An Appalachian Summer Festival 2022 Playbill

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An Appalachian Summer Festival MUSIC





JULY 1-30, 2022


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July 1




Summer Exhibition Celebration Page 27



Marty Stuart and His Fabulous Superlatives


Happy 4th!


LUNCH & LEARN Turchin Center’s Faculty Biennial Exhibition

Maeve Gilchrist featuring Aizuri Quartet & Kyle Sanna:

Page 99

Broadway’s Next Hit Musical

The Harpweaver

Eastern Festival Orchestra




Playground (Un monde) Page 41

Page 39

Page 31


36th Annual Rosen Sculpture Walk Page 43


esperanza spalding in Concert Page 45






Hayes School of Music Faculty Chamber Players: Together at the Table

with Santiago Rodriguez, piano Page 47




Page 29




Belfast Page 61




Renée Elise Goldsberry Page 63

Page 99

Page 55



LUNCH & LEARN Meet the Film Curator, featuring Dale Pollock, curator for the 2022 Weicholz Global Film Series



When Imani Winds Pomegranates Page 65 Howl


LUNCH & LEARN Boone 150: A Celebration of Boone’s History Page 99

Page 73

Community Arts Event Symphony by the Lake at Chetola


Scott Bradlee’s

Postmodern Jukebox: The Grand Reopening Tour Page 75



Rosen-Schaffel Competition for Young and Emerging Artists Page 77




Rolston String Quartet Page 83



LUNCH & LEARN “A Central Visual Heritage of the Holocaust: The Wehrmacht and Anti-Jewish Propaganda”

Boz Scaggs: Out of the Page 99 WEICHOLZ GLOBAL Blues Tour FILM SERIES: 2022 On the Water Page 89 (Vee peal) Page 91



MOMIX: Alice Page 93


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McDonald’s of Boone

Appalachian Home Care LLC

Mast General Store

Goodnight Brothers

Berkshire Hathaway Creekside Electronics HomeServices Vincent Properties

Chetola Resort & Spa at Blowing Rock

Courtyard Marriott

Explore Boone

Peak Insurance Group

Hampton Inn & Suites

SkyBest Communications, Inc.

a wholly-owned subsidiary of SkyLine Membership Corporation

PNC Bank

Holiday Inn Express

University Bookstore

Peabody’s Wine & Beer Merchants

The Horton Hotel

Media Sponsors:

WBTV Charlotte, NC

WCYB Bristol VA/TN

PBS NC Research Triangle Park, NC

Our State Magazine Greensboro, NC

Classic Hits 100.7/99.1 Boone, NC

Watauga Democrat Boone, NC

WATA Boone, NC

WHKY 1290 AM & 102.3 FM Hickory, NC

Creative Loafing Charlotte, NC

Greensboro News & Record Greensboro, NC

Winston-Salem Journal Winston Salem, NC

WDAV 89.9 FM Davidson, NC

Mountain Times Boone, NC

WNC Magazine Asheville, NC

WFDD 88.5 FM WASU 90.5 FM Winston-Salem, NC Boone, NC

YES! Weekly Greensboro, NC

93.5 FM West Jefferson, NC


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Photo: Eduardo Patino

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WELCOME! Dear Friends: It is my pleasure to welcome you to Appalachian State University and the 2022 season of An Appalachian Summer Festival! Having navigated a pandemic for more than two years, we have learned so much, about ourselves, our world, and our capacity for strength and resilience. One of the important takeaways from this experience relates to the unique power of the arts to comfort and heal, bring us together, provide perspective on a changing world, remind us of what’s important, and bring joy and inspiration to our lives. Over the coming weeks, AppSummer will do just that: bring us together around a shared love of music, dance, theatre, film and visual arts programming that challenges and inspires, nourishes our souls, and promotes empathy. Through the universal language of the arts and the experiences that we enjoy together in concert halls and museum galleries, we transcend barriers that divide us, while connecting to one another in meaningful and important ways. Your passion for the arts sustains this festival. Thanks to you, our patrons and audience members, for your loyal support and participation which has enabled the festival to thrive for 38 seasons, while fulfilling the university’s mission of providing the “best of the best” in arts programming for our entire region. Sheri Everts, Chancellor Appalachian State University

AN APPALACHIAN SUMMER FESTIVAL ADVISORY BOARD The Festival Advisory Board provides critical leadership for An Appalachian Summer Festival by offering overall guidance, fundraising assistance, programming ideas and long-term direction for the festival. Advisory Board members are representative of the festival audience, and in many ways they serve as the festival’s “eyes and ears” in the community — providing valuable feedback to the staff regarding festival operations, and serving as advocates and community ambassadors for the university and the festival. JENNY MILLER Chair CAROL BERNS Vice Chair IRA ABRAMS CAROL BLUMBERG KAY BORKOWSKI PENN BROYHILL SUE CHASE LORRAINE CHILDERS JEANNINE COLLINS FAYE COOPER CHUCK EYLER ADRIENNE FINKEL JOSETTE GLOVER ELLEN HARRELL BEN HENDERSON LEONIE KRUGER WENDY KULUNAS


WRIGHT TILLEY TODD WRIGHT Ex-officio Members: Vice Chancellor for University Advancement


Vice Chancellor and Chief of Staff


Director of Arts Engagement and Cultural Resources


Dean, Hayes School of Music

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


Previous Year Advisory Board Chair (2021)


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38 years of unforgettable performances... 38 years of memories...

AN APPALACHIAN SUMMER FESTIVAL: HOW IT ALL BEGAN... The origins of An Appalachian Summer Festival date to the early 1980s, beginning with a desire on the part of Appalachian State University to enhance its summer programs and role in the broader community. While Appalachian had an excellent program of academic, cultural and athletic activities during the academic year, there was an interest in further expanding and strengthening the university’s summer programs. University officials recognized that a significant contribution to the region could be offered in the area of the arts and cultural programs. By creating a quality arts program, a stronger partnership with the local community would result, and the campus could begin to attract visitors from outside the immediate community. Chancellor John Thomas and Vice Chancellor Bob Snead were key university leaders who led this effort. During this same period, summer residents Arnold and Muriel Rosen were addressing the need for diverse cultural activities from a different angle. As a board member of the Chopin Foundation, Arnold Rosen was involved through the Miami chapter in the staging of various competitions and concerts, featuring foundation-sponsored musicians. He and Robert Chumbley, the foundation’s director in Florida, began to discuss the formation of a North Carolina chapter, and made arrangements for a group of musicians to come to Boone for a series of recitals. The concept for the festival was now beginning to emerge, and by 1984, the idea had come to fruition with the staging of a series of cultural activities that also included a residency by the North Carolina Symphony, in conjunction with the Cannon Music Camp. Initially, the festival complemented its name in the truest sense, with events scheduled from May through August. By the summer of 1985, “An Appalachian Summer” began to establish itself as a permanent fixture on the High Country’s summer scene. In addition to the vision they provided, the Rosens generously responded to the university’s request for the first major financial contribution to the program. Support from Paul and Faye Broyhill, the Broyhill Family Foundation, Robert G. and Mariam Cannon Hayes, the Cannon Foundation, Martin and Doris Rosen, Satie Hunt Broyhill, James and Louise Broyhill, Robert and Allene Broyhill Heilman, Willard and Bettie Gortner, Eileen Lackey Sharpe, and Bernard and Shirley Spector was also critical during this period. The Chopin Foundation musicians became established as the Appalachian Chamber Ensemble in 1985, and with a generous gift from the Broyhill family, the group was renamed the Broyhill Chamber Ensemble. Also featured during these early years were performances by the North Carolina Symphony with conductor James Ogle, who was instrumental in forming the festival’s strong alliance with the symphony. Other popular features included the North Carolina Dance Theatre, Cannon Music Camp concerts, the Acting Company directed by John Houseman, and the Smithsonian Lecture Series. Internationally renowned sculptor Richard Hunt played a key role in the development of the visual arts component of the festival, which was initiated with the support and sponsorship of Martin and Doris Rosen. As the desire to present the finest in the performing and visual arts evolved, so did the need to concentrate these events into a shorter time period. The festival eventually dropped its summer-long time frame in favor of a more condensed schedule. Continuing as a program of the Appalachian State University Foundation office for five years, management of the festival was transferred to the newly established Office of Cultural Affairs in 1989. The artistic leadership of Robert Chumbley, and later Gil Morgenstern, played a key role in developing the festival’s artistic identity and establishing standards of artistic excellence for which it was known. In the years to follow, the festival made major strides in expanding the scope of its artistic programming, strengthening and diversifying its audience base, and building a strong and loyal base of private supporters and corporate sponsors who sustain the festival and invest in its growth and development. Throughout its 38-year history, the festival has maintained its commitment to the values upon which it was founded: artistic excellence, innovation, and audience-building, which has catapulted it to national prominence. With recognition in The New York Times, Southern Living, US Airways Magazine and on regional National Public Radio stations, as well as designation as one of the “Top 20 Events in the Southeast” by the Southeast Tourism Society, An Appalachian Summer Festival is no longer the “best kept secret” in the High Country. This remarkable event has truly evolved into a “community festival” that is embraced by a wide network of stakeholders who take pride in it, and who are committed to its future success and longevity.



