Winston-Salem and graduate of UNCSA with a degree in Design and Production. Frenchie has designed shows for the North Carolina Black Repertory Theatre since their production of Smokey’s Joe’s Café in 1999. She has designed and draped for Duke University, North Carolina Central University, the North Carolina Shakespeare Festival, the American Dance Festival, Community Theatre of Greensboro, the Barn Dinner Theatre, Montage Showcase Ensemble and the Assegai Film Group. Her atelier, Frenchie La’Vern Costume Studio, provides complete rental packages and builds for film, theatre and the general public since 2000. Taylor M. Murrell (Stage Manager) is a native of Winston Salem, North Carolina. She is a graduate of North Carolina Central University where she obtained her BA in Theatre with a concentration in performance. When she attended the university she performed in many black box productions and main stage shows such as: Up, Down; Strange Charmed Beauty and Truth; The Misanthrope; Frog Loves Christy; Homegirls; and Too Many Secrets. Throughout her academic career, Taylor developed a passion for the technical theatre as well. Due to her love for both sides of the stage, she has often worked as an actor and part of the production crew for the same show. Her commitment to the performing arts lead to further opportunities as she worked the National Black Theatre Festival in 2013 and 2015 and joined Alpha Psi Omega, the National Theatre Honors Society. Recently, she served as the Stage Manager for the world premiere of The Sting of White Roses (for which she also served as Props Master); Black Nativity; Faith Journey: Untold Stories of Courage, Strength and Power; The Right Reverend Dupree in Exile; and Maid’s Door. Whatever side of the stage she’s on, her hard work and dedication shine. Auri Wilds (Light Board Operator) hails from Welcome, NC. He graduated from North Carolina Central University with a degree in Technical Theatre. He is a member of the International Alliance of Theatrical Stage Employees Local 417.


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“One of the best jazz bands in New York today” (Forbes) makes its debut at Schaefer Center, where they transport the audience to New York speakeasies, Parisian cabarets, and New Orleans jazz halls. Fueled by the belief that classic jazz feeds the heart and soul, the Hot Sardines are on a mission to make old sound new again with their brassy arrangements, rollicking piano melodies and smoky vocals. In the last two years, the Hot Sardines have been featured at the Newport Jazz Festival and the Montreal Jazz Festival, have sold out NYC venues from Joe’s Pub to Bowery Ballroom and more than 150 tour dates from Chicago to London, and have released two albums on Universal Music Classics to critical raves and a No. 1 slot on the iTunes Jazz chart in the U.S. and internationally. SERIES SPONSORSHIP PROVIDED BY WESTGLOW RESORT & SPA AND ROWLAND’S RESTAURANT, MADE POSSIBLE THROUGH THE GENEROSITY OF BONNIE AND JAMIE SCHAEFER. PERFORMANCE SPONSORSHIP PROVIDED BY: BOONE AREA VISITORS BUREAU, MAST GENERAL STORE, GOODNIGHT BROTHERS, SKYBEST COMMUNICATIONS, INC.



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Sponsored by McDonald’s of Boone

Gil Morgenstern, violin; Avi Nagin, violin; Kathryn Lockwood, viola Ole Akahoshi, cello; Yousif Sheronick, percussion; J.Y. Song, piano Suite populaire espagnole El Paño Moruno Nana Jota Polo

Manuel de Falla

From “Rodeo” Waltz Hoedown

Aaron Copland

A Different World Bodhran Solo Jubb Jannin Longa Riad

Enzo Rao Camemi Yousif Sheronick Yousif Sheronick Riad El-Soumbati

Gil Morgenstern, violin; Avi Nagin, violin; Kathryn Lockwood, viola Ole Akahoshi, cello; Yousif Sheronick, percussion INTERMISSION Piano Quartet in c minor Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto

Gabriel Fauré

Avi Nagin, violin; Kathryn Lockwood, viola Ole Akahoshi, cello; J.Y. Song, piano The Broyhill Chamber Ensemble Concert Series is generously supported by the Broyhill Family Foundation (in memory of Faye Broyhill) and by Ralph and Venda Lerch/McDonald’s of Boone. Additional performance underwriting has been provided by Joni and Peter Petschauer, the Muriel and Arnold Rosen Endowment for the Arts and the Rosen-Schaffel Endowment for Classical Music Programming. With special thanks to Appalachia Cookie Company, for a generous donation of refreshments during this evening’s intermission. Biographical information for this evening’s performers beings on page 90.

Enzo Rao Camemi A Different World (Born January 13, 1957 in Palermo, Italy) Composer/performer Enzo Rao Camemi plays many instruments including bass guitar, oud, saz, Jewish harp and violin in a variety of folk and popular styles. In 1988, he founded the project SHAMAL which combines music from across the Mediterranean region. Camemi won first prize in the Italian National Composer Contest of Radio RAI for his song “In viaggio!” and has also composed for film. His heterogeneous musical background allows him to play rock, jazz, blues and a variety of Ethnic music styles. Written in 1992 for viola and percussion, A Different World results from the merging of diverse cultural traditions and musical styles. (A Different World originally was created for violin and frame drums.) In particular, Camemi is most enthusiastic about Sicilian and Mediterranean music, which is detectable in this light and folksy song. The opening journey through several meters (7/4, 8/4 and 6/4) makes the piece notable for its uneven gait. This work highlights both instruments, giving them both solos. Yousif Sheronick Bodran Solo and Jubb Jannin (Born January 14, 1967 in Cedar Rapids, Iowa) The American composer/arranger Yousif Sheronick, who has a Lebanese background, evolved his music from an active attempt to synthesize disparate instruments and cultures from around the world. Sheronick’s undergraduate degree is from the University of Iowa, and he received his Masters at Yale University and then studied music from Brazil, India, Africa and the Middle East. His music, he attests, has evolved from his collaboration and performances with musicians from widely divergent cultures as well as through “casual conversations over inner and coincidental reunions in unexpected places.” Bringing world percussion together with contemporary/ classical music, he and violist Kathryn Lockwood, (his wife) created duoJalal. Critics have said Sheronick “is capable of creating hypnotic atmospheres” (Mundoclasico) and that he “transported the listener to another dimension.” (Ritmic). The New York Times praised Sheronick for his “dazzling improvisations”


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and his “wizardry on a range of humble frame drums.” Sheronick has created several solo and ensemble works that have been performed internationally. Also active as an educator, he teaches private lessons and classes in New York and has conducted residencies and master classes at several universities including Manhattan School of Music, University of Michigan, University of Kentucky, the Queensland Conservatorium and National University in Australia. Sheronick discovered the music of Arabian countries when his Lebanon-

born mother sang traditional folk melodies over the drone of their family vacuum cleaner. Jubb Jannin, composed in 2002, was inspired by the composer’s memories of his mother’s introducing Arab music to him. Jubb Jannin was originally written for the Nay (Middle Eastern flute); the viola solo section has been adapted from Bassam Saba’s original Nay improvisation. Sheronick specializes in frame drums, drums that have a thin shell and one drum head. Frame drums have a long history throughout world and date back 5000 years to the area of Mesopotamia.

(The modern tambourine and the Irish bodhran are both included in the frame drum family.) Sheronick’s mentor, the “father of the modern frame drum movement,” Glen Velez, created his own playing style by combining various playing techniques from several cultures. Frame drummers around the world now play in Velez’s style. Sheronick’s Bodhran Solo incorporates various Velez techniques along with his own innovative artistry to highlight the many capabilities of this simple drum.


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Riad El-Soumbati Longa Riad (Born November 30, 1906 in Egypt; died September 10, 1981) Riad El-Sunbati, a 20th-century Egyptian composer and musician, was very well known in the Arab world; he was a master of the oud, a short-necked, pear-shaped lute type of instrument with eleven or thirteen strings. It was said that Sunbati’s oud playing was equivalent to that of an orchestra in itself. He composed 539 works of opera, operetta, and religious songs. His greatest fame came from the numerous songs he composed for the legendary Umm Kulthum. One of Riad El-Soumbati’s most famous instrumental compositions is a “longa riad” (also known as “longa farahfaza”) a traditional piece, which is considered to be the most famous Arabic longa and which was played by many western and Turkish orchestras and oudists. The longa originally was a Turkish/Eastern European dance that later was introduced into Arabic music. It consists of two to four couplets, verses (khanat) that follow a rondo-like format with a recurring passage or refrain (taslim). In Longa Riad, the final taslim shifts into 6/8 Samai Darij meter. This piece’s mode (maqam) is Farahfaza, which is roughly equivalent to the Western g minor scale. “Longa Riad El-soumbati” is a very famous traditional Arab piece written originally for oud. The lyrics that sometimes went along with this piece were written by Omar Khayam and contained a message about the spiritual nature of men, in particular of a sinful man who had strayed from God and returned to Him by repenting. The work combines movement and emotion. Gabriel Fauré Quartet for Piano and Strings No. 1, in c minor, Op. 15 (Born May 12, 1845, in Pamiers (Arriège) France; died November 4, 1924, in Paris) Gabriel Fauré lived and worked during the creative and cultural explosion that took place in the early years of the Third Republic and after the Franco-Prussian War of 1870 and 1871. Although Fauré’s music was less frequently performed than that of Ravel or Debussy, he was the composer and teacher of Ravel, and he dedicated his String Quartet to him.

Honegger, another renowned composer of the same period in France, counted Fauré among France’s greatest musicians; nevertheless, it took a long time for his work to become frequently performed in the United States. Fauré was indirectly a great presence in American music because he was the teacher of Nadia Boulanger, who instilled his principles into the minds of the many young American composers who studied with her in Paris during the fifty years following the First World War. Thus, Aaron Copland, Roy Harris, Walter Piston, Virgil Thomson and many more were Fauré’s artistic grandchildren, and they preserved and expanded the essence of his musical thought for us. Copland once wrote, “To the superficial listener he probably sounds superficial. But those aware of musical refinement cannot help admire the transparent texture, the clarity of thought, the well-shaped proportions. Together they constitute a kind of magic that is difficult to analyze but lovely to hear.” Fauré’s chamber music demonstrates his fine melodic sense, his masterful use of counterpoint, and his distinctive harmony, which was traditional in many respects but nonetheless sprinkled with innovations. Fauré began his musical studies in Paris at the age of ten, and at fifteen, he began a life-long friendship with a piano teacher ten years his senior, Camille Saint-Saëns. Composing at first was ancillary, while he earned his living as an organist, first in Rennes and later at some of the most famous churches in Paris. In 1896, he succeeded Jules Massenet as professor of composition at the Conservatoire, where, from 1905 to 1920, when deafness forced his retirement, he held the directorship. Fauré completed the first of his two quartets for piano, violin, viola and cello in 1879, and the second in 1886. The C-minor quartet, his most well-known work of chamber music, was first performed in public at a concert of the Société Nationale de Musique given in Paris on February 14, 1880. The quartets and his two piano quintets are remarkable, as one of his biographers has pointed out, for his sensitive solution of the problem of blending strings “caressed by the bow” and strings struck by the piano’s hammers. He uses Classical forms of established regularity, but his developmental procedures differ from those used

elsewhere in Europe, specifically in Germany, that appeared as norms in the musical textbooks of the late 19th and early 20th centuries. Fauré does not separate his themes or fragment them for development, but in the French tradition that goes back at least to Berlioz, he adds to them, extends them, treats them together, and creates complex sinuous intertwining of their elements. As a whole, this quartet contains all the best qualities of Fauré’s music: exquisitely supple harmony and rhythm, along with great arches of melody, all set with superb clarity and equilibrium. The first movement of the Quartet, Allegro molto moderato, written in sonata form, opens directly with its principal subject, without a phrase or a measure or even a single beat of introduction before the persistent rhythm that permeates the whole movement appears. The strings play the powerful but austere main theme over the piano’s syncopated chords, and soon, shorter graceful phrases contrast with the subject. The piano and the strings have equal roles in a rich contrapuntal texture. After many modulations, the second theme, a very lyrical one, is sounded. The second movement a delicate Allegro vivo Scherzo, begins with pizzicato string chords. The piano introduces a spinning dance-like theme. Later, after great expansion of the theme, a lovely, muted, contrasting enchanting Trio begins in muted strings. The critic Alan Rich has memorably and poetically described this movement as “a veritable dance for moonbeams.” The Adagio slow movement, a three-part song, is generally thought to be an elegy for the lost love of Fauré’s youth, Marianne Viardot, daughter of the great singer, Pauline Viardot-García. It was at the Viardot residence that Fauré first met Gounod, Flaubert and Turgenev; consequently, the break with Marianne, in 1877, was very painful for him. The individual strings enter one by one with a short prayerful melody. In the finale, Allegro molto, the energy and the vigor of the first movement return, as does the sonata form, but in a freer way. The first theme is a fragment only; the second theme, rhythmic, lyrical and passionate, is later combined with it, leading to the strong Coda, which brings the quartet to a magnificent, fiery closing. Program Notes: Susan Halpern, © 2018