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Arts programming that brings us together as a campus and community

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

Affordable access to the arts

Key to the festival’s mission and identity is a commitment to affordable access to the arts. 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 38th season in 2022, the festival has risen in stature to become one of the nation’s most highly respected summer festivals, acclaimed for the breadth and quality of its artistic programming. In recent years, the festival has been selected as one of the “Top 20 Events in the Southeast” by the Southeast Tourism Society. For many years, The New York Times included An Appalachian Summer Festival in its “Summer Stages” issue, which profiles the nation’s most prominent and interesting summer arts festivals.

Festival Mission

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

Festival Vision: Artistic Excellence, Innovation and Engagement

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

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FOUNDERS SOCIETY On July 22, 2000, the university created a Founders Society to recognize the supporters whose generosity and hard work helped build An Appalachian Summer Festival. The festival owes its success in large part to these extraordinary individuals. Charter Members THE BROYHILL FAMILY FOUNDATION:


2002 Members



2013 Members


2015 Members

2019 Members






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Over the past three years, An Appalachian Summer Festival’s Founders Society has lost the following members of its family – all of whom were festival founders whose leadership, vision and generosity nurtured the growth and development of the summer festival. The memory of these beloved founders lives on in our hearts. Paul Broyhill (charter member) Paul Hunt Broyhill’s legacy embraced both a distinguished career with Broyhill Furniture Industries and his role as a well-known North Carolina business leader and philanthropist. The Broyhill family was instrumental in founding the summer festival, and Paul’s commitment to the arts continues to this day through the Broyhill Family Foundation. Lawrence Freiman With his wife Barbara, Larry was a generous supporter of university arts programming for many years. He enjoyed a successful career with Broyhill Furniture Industries, and was also an accomplished violinist who enjoyed playing for weddings and community events. He volunteered as a tutor/mentor for Communities in Schools for 25 years; performed with the Western Piedmont Symphony; and served on the board of directors of the NC Symphony, Western Piedmont Symphony and other major arts organizations across our region. Melinè Markarian (charter member) With her husband Berge, Melinè was part of the original group of festival founders responsible for launching the summer festival. With a background and training in music, she was a proponent of music education throughout her life. Beyond the summer festival, Melinè also provided leadership for the Hayes School of Music, University Library, and Center for Holocaust, Judaic and Peace Studies at Appalachian.

Tina Silverstein Tina was passionate about the visual and performing arts and served on the advisory boards for both AppSummer and the Turchin Center. In those roles, she provided support for new initiatives, including outreach programming and travel initiatives for university students in the arts. With her husband Gary, Tina was a devoted, long-standing and beloved member of the university arts community. Shirley Spector (charter member) Shirley and her husband, Barney, were among a small group of founders whose support made it possible to establish the summer festival back in the early 1980s. Shirley’s loyal support continued for many years, and while she enjoyed a career as an interior designer, she always found time for the philanthropic causes that were close to her heart — serving on the boards of both Mt. Sinai Hospital in Miami and the summer festival, nurturing its growth and success for more than three decades. Mark Tafeen Mark was a pediatrician who devoted his life and career to caring for children. He also loved the arts, and with his wife Nancy, he was involved with the summer festival as well as the Turchin Center for many years, providing generous support for both areas. He and Nancy both served as advisory board members, and supported the Rosen-Schaffel Competition for Young and Emerging Artists since its inception.


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An Appalachian Summer Festival is presented by the Office of the Chancellor OFFICE OF THE CHANCELLOR Vice Chancellor and Chief of Staff



Director of Arts Engagement and Cultural Resources

Thanks to Our Friends of An Appalachian Summer Festival 2022



Volunteer Coordinator:



Assistant Director of Arts Education & Outreach





Director of Arts Education & Outreach


SHAUNA CALDWELL Director of Artist Relations

LAURA KAUFMAN Director of Operations

SCOTT HAYNES Technical Director

CONOR MCKENZIE Lead Technician


Director of Audience Services


Director of Marketing & Public Relations


Assistant Director of Marketing & Public Relations


Director of Development


KAREN TREFZ Office Manager


MARY ANNE REDDING Director of Visitor Services


Director of Arts Education & Outreach


Assistant Director of Arts Education & Outreach

SHAUNA CALDWELL Collections Manager

MOLLY SCHWANZ Lead Installer/Preparator

GABRIELLE KNIGHT Director of Development


Director of Donor and External Relations


Director of Marketing & Public Relations

LYNN REES-JONES Budget Director

KAREN TREFZ Office Manager



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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. 104 or inquire at the ticket counter. Your support will make it possible to build the audiences of tomorrow, showcase rising artists, raise national visibility and public awareness of the festival and continue to present the Festival Support “best of the best!” from Our Donors





Audience Relations Staff:









ZACHARIAH CARTER LINDSAY DOUGLASS JOSIAH FORD SEAN FRENCH SAREA KELLY WIL MARTIN ALYSSA MULLIS ALEX NAISMITH ETHAN PALMER JOEL ROBERTS The Arts and Cultural Programs staff wish to thank our colleagues in University Communications for the exceptional photography and creative support they provide to An Appalachian Summer Festival.


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LIFETIME CUMULATIVE FESTIVAL SUPPORT Since the festival’s inception in 1984, many individuals, corporations and foundations have made significant contributions to the creation and growth of An Appalachian Summer Festival. This list recognizes their cumulative commitments. $1,000,000 and ABOVE Blue Ridge Electric Membership Corporation The Broyhill Family Foundation Arnold & Muriel Rosen / Rosen-Schaffel Endowment for Classical Music Programming Barbara & Lawrence Freiman Mr. & Mrs. Neil Schaffel Bonnie & Jamie Schaefer / Westglow Resort and Spa $500,000 - $999,999 Mr. Paul H. Broyhill The Cannon Foundation, Inc. Mr. & Mrs. John Cooper / Mast General Store Lawrence & Barbara Freiman Mariam Cannon Hayes Nanette & Budd Mayer Christine Petti Martin & Doris Rosen SkyBest Communications, Inc. (a wholly-owned subsidiary of SkyLine Membership Corporation) $250,000 - $499,999 Ford Motor Company J.C. Goodnight William S. Goodnight Goodnight Brothers Produce, Inc. McDonald’s of Boone / Venda & Ralph Lerch Northern Trust Company Robert and Lillian Turchin Mrs. Nan Van Every Helene & Stephen Weicholz Mr. and Mrs. Ken Wilcox $100,000 - $249,999 Wendy & Mike Brenner Steven & Lainey Brooks The Max & Victoria Dreyfus Foundation, Inc. Explore Boone Adrienne Finkel Mr. & Mrs. Willard A. Gortner Anthony & Deborah di Santi Mrs. Florence Hecht, Neal & Isabelle Amdur, & the Flagler & Naples-Fort Myers Greyhound Tracks Dr. & Mrs. Marc Kadyk Joan & Bernie Keele / Storie Street Grille

The Martin & Doris Rosen Giving Fund / Debbie Rosen Davidson & David Rosen / Charles & Nancy Rosenblatt Foundation Harold Libby & Wanda Rayle-Libby Mr. & Mrs. Roger Michelson National Endowment for the Arts North Carolina Arts Council Peabody’s Wine & Beer Merchants Joni & Peter Petschauer R.Y. & Eileen L. Sharpe Foundation Tina & Gary Silverstein J. Bernard & Shirley Spector Mrs. Allene Broyhill Stevens Keith & Letty Stoneman Mark & Nancy Tafeen $50,000 - $99,999 Michael & Judy Adler Allen Wealth Management, LLC Appalachian Hospitality Management Barbara & George Ball Hanes & Lida Boren / Footsloggers Outdoor & Travel Outfitters Boone Ford-Lincoln Sen. & Mrs. James T. Broyhill Mr. & Mrs. Keith Cloyed Armfield & Rachel Coffey Susan & Harvey Durham Lynn & Barry Eisenberg A.J. Fletcher Foundation The Friedman Family: Ingrid, Mary & Nick Goodnight Brothers Produce, Inc. Ralph S. Grier Dr. & Mrs. Brent Hall Mr. & Mrs. Sol Halpert Dieter & Karyn Herterich Dr. & Mrs. Berge Markarian Anne C. & Myron B. Liptzin Bob & Minnie Snead Kent & Shelley Tarbutton / Chetola Resort Mr. J. Wallace Wrightson Mr. & Mrs. Arthur Yergey $25,000 - $49,999 Appalachian Home Care LLC Appalachian Ski Mountain / The Moretz Family Drs. William & Sally Atkins Joan & Albert Benbasat Frank & Kay Borkowski

Natalie & Penn Broyhill Kathleen Price Bryan Family Fund Sue & Steve Chase Mr. & Mrs. Arthur Courshon Creekside Electronics / Lane & Joan Robinson Byrdie & Ed Denison Dewoolfson Down Products Chuck & Anna Eyler / Peak Insurance Group Mr. Jim Furman – Wendy’s of Boone Dr. & Mrs. Lowell Furman Mr. & Mrs. Robert F. Gilley Ralph Glaser, Jr. & John A. Pfeifer Sonya Rabin Greenfield Susie Greene The Bruce J. Heim Foundation Holiday Inn Express Billy & Ray Howell Mr. & Mrs. Harry F. Jacobs Ethel & George Kennedy Family Foundation Jeannette Kimmel Laurelmor – A Ginn Company Resort Edgar & Nan Lawton Lexington Furniture Industries Linville Ridge Country Club 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


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$10,000 - $24,999 Brenda & Ira Abrams Sheldon E. Anderson Appalachian Home Care, LLC Homer & Margie Barrett Joan & Albert Benbasat William & Linda Blanton Blue Ridge Mountain Club Jack Branch Charter Communications, Inc. Cheap Joe’s Art Stuff, Inc. Helen Clabough Foundation Alan & Sally Cone Courtyard by Marriott Crestwood Resort & Spa Dr. Pamelia S. Cromer Deer Valley Racquet Club Dianne Davant Interiors Merle & Louis Feinberg Foundation of Jewish Philanthropies Mr. & Mrs. Julian Good Mr. & Mrs. Harold Granoff Robert Grier Mr. & Mrs. Ronald G. Hester Kenneth Hubbard

Rebecca Hutchins Morris & Katia Lioz Michael & Sara Mayhew Pam & Mike McKay Larry & Nanci Tolbert Nance Nationwide Insurance / The Charles Eyler Agency The Nesor Foundation Panoramic Hospitality Linda Larson and Bill Pelto Old World Galleries Edmund F. Perls PNC Bank Anonymous Ron Redmon & Tom Normand Fred & Priscilla Robinette Sally & Russell Robinson Mr. & Mrs. Frank Ross, Jr. Gerard & Judith Rothschild Sazingg Jewelers The Sesame Foundation The Shane Family Foundation Gus & Frances Stavros Sally & Russell Robinson Tarheel Capital Charles Gordon Travis

Tweetsie Railroad Mary Underwood & Ben Henderson United Technologies Corp. US Airways Mr. & Mrs. Alberto Vadia Mr. Edward Vincz Sally & Russell Robinson Betty E. Yount Jeffrey & Cher Zavik Sam Tallman & Mike Zuravel Wells Fargo


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2022 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 and Endowment Fund from October 1, 2021 through May 20, 2022. Please note this list does not include gifts to other areas within Appalachian State University. PREMIER SPONSORS $500,000 and Above An Appalachian Summer Festival Programming Endowment / Neil & Nancy Schaffel* The Barbara and Larry Freiman Endowment*, given in memory of Larry Freiman by Barbara, their children and grandchildren Christine Petti* (in memory of Dr. A.F. Petti) $100,000-$499,999 Bonnie & Jamie Schaefer The Rosen-Schaffel Endowment for Classical Music Programming* Steven & Lainey Brooks* John & Faye Cooper* LEAD SPONSORS $50,000-$99,999 Barbara Freiman (in memory of Larry Freiman) Wendy & Mike Brenner* FESTIVAL SPONSORS $25,000-$49,999 Martin & Doris Giving Fund / Debbie Rosen Davidson & David Rosen / Charles & Nancy Rosenblatt Foundation The Muriel & Arnold Rosen Endowment for the Arts Hayes Charitable Trust* Creekside Electronics, Inc. / Lane & Joan Robinson* Ralph S. Grier* CHANCELLOR’S CIRCLE $10,000-$24,999 Allen Wealth Management Appalachian Home Care LLC / Ellen Harrell Joan & Albert Benbasat Wendy & Mike Brenner Broyhill Family Foundation, Inc. Circle S Foundation / Keith & Letty Stoneman Lynn & Barry Eisenberg* Explore Boone Goodnight Brothers Robert E. Grier* Anonymous Myron B. & Anne C. Liptzin Peak Insurance Group / Chuck & Anna Eyler Peter & Joni Petschauer* Bonnie & Jamie Schaefer*

Neil & Nancy Schaffel Gary Silverstein (in loving memory of Tina) Mast General Store / John, Faye, & Lisa Cooper McDonald’s of Boone / Venda Lerch (in memory of Ralph Lerch) SkyBest Communications, Inc. Nancy Tafeen (in memory of Mark Tafeen) ARTIST’S CIRCLE $6,000-$9,999 Chetola Resort / Kent & Shelley Tarbutton Creekside Electronics Inc. / Lane & Joan Robinson Peter & Joni Petschauer Helene & Stephen Weicholz BRAVO! CIRCLE $3,000-$5,999 Berkshire Hathaway Home Services Vincent Properties Natalie & Penn Broyhill Sue & Steven Chase (in memory of William Ringler) Courtyard by Marriott Lynn & Barry Eisenberg Louis & Merle Feinberg Adrienne Finkel Hampton Inn & Suites Holiday Inn Express The Horton Hotel Sandy & Marc Kadyk Janice & John LaCapra* Suzanne Lasky Gerard & Bill Liebman Morris & Kathleen Lioz Joseph P. Logan* Peabody’s Wine & Beer Merchants Mike & Pam McKay / The Art Cellar Gallery Roger & Helen Michelson Francesca K. Field & Janet P. Pepin PNC Bank R.Y. & Eileen L. Sharpe Foundation Sandi Finci Solomon The Bruce J. Heim Foundation University Bookstore

BENEFACTOR’S CIRCLE $1,200-$2,999 Hanes & Lida Boren Frank & Kay Borkowski* (in memory of Melinè Markarian) Dan Cameron Family Foundation Susan & Harvey Durham (in honor of Barbara Freiman and in memory of Larry Freiman) Josette & Alfred Glover (in honor of Kent & Shelley Tarbutton) Susie Greene* (in memory of Melinè Markarian) Jerry & Rebecca Hutchins Jenny & Wayne Miller Bill Pelto & Linda Larson Alex Sink Minnie & Bob Snead Helen Easter Snow (in memory of Dorothy & Howard Easter, & Priscilla Bratcher) PATRONS $600-$1,199 Ira & Brenda Abrams Jonathan & Marisue Beloff Carol Berns & Ted Silver Carol & Morty Blumberg Carolina Mountain Life Magazine Howard & Kathryne Brafman Stephanie Poet Cohen (in memory of Dolly & Jim Poet) Barbara Watkins Daye Nick & Mary Friedman Molle Grad (in loving memory of Melinè Markarian) Marilyn & Don Green Kristina Groover & Marian Peters (in memory of Dr. Rosemary Horowitz, generous patron of the arts) Megan Hayes & Michael Kitchell (in honor of Kaaren & Lowell Hayes, and the matriarchs of AppSummer) Mark & Barbara Moskowitz Larry & Nanci Tolbert Nance Traci D. Royster* (in honor of Peter & Joni Petschauer) Sally & Russell Robinson Sam Tallman & Mike Zuravel Julie & Tom Trueman Mary Underwood & Ben Henderson Todd Wright*