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Summer 1993 (Estiu 1993) In Catalan with English subtitles



In the summer 1993, following the death of her parents, six-year-old Frida moves from Barcelona to the Catalan province to live with her aunt and uncle, who are now her new legal guardians. The country life is a challenge for Frida – time passes differently in her new home and the nature that surrounds her is mysterious and estranging. Frida now has a little sister, Anna, for whom she must learn to co-exist, and she has to deal with new feelings, such as jealousy, patience and compassion. Before the season is over, she has to cope with her emotions, and her new parents have to learn to love her as their own daughter. SPAIN; UNRATED; DIRECTED BY CARLA SIMÓN (2017); 97 MINUTES

Pre-film talk with Dr. John Pfeifer begins at 7pm, with the film beginning at approximately 7:30pm. Concessions, including popcorn, cookies, beer, wine and cold beverages are available for purchase. With special thanks to our generous sponsors for this series, Helene and Stephen Weicholz.



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Sponsored by McDonald’s of Boone

Gil Morgenstern, violin; Avi Nagin, violin; Kathryn Lockwood, viola Ole Akahoshi, cello; J.Y. Song, piano Duo No. 1 in G Major, K.423 Wolfgang Amadeus Mozart Allegro Adagio Rondeau: Allegro Avi Nagin, violin; Kathryn Lockwood, viola Piano Trio No. 1 in E Flat Major, Op. 1 Ludwig van Beethoven Allegro Adagio cantabile Scherzo con Trio: Allegro assai Finale. Presto Avi Nagin, violin; Ole Akahoshi, cello; J.Y. Song, piano INTERMISSION Piano Quintet in f minor Johannes Brahms Allegro non troppo Andante, un poco adagio Scherzo Finale Gil Morgenstern, violin; Avi Nagin, violin; Kathryn Lockwood, viola Ole Akahoshi, cello; J.Y. Song, piano The Broyhill Chamber Ensemble Concert Series is generously supported by the Broyhill Family Foundation (in memory of Faye Broyhill) and by Ralph and Venda Lerch/McDonald’s of Boone. Additional performance underwriting has been provided by Joni and Peter Petschauer, the Muriel and Arnold Rosen Endowment for the Arts and the Rosen-Schaffel Endowment for Classical Music Programming. With special thanks to Appalachia Cookie Company, for a generous donation of refreshments during this evening’s intermission. Biographical information for this evening’s performers beings on page 90.

Wolfgang Amadeus Mozart Duo for Violin and Viola No. 1 K. 423 (Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna) In 1783, when Mozart returned to his native Salzburg for the last time, he found that one of his friends among the local musicians, Michael Haydn, the younger brother of Joseph Haydn, was in trouble. Michael Haydn had joined the musical staff of the Prince-Archbishop of Salzburg as concertmaster and conductor, and later served as organist as well. As two of Michael Haydn’s pupils told the story many years later, illness had prevented Haydn from writing more than four duos for a set of six that his employer had ordered. The Archbishop thought that lowering his pay would propel the composer out of bed and back to his writing desk. Mozart, understanding the gravity of the illness, used to visit the sick man every day, and when he heard of Haydn’s problem, went home, wrote the two duos we now know as. K. 423 and 424, and gave them to Haydn to send to the Archbishop as his own. Mozart was writing some of his best chamber music at this time. He had recently completed three of the six string quartets that he would dedicate to Joseph Haydn, and he may have enjoyed the discipline of writing for only two instrumental voices. In the duos that both Michael and Joseph Haydn composed, the violin is soloist and the viola accompanies it. Mozart, with the experience of the beautiful Sinfonia Concertante for Violin and Viola, K. 364, which he had composed in Salzburg in 1779, knew how to broaden and enrich the musical possibilities of the two instruments. By treating them almost as equals, he drew a rich texture from them. Mozart uses the two instruments very effectively; his exquisite craftsmanship is filled with virtuosity, including that for the viola part, an unusual quality that makes listeners remember that viola was Mozart’s instrument. Mozart fully exploits its distinctively rich and expressive sound. He may have planned to perform them at some occasion. Michael Haydn would have been more inclined to give the bravura material to


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the violin, with the viola as accompanist. The contrapuntal mastery and richness of texture are a result of the experience gained from composing the first three of the set of six string quartets he dedicated to Joseph Haydn. There is proof that Mozart did not completely relinquish these duos to Michael Haydn, who never published any of his duos. In two letters he wrote to his father after returning home, he asked that the duos be sent to him in Vienna, along with his score for the opera Idomeneo. In some ways, Mozart actively aimed to compose in Michael Haydn’s style, since he did not want to compromise Haydn by possible detection. Since Mozart was himself dismissed by the Archbishop two years earlier, he undoubtedly enjoyed this ruse. The first movement Allegro, the longest movement of the three, is in sonata form. Spirited and outgoing, as well as melodic, it features the two voices carrying on a brilliant dialogue, including a graceful canon in the development. Many of the themes Mozart uses in this movement display a virtuosic stylishness. In the second movement, Adagio, characterized by its beautiful aria-like lyrical nature, the violin is highlighted much of the time, although when Mozart writes accompanying figures for the viola, he does not allow them to be mechanical. The final movement, Rondeau, contains good-natured energy and strong dynamic contrasts. Mozart’s use of popular tunes in the rondeau was included as part of the technique Mozart used to camouflage his authorship. Ludwig van Beethoven Piano Trio, Op. 1, No. 1 in E –Flat (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) When Beethoven’s Op. 1 was published, he was twenty-four years old and had been struggling with the three Trios in the set for several years. He probably sketched Trio No. 1, before he left his hometown of Bonn in 1792; the second and third were written later in Vienna. Haydn had thought much of Beethoven’s talent when they first met

in Bonn, and in Vienna, Beethoven’s mission was to study with Haydn and receive, in the words of Count Waldstein, “the spirit of Mozart from the hands of Haydn.” Instead, he received one-hour lessons in strict counterpoint, which was not at all what he believed he needed most, nor what he wanted. He was relieved when, after a little more than a year, Haydn left for London and the lessons stopped. Shortly after Haydn returned, he went to dinner at the home of Prince Carl Lichnowsky, where Beethoven was living as a guest, almost as a member of the family. Haydn was present when Beethoven, at the piano, gave the first performance in a private concert there (with Ignaz Schuppanzigh, the violinist, and Anton Kraft, the cellist) of the three trios that were to become his Op. 1 and were then works-in progress. Beethoven told one of his pupils that Haydn said many kind things about his trios but advised him against publishing the one in C minor. Although he initially disagreed with Haydn’s advice and even thought the composer was perhaps envious and jealous of his work, later he said, “When I was a beginner I should have perpetrated the most flagrant follies in composition but for Papa Haydn’s advice.” A huge difference in intellectual and social orientation separated Beethoven and Haydn. The two were almost forty years apart in age, and Haydn had spent almost all his professional life as a prince’s hireling, not an independent artist. Beethoven was uncompromisingly free spirited and impatient with the idea of knowing his “place,” and thus the two quarreled, albeit politely, but Beethoven did respect his elder’s professional skills, although he felt the need to keep a respectful distance. Haydn’s works were models of formal perfection for Beethoven, but the passionately emotional expressive content of the younger man’s work had no place in his elder’s esthetics. Beethoven’s music has a different character than Haydn expected, and yet Haydn did not think Beethoven’s music qualitatively poor; he only thought it too outspoken. One of the things this anecdotal history

suggests is that today’s listeners need to try to hear Beethoven’s early works as Haydn heard them, as examples of advanced artistic thought that exceeded established contemporary limits. Although it is difficult for us to put ourselves in the position of listeners in the late 18th century, trying to do so helps us understand that even Beethoven’s earliest music expanded the boundaries of chamber music and looked forward more to his later works than backward to Haydn’s. The Op. 1 trios were, indeed, landmarks; it is immediately evident that this piano trio is different from those of Haydn and Mozart, although it may seem straightforward enough to us now. Trio No. 1 in E-flat has the clarity of Mozart and a complete lucidity of texture that is distinctly Beethoven’s own. Further, the independent cello lines, already evident quite near the beginning of the first movement, more closely resemble Mozart’s technique than Haydn’s, as Haydn did not write independent cello parts. Immediately with this trio, Beethoven left behind Mozart and Haydn’s three-movement form and added a Scherzo, which in a way placed the trio formally on the scale and plane of a symphony. The protracted length of each movement was also extraordinary for the time, as were the unexpected shifts of rhythm and harmony and the leaps of melody that no other young composer had then imagined. Yet the first movement, Allegro, opens with a melodic musical figure frequently used by the composers of the Mannheim court to add virtuosic brilliance to their music. The figure was called “Mannheim rockets,” and it consisted of an upward movement of broken chords. The Adagio, second movement does not contain anything particularly innovative. Nevertheless, close listening does r eveal hints at rhythmic and harmonic novelties that would become more developed and characteristic of Beethoven’s later technique. In the opening of the Scherzo, Allegro assai, we hear a string duet and in the trio, the concentrated music is hushed. This animated movement is at times agitated sounding, at times lyrical, but certainly does not have the stately sound of the


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traditional minuet, which it replaces. It ends with a short coda. The Finale, Presto, begins with large intervals in the piano prior to the announcement of a concise theme in the strings. The dashing main theme of the rondo exemplifies the boldness of the young composer’s inventiveness. The brilliant coda brings back some intimations of the initial theme as it ends the movement. Johannes Brahms Quintet for Piano and Strings, in f minor, Op. 34 (Born May 7, l833, in Hamburg; died April 3, l897, in Vienna) The Quintet for Piano and Strings, Op. 34, composed in 1861, is a climactic composition for the young Brahms; it is one of the very greatest of his works, yet one that arrived in its final form with great difficulty. In his early career, after Brahms completed a work, he usually became severely self-critical. Only then did he decide whether to allow his creation to be performed or to reject it, often perhaps because he judged his composition needed greater self-discipline than he had given it. He was frequently reluctant to launch works that he knew would be compared to those of Beethoven and other great masters. Therefore, much of the music he composed he subsequently destroyed. The pieces that do survive were often those he created with instrumentation that others had not used extensively, and thus he avoided the possibility of direct comparison. For example, he wrote string sextets and piano quartets rather than string quartets, and he made sure that these were mostly note-perfect in their original manuscripts with but a few important exceptions. The history of the changes in the present work differs somewhat from those of other works, for on this occasion Brahms tried the composition out with varying instruments. The Quintet for Piano and Strings made its first appearance in 1861, as a string quintet in F minor with two cellos. (The most memorable work written for this combination is Schubert’s majestic Quintet in C Major, Op. 163, D. 956.)