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CONTRIBUTORS $300-$599 Rose & Craig Bridgeman Hank Foreman & John Baynor Lorraine Childers Melinda Friddell* Anna Gaugert & Thomas Martin Dan Gaugert & Terry Harper (in honor of Anna Gaugert) Scott & Kathleen Haynes Mac & Doris Leitner Richard Lord David Meitus (in memory of Shirley Spector) Anonymous Denise Ringler Cyn D. & John Weaver (in memory of Ruth Williams, AppSummer volunteer) FRIENDS $125-299 Anonymous Ellis & Barbara Aycock Dr. Charlie & Anne Baker Bill Barbour John & Bettie Bond Jeannine Underdown Collins Dyan & George Cutter Drs. James & Kathryn Douthit Dr. Louis N. Gottlieb & Gloria Lipson

Laura & Kenny Kaufman Ann Lieff (in memory of Shirley Spector) Jane Lonon Tim & Nancy Lorenzen (in memory of Keith & Leota Cloyed) Gregg & Bonnie Marland Monica McDaniel Conor McKenzie Howard Miller & Nancy Clark Doug & Susan Morton Dr. and Mrs. Richard Newman (in honor of Carol Berns) Jodi Orshan Susan & Bruce Pettyjohn Bob & Karen Powell (in memory of Jack Branch) Marty Rice Tish & Tom Rokoske (in memory of Clifford Farthing) Martha Serola Patrick K. Setzer ‘90 ‘98 Joanie & Robert Shirley Wright & Tracy Tilley Carol & Hank Thompson Karen Trefz (in memory of William Ringler) Larry Watson & Julie Moore Allison West & Rick Suyao Craig & Judith Wylie Deena & Stephen Zaron

MEMBERS up to $124 Francine Barr (in memory of Tony Wrobel) Michael & Joan Bell Jessica Rose Blythe Betty Castor Christine Cobb Billy Elliott (in memory of Michael Elliott) Sali Gill-Johnson & John Johnson Parker Hallman Jeff Handler David & Jaclyn Hartstein (in memory of Shirley Spector) Renee & David Lieberman Anne MacKenzie Lindsay & Jesse Miller Marilyn Seward Jim & Sandy Sheatsley Helen Sirett & Ken Hendrix Mike Smiley Preston & Dawn Snuggs Ina J. Warren (in honor of Rebecca K. Murray) Tanya Shook Wilder Bob & Maggie Wilson Jack & Rosalind (Roz) Zacks (in memory of Shirley Spector) *endowment commitments


Appalachian State University acknowledges the Indigenous peoples who are the original inhabitants of the lands on which our campus is located. The Cherokee, Catawba and other Indigenous peoples left their mark as hunters, healers, traders, travelers, farmers and villagers long before the university was established. Today, descendants of these communities, which include citizens of the eight tribal nations in North Carolina as well as others, live and work in this region — an area with settler-colonial policies including those that attempt to disenfranchise, remove and eradicate Indigenous people and their way of life. This acknowledgment is aligned with our university’s core value of creating a diverse, equitable and inclusive community. We embrace our institutional responsibility to recognize the people, culture and history that compose our App State community. We acknowledge and honor the diverse Indigenous peoples connected to this land and share in their stewardship of these mountains and waters. We fully recognize, support and advocate for the sovereign rights of all of North Carolina’s eight tribal nations, which include the Coharie, the Eastern Band of Cherokee Indians, the Haliwa-Saponi, the Lumbee Tribe of North Carolina, the Meherrin, the Sappony, the Occaneechi Band of the Saponi Nation and the Waccamaw Siouan. We understand the historical connection our university has with these Indigenous communities and commit to creating spaces for collaboration and strengthening support structures to build a more equitable future together. To learn more about our university’s Acknowledgment to Action plan and resources that are available to you, search for the “Indigenous Appalachian Learning Community” at


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Ensuring a bright future for An Appalachian Summer Festival:


An Appalachian Summer Festival’s goal of securing a $5 million endowment fund ensures a bright and secure financial future for the summer festival, as it celebrates its 38th season. A strong endowment will generate critically needed annual interest income, which will enable the festival to continue maintaining the highest standards of artistic excellence, as well as a continued commitment to affordable ticket pricing. Additionally, the endowment will generate critically valuable interest income on an annual basis, which will directly support the festival’s annual programming expenses. The commitment of the generous donors, shown below, has made it possible for the festival to reach its $5 million endowment goal, and ensures that it will survive and thrive, enriching lives of residents across our region for generations to come! We wish to thank all of these generous donors whose passion for the arts led them to make commitments that have led to the fulfillment of our endowment goal. ENDOWMENT FUNDS: 1984 - 2018 Muriel and Arnold Rosen Endowment for the Arts Arts and Cultural Programs Endowment Satie Hunt Broyhill Endowment for the Performing Arts An Appalachian Summer Outreach Endowment Rosen-Schaffel Endowment for Classical Music Programming Friedman Family Endowment for An Appalachian Summer Nancy & Neil Schaffel / Appalachian Summer Festival Programming Endowment The Barbara and Larry Freiman Endowment, given in memory of Larry Freiman by Barbara, their children and grandchildren Christine Petti (in memory of Dr. A.F. Petti) Lainey & Steven Brooks Joan & Albert Benbasat

ENDOWMENT DONORS: 2019 - 2022 Faye & John Cooper Wendy & Mike Brenner Hayes Charitable Trust Creekside Electronics / Joan & Lane Robinson Bonnie & Jamie Schaefer Lynn & Barry Eisenberg Ralph S. Grier Joni & Peter Petschauer

Robert E. Grier Susie Greene Traci D. Royster (in honor of Peter & Joni Petschauer) Janice & John LaCapra Kay & Frank Borkowski Joseph P. Logan Todd Wright Melinda Friddell

WITH SPECIAL THANKS TO OUR LEAD DONORS: Nancy and Neil Schaffel Nancy Schaffel’s parents, Arnold and Muriel Rosen, were festival founders who worked with university administrators in the early 1980s to establish An Appalachian Summer Festival. Nancy and Neil have “carried the torch” for the festival ever since, and have established two major endowment funds to date — one of which supports the festival’s classical music programming, with the most recent gift focused on general program support, and framed as a $1 million challenge that “matches” gifts from other festival donors. The Schaffels are passionate about the festival’s mission and ensuring that it continues in perpetuity. They also support the annual Rosen-Schaffel Competition for Young and Emerging Artists, a source of pride for the festival over the past 10 years. Barbara Freiman Barbara Freiman, a long-standing festival supporter and a deeply admired member of the arts community in both Watauga and Caldwell counties, has joined with members of her family to donate more than $1 million to the endowment fund. These commitments have enabled the festival to reach its ultimate fundraising target of $5 million. Made in memory of Barbara’s husband Larry, these gifts by Barbara, their children and grandchildren, represent the family’s desire to ensure arts access and quality of life for our entire region. Barbara and her family members made a comparable gift to the University Libraries. She has served as a valued advisory board member for both the University Libraries and An Appalachian Summer Festival. Christine Petti In October of 2020, the challenge campaign received a major boost, when festival supporter Christine Petti stepped forward with a pledge of $500,000 to be applied toward the endowment challenge. Chris is a Florida native who came to the High Country in 1979 with her late husband, Dr. Alfonso Petti. Over the past 40 years she has become involved with Appalachian State and a variety of community organizations across the High Country. Chris's spirit of philanthropy in the fields of healthcare and the arts has made a profound difference in the lives of residents across our region and beyond.