Brahms sent the first three movements of his work, even before he had finished the quintet, to Clara Schumann, herself a pianist and Robert Schumann’s wife, to ask her to judge it. As soon as he completed it, he sent it to the violinist Joachim for the same purpose. Joachim arranged for the quintet to be played in May 1863, and he subsequently told Brahms that the strings could not effectively convey the power and range of some of the music without some additional instrumental help. The content was simply too rich and too forceful for the strings to express, he felt, but the musical quality was fine. Seeking a more dynamic medium for his work, Brahms responded by converting it into a sonata for two pianos. Clara Schumann and Anton Rubinstein played it in this form at Baden-Baden, and at a later time, performed it with Brahms for Princess Anna of Hesse. The princess so liked the sonata that Brahms decided to dedicate it to her when he had it published. Princess Anna carefully checked with Clara Schumann to make sure that both published versions would bear her name and that she would have the first copies off the press. A letter of November 3, 1864 signed by “your old Clara” tells Brahms, “The Princess was so pleased that I seized the opportunity to suggest a beautiful gift for you, and the moment was so well chosen that she then and there commanded me to buy it. You will understand the joy with which I did so when you see it.” The gift was indeed precious; it was the original manuscript of Mozart’s Symphony in G minor. Unfortunately, the two-piano work still did not feel right to Brahms, and when he and Carl Tausig, a Polish pianist and composer, played the sonata at a concert of Brahms’ works in Vienna in April 1864, it was the only work on the program that the audience did not seem to like. Echoing in kind Joachim’s earlier comment about the quality of the sound of the strings alone, Clara Schumann ultimately felt that the music demanded more variety in sound than the two pianos could provide and suggested that Brahms convert the work

into an orchestral piece. By the end of the year, Brahms had instead combined piano and strings to create the Piano Quintet, Op. 34. His original version for strings no longer exists, but Brahms published the Sonata for Two Pianos in 1871 as Op. 34 bis. When Joachim saw the changes that Brahms had made, he was very impressed and declared that Brahms’s Piano Quintet was the greatest piece of chamber music written since Schubert’s death. The only other work that could have possibly approached it was Schumann’s quintet, composed in 1842. The opening movement of Brahms’s Quintet, Allegro non troppo, has both drama and an epic scale. It is based on several themes that have an unusually wide range of expression. They include the brooding, the dramatic, the exultant, and the lyrical. A solemn theme predominates, but there is also a plethora of subsidiary themes, each functioning importantly in the rich, dramatic structure. The simplest of the movements is the second, a serene and tender Andante, un poco adagio in a three-part song form, notable for its gentle, swaying piano melody with its restrained and rhythmic string accompaniment. The Scherzo, Allegro, an exciting movement of substantial dimension and intense power, has an irresistible rhythmic drive based in part on material related to the first movement. The contrasting, calm central trio section derives its themes, in turn, from the first part of the strongly syncopated Scherzo. The syncopation and march-like rhythms return to close the movement. The Finale begins with a slow and mysterious introduction, Poco sostenuto, full of germinal ideas that come into bloom in the lively main section, Allegro non troppo. The material of this vibrant movement is subjected to further development in the coda, Presto non troppo, which leads to the powerful climax. Program Notes: Susan Halpern, © 2018


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BCE BIOS: Biographical information for Gil Morgenstern appears on page 27. Cellist Ole Akahoshi from Germany has performed in recitals and as a soloist with many of the world’s leading orchestras on four continents. He has won numerous THE NEIL AND NANCY competitions SCHAFFEL CHAIR including Concertino Praga and Jugend Musiziert. He is also recipient of the fellowship award from Charlotte White’s Salon de Virtuosi. Akahoshi has performed in many prestigious concert halls worldwide and his performances have been featured on CNN, NPR, SenderFreies-Berlin, RIAS-Berlin and Korean Broadcasting Station, among others. He has also made recordings for the Albany, New World Records and Composers Recording Inc., to name a few. He has collaborated with distinguished artists such as Sarah Chang, Ani Kavafian, Wolfgang Schultz, Naoko Yoshino and Hyuna Yu. At age 11, Ole Akahoshi was the youngest student to be accepted by Pierre Fournier. He has received his bachelor’s from Juilliard and master’s degree from Yale University. Akahoshi has served as teaching assistant for both Aldo Parisot and Janos Starker. He has been teaching at the Manhattan School of Music since 2004. He joined the faculty of the Yale School of Music in 1997 and is assistant professor of cello at Yale University. Francesca dePasquale Described by critics as “scintillating” and celebrated for her “rich, expressive playing” (MusicalAmerica), THE JONI AND PETER PETSCHAUER CHAIR violinist Francesca dePasquale is the First Prize winner of the 2010 Irving M. Klein International String Competition and recipient of the prestigious 20142016 career grant from the Leonore Annenberg Fellowship Fund for the

Performing and Visual Arts. Earning her the 2015 Classical Recording Foundation Young Artist Award, her selftitled debut album and accompanying recital tour was praised for “sincerity, intensity” and “individual voice” (Philadelphia Inquirer) and “immaculate and discreet phrasing” (Strad Magazine). Additionally, she was featured in Strings magazine and on SiriusXM, WNYC, WQXR, WRTI (Philadelphia), and WFMT (Chicago). An active chamber musician, Francesca has performed for the Chamber Music Society of Fort Worth, Open Chamber Music at IMS Prussia Cove, Busan Maru International Music Festival, Chameleon Arts Ensemble, Jupiter Symphony Chamber Players, Manhattan Chamber Players, Chesapeake Chamber Music, Music in the Vineyards, Olympic Music Festival, and Music@Menlo. Francesca is the violinist of the Aletheia Piano Trio alongside pianist Fei-Fei Dong and cellist Juliette Herlin. Additionally, she has performed with Orpheus Chamber Orchestra, the Brooklyn based orchestral collective The Knights, and A Far Cry. Francesca is a member of the violin faculty at Rutgers University Mason Gross School of the Arts and Visiting Assistant Professor at Oberlin Conservatory of Music. Additionally, she is a member of the violin faculty at the Heifetz International Music Institute Program for the Exceptionally Gifted, as well as assistant chamber music faculty for the Perlman Music Program Sarasota Residency. Previously, Francesca served as the Starling Fellow teaching assistant to Itzhak Perlman from 2013-2016 and teaching assistant to Catherine Cho from 2013-2018 at the Juilliard School. A graduate of the Juilliard and Colburn Schools, Francesca studied with Itzhak Perlman, Catherine Cho, and Robert Lipsett. Benjamin Hochman Pianist Benjamin Hochman’s eloquent and virtuosic performances blend colorful artistry with poetic interpretation exciting audiences THE BROYHILL FAMILY FOUNDATION CHAIR and critics alike. He

performs in major cities around the world as a respected orchestral soloist, recitalist and chamber musician, working with a celebrated array of renowned conductors and colleagues. An impassioned and intelligent exponent of diverse composers, he frequently juxtaposes familiar works with the unfamiliar in his concert programs to help illuminate each work for the listener, a talent further illustrated by his thoughtful recorded repertoire. Mr. Hochman was the winner of the 2011 Avery Fisher Career Grant. He has since performed with many of the world’s major orchestra, including the New York and Los Angeles Philharmonics, Chicago, Pittsburgh, San Francisco, Cincinnati, Houston, Seattle, Vancouver, New Jersey, American and Portland Symphonies, the New York String Orchestra, Prague Philharmonia, Istanbul State Orchestra, and the National Arts Centre Orchestra in Canada under eminent conductors such as Gianandrea Noseda, Pinchas Zukerman, Jun Märkl, Leon Botstein, Bramwell Tovey, Jahja Ling, Kazuyoshi Akiyama, Michael Stern, Jaime Laredo and Joshua Weilerstein. Mr. Hochman, also rapidly earning acclaim as a thrilling conductor, was recently appointed as the musical assistant to Louis Langrée and guest conductors at the 2016 Mostly Mozart Festival, including Thierry Fischer, Jeffrey Kahane, Matthew Halls and Paavo Järvi. He has served as assistant conductor at the Orlando Philharmonic, members of The Orchestra Now, and he and recently served as assistant conductor to Leon Botstein for American Symphony Orchestra’s concerts at Carnegie Hall’s Stern Auditorium and Alice Tully Hall. In 2009, Mr. Hochman’s debut solo recording of works by Bach, Berg and Webern was released by Artek, followed by his second solo album titled Homage to Schubert for Avie Records in 2013. His latest album on Avie Records, Variations, was based on his 2014 recital at 92nd Street Y which was recognized by The New York Times as one of the top ten classical music events of the year. He has also recorded


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chamber music by Lawrence Dillon with the Daedalus Quartet (Bridge Records) and Lisa Bielawa (Innova Recordings). Born in Jerusalem, Benjamin Hochman is currently on the piano faculty of Bard College and is a Steinway Artist. His website is Kathryn Lockwood has been hailed as a violist of exceptional talents in reviews around the country and abroad for her performances as a chamber musician and THE ARNOLD AND soloist. Formerly MURIEL ROSEN CHAIR a founding member of the Pacifica Quartet, she currently performs with the Lark Quartet, duoJalal with percussionist and husband Yousif Sheronick, and teaches at the University of Massachusetts, Amherst. Lockwood is frequently invited back to her homeland of Australia to perform with the Camerata of St. John’s and to teach at her alma mater school at the Queensland Conservatorium of Music. Lockwood plays on an unknown Italian viola from the 18th Century Brescian School and performs during the summer for the Broyhill Chamber Ensemble, at Elm City ChamberFest in Connecticut and at the Telluride ChamberFest in Colorado. Violinist Avi Nagin is an active recitalist, chamber musician, orchestral player, and educator. A graduate of The Colburn School and the Yale School of Music, Avi THE NEIL AND NANCY has appeared at SCHAFFEL CHAIR prestigious masterclasses and workshops around the world, including at Carnegie Hall led by pianist Leon Fleisher, where he also worked closely with Yo-Yo Ma and Pamela Frank. Avi has also twice attended the International Musicians Seminar at Prussia Cove in Cornwall, England, where he appeared in masterclasses for András Keller and Philippe Graffin, as well as legendary violinist Ivry Gitlis. An accomplished chamber musician, Avi has performed in collaboration with members of the

Ebène and Orion Quartets, as well as with Paul Coletti, Benny and Eric Kim, and Ronald Leonard. During his time as a student, Avi held leadership positions in the Tanglewood Music Center Orchestral, Aspen Chamber Symphony, and New York Youth Symphony. Avi has recently become substitute violinist with the Saint Paul Chamber Orchestra and New Jersey Symphony, and was appointed Principal 2nd Violin of the Princeton Symphony Orchestra, Principal 2nd Violin of Symphony in C, Assistant Principal 2nd Violin of the Norwalk Symphony, section violin with the New Haven Symphony Orchestra and Artosphere Festival Orchestra, and has appeared with the Virginia Symphony Orchestra and Greenwich Symphony Orchestra. He has also attended festivals including Tanglewood, Kneisel Hall, the Lake George Music Festival, and the Heifetz Institute. The summer of 2018 marks Avi’s second year on the faculty of the Eastern Music Festival in Greensboro, N.C., where he also serves in the violin section of the Eastern Festival Orchestra. Additionally, Avi has recently become substitute faculty at The Juilliard School’s Pre-College Division and is on the chamber music faculty of the New York Youth Symphony and was previously a “Teaching Artist” with Yale University’s Music in Schools Initiative. Avi’s principal teachers include Ani Kavafian, Robert Lispett, Daniel Phillips, and Ann Setzer, and he has studied chamber music with Arnold Steinhardt, Sylvia Rosenberg and Paul Coletti. Cellist Alexis Pia Gerlach has been lauded by the press for the “gripping emotion” and “powerful artistry” of her interpretations; qualities which have THE RALPH AND VENDA led to a career striking LERCH CHAIR for its wide range of artistic collaborations. She has appeared extensively in recitals and as a soloist with orchestras across the United States, as well as in Europe, Asia, the Middle East and South America, with such conductors as Mstislav Rostropovich, James DePreist and Peter Oundjian.

Ms. Gerlach is a founding member of the acclaimed Trio Solisti, with whom she performs throughout the US on major concert series. The piano trio has recorded extensively, including a 2-CD set of the Tchaikovsky and Rachmaninoff Trios to be released on Bridge Records in July this year, and a critically acclaimed 2014 recording of trios by Ravel and Chausson, which was met by rave reviews from both The New York Times and Gramophone. Next season the ensemble gives the world premiere of a new trio written by composer Jennifer Higdon, commissioned for them by Arizona Friends of Chamber Music and the Harvard Musical Association. As a founding member of Concertante, a string sextet based in New York City, she has toured throughout North America, Asia and the Middle East. Ms. Gerlach has performed at major festivals including Marlboro, Aspen, Bridgehampton, La Musica di Asolo, Caramoor, and as a guest artist with the Chamber Music Society of Lincoln Center. She has played extensively with Musicians from Marlboro, performing on both national and international tours. A frequent collaborator with dancers, Ms. Gerlach has performed as solo cellist with the Paul Taylor Dance Company on tour in India and at New York’s City Center, and in a duo with New York City Ballet principal dancer, Damian Woetzel. She is active in commissioning and premiering new works from many preeminent composers, such as Kevin Puts, Lowell Liebermann, Shulamit Ran, Richard Danielpour, Tigran Mansurian and Paul Moravec, and has worked with many others including Philip Glass, Thomas Ades, Osvaldo Golijov and Bright Sheng. Ms. Gerlach was born in New York City, and studied with Aldo Parisot at The Juilliard School and The Yale School of Music. Yousif Sheronick has performed around the globe to critical acclaim, genre hopping with leading artists in the classical, world, jazz and rock music arenas. The THE RALPH AND VENDA New York Times hails LERCH CHAIR Yousif for his “dazzling


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improvisations” and his “wizardry on a range of humble frame drums”. Of Lebanese descent, Yousif was recently featured in Drum! Magazine highlighting his versatility in an article titled “At The Corner Of The World”. His influences are far reaching as he grew up playing rock and roll drum set, studied classical percussion through a masters degree at Yale University and went on to study music from Brazil, India, Africa and the Middle East. These combined influences propelled Yousif into performances with Philip Glass, Yo-Yo Ma, Lark Quartet, Ethos Percussion Group, Branford Marsalis, Sonny Fortune, Cindy Blackman Santana, Glen Velez and Paul Winter. His many musical influences are highlighted in duoJalal, his venture with violist and wife Kathryn Lockwood. On the piano faculty at Mannes College in New York City, J.Y. Song has been noted for her varied programming and idiosyncratic musical tastes. Critic Harris THE ARNOLD AND Goldsmith MURIEL ROSEN CHAIR commented on her “truly astounding technical and imaginative resources,” and has described her performances as “tigerishly intense” and “exquisite.” J.Y. Song’s recordings on the Pro Piano label have received rave reviews. Her recording of Debussy Etudes was distinguished with a Diapason d’Or and designated a “Desert Island Selection”

by Gramophone’s International Piano Quarterly. Among Ms. Song’s numerous awards are the Petschek Award (Juilliard’s highest honor to a pianist), the first ever Christel Award from the American Pianists Association, the Gold Medal at the Palm Beach Invitational International Piano Competition, and the distinction of Pro Piano Artist of the Year. In addition to providing insightful reinterpretations of traditional repertoire, J.Y. Song has been an advocate of new music, recording works by Ezequiel Viñao and Jiang Wen Ye. This last recording inspired a film by the celebrated director Hou Hsiao-Hsien, Café Lumière, which was nominated for a Lion d’Or at the Venice Film Festival. Raised in Switzerland, J.Y. Song studied at the Conservatoire de Genève and the Conservatoire de Lausanne with Alexis Golovine, Eduardo Vercelli, and JeanFrançois Antonioli. She graduated from Stanford University with distinction and honors, acquiring both a B.S. in Microbiology and Immunology and a B.A. in Music, and receiving the Sudler Prize for outstanding achievement in the creative arts. She earned a D.M.A. at The Juilliard School, where she studied with Jerome Lowenthal, and completed an M.B.A. at NYU Stern School of Business. Ms. Song has served for eight years as artistic director of the EAMA and Classics Abroad piano programs at the Ecole Normale de Musique de Paris. Her diverse interests have led her to explore entrepreneurial opportunities in music, most recently founding a tech

startup, ToneRow, dedicated to bringing performing arts training to enthusiasts worldwide. She now teaches Leadership & Innovation at The Juilliard School. John Taylor Ward performs regularly with the world’s finest baroque musicians and ensembles, including Christina Pluhar and L’Arpeggiata, Paul THE JONI AND PETER O’Dette, Steven PETSCHAUER CHAIR Stubbs and the Boston Early Music Festival, William Christie and Les arts florissants, and Sir John Eliot Gardiner and the English Baroque Soloists. In 2016, he was featured in the U.S. premiere of Claude Vivier’s Kopernikus, directed by Peter Sellars at the Ojai Festival, and he began a series of recitals at Joe’s Pub with Cantata Profana. In 2017 he made his debuts at the Salzburg, Berlin, and Luzerne Festspieles. 2018 highlights include Berio’s Sinfonia with the New York Philharmonic and Nick Shadow in Igor Stravinski’s The Rake’s Progress, conducted by Barbara Hannigan in Gothenburg, Sweden. Taylor holds a BM from the Eastman School of Music and an MMA from Yale School of Music; he is the founding Associate Artistic Director of the Lakes Area Music Festival, an Associate Artist of Heartbeat Opera, a founding core member of Cantata Profana, and an avid Sacred Harp singer.

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Singer-songwriter Rhiannon Giddens is the co-founder and front woman of the Grammy awardwinning string band Carolina Chocolate Drops, and is a recipient of the 2017 MacArthur Fellow Genius Grant. The Greensboro native masterfully blends gospel, jazz, blues, and country showcasing her extraordinary emotional range and dazzling vocal prowess. Her solo album Freedom Highway is among NPR Music and Rolling Stone’s best albums of 2017. SERIES SPONSORSHIP PROVIDED BY WESTGLOW RESORT & SPA AND ROWLAND’S RESTAURANT, MADE POSSIBLE THROUGH THE GENEROSITY OF BONNIE AND JAMIE SCHAEFER. PERFORMANCE SPONSORSHIP PROVIDED BY: SKYBEST COMMUNICATIONS, INC., BOONE AREA VISITORS BUREAU, MAST GENERAL STORE, GOODNIGHT BROTHERS

This evening’s performance has been supported by a generous gift from Mike and Wendy Brenner.



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32ND ROSEN SCULPTURE WALK Sculpture Walk with jurors Daniel T. Beck and Ian Henderson and Turchin Center founding director Hank Foreman



Jacob Burmood Draped Fabrication

Brian Glaze Connection

Richard Herzog It’s all about Electricity

Hanna Jubran Neutron Star

Beau Lyday Gothic Doorway

Susan Moffatt Succulent II

Shawn Morin Column A, Column B, Column You, Column Me

Jordan Parah Peaceful Passage

Adam Walls Life

Glenn Zweygardt Copper Top OM

Jonathan Bowling Trojan Exhaust

Andrew Light Anomie Exquisite

The Rosen Sculpture Competition and Exhibition is a national, juried competition presented annually by the Turchin Center for the Visual Arts on the campus of Appalachian State University. To celebrate the 32nd anniversary of this important program, join competition jurors Daniel T. Beck and Ian Henderson and Turchin Center founding director Hank Foreman on an educational outdoor tour of the ten selected pieces from this year’s competition. The tour concludes at the Schaefer Center with an awards reception. 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. ABOUT JURORS Daniel T. Beck is currently the iron studio coordinator at Penland School of Crafts in the mountains of western North Carolina. He earned a B.A. in studio art/art history from the University of Georgia where he focused on metalsmithing and medieval Christian architecture. Daniel has a diverse background/interest in materials, mostly working with steel as a base. He has exhibited primarily in North Carolina including the Cameron Art Museum (Wilmington, NC) and has several public works in Asheville and Spruce Pine. Ian Henderson is the metals studio coordinator at Penland School of Crafts. He received a BA in contemporary US history from Brown University in 2002 and spent a decade working in the building trades and traveling. In 2010 Ian was awarded the two-year Core Fellowship at Penland School of Crafts where he undertook a deep study of metalworking and ceramics. His work merges industrial materials, including steel and concrete, with his abiding interest in pattern, architecture, machines, and traditional metalwork.


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ARTISTIC DIRECTORS Lillian Barbeito and Tina Finkelman Berkett COMPANY MANAGER Dora Quintanilla ARTISTIC ASSOCIATE Guzmán Rosado PERFORMERS Tina Finkelman Berkett, Lorrin Brubaker, Joseph Davis, Haley Heckethorn, Natalie Leibert, Jessica Liu, Jamal White PRODUCTION MANAGER Burke Wilmore REPRESENTATION Margaret Selby President, Selby/Artists Mgmt 212- 382-3260 |

Program The New 45 CHOREOGRAPHY: Richard Siegal CHOREOGRAPHER’s ASSISTANT: Ayman Harper MUSIC: Clark Terry, Harry Belafonte, Ted Koehler/ Harold Arlen LIGHTING DESIGN: Mitchell Bogard COSTUMES: Richard Siegal and BODYTRAFFIC PERFORMERS: Tina Finkelman Berkett, Guzmán Rosado Company PREMIERE: The Broad Stage, Santa Monica, California, 2015 This work originally premiered in 2008 at The Athens International Dance Festival. Thank you to The Juilliard School Dance Division, Lawrence Rhodes and Risa Steinberg for helping make this work possible. - PAUSE -

BODYTRAFFIC is helping establish Los Angeles as a major center for contemporary dance. Founded in 2007 by Lillian Rose Barbeito and Tina Finkelman Berkett, BODYTRAFFIC has surged to the forefront of the concert dance world, recruiting great talent from around the globe to create world-class contemporary dance by distinctive choreographic voices. Named “the company of the future” by The Joyce Theater Foundation, Dance Magazine’s 25 to Watch, and “Best of Culture” by The Los Angeles Times, the company is internationally recognized for their high quality of work. The Los Angeles Times says BODYTRAFFIC is “one of the most talked-about companies – not just in LA, but nationwide.” Repertory includes works by MacArthur Fellow Kyle Abraham, Sidra Bell, Stijn Celis, Sarah Elgart, Alex Ketley, Anton Lachky, Loni Landon, Barak Marshall, Andrea Miller, Laura Gorenstein Miller, Ohad Naharin, Matthew Neenan, Joshua L. Peugh, Arthur Pita, Victor Quijada, Gustavo Ramírez Sansano, Zoe Scofield, Hofesh Shechter, Richard Siegal, and Guy Weizman & Roni Haver. BODYTRAFFIC has performed for soldout audiences at prestigious theaters and festivals around the world, including The Joyce Theater, Jacob’s Pillow Dance Festival, the Israeli Opera/Tel Aviv Performing Arts Center, New York City Center’s Fall for Dance Festival, Chutzpah! Festival in Vancouver, Laguna Dance Festival, The Broad Stage, Santa Monica, the Annenberg Center for the Performing Arts at UPenn, World Music/CRASHarts in Boston, the Winspear Opera House, and the American Dance Festival. In 2012, BODYTRAFFIC performed with the Los Angeles Philharmonic for its opening night gala conducted by Gustavo Dudamel. In 2014, the company collaborated with sculptor Gustavo Godoy for a site-specific piece at The Music Center. In 2016, BODYTRAFFIC made its Hollywood Bowl debut with the Los Angeles Philharmonic. For BODYTRAFFIC’s current 10th anniversary season the company has toured internationally to over 20 cities, including Moscow and St. Petersburg for the CONTEXT. Diana Vishneva Festival, and The Hague, Netherlands for The Holland Dance Festival.