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

NEED A PLACE TO STAY? An Appalachian Summer Festival and its hotel sponsors come together to make a trip to the High Country stress-free and affordable! Whether you prefer a luxury resort, the trusted comfort of a chain hotel, or the uniqueness of a boutique hotel, packages for select performances are offered at various accommodations in the High Country! For more information, visit

Chetola Resort & Spa The Bob Timberlake Inn

Courtyard by Marriott

Hampton Inn & Suites Boone



Holiday Inn Express

828.264.2451 10% off for Festival patrons: Rate Code IXNM9

828-386-6464 Corporate Code: 003350757

The Horton Hotel 828.832.8060

FINE ARTS & GREAT FOOD Make it a memorable evening with dinner and a show! In Boone: The Local, Pepper’s Restaurant, Red Onion, and Lost Province Brewing Co. In Blowing Rock: Timberlake’s Restaurant at Chetola Resort


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Hayes School of Music

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. 2022-2023 Season Sept. 15-Dec. 15*– Dan + Claudia Zanes: Songs of Streets and Sunshine — Brooklyn Oct. 7 – Appalachian State University’s Department of Theatre & Dance: The Trolleys by Sara West Nov. 9 – Western Piedmont Symphony: Explore the Orchestra Dec. 1 – Natalie MacMaster & Donnell Leahy: A Celtic Family Christmas Feb. 15-May 15*– Pierce Freelon: Black to the Future March 23 – KODO April 25 – TheaterWorksUSA’s The Pout-Pout Fish Oct. 15-April 15*– ArtsPower Theater on Demand: Laura Ingalls Wilder *denotes virtual event

Turchin Center for the Visual Arts

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

Common Reading Program

Department of Art

Department of Theatre & Dance

The Hughlene Bostian Frank Visiting Writers Series

University Forum Lecture Series

Cannon Music Camp 2022 * Performance Schedule Thursday, June 30 7pm Sunday, July 3 2pm

Faculty Recital I

Thursday, July 7 7pm

Faculty Recital II

Friday, July 8 7pm

Honors Recital I

Sunday, July 10 2pm

Honors Recital II Selected camper solo performances Piano performances


Kaleidoscope Concert Featuring a variety of large and small ensembles

Thursday, July 14 7pm

FINALE CONCERT I Percussion Ensemble String Orchestra

Friday, July 15 7pm

FINALE CONCERT II Chamber Singers Treble Choir Concert Choir Wind Ensemble

Saturday, July 16 10am 12pm



Cannon Music Camp 813 Rivers Street, Rosen Concert Hall Appalachian State University, Boone, NC Schedule subject to change. Please consult website for updated information


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Summer Exhibition Celebration FRIDAY, JULY 1 5-9pm, Turchin Center Free Event

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

FEATURED EXHIBITIONS: MULTITUDES: Bart Vargas July 1 – December 10, 2022

Hodges Gallery MULTITUDES is a celebration of Bart Vargas’ use of materials, form, pattern, and color through sculpture and painting. This 20-year retrospective of Vargas’ work consists of objects and images built from salvaged materials. Many of these award-winning works have been exhibited across the nation Bart Vargas, Artificial Intelligence and world, and graced book covers and 3.0. Recycled materials. publications, but have not previously been exhibited in North Carolina.

Art Department: Faculty Biennial June 3 – November 5, 2022

Galleries A & B The Art Department Faculty Biennial Exhibition is a collaborative exhibition organized by the Smith Gallery and the Turchin Center for the Visual Arts. These non-juried exhibitions provide the campus and surrounding communities with an opportunity to engage with the ideas and practices being explored by the talented multidisciplinary visual arts educators at App State.

Jessica Greenfield, From the Oak Shothole Leafminer Series. Oak leaf, embroidery thread, 2022.

The Turchin Center would like to thank our friends at Allen Wealth Management for their support of the Summer Exhibition Celebration.

Folded & Gathered: Nicole Pietrantoni July 1 – February 4, 2023

Mezzanine Gallery Nicole Pietrantoni’s artwork explores the complex relationship between human beings and nature via installations, artists’ books and works on paper. Folded & Gathered is a series of sculptural accordion books made of bent steel. Each column depicts flora from contemplative Nicole Pietrantoni, from the walks during the pandemic. Together, series Folded & Gathered. Inkjet on Kozo paper, bent steel, acrylic they create a riot of color that pushes paint, 2021 each fragmented image between abstraction and recognizable imagery.

Ukraine, A Response to the Madness: Lowell Hayes July 1 – December 10, 2022

Community Gallery In this exhibition, Lowell Hayes shares his artistic response to the war in Ukraine. His work typically evokes a strong connection with viewers and enhances and deepens awareness of the featured topic. Hayes is a local artist with deep roots in Boone and the High Country, and is being showcased as part of the Boone Sesquicentennial 150 celebration.


March 4 – August 27, 2022 Mayer Gallery


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Marty Stuart and His Fabulous Superlatives SUNDAY, JULY 3

7:30pm, State Farm Road Concert Lot at The Boone Greenway

OUTDOOR CONCERT AND FIREWORKS FINALE in collaboration with the Town of Boone

Tickets: $25 Adults / Free for children 12 and younger


Bonnie and Jamie Schaefer


Explore Boone, Mast General Store, Goodnight Brothers, SkyBest Communications, Inc., PEAK Insurance Group, Appalachian Home Care LLC, and Berkshire Hathaway HomeServices Vincent Properties This performance is supported by a generous gift from Keith and Letty Stoneman. With special thanks to Mr. John Carter from WBTV, our emcee for the evening.

With legends like George Jones, Johnny Cash and Merle Haggard all passed on, country music purists often echo the question Jones himself asked: “Who’s going to fill their shoes?” The answer, in part, is Marty Stuart. While he’s too gracious to admit it himself, the Grammy-winning singer, songwriter and musician is living, breathing countrymusic history. He’s played alongside the masters, from Cash to Lester Flatt, who discovered him; been a worldwide ambassador for Nashville, Bakersfield and points in between; and safeguarded country’s most valuable traditions and physical artifacts. Including its literal shoes: Stuart counts the brogan of Carter Family patriarch A.P. Carter and an assortment of Cash’s black boots among his vast collection of memorabilia. But most importantly, Stuart continues to record and release keenly relevant music, records that honor country’s rich legacy while advancing it into the future. Way Out West, his 18th studio album, hits both of those marks. Produced by Mike Campbell (of Tom Petty and the Heartbreakers), the album is a cinematic tour-de-force, an exhilarating musical journey through the California desert that solidifies Stuart as a truly visionary artist. Opening with a Native American prayer, a nod to Stuart’s affinity for the indigenous people, particularly the Lakota, Way Out West transports the listener to the lonely but magical American West. It is, in its own way, musical peyote. “If you go and sit by yourself in the middle of the Mojave Desert at sundown and you’re still the same person the next morning when the sun comes up, I’d be greatly surprised,” says Stuart. “It is that spirit world of the West that enchants me.” Specifically, the promised land of California. Growing up in Philadelphia, Miss., Stuart was taken by the mystique of the Golden State: the culture, the movies and especially the music. “Everything that came out of California captivated my kid


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mind in Mississippi,” he says. “It seemed like a fantasy land. Way Out West is a love letter to that.” As such, the album could only be recorded there, and Stuart, with his longtime backing band the Fabulous Superlatives, decamped for California. They recorded half of the album at Capitol Records and the rest at Campbell’s M.C. Studio, a gritty space with a vibe all its own. Much of the early Heartbreakers music was recorded at Campbell’s and that primal rock & roll energy is palpable throughout Way Out West, reinforced by Capitol’s own rock history: the Hollywood studio birthed iconic records like the Beach Boys’ Pet Sounds and the country-rock of Glen Campbell’s Wichita Lineman. Way Out West, with its atmospheric production, evokes those classics, as well as cowboy records like Marty Robbins’ Gunfighter Ballads and Trail Songs and Cash’s The Fabulous Johnny Cash, one of the first albums Stuart ever owned. “This is a California record, and I knew that when I emerged from the studio at night, I wanted to see palm trees and breathe that desert air,” says Stuart. Listeners too can feel the warmth of those Santa Ana winds over the album’s 15 tracks, a collection of newly written originals, instrumentals and rare covers like the Benny Goodman-penned “Air Mail Special,” and “Lost on the Desert,” once recorded by Johnny Cash. “I asked Johnny about that song when I was in his band, and he said the only thing he remembered about it was changing some words,” laughs Stuart. “But Way Out West just as easily could have been titled Lost on the Desert.” The idea of losing oneself runs through Way Out West, with the title track both a spiritual adventure and a cautionary tale — Stuart wraps up the travel ballad with a spoken aside about his own bad trips with pills. “I researched that for 30 years,” he jokes, self-deprecatingly. “There’s a lot of truth in that song.” The rollicking standout “Time Don’t Wait” also offers a warning: to not let life race by. “As the dirt fell through my fingers / the wind it

seemed to say / don’t put off until tomorrow, what you can today,” sings Stuart. “That’s just country wisdom. I can’t claim that. But I like when you can talk about the simple things that are around us. That makes country music come to life for me,” he says. When it comes to transforming country songs into a tangible experience, Stuart has a secret weapon: the Fabulous Superlatives. Made up of guitarist Kenny Vaughan, drummer Harry Stinson and new member, bassist Chris Scruggs, the Superlatives are an extension of Stuart himself. “The Superlatives are missionaries, they’re fighting partners. They’re my Buckaroos, my Tennessee Three, my Strangers. They’re my legacy band and have been since Day One,” says Stuart. Along with the playing of Mike Campbell, who contributed guitar, B-3 organ and piano, the Fabulous Superlatives are all over Way Out West and ensure that the mystical detours Stuart explores always remain of the moment. As Stuart himself will tell you, he often ventures off the reservation — in a way, his entire career has been “way out west.” While other artists chased popular trends in the name of radio play, he formed complete bodies of work, not unlike the greats he idolized. Way Out West is just the latest embodiment of that creative mission. “I would play this record for Hank Williams, Merle Haggard or Ernest Hemingway and never bat an eye,” says Stuart. “There’s something in there that would entertain each of them.” But Stuart also made Way Out West for those who come after. As he sees it, there is no greater responsibility in music than to share what you’ve learned. “Lester Flatt saw something in me and gave me his wisdom, wit and music. Johnny Cash was my best friend. But all of that doesn’t come for free. The job is to pass it along,” says Stuart, stretching out his arms. “That’s the way it’s supposed to be in country music.” With Way Out West, Stuart holds up his end of the deal.

~ SINCE 1989 ~


Animal Emergency & Pet Care Clinic, Boone King Street Flats, Boone Five Guys Burgers & Fries, Boone Casey & Casey Law Offices, Boone Grandfather Mountain Top Shop, Linville Mast General Store Renovations, Boone Linville Ridge Country Club, Linville LifeStore Bank, Boone and West Jefferson Wilderness Run Alpine Coaster, Banner Elk United Community Bank, Blowing Rock Future Hilton Home2 Suites, Boone Many fine residences in the High Country 703 West King Street • Suite #201 • Boone, NC 28607 • (828) 265-2405


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BROYHILL CHAMBER MUSIC SERIES The 2022 Broyhill Chamber Series is dedicated to the memory of Larry Freiman, a devoted supporter of classical music programming at An Appalachian Summer Festival, who with his wife Barbara has provided significant annual support for this series.

Maeve Gilchrist featuring

Aizuri Quartet & Kyle Sanna: The Harpweaver

TUESDAY, JULY 5 7pm, Rosen Concert Hall

Tickets: $30 / Free for children 12 and younger Sponsored by McDonald’s of Boone

“The Harpweaver”

Maeve Gilchrist

“Chris Stout’s Compliments to the Bon Accorde Ale House / Ancestral Mud”

Chris Stout arr. Maeve Gilchrist

“Brenda’s Abbey”

Maeve Gilchrist

“Young and Old”

Charles Kingsley / Maeve Gilchrist

“Bridges and Balloons”

Joanna Newsom arr. Christina Courtin

“Der Lindenbaum (The Linden Tree)”

Franz Schubert arr. Michi Wiancko


Lena Jonsson arr. Maeve Gilchrist

“Webster’s March”

Maeve Gilchrist [INTERMISSION]

String Quartet No 1. in a minor

Robert Schumann

“Ich Stand in Dunkeln Träumen (I Stood Darkly Dreaming)”

Clara Schumann

“Freight Train”

Elizabeth Cotton arr. Karen Ouzounian

“At the Purchaser’s Option”

Rhiannon Giddens arr. Jacob Garchik

MAEVE GILCHRIST Harpist, singer, composer and producer Described by one critic as “a phenomenal harp player who can make her instrument ring with unparalleled purity,” Maeve Gilchrist has taken the Celtic (lever) harp to new levels of performance and visibility. Born and raised in Edinburgh, Scotland, and currently based in Brooklyn, New York, Maeve‘s innovative approach to her instrument stretches its harmonic limits and improvisational possibilities. She is as at home as a soloist with an internationally renowned orchestra as she is playing with a traditional Irish folk group or using electronic augmentation in a more contemporary, improvisatory setting. She tours internationally as a band leader, as well as maintaining a number of collaborations, including the progressive folk quartet DuoDuo (featuring percussive dancer Nic Gareiss, cellist Natalie Haas and Yann Falquet of Quebecois super-group Genticorum), a more electronics-based project with Viktor Krauss, and as a member of the Irish Music Networkcommissioned Edges of Light quartet: a multidisciplinary group featuring the piper David Power, dancer Colin Dunne and the fiddler Tola Custy. Maeve is also a member of the prestigious Silkroad Ensemble. She has appeared at such major music events as Celtic Connections in Glasgow, Tanglewood Jazz Festival, the World Harp Congress in Amsterdam and the historic opening of the Scottish Parliament. She has played with such luminaries as Yo-Yo Ma, esperanza spalding, Tony Trishka, Ambrose Akinmusire, Darol Anger and Kathy Mattea. Maeve has released five albums to date, including her most recent recording, Vignette, on Adventure Records, with bassist Viktor Krausse while, on her own label, her solo Ostinato Project is a beguiling exploration of the possibilities of her instrument. In 2018 Maeve was a featured soloist on the Dreamworks blockbuster movie soundtrack How to Tame Your Dragon: The Hidden World. Maeve was the first lever harpist to be employed as an instructor by her alma mater, Berklee College of Music in Boston, where she taught for five years prior to


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“Working on a Building”

Traditional arr. George Meyer

“The Locomotive / An Adequate Sufficiency”

James Hill / Maeve Gilchrist

“The Calm”

Maeve Gilchrist

“The Storm”

Maeve Gilchrist

“Just a Song at Twilight”

James L. Molloy and G. Clifton Bingham

The Broyhill Chamber Ensemble Concert Series is generously supported by the Muriel and Arnold Rosen Endowment for the Arts, the Rosen-Schaffel Endowment for Classical Music Programming, the Broyhill Family Foundation, Barbara Freiman, and Venda Lerch / McDonald’s of Boone. We wish to thank artist Amy Reshefsky, for her gift of the musically-themed artwork exhibited in the lobby of Rosen Concert Hall.

becoming a visiting artist in 2018. She has written several instructional books published by Hal Leonard Music. She is also an in-demand composer and arranger, with past commissions including a ground-breaking concerto for lever harp and symphony orchestra, co-written with North Carolina-based composer Luke Benton, and most recently a new piece for harp and string quartet that premiered at the Edinburgh International Harp festival last spring. Maeve is the the co-artistic director of the new Celtic Roots and Branches Festival launching in Rockport, MA this summer and the assistant music director of WGBH’s Christmas Celtic Sojourn. AIZURI QUARTET The Aizuri Quartet has established a unique position within today’s musical landscape, infusing all of their musicmaking with infectious energy, joy and warmth, cultivating curiosity in listeners, and inviting audiences into the concert experience through their innovative programming, and the depth and fire of their performances. Praised by The Washington Post for “astounding” and “captivating” performances that draw from its notable “meld of intellect, technique and emotions,” the Aizuri Quartet was awarded the Grand Prize at the 2018 M-Prize Chamber Arts Competition, along with top prizes at the 2017 Osaka International Chamber Music Competition in Japan and the 2015 Wigmore Hall International String Quartet Competition in London. The Quartet’s debut album, Blueprinting, featuring new works written for the Aizuri Quartet by five American composers, was released by New Amsterdam Records to critical acclaim (“In a word, stunning” – I Care If You Listen), nominated for a 2019 Grammy Award, and named one of NPR Music’s Best Classical Albums of 2018. The Aizuris view the string quartet as a living art and springboard for community, collaboration, curiosity and experimentation. At the core of their music-making is a virtuosic ability to