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A Trick of the Light CHOREOGRAPHY: Joshua L. Peugh MUSIC: J. Dréjac/H. Giraud, P. Lee / D. Barbour, Bobby Troup, PF Webster/ L. Pollack, Marcos Valle, Nelson Riddle. LIGHTING DESIGN: Burke Wilmore COSTUME DESIGN: Leon Wiebers PERFORMERS: Tina Finkelman Berkett, Lorrin Brubaker, James Gregg, Natalie Leibert, Guzmán Rosado PREMIERE: Chutzpah! Festival, Vancouver, BC, 2015 Inspired by the rare “green flash” that occurs just before the sun disappears from view at sunset. - INTERMISSION Fragile Dwellings (excerpt) CHOREOGRAPHY: Stijn Celis MUSIC: Arvo Part - Da Pacem, Magnificat, and Nunc Dimittis; Boulez: Sur Incises; Messagesquisse; Anthèmes 2 performed by Hae-Sun Kang COSTUME DESIGN: Stijn Celis and BODYTRAFFIC SET and LIGHTING DESIGN: Erwin Redl PERFORMERS: Joseph Davis, Natalie Leibert, Jessica Liu, Jamal White PREMIERE: Luckman Fine Arts Complex, Los Angeles, California, 2011 I wanted to make a work based on a dialogue with silence and emptiness. Fragile Dwellings is dedicated to the homeless Los Angelinos. – Stijn Celis - PAUSE o2Joy CHOREOGRAPHY: Richard Siegal MUSIC: Clark Terry, Oscar Peterson, Jimmy McHugh/Dorothy Fields, Gerald Marks/Seymour Simons, Count Basie, Guy Wood/Robert Mellin. MUSIC EDITING: David Karaganis LIGHTING DESIGN: Burke Wilmore based on an original design by Kindred Gottlieb COSTUME DESIGN: Rita DiLorenzo and Richard Siegal PERFORMERS: Tina Finkelman Berkett, Joseph Davis, Natalie Leibert, Guzmán Rosado, Jamal White PREMIERE: The Joyce Theater, New York, New York, 2012 SERIES SPONSORSHIP PROVIDED BY WESTGLOW RESORT & SPA AND ROWLAND’S RESTAURANT, MADE POSSIBLE THROUGH THE GENEROSITY OF BONNIE AND JAMIE SCHAEFER.

This evening’s performance has been supported by a generous gift from Barbara and Larry Freiman.

In addition to performing, BODYTRAFFIC has an extensive outreach and education program that provides training opportunities for pre-professionals dancers, and customized dance experiences for underserved and underprivileged populations, of all ages and abilities, around the globe. In 2015, BODYTRAFFIC was selected by the Obama Administration to be cultural ambassadors of the United States via DanceMotion USA , a dynamic cultural diplomacy program that supports United States foreign policy goals by engaging international audiences through educational opportunities, cultural exchange, and performance. Produced by BAM (Brooklyn Academy of Music), DanceMotion USA is a program of the Bureau of Educational and Cultural Affairs of the US Department of State. BODYTRAFFIC has also served as cultural ambassadors of the United States in South Korea (2016) and twice in Algeria (2017, 2018). BODYTRAFFIC has received generous support from the New England Foundation for the Arts, Princess Grace Foundation, The Joyce Theater Foundation, The Sydney D. Holland Foundation, Mortimer & Mimi Levitt Foundation, The Jewish Community Foundation of Los Angeles, The Rosalinde and Arthur Gilbert Foundation, Mid Atlantic Arts Foundation, American Jewish University, and the dance department at Loyola Marymount University.

BIOGRAPHIES: Artistic Directors LILLIAN BARBEITO has a BFA from The Juilliard School where she studied on a 4 year, full-tuition scholarship awarded by Tomorrow’s Leaders of America for her essay on the world dancing together in harmony. Lillian had an extensive performance career that took her to Europe, New York, and then finally to Los Angeles, where she founded BODYTRAFFIC with Tina Berkett. She is passionate about mentoring dancers of all ages and abilities and has taught internationally for organizations such as CalArts, Idyllwild Arts Academy, L’Ecole de Danse de Quebec, Northwest Dance Project, San Francisco Conservatory of


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Dance, UCLA’s Department of World Arts and Cultures and Loyola Marymount University where is currently on faculty. Lillian is one of 28 teachers in the world who is certified in Anouk van Dijk’s groundbreaking Countertechnique. She’s honored and excited to be the first instructor to bring this valuable training system to The School at Jacob’s Pillow this summer. She has choreographed over 50 works for high schools, universities, competitions, and professional dance companies throughout the US and Canada. Lillian is deeply grateful to her family, especially Grant, Oliver, and Forest, for their love and support. TINA FINKELMAN BERKETT (Artistic Director / Performer) grew up in New York City. Under the tutelage of Michele Cuccaro Cain, she trained and learned to love dance. Tina attended Barnard College, Columbia University and graduated summa cum laude with degrees in math and economics. Upon graduation she joined Aszure Barton & Artists and performed with the company throughout the United States, including at Jacob’s Pillow and Spoleto festivals. Tina became Aszure Barton’s assistant and taught alongside Barton both in the US and abroad. She had the incredible honor of being a founding member of Mikhail Baryshnikov’s Hell’s Kitchen Dance, where she also served as the company’s dancer liaison. In 2007, she moved to Los Angeles and founded BODYTRAFFIC with Lillian Barbeito. Tina often says BODYTRAFFIC is the dream come true, that she never knew she had. She is so thankful for the past 10 years and feels so in debt to all who have played a part in this incredible journey. In particular, Tina must thank her family and her son Jack for being her greatest inspirations and supports.

Choreographers STIJN CELIS started his dance education at the Koninklijke Balletschool in Antwerp. He studied at the Graham school in Florence, danced with Royal Ballet of Flanders, Zurich Ballet, Contemporary Dance Zurich, and Le Ballet du Grand Theatre de Genève. In Genève, Mr. Celis started choreographing and was invited to choreograph for the opening performance of the Holland

Festival. He later danced and choreographed for the Cullberg Ballet in Stockholm. In 1998, Mr. Celis stopped performing and moved back to Antwerp to study stage design at the Hogeschool voor Dramatische Kunsten and later worked at the Het Zuidelijk Toneel. He resumed choreographing creating ballets for Ballet Gulbenkian, Les Grands ballets Canadiens, Ballet Nurnberg, Bern Ballet, Cedar Lake, IT danca, Ballet Mainz, Diversions, Icelandic Dance Company, Sujet a Vif, Nederlands Dans Theater II, and Ballet Wiesbaden. He collaborated in opera productions at La Monnaie, Nederlandse Reisopera, and Les Rencontres d’Opera Baroque. From 2004 until 2007 Mr. Celis was the artistic director of the Ballett des Stadttheater in Bern. Recently, Mr. Celis choreographed Henze’s Ondine for Aalto ballet in Essen and has been a short-term scholar at the Juilliard School. His future commissions include Gothenburg Ballet, Ballet of the Semperoper Dresden, Introdans Holland and Jacob’s Pillow. Mr. Celis currently resides in Montreux, Switzerland. JOSHUA L. PEUGH is the Founder and Artistic Director of Dark Circles Contemporary Dance and an Adjunct Lecturer of Dance at Southern Methodist University. In 2006, Joshua moved to South Korea to join Universal Ballet Company where he performed soloist and featured roles in the works of Ohad Naharin, Christopher Wheeldon and others. After two-and-a-half years with the company, Joshua left UBC and co-founded his own company, Dark Circles Contemporary Dance, in Seoul. Since then, he has created work for festivals all over Asia and North America winning awards for his choreography in Korea, Japan, and Canada. Joshua has been commissioned to create new dance works for BODYTRAFFIC, BalletX, Company E, Dallas Black Dance Theatre II, Southern Methodist University, and Booker T. Washington HSPVA. He has been chosen as one of Dance Magazine’s “25 to Watch” for 2015, and was recently named an “important discovery” by The New York Times dance critic Alastair Macaulay for Slump. He has also served as a juror for the Asian Film Festival of Dallas, as Associate Choreographer for Bruce Wood Dance Project, and as a member of the adjudication panel for

the Cecchetti International Classical Ballet Competition. RICHARD SIEGAL is the founder and artistic director of The Bakery Paris – Berlin (2005). Recognized by a New York Dance and Performance Bessie Award, The German National Theater Faust Award, S.A.C.D. Prize, a Beaumarchais, and The Mouson Award, Richard Siegal has generated international attention for a body of work that includes performances, new media projects, workshops and publications. Richard Siegal has been Artist/Choreographer-inResidence at ZKM/Karlsruhe, Bennington College and The Baryshnikov Arts Center. As a faculty member of the American Dance Festival, he curated the annual Forsythe Festival. Siegal is a MacDowell fellow and honorary member of The Bolshoi Ballet’s Benoit de la Danse.

Performers LORRIN BRUBAKER began dancing at age 10 in his hometown of Apopka, Florida. He trained with Duvall Dance academy and furthered his education with the dance magnet program at Dr. Phillips High School. Lorrin has participated in various intensives and programs such as Bates Dance Festival, Summer Stages, Lines Ballet, BODYTRAFFIC, Springboard Danse Montreal, and Axis Connect. Lorrin has had the honor of performing works by Jose Limon, Lar Lubovitch, Jerome Robbins, Mark Morris, Aszure Barton, and Peter Chu. He has also had the honor of presenting new creations by LeeWei Chao, Camille A. Brown, Brian Brooks, Ginette Laurin, Zvi Gotheiner, Matthew Neenan, and Peter Chu. Lorrin graduated with a Bachelors’ in Fine Arts from The Juilliard School in 2017. Lorrin joined BODYTRAFFIC in 2017. JOSEPH DAVIS was born and raised in the beautiful hills of upstate New York, and can be easily identified from a distance by his cacophonous laughter. He began his studies at The Draper Center for Dance Education in Rochester, New York and continued his training at The Juilliard School on tuition scholarship from New York City Dance Alliance, where he received his BFA under the direction of Lawrence Rhodes. Joseph has had the opportunity to


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perform works of Jiri Kylian, Crystal Pite, Sol Leon and Paul Lightfoot, Kyle Abraham, Shannon Gillen, Twyla Tharp, Martha Graham, Jose Limon, Camille A. Brown, Joeri Dubbe and Sylvain Emard. He has also performed alongside Brian Brooks Moving Company at New York City Center’s Fall for Dance festival, and in Kate Weare’s residency at BAM Fisher Hall. Joe joined BODYTRAFFIC in 2016. HALEY HECKETHORN was born and raised in Las Vegas, Nevada where she graduated from Las Vegas Academy as a dance major. In 2013 she moved to Vancouver Canada to join the Arts Umbrella Dance Diploma program under the direction of Artemis Gordon. During the two-year program, she participated in the Young Choreographers program mentored by Crystal Pite, allowing her to create two original works on the Arts Umbrella Dance Company. In 2015 she was awarded the Emerging Artist scholarship by the RBC Canada Council. She joined Crystal Pite’s Kidd Pivot as an apprentice and has performed with Peter Chu’s Chuthis. Haley teaches and choreographs for schools on the west coast as well as teaching yoga. She is thrilled and honored to be joining BODYTRAFFIC and continuing her artistic journey in Los Angeles. Haley joined BODYTRAFFIC in 2018. NATALIE LEIBERT began training at various dance schools in the Los Angeles area including company work with Westside Dance Project in Redondo Beach, and Pacific Festival Ballet in Agoura Hills. She continued training at the Miami City Ballet School and Alonzo King LINES Ballet Training Program. Leibert has attended workshops and programs at the San Francisco Conservatory of Dance, the Joffrey Ballet School, the School of American Ballet, Pacific Northwest Ballet and the Juilliard School, in addition to Nederlands Dans Theater and Batsheva Dance Company. Natalie joined Hubbard Street 2 as an apprentice in August 2014 and was promoted to full company member in August 2015 through 2016. She joined BODYTRAFFIC in 2016. JESSICA LIU holds a BFA in Ballet as well as a BS in Exercise Physiology from the University of Utah. She received additional training from Alonzo King LINES Ballet, the San Francisco

Conservatory of Dance, and the Washington Ballet. Past projects include LED, SALT Contemporary Dance, and Oakland Ballet Company, performing the work of Lauren Edson, Gabrielle Lamb, Brendan Duggan, and Garrett Smith, among others. Jessica has presented choreography at Mudson, a Salt Lake City-based works-in-progress series, and choreographed for Municipal Ballet, Boise Dance Co-Op, and summer intensives for the University of Utah’s Ballet Department, Ballet West, and Boise State University. Additionally, she served as the assistant director of SALT II, the second company of SALT Contemporary Dance. Jessica joined BODYTRAFFIC in 2017. JAMAL WHITE was raised in Atlanta, GA and began his training at Dance Makers of Atlanta under the direction of Denise and Lynise Heard. He studied as a scholarship student at Virginia School of the Arts and trained in intensive programs at Kirov Academy of Ballet, Nashville Ballet, Martha Graham School of Contemporary Dance, Dance Theatre of Harlem, and London Contemporary Dance School. In 2011, Mr. White received a B.F.A. in Dance Performance from Southern Methodist University, where he performed works by Arthur Mitchell, George Balanchine, Pascal Rioult, Alvin Ailey, Robert Battle, and Martha Graham. He has also performed in Rasta Thomas’ Rock the Ballet, Missouri Ballet Theater, Lar Lubovitch Dance Company, Alvin Ailey II, and Collage Dance Collective. Jamal joined BODYTRAFFIC in 2017. Production Team DORA QUINTANILLA (Company Manager) is originally from Monterrey, México. Her studies and career as a dancer informed her understanding on how to handle the production and managing of dance companies. She has collaborated as a performer, stage manager, production/tour manager and assistant to Artistic Directors with different national and international artists in multidisciplinary projects. She served as Artist & Event Services Manager at Jacob’s Pillow Dance Festival for five years, focusing on arranging all artistic and administrative logistics, and the many other facets of this 10-week

Internationally renowned dance festival. She is happy to have joined the BODYTRAFFIC family in 2013. Guzmán ROSADO (Artistic Associate) started dancing at the International School of Dance of Carmen Roche Scaena in Madrid on a scholarship sponsored by the Ministerio de Cultura de Madrid. Guzmán danced with Ballet Joven de Carmen Roche until 1999, when he was offered a scholarship to attend the School of American Ballet (SAB). After his time at SAB, Edward Villella invited him to dance with Miami City Ballet. From 2002 to 2007, Guzmán danced with Companhia Portuguesa de Bailado Contemporaneo. In 2007, with André Mesquita and Teresa Alves da Silva, Guzmán co-founded a cultural platform, Tok’Art. He has performed extensively as a guest artist throughout Europe. He teaches ballet, yoga, and movement workshops. Guzmán is currently BODYTRAFFIC’s resident filmmaker and has won awards for his film work. Guzman joined BODYTRAFFIC in 2012. BURKE WILMORE (Production Manager & Lighting Designer) is a member of United Scenic Artists Local 829 and an honors graduate of Wesleyan University. He has designed or adapted seven works for BODYTRAFFIC and has also lit the work of Camille A. Brown (Black Girl: Linguistic Play, Mr. Tol E. Rance, City of Rain). He was the resident designer for Battleworks (2001–2010) and to date has lit five of Robert Battle’s works for Alvin Ailey American Dance Theater. For American Repertory Ballet, he lit Midsummer Night’s Dream and Romeo and Juliet. He frequently collaborates with Broadway star André de Shields, for whom he lit the Louis Armstrong musical Ambassador Satch, and designed scenery and lighting for de Shields’ production of Ain’t Misbehavin’. Mr. Wilmore designed scenery and lighting for Apollo Club Harlem, and Ellington at Christmas, both at the Apollo Theater. Burke has worked with BODYTRAFFIC since 2012.


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Piano Concerto No. 2 in c minor, Op. 18 Moderato Allison Bishop, piano Rodney Reynerson, piano

Sergei Rachmaninoff

Concertino da Camera pour Saxophone Alto Allegro con motto Larghetto; Animato molto Jacob Warren, saxophone Mengfei Xu, piano

Jacques Ibert

“Par le rang et par l’opulence... Salut à la France!” from Le fille du régiment “Alleluia: j’avais douté de votre amour” “Una donna a quindici anni” from Così fan tutte “L’Invito” Susannah Stewart, soprano Susan Slingland, piano

Gaetano Donizetti


Cécile Chaminade W. A. Mozart Gioachino Rossini

Concerto for Flute and Orchestra (1926) Allegro moderato Allegretto, un poco Hyunsu Yoon, flute Mengfei Xu, piano

Carl Nielsen

Cello Concerto in b minor, Op. 104 Finale Brianna Tam, cello Mengfei Xu, piano

Antonín Dvořák


The festival, in partnership with the Hayes School of Music, proudly presents the eighth season of the highly acclaimed Rosen-Schaffel Competition for Young & Emerging Artists. During the spring of 2018, contestants submitted recordings of their work and a panel of jurors selected nine finalists to compete in a public performance. During the final round on July 29, judges will designate three top prizewinners and the audience will select an audience choice award winner. In addition to a cash prize, the first-prize winner will receive the opportunity to perform a complete concerto or comparable work with conductor Gerard Schwarz and the Eastern Festival Orchestra during the 2019 season of An Appalachian Summer Festival. Eva Wetzel, first place prize winner of the 2017 Rosen-Schaffel Competition, will perform with the Eastern Festival Orchestra on Sunday, July 15 at the Schaefer Center for the Performing Arts.

Emily Arbour, soprano Appalachian State University Emily Arbour is a soprano from Apex, North Carolina. Ms. Arbour is a recent graduate of Appalachian State University, where she earned a bachelor’s degree in vocal performance. She has performed the roles of Isabelle/Madeline in Mollicone’s The Face On the Barroom Floor and the First Lady in Mozart’s Die Zauberflöte with the Appalachian Opera Theatre, and has also appeared in scenes from A Little Night Music, Carmen, and Cosi fan tutte. While at ASU, she had the opportunity to perform Schubert’s Der Hirt auf dem Felsen with the Hayes School of Music Woodwind Chamber Ensemble, and to collaborate with the school’s early music group, Collegium Musicum. Ms. Arbour is very excited to return to ASU in the Fall of 2018 as she pursues a master’s degree in vocal performance.


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Concerto for Harp in B-flat major Andante allegro Larghetto Allegro moderato Morgan Short, harp Peter Smith, piano

G. F. Handel

“Deh vieni, non tardar” from Le Nozze di Figaro “Heart, We Will Forget Him” from Twelve Poems of Emily Dickinson “Piangero la sorte mia” from Giulio Cesare “Il pleure dans mon cœur” from Ariettes oubliées “Kommt ein Schlanker bursch gegangen” from Der Freischütz Emily Arbour, soprano Susan Slingland, piano

W. A. Mozart Aaron Copland G. F. Handel Claude Debussy Carl Maria von Weber

Elégie et Rondeau

Karel Husa David Walker, saxophone

Violin Concerto No. 1 Andantino Scherzo – vivacissimo Moderato – allegro moderato Delphine Skene, violin Nancy Johnston, piano

Sergei Prokofiev

The competition program is dedicated to the memory of Mrs. Muriel Rosen, who with her husband Arnold, served as a founding patron of An Appalachian Summer Festival. The festival extends its deepest appreciation to the Rosens’ daughter, Nancy Schaffel, and her husband, Neil Schaffel, whose vision and generosity have made possible this annual competition. The 2018 Rosen-Schaffel Competition for Young and Emerging Artists has also received generous support from the Bruce J. Heim Foundation, and from Mark and Nancy Tafeen. These gifts have enabled the program to increase the amount of its cash awards to the competition’s winners. 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. Please join us for a reception in the lobby of the Schaefer Center during the competition program.

Competition Founders and Patrons, Nancy and Neil Schaffel

Allison Bishop, piano Appalachian State University Pianist Allison Bishop received a bachelor’s degree in piano performance from the University of North Carolina at Greensboro, where she studied with Dr. Joseph DiPiazza, Dr. Andrew Willis, and Dr. Inara Zandmane. Born in Raleigh, NC, Ms. Bishop began her piano studies at age 7 and from ages 13-18 studied at the Raleigh Music Conservatory with Ms. Anne Scoggin and Marilyn Brown, where prizes were won in the MTNA competition. After graduating, Ms. Bishop moved to Asheville to teach piano full-time as well as pursue other musical performance opportunities. A graduate student in piano performance at Appalachian State University and studying with both Dr. Bair Shagdaron and Dr. Rodney Reynerson, Allison made it to the final round in the school’s Concerto-Aria competition during the fall semester. Ms. Bishop continues to perform and collaborate in addition to teaching. She currently plays mandolin in the Appalachian Irish Ensemble and is a member of the Visby Quartet, which plans to tour Western North Carolina this spring. Morgan Short, harp University of North Carolina School of the Arts Morgan Short is a rising star in the harp community. As a top prize winner, she has been awarded nine concerto appearances since 2015; performing the Debussy Dances with the U.S. Navy, Mozart’s Flute and Harp Concerto with members of the Philadelphia Orchestra, and Handel’s Concerto in B flat Major with the North Carolina Symphony (2019), Delta Symphony, Fayetteville Symphony, Liberty U. Symphony, and the Roanoke Youth Symphony. Additionally, as Guest Artist for the 25th Anniversary of the Shenandoah Valley Bach Festival, Ms. Short performed Ravel’s Introduction and Allegro and Mozart’s Flute and Harp Concerto in 2017. Notable performance


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venues include Carnegie Hall as Principal Harpist with Virginia Tech’s Symphonic Wind Ensemble at age 15, and Galeri Caernarfon, (Wales, UK) as well as the Mora Ferenc Museum (Szeged, Hungary) for international harp competitions, where she participated in a harp documentary which aired on Hungarian Duna TV. Additional honors include: 2018 Fayetteville Symphony/ Harlan Duenow Young Artist Award, 2018 North Carolina Symphony/ Kathleen Price & Joseph Bryan Young Artist Award, 2018 Euterpe Greensboro (NFMC) Grand Prize Award, 2018 Seamans Art Fund Grant, 2018 Alexandria Symphony/Mary Graham Lasley Concerto Competition Awarded Second Prize, 2017 Classics Alive Concert Artist Management SemiFinalist, 2015 Ambassador Middendorf Award, 2015 Hilton Head Symphony Finalist Award. Additionally, in 2012 Morgan was awarded Third Prize in the Young Artist’s Harp Seminar International Competition; and in the same year took Second Prize at the American Harp Society, Mid-Atlantic Competition. In 2010, after winning her first orchestral competition (age 12) at YAHS, she was a featured performer at the final Gala Concert. Morgan is currently pursuing a Bachelor of Music in harp performance at the UNC School of the Arts, where she studies with Jacquelyn Bartlett and is a Tom Kenan Merit Scholar and Sheila Ewing Scholar. You can follow her on Facebook and subscribe to her YouTube channel with over 40 videos. Delphine Skene, violin University of North Carolina School of the Arts Born in Canada, Delphine Skene first encountered the violin at the age of 10, beginning her formal studies at 14. She has participated in masterclasses at the Music Mundi Chamber Music Festival in Belgium, Schleswig-Holstein Festival in Germany, and the Academie du Domaine Forget in Canada, among others. Recently, Delphine was awarded first prize at the 2016 Euterpe