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illuminate a vast range of musical styles through their eclectic, engaging and thought-provoking programs. The Quartet has drawn praise both for bringing “a technical bravado and emotional power” to bold new commissions, and for its “flawless” (San Diego Union-Tribune) performances of the great works of the past. Exemplifying this intrepid spirit, the Aizuri Quartet curated and performed five adventurous programs as the 2017-2018 MetLiveArts String Quartet-in-Residence at the Metropolitan Museum of Art, leading The New York Times to applaud them as “genuinely exciting,” “imaginative,” and “a quartet of expert collaborators.” For this series, they collaborated with spoken word artist Denice Frohman and shakuhachi player Kojiro Umezaki, commissioned new works by Kinan Azmeh, Michi Wiancko and Wang Lu, as well as commissioned new arrangements of vocal music by Hildegard von Bingen and Carlo Gesualdo, which they paired with the music of Conlon Nancarrow, Haydn and Beethoven in a program focused on music created in periods of isolation. The 21-22 concert season, featuring the Aizuri Quartet’s Expanse, What’s Past is Prologue, and Song Emerging recital programs, showcases the breadth of the Quartet’s musical appetite. Notable highlights include the Quartet’s major concerto debut with the Milwaukee Symphony Orchestra in performances of John Adams’s Absolute Jest, its debut at the 92Y, a collaborative program with Anthony McGill and Demarre McGill at the Philadelphia Chamber Music Society, and the premieres of new string quartets by Lembit Beecher and Paul Wiancko presented by the Phillips Collection in Washington D.C. The 20-21 concert season illustrated the Aizuri Quartet’s ingenuity and creativity, as they offered presenters and audiences beautifully filmed performances along with spoken program notes for virtual concerts during the course of the pandemic. The Quartet appeared in virtual and hybrid concerts presented by Baryshnikov Arts Center, Tippet Rise,

Friends of Chamber Music Denver, Kaufmann Music Center, Ohio Performing Arts, Philadelphia Chamber Music Society, New Orleans Friends of Chamber Music, Lincoln Friends of Chamber Music, Chamber Music Pittsburgh and Shriver Hall Concert Series, among others. Special projects included collaborations with Celtic harpist Maeve Gilchrist, as well as guitarist Nels Cline, with whom they recorded Douglas Cuomo’s Seven Limbs. Released on Sunnyside Records, the work was presented by the Caramoor Center for Music and the Arts, Center for the Art of Performance UCLA, Moss Arts Center, and Aperio, Music of the Americas. Additionally, the Quartet designed virtual residencies in collaboration with the composition departments of Princeton University, University of Southern California, and the NEXT Festival of Emerging Artists, workshopping and filming the works of emerging composers. The Aizuris believe in an integrative approach to music-making, in which their teaching, performing, writing, arranging, curation and role in the community are all connected. In Fall 2020 they launched AizuriKids, a free, online series of educational videos for children that uses the string quartet as a catalyst for creative learning and features themes such as astronomy, American history and cooking. These vibrant, whimsical and interactive videos are lovingly produced by the Aizuris and are paired with activity sheets to inspire further exploration. The Aizuri Quartet is passionate about nurturing the next generation of artists, and is deeply grateful to have held several residencies that were instrumental in its development: from 2014-2016, the String Quartet-in-Residence at the Curtis Institute of Music in Philadelphia, the 2015-2016 Ernst Stiefel String Quartet-in-Residence at the Caramoor Center for Music and the Arts, and the resident ensemble of the 2014 Ravinia Festival’s Steans Music Institute. Formed in 2012 and combining four distinctive musical personalities into a powerful collective, the Aizuri Quartet draws its name from “aizuri-e,” a style of

predominantly blue Japanese woodblock printing that is noted for its vibrancy and incredible detail.

Program Notes by Maeve Gilchrist

“The Harpweaver” Maeve Gilchrist BMI Inspired by Edna St Vincent Millay’s Pulitzer award-winning poem “The Ballad of the Harp-Weaver,” this composition introduces the harp through a torrent of 16th notes. An urgent stream of sound winds a path through different harmonic territories, framed by the words of Millay and the contrasting cushion of strings before both harp and quartet joyfully burst into the final melody. A nod to melodies of the “Old World.” Sentimental but full of hope, the structure of this composition is in contrast to most traditional Celtic tune sets, which tend to move from slowerpaced airs to the faster dance tunes. A celebration of the harp from the inside out, this ancient instrument provides both the internal engine and the external filigree of the music. “Chris Stout’s Compliments to the Bon Accorde Ale House / Ancestral Mud” Chris Stout PRI (arranged by Maeve Gilchrist) / Maeve Gilchrist BMI A reimagined set of reels, the first tune in this set is written by the wonderful Shetland fiddler and composer Chris Stout. I first heard it on the Fiddlers’ Bid album All Dressed in Yellow and loved the momentum and drive of the tune. We go directly into “Ancestral Mud,” a tune taken from the third movement of a three-part composition titled Pastured Red that I wrote in 2018 for harp and string quartet. It was commissioned by the Edinburgh International Harp Festival and premiered with the wonderful Edinburgh-based group Mr. McFall’s Chamber. Inspired by the repetitive, rhythmic writing of Samuel Beckett’s acclaimed novel Watt, this melody is shredded into angular string parts, dotted bass lines and melody snippets traded between instruments, and registers in the race to the finish line!


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“Brenda’s Abbey” Maeve Gilchrist BMI This music box-esque waltz was written for my dear friend Brenda Shannon. Brenda used to run a wonderful house concert series in a building that we called the Abbey. Brenda is a true artist in every sense of the word, and her space reflected that in its flawless design, construction and ambience. We had many special evenings of music, wine and conversation in the abbey, and this tune is dedicated to that space and the musical memory which is surely embedded in its walls for evermore. “Young and Old” Charles Kingsley/ Maeve Gilchrist BMI The poem “Young and Old” was written by the 19th-century English poet, social reformer and priest Charles Kingsley. Essentially a reflection on mortality, its nursery-rhyme-like rhythm and light touch give the verses a perceived innocence that was common in schoolyard rhymes and parlor songs of the period. The juxtaposition of “young and old,” light and dark fit perfectly into the narrative I was starting to explore through the rest of The Harpweaver material, and it proved the perfect vehicle to explore some muted sounds and “pinched” strings! The layering of compound time signatures is inspired by the hypnotic Kora music of West Africa — an instrument I’ve always thought of as being an African cousin of my own Celtic harp!

“Bridges and Balloons” Joanna Newsom arr. by Christina Courtin “Der Lindenbaum (The Linden Tree)” Franz Schubert arr. by Michi Wiancko “Brakpolskan” Lena Jonsson arr. Maeve Gilchrist BMI This tune is written by a Swedish friend of mine, the tremendous composer and fiddler Lena Jonsson. During our 2020 lockdown, Lena wrote to me and suggested we “swap” tunes! She’d learn one of mine with her trio and I’d learn one of hers. I was taken with this dramatic and romantic polska, particularly with her fancy arpeggiated bow work over the bridge. It was fun to transcribe and evolve her series of chords in a way that made sense to my instrument, challenging my fingers and leading to some interesting harmonic rhythm. One of the great beauties of folk music is the generous sharing of tunes, ornamentation, ideas and stories between the community. It’s a genre that’s created and sustained by the global tradition of passing tunes via the aural tradition from one generation to the next. Music that strengthens our spirit and our communities. “Webster’s March” Maeve Gilchrist BMI This march is inspired by many of the great tunes I grew up hearing on the pipes and fiddles in Edinburgh, Scotland. There’s a swing and a strength to this style of melody that I wanted to explore with the colors of a string quartet. It’s drawing on a

history of colonization, battle, victory and defeat, but most of all, it’s a testament to music as the heartbeat of a nation and a pride of culture that’s never waned through the centuries. String Quartet No. 1 in a minor Robert Schumann “Ich Stand in Dunkeln Träumen (I Stood Darkly Dreaming)” Clara Schumann “Freight Train” Elizabeth Cotton arr. Karen Ouzounian “At the Purchaser’s Option” Rhiannon Giddens arr. Jacob Garchik “Working on a Building” Traditional arr. by George Meyer “The Locomotive / An Adequate Sufficiency” James Hill / Maeve Gilchrist BMI This first hornpipe, ‘The Locomotive,’ was written by the great 19th-century fiddletune composer James Hill. A Scotsman who moved to Newcastle upon Tyne for most of his life, he was a prolific composer of this type of common-time hornpipe that later became known as a Newcastle-style hornpipe. The second tune in the set is one I wrote in honor of my late grandmother, Mary Gilchrist, a wonderful cook who made dinner for my brother, sister and me every Monday after school. After we’d eaten, we’d sit back and say, “Granny, we’re stuffed!” to which she’d wag a finger and reply, “I believe you


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mean you’ve had an adequate sufficiency!” I always associate that phrase with her, so I titled this tune “The Adequate Sufficiency!” “The Calm” Maeve Gilchrist BMI I wrote this piece as part of a larger commission by Ireland’s Music Generation Laois for a group of 37 harpers. The suite was called “White Horses,” and dedicated to the feminine strength of the young harpers in the orchestra in an analogy with the fluid yet powerful waves that crashed on the shore of Portobello Beach where I grew up. I’ve always loved being on or near the ocean, and this tune tries to embody that transitory state of blissful stillness that can come upon the water every now and then. In some of my better moments of music-making, I’ve experienced a similar state of timelessness and the peace of feeling completely at one with the moment. “The Storm” Maeve Gilchrist BMI This ominous jig is the opening movement of the suite “White Horses” that I composed for Music Generation Laois in 2019. It opens with a circular, wave-like vamp, juxtaposing 12/8 and 6/4 before the strings join in a kinetic breakdown, where we hear waves crashing and gulls crying. I love when the process of composition leads me to unexpected places; in this case, a machine-like style of playing, where each instrument slots into the other like a well-oiled clock before we return to the urgent circularity of jig-time and, latterly, back to the opening groove over which Millay’s voice continues the story of bleak circumstance and maternal power of love. “Just a Song at Twilight” James L. Molloy and G. Clifton Bingham Just a song a twilight, when the lights are low, And the flickering shadows softly come and go, Tho' the heart be weary, sad the day and long, Still to us at twilight comes Love's old song, Comes Love's old sweet song.