Scholarship Competition in Greensboro, NC, the 2017 NC-ASTA competition and the 2018 MANC Strings competition. Delphine is completing her bachelor’s degree at the University of North Carolina School of the Arts, under the tutelage of Ida Bieler and Janet Orenstein. Her violin and bow are generously on loan from Canimex Inc., of Drummondville, Canada. Susannah Stewart, soprano University of North Carolina at Chapel Hill Susannah Stewart, soprano, is a junior at the University of North Carolina at Chapel Hill. She has recently participated in Carolina Performing Arts masterclasses with opera singers Lawrence Brownlee and Sherrill Milnes, as well as in music department masterclasses with pianist Peter Takács and harpist Alice Giles. Susannah studied abroad in the fall of 2017 in Florence, Italy, and was able to travel to London to coach with Simon Lepper who teaches at the Royal College of Music. Last summer, she participated in Le Chiavi di Bel Canto at The University of Houston with leading opera artists Ruth Ann Swenson, Nova Thomas (Westminster Choir College), Ted Taylor (Yale), Richard Bado (Rice University, Houston Grand Opera), and Melanie Sonnenberg (University of Houston). This summer, she will attend the SongFest program in Los Angeles, specializing in American art song with composers Libby Larsen and William Bolcom. Additionally, Susannah has performed locally with the Chamber Orchestra of the Triangle as a soloist in Edvard Grieg’s Peer Gynt Suite and in Schubert’s Rosamunde, and internationally, singing the role of Zerlina in Mozart’s Don Giovanni in the International Young Artists Project in Italy in the summer of 2016. She has won numerous state, and regional awards, most recently winning first place in the NATS Mid-Atlantic region in the category of Third-Year College Classical Women. She was a 2017 semifinalist in the national level of the

NATS competition, competing as one of thirteen junior classical women in her category at the University of Colorado at Boulder. Last spring, she sang the role of Dido in UNC Opera’s production of Purcell’s Dido and Aeneas. Susannah is a student of Dr. Jeanne Fischer. Brianna Tam, cello University of North Carolina at Greensboro Cellist Brianna Tam is currently a student at the University of North Carolina at Greensboro as a part of Dr. Alexander Ezerman’s studio and is pursuing her Bachelor of Music in cello performance. She was formerly a student at Oberlin College and Conservatory. While there, she served as part of Oberlin’s Contemporary Music Ensemble, Oberlin’s Opera Orchestra, and Oberlin Orchestra. At Oberlin, she has had the privilege of working with accomplished musicians such as Timothy Weiss, Peter Takacs, and Michael Strauss. As a soloist, she has performed works such as Dvorak’s Cello Concerto and SaintSaens’ Cello Concerto with orchestra. Brianna is also an avid chamber musician, having been a part of Asya’s Chamber Music Institute during high school. Through the program, she received coaching from notable ensembles such as the Ying Quartet and the American Quartet. During her time in Greensboro, she’s performed in masterclasses for the Juilliard Quartet and the Beo Quartet, and had the privilege of collaborating with Lynn Harrell on Schubert’s String Quintet. As an orchestral musician, Brianna currently serves as assistant principal of Fayetteville Symphony Orchestra and was formerly a member of the New York Youth Symphony. In 2015, she was a winner of the American Chamber Orchestra Concerto Competition and, more recently, she was the Second Prize winner of the Music Academy of North Carolina’s 18th Annual String Competition in the Collegiate/Graduate division.


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Brianna and her fiancé currently live in Greensboro, NC with their cat, Gnocchi, and their three chickens. David Walker, saxophone University of North Carolina at Wilmington David Walker is a senior at the University of North Carolina at Wilmington pursuing a Bachelor of Music in music education. In his time at UNCW, David has performed in five Honors Recitals, performed with the UNCW Wind Symphony, UNCW Big Band, Wilmington Symphonic Winds, and Wilmington Symphony Orchestra. In the fall of 2017, he was the winner of the 41st annual Richard R. Deas Collegiate Concerto Competition. David lives in Leland, NC and has held instructor positions over past summers at North Brunswick, South Brunswick, and West Brunswick high schools. He will be student teaching in the fall of 2018. Jacob Warren, saxophone University of North Carolina at Greensboro Jacob Warren is from Emerald Isle, North Carolina. He is a junior, double majoring in saxophone performance and arts administration, and a Minerva scholar at the University of North Carolina at Greensboro. He has been named the first-place winner of the National Federation of Music Clubs State and National competitions, as well as the Euterpe Music Club Scholarship competition. Recently, Jacob has won first place in the North Carolina Music Teachers National Association solo competition in the woodwinds division, as well as the UNCG concerto competition. Additionally, Jacob works for the Eastern Music Festival as Media Content Developer. His primary teacher is Dr. Steven Stusek.

Hyunsu Yoon, flute University of North Carolina School of the Arts Hyunsu Yoon is a flutist currently pursuing a postgraduate Professional Artist Certificate at the University of North Carolina School of the Arts where he plays with the university orchestra and the Chrysalis Chamber Music Institute Ensemble. Hyunsu was a finalist in number of competitions including the Rafa Artist Competition, Raleigh Symphony Orchestra competition and SEMFA Young Artist Competition. Hyunsu is currently working with Dr. Tadeu Coelho at UNCSA. His previous teachers are Amy Porter, Dr. Erika Boysen and Hiroshi Matsushima. Hyunsu has attended many masterclasses from world-renowned flautists such as William Bennett, Lady Galway, Kate Hill, Renate Greiss-Armin, Yossi Arnheim, Conor Nelson, Julien Beaudiment, Lee Jiyoung, and Jeffrey Khaner. He has a master’s degree in flute performance from the University of North Carolina at Greensboro and a bachelor’s degree from the University of Michigan.

FINALIST JUDGES Biographical information for Gerard Schwarz appears on page 57. Robert Moody begins his tenure as Music Director of the Memphis Symphony with the 2017-18 season. He has been Music Director of the Winston-Salem Symphony (North Carolina) since 2005, Artistic Director of Arizona Musicfest since 2007, and Music Director of the Portland Symphony Orchestra (Maine) since 2008. Upcoming engagements debuts at Opera Carolina conducting Le nozze di Figaro and Des Moines Metro Opera conducting Die Fledermaus. Recent guest conducting appearances include the Chicago Symphony at

Ravinia and the Los Angeles Philharmonic at the Hollywood Bowl, in addition to the symphonies of Toronto, Houston, Indianapolis, Detroit, Seattle, Fort Worth, San Antonio, Buffalo, Louisville, Columbus, Oklahoma City, and, in Europe, the Slovenian Philharmonic and the Vienna Chamber Orchestra. Summer festival appearances include Santa Fe Opera, Spoleto Festival USA, Eastern Music Festival, PortOpera, and the Oregon Bach Festival. Equally at home in the opera pit, Moody began his career as apprentice conductor for the Landestheater Opera in Linz, Austria. He has gone on to conduct at the opera companies of Santa Fe, Rochester, Hilton Head Opera, and North Carolina Opera. He also assisted on a production of Verdi’s Otello at the Metropolitan Opera, conducted by Valery Gergiev, and at The English National Opera, where he was Assistant Conductor for Weill’s Street Scene. He made his Washington National Opera and North Carolina Opera debuts in 2014, and he conducted Bartók’s Bluebeard’s Castle, Leoncavallo’s I Pagliacci, and Poulenc’s Dialogues of the Carmelites during 2016-2017. Moody served as Associate, then Resident Conductor, of The Phoenix Symphony (AZ) from 1998 through 2006. There he conducted a wide variety of concerts, including Classics, Chamber, Pops, Family, Handel’s Messiah, and the New Year’s Eve gala. His ability to speak with ease from the podium helped new converts to classical music and enthusiasts alike to gain a greater appreciation for orchestral music. Audiences at his concerts grew considerably during his time in Phoenix. Moody also founded The Phoenix Symphony Chorus, and for seven years was Music Director of the Phoenix Symphony Youth Orchestra. Prior to Phoenix, Moody served as Associate Conductor for the Evansville (IN) Philharmonic Orchestra, and Music Director (and founder) of the Evansville Philharmonic Youth Orchestra. Moody conducted the first professional performance of a work by the brilliant young composer Mason Bates, now Composer-in-Residence with

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the Kennedy Center for the Performing Arts, and was instrumental in the commissioning and premiere performances of several of Bates’ important major works for orchestra. Moody’s work can be heard on several commercially released compact disc recordings. He collaborated with the Canadian Brass for their Bach and Legends CDs; he is also the conductor for the CD Fourth World, highlighting the music of Native American recording artist R. Carlos Nakai (available on the Canyon Record label); and in 2010, the Winston-Salem Symphony released their performance (live from 2009) of Beethoven’s Symphony No. 9. A DVD of Beethoven Symphony No. 9 with Arizona Musicfest was released in 2012. Recently, he was honored to conduct on the “Cancer Blows” concert with Ryan Anthony, members of the Dallas Symphony, and a host of trumpet luminaries, to aid the fight against multiple myeloma. CD and DVD recordings of that live concert, held in Dallas, TX in March 2015, are now available for purchase. Described as a “genuine talent” (Atlanta Journal-Constitution) and having a “splendid sense of musicality” (Knoxville Mercury), Portuguese-American Jacomo Bairos is consistently sought after for his energetic leadership and dynamic artistry. Annually in demand by some of America’s finest orchestras, Bairos has earned a reputation for versatility, superb musicianship, and “creativity ingenuity” (Miami Herald). Bairos is the Amarillo Symphony’s 17th Music Directorand also Co-Founder and Co-Artistic Director for Miami-based Nu Deco Ensemble; a virtuosic and eclectic chamber orchestra designed for the 21st century. Through critically acclaimed imaginative performances and a profound dedication to young musicians and living composers, Bairos has fostered immense artistic growth, positive community impact, and a collaborative spirit for the presentation of compelling art at the highest levels. In 2017/18, Bairos will debut with the Rhode Island Philharmonic and the Asheville Symphony in addition to continuing his strong relationship with the National Symphony Orchestra - directing their critically acclaimed DeClassified Series, the In Your Neighborhood Initiative, and multiple Pops programs. In 2016/17, Bairos performed and commissioned nine world-premieres, debuted with the Detroit Symphony Orchestra, and built on his relationships with the Atlanta, Sarasota, and Grand Rapids Symphony Orchestras. In 2015/16, Bairos made debuts with the Houston, Knoxville and Oaxaca (Mexico) Symphony Orchestras and returned to the St. Louis Symphony, the San Diego Symphony, and the Florida Orchestra. Previous subscription engagements include appearances with the Malaysian Philharmonic Orchestra, Orquesta Sinfónica Provincial de Santa Fe (Argentina), Orquesta Sinfónica de la Universidad de Guanajuato (Mexico), and the Singapore, Alabama, Liepzig, and Charleston Symphony Orchestras for which he conducted on every series. Additionally, he has appeared with the Los Angeles Chamber Orchestra, Orquesta Sinfónica do Porto Casa da Música (Portugal), the Louisiana

Philharmonic, and the Jacksonville, North Carolina, and Charlotte Symphony Orchestras. In 2013, Bairos was appointed as the Amarillo Symphony’s 17th Music Director where his modern and engaging approach to programming has brought about the creation of SymphonyKids, Happy-Holiday Pops Series, and captivating outreach initiatives such as Class Act. Bairos has not only presided over tremendous fiscal and artistic growth for the Amarillo Symphony, but has also achieved consistent sold-out performances for the first time in decades. Bairos and the Amarillo Symphony also established the first-ever Composerin-Residence with American Chris Rogerson. Prior to that, Bairos was Associate Conductor for the Charlotte Symphony from 2010-2013 and programmed and conducted a broad spectrum of performances on all series to include the innovative KnightSoundsconcerts. Bairos is also Co-Founder and Co-Artistic Director along with composer Sam Hyken, for Nu Deco Ensemble - Miami’s critically acclaimed, genre-bending chamber orchestra. Nu Deco Ensemble presents compelling and transformative, live musical experiences that inspire, enrich, and connect new and diverse audiences and artists. Bairos and Hyken curate adventurous and exciting classically based collaborative performances that are not only socially conscious but ignite the passions of new and seasoned music lovers of all ages. Nu Deco Ensemble has commissioned/world-premiered over 60 pieces since its 2015 inception and has created a unique model for sustainability and relevance in today’s world. Fusing an enthusiasm for new music with classical, popular, electronic and multi-discipline performances, Nu Deco Ensemble aims to represent Miami’s cultural renaissance on the world stage. The wide range of Bairos’s artist collaborators include famed pianists Jeremy Denk, Garrick Ohlsson, and Anne-Marie McDermott, as well as internationally acclaimed guitarist, Pablo Saint Villegas. Bairos closely collaborates with some of today’s most groundbreaking artists such as Academy Award-winning guitarist-composer Bryce Dessner, guitaristcomposer Seu Jorge, singer-songwriter-violinist Kishi Bashi, neo-funk soul-singer Bilal, pianist Aaron Diehl, and the classical crossover group Project Trio. Since 2014, Bairos also continues to work closely with multi-platinum singer-songwriter, Ben Folds. With education and outreach as core tenants of his work, Bairos passionately presents insightful and engaging musical performances to schools and children across the United States and abroad. Bairos has crafted interactive programs and concerts for orchestras such as Amarillo’s Class Act and SymphonyKids, Nu Deco Ensemble’s Imagine Series, and Carnegie Hall’s Link-Up Program which annually enrich the lives of tens of thousands of children. Bairos’s musical mentors included esteemed teacher of conductors Gustav Meier, as well as Robert Spano, Jorma Panula, and Kurt Masur. After participating in the 2012 Kurt Masur Conductors Seminar in New York City – where he shared the podium with Maestro Masur in concert – Bairos



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was awarded the prestigious Felix Mendelssohn-Bartholdy Scholarship by the US Mendelssohn Foundation and Kurt Masur. Bairos subsequently traveled to Germany to conduct concerts with the Leipzig Symphony Orchestra, assist at the Gewandhaus Orchestra, and further his studies and mentorship with Maestro Masur. Jacomo is a graduate of the famed conducting programs of both the Peabody Institute and Aspen Music Festival. A graduate of The Juilliard School, Bairos is an accomplished and award-winning tubist, having given master classes and concerts with major festivals and orchestras around the world. Bairos has performed, toured, and recorded with the New York Philharmonic as well as with the symphony orchestras of Chicago, Cincinnati, and Seattle. He has held principal positions with orchestras in America and Spain, and from 2004-2007 Bairos was principal Tuba for the Singapore Symphony Orchestra. Hailed as a conductor who leads with “passionate intensity” and recognized as “one to watch,” Roger Kalia is one of America’s most exciting young conductors. A recipient of a 2013 and 2017 Solti Foundation U.S. Career Assistance Award, Kalia is currently the Assistant Conductor of Pacific Symphony and the Music Director of Pacific Symphony Youth Orchestra. He began his tenure in 2015, and was recently awarded a two-year contract extension, becoming only the second assistant conductor in Pacific Symphony’s history to receive this honor. Kalia also serves as Co-Founder and Music Director of the Lake George Music Festival in upstate New York, the premier musical arts festival in the region. Previously, he served for two seasons as Assistant Conductor of the Charlotte Symphony, where he conducted the orchestra in a variety of performances and invigorated the orchestra’s engagement with the community. Kalia has also held Music Director positions with both the Young Musicians Foundation (YMF) Debut Orchestra and Columbus (IN) Symphony Orchestra, the oldest orchestra in the state and only its fourth music director. In June 2016, Kalia led the Pacific Symphony Youth Orchestra on a highly successful tour of China, which marked the orchestra’s second international tour and its first to Asia. The orchestra performed sold-out concerts in Beijing’s Forbidden City Concert Hall and Shanghai’s Oriental Arts Centre as well as a cultural exchange concert with the Shanghai Nanyang Model School Orchestra, which was broadcasted worldwide on International Channel Shanghai (ICS). In addition to his current positions, Kalia is in consistent demand as a guest conductor. In the 2017-2018 season, he makes his European subscription debut with the Szczecin Philharmonic in Poland, and he will conduct the Bakersfield Symphony on their annual Gala concert. Further recent and upcoming engagements include the National Symphony at the Kennedy Center, Chicago Sinfonietta at Symphony Hall, Long Beach Symphony, Great Falls Symphony, Owensboro Symphony, Boise Philharmonic, and Adrian Symphony, among others. He has collaborated with such artists as Glenn

Dicterow, David Kim, Nikki and Timothy Chooi, Randy Newman, the B-52s, Jack Black, Dan Dunn, Fei-Fei Dong, and Misha Dichter, and has served as cover conductor for the Los Angeles Philharmonic, St. Louis Symphony, San Diego Symphony, Kansas City Symphony and Indianapolis Symphony. Kalia has worked in various capacities with the New York Philharmonic, Pittsburgh Symphony, Seattle Symphony, Utah Symphony, Fort Worth Symphony, Danish National Symphony, and Royal Scottish National Orchestra, among others. Kalia conducted the Memphis Symphony in 2011 after winning Second Prize in their International Conducting Competition, which led to his debut the following season and launched his professional career. Described as the region’s 21st century “cultural renaissance” by Art in the Adirondacks and as a festival that “has a limitless horizon” by the Glens Falls Chronicle, Kalia serves as CoFounder and Music Director of the Lake George Music Festival, whose distinguished musicians come from many of North America’s finest orchestras and conservatories. This past summer, Kalia’s concert with the Festival Orchestra in Beethoven’s Seventh Symphony was hailed as the “concert of the summer” by the Glens Falls Chronicle. The review goes on to say, “the entire orchestra, under Roger Kalia, were all fantastic, clearly caught up in the moment and launching it and us into a musical bliss…It’s hard to imagine any orchestra anywhere playing Beethoven’s Seventh Symphony better than they played it that night.” Through its unique and innovative artistic collaborations and outreach, the festival was recently voted the Best Annual Event by the City of Lake George and featured in Time Out New York Magazine and Saratoga Living. In the summer of 2016, Kalia created a new and innovative concert series called Sounds of Our Time, which highlights the connections between the popular music of our time and orchestral music. Over the past two seasons the concert series has focused on electronic music, specifically electronic dance music (EDM), by having the Festival Orchestra collaborate with Billboard artists like MAKO and Balún in concerts that combine electronica with symphonic music, one of the first collaborations of its kind. These collaborations have gained national publicity by being featured in the League of American Orchestras The Hub, Broadway World, EDMjoy, the Albany Times Union, and Saratoga Living. The Festival Orchestra has been featured on a variety of radio programs including American Public Media’s Performance Today with Fred Child and WQXR-NY. A strong advocate of music education and audience development, Kalia has helped to develop an annual Family Concert Series and Late Night Concert series that have resulted in numerous grants from a variety of organizations including the National Endowment of the Arts (NEA) and the New York State Council on the Arts.


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Nick and Helen Forster

Josh Ritter

Mandolin Orange

Live eTown Radio Show Taping Presented in partnership with the Appalachian Energy Summit and WNCW MONDAY, JULY 30 8 PM, SCHAEFER CENTER FOR THE PERFORMING ARTS

This special event showcases eTown, an exciting radio broadcast/podcast heard weekly across the country and worldwide, hosted by radio personalities Helen and Nick Forster (Nick is also known as founding member of the celebrated bluegrass band, Hot Rize). This special live radio show taping will feature a memorable evening of great music along with on-stage interviews with the artists and the presentation of the eChievement Award to an outstanding volunteer who’s made a real difference in their community and beyond. Special musical guests for this eTown live radio show are Josh Ritter and Mandolin Orange.


O N A N D A R O U N D T H E C A M P U S O F A P PA L A C H I A N S T A T E U N I V E R S I T Y, B O O N E , N C

A N A P PA L A C H I A N S U M M E R F E S T I VA L 2 0 1 8

Paradise (Ray) In Russian, German, French and Yiddish with English subtitles



Paradise tells the story of three individuals and the fateful decisions they make, forced by a totality of conviction. Olga is a beautiful Russian aristocratic émigré and member of the French Resistance; Jules is a French-Nazi collaborator who is assigned to investigate her case; and Helmut is a high-ranking, yet naïve German SS officer who once fell madly in love with Olga and meets her again after she is shipped to a concentration camp. As time passes, their notions of paradise are irrevocably changed. RUSSIA/GERMANY; UNRATED; DIRECTED BY ANDREY KONCHALOVSKIY (2016); 130 MINUTES

Pre-film talk with Dr. John Pfeifer begins at 7pm, with the film beginning at approximately 7:30pm. Concessions, including popcorn, cookies, beer, wine and cold beverages are available for purchase. With special thanks to our generous sponsors for this series, Helene and Stephen Weicholz.



O N A N D A R O U N D T H E C A M P U S O F A P PA L A C H I A N S T A T E U N I V E R S I T Y, B O O N E , N C

From the Land of the Moon French, Spanish and German with English subtitles



Based on the international best-selling novel and starring Academy Award winner Marion Cotillard, From the Land of the Moon is the story of a free-spirited woman fighting for her passionate dream of true love against all odds. The survival of her marriage, her passions, and her sanity are all in question. FRANCE; R; DIRECTED BY NICOLE GARCIA (2016); 116 MINUTES

Pre-film talk with Dr. John Pfeifer begins at 7pm, with the film beginning at approximately 7:30pm. Concessions, including popcorn, cookies, beer, wine and cold beverages are available for purchase. With special thanks to our generous sponsors for this series, Helene and Stephen Weicholz.

Wednesday, August 1 NOON-1:30 PM Free Event, Turchin Center Lecture Hall

An Appalachian Summer Festival’s inaugural Book/Film Club provides the opportunity to deepen your knowledge of the novella and film From the Land of the Moon. The festival’s film curator Dr. John Pfeifer will lead a discussion about prevalent themes and how the novel was successfully transformed and adapted to the screen. Free film ticket on Friday, August 3 when the novel is purchased from the Schaefer Center box office.

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An Intimate Evening with



Emmy and Tony Award-winning actress and singer Kristin Chenoweth makes her debut on the Schaefer Center stage to perform an array of her most memorable songs and Broadway tunes. Chenoweth’s career spans film, television, voiceover, and stage. In 2016, Chenoweth released “The Art of Elegance,” her first album of American Songbook classics, which debuted at #1 on Billboard’s Current Jazz and Traditional Jazz charts, and #1 on Amazon’s Vocal Pop chart. Chenoweth also returned to the stage in her limited engagement My Love Letter to Broadway, receiving rave reviews. SERIES SPONSORSHIP PROVIDED BY WESTGLOW RESORT & SPA AND ROWLAND’S RESTAURANT, MADE POSSIBLE THROUGH THE GENEROSITY OF BONNIE AND JAMIE SCHAEFER. PERFORMANCE SPONSORSHIP PROVIDED BY: MAST GENERAL STORE, SKYBEST COMMUNICATIONS, INC., BOONE AREA VISITORS BUREAU, GOODNIGHT BROTHERS

This evening’s performance has been supported by a generous gift from Ralph S. Grier and from Keith and Letty Stoneman.

This performance has been dedicated to the memory of two beloved festival patrons and founders, Nanette Mayer and Grady Moretz.


O N A N D A R O U N D T H E C A M P U S O F A P PA L A C H I A N S T A T E U N I V E R S I T Y, B O O N E , N C

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