Published in 1884 by composer James Lynam Molloy and lyricist G. Clifton Bingham, this beloved Victorian parlor song was played often in my aunt’s household in Dublin, Ireland. I’ve long been enamored by this type of sentimental music-hall melody and the idea of artistic nostalgia, so inherent to the music of the turn of the century. Just a few notes are enough to transport the listener to a different time, a different place, a moment forgotten.

Aizuri Quartet Program Notes

When Maeve invited us to be a part of her album The Harpweaver, we were struck by the nostalgia that emerges from the poetry she spins and the sonic lyricism she creates. Her dedication to musical excellence and attention to detail and beauty in all forms is something to which the Aizuri Quartet also aspires, and we are truly honored to collaborate with her and bring this incredible album to life. The nostalgic quality of The Harpweaver, in particular, is something that we also explore in our Aizuri Songbook, a surprising collection of songs meticulously curated by the Aizuris. A combination of classical lieder, traditional tunes, and new arrangements commissioned specifically for this program, the Songbook consists of songs that each hold personal meaning for the quartet. Tonight’s program features a few of our favorite Songbook selections. Joanna Newsom’s “Bridges and Balloons” is all about child-like awe, adventure, whimsy, and discovery, tapping into that side of us that is itching to let our imaginations run wild, and go on a journey that is full of thrilling unknowns. Arranged by our friend Christina Courtin, it also introduces our cellist Karen Ouzounian to the world as not only a fabulous cellist but also a phenomenal singer. Ending the first set is an arrangement of Schubert’s “Der Lindenbaum (The Linden Tree),” created by another friend of ours, Michi Wiancko. This is a song that also evokes nostalgia in a magical and unspeakable way, and it is perhaps an homage to each

of our backgrounds as dedicated classical musicians who have grown up absorbing the music of the greats such as Schubert. Set 2 opens with the second movement of Robert Schumann’s “First String Quartet,” followed by another Aizuri Songbook selection, Clara Schumann’s “Ich Stand in Dunkeln Träumen (I Stood Darkly Dreaming).” Both works are again a nod to the music that has shaped our love for classical music. Elizabeth Cotten wrote “Freight Train” at the mere age of 11 or 12, which puts into perspective what a brilliant and talented musician she was. Following Cotten, Rhiannon Giddens makes a psychological journey into a troubled part of America’s past with her song “At the Purchaser’s Option.” The song was inspired by a 19th-century advertisement Giddens found for a 22-year-old female slave whose baby was also available for sale (“at the purchaser’s option”). Giddens, a musical historian, imagines the interior world of the slave whose soul is out of reach to her captors. Finally, we round out this set with an American traditional tune, “Working On a Building,” that was yet again arranged by a friend of ours, George Meyer. We’re incredibly grateful to know so many wonderful colleagues and friends who put their creativity on paper for us to share in performance with the community.


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Director’s Note

THURSDAY, JULY 7 8pm, Valborg Theatre

Tickets: $25 Adults / $15 Students Co-Artistic Directors DEB RABBAI ROB SCHIFFMANN Co-Producers RALPH BUCKLEY DEB RABBAI ROB SCHIFFMANN GREG TRIGGS Every song is fresh. Every scene is new. Every night is different. It’s all improvised and it’s all funny. The hysterical Broadway’s Next H!T Musical is the only unscripted theatrical awards show. Master improvisers gather made-up, hit song suggestions from the audience and create a spontaneous evening of music, humor, and laughter. The audience votes for their favorite song and watches as the cast turns it into a full-blown improvised musical — complete with memorable characters, witty dialogue, and plot twists galore. BNHM has been seen recently at The Triad, Tribeca Film Festival, and at the New York Musical Theater Festival, among many others. This program will run approximately 85 minutes with no intermission.

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

Who’s Who

Deb Rabbai (Co-Artistic Director, Co-Producer, Performer) is an improviser, singer, teacher, corporate facilitator/role player, actor and voice actor who has been working successfully in these mediums for 25 years. She spent 10 years performing and teaching improvisation with TheatreSports New York, five years performing with ComedySportz NY, and six years performing with Chicago City Limits. Deb has appeared on Late Night with Conan O’Brien and in national commercials for MasterCard, Wendy’s and Zyrtec. Deb has done countless voiceovers, ranging from radio


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and TV advertisements to video games, and has made a name for herself in the world of Japanese anime, having voiced characters in over 45 anime films which are listed on her Wikipedia page. A graduate of The American Academy of Dramatic Arts in NYC and a highly experienced teacher of improvisation and acting, she’s had the pleasure of teaching at NYU, Marymount Manhattan College, The American Comedy Institute, The New York Film Academy and American Musical and Dramatic Academy in NYC. As a facilitator/role player she has worked with companies from the pharmaceutical world, to finance, to beer! Her great joy has been taking on the role of co-artistic director of Broadway’s Next Hit Musical in 2009 and in watching the show and its performers flourish. She’s also a tap dancer/hoofer and periodically brings her shoes on the road, so you may get to see her hoof! For more information, visit:

Rob Schiffmann (Co-Artistic Director, Co-Producer, Performer) has worked and toured as a professional improviser and musician for over 17 years. As a two-time MAC (Manhattan Association of Cabarets and Clubs) Award winner and the recipient of the 2011 INNY (Improvisation News) Award for Best Improv Coach, Rob’s musical and improv talents are known across the country. He has taught and directed improv at The School for Film and Television, WeistBarron, and the Perry-Mansfield Performing Arts School in Steamboat Springs, Colorado. A graduate of Oberlin College, Rob worked regularly with Chicago City Limits as a performer, teacher and director from 1994 to 2011. Rob joined Broadway’s Next Hit Musical in

2001. BNHM’s master improvisers started their success at the famous NYC cabaret club Don’t Tell Mama as well as with the New York Musical Theater Festival. Rob became Co-Artistic Director in 2009, and continues to perform with the hysterical troupe throughout the country and at their resident theater, The Triad, in NYC. Called “sharper than a pound of cheddar cheese” by, Rob has showcased his skills on The Daily Download and CBS’ The Early Show. Rob’s musical talent is also evident with the New York-based acousticpop band The Hillary Step; he is the main writer, lead singer, guitarist and music director. For more information, please visit

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Playground (Un monde) In French with English Subtitles


7pm, Schaefer Center for the Performing Arts Tickets: $10 Features a pre-film introduction and a post-film moderated discussion with this year’s film series curator, Dale Pollock In this debut feature by writer-director Laura Wandel, the everyday reality of grade school is seen from a child’s-eye-view as an obstacle course of degradation and abuse. Following seven-year-old Nora and her big brother Abel, we see Nora struggling to fit in before finding her place on the schoolyard. One day, she notices Abel being bullied by other kids, and though she rushes to protect him by warning their father, Abel forces her to remain silent, while he endures more humiliation and harassment by his peers. Transposing the gritty realism of such filmmakers as Jacques Audiard and the Dardennes Brothers to the inner world of kids, Wandel crafts an empathetic and visceral portrait of the cruelty of children, and the failure of adults to protect them. Shortlisted for the Academy Award for Best International Film. Belgium, not rated, directed by Laura Wandel, 2021, 72 minutes With special thanks to our generous sponsors for this series, Helene and Stephen Weicholz, and our curator, Dale Pollack.



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36th Annual

Rosen Sculpture Walk with the Juror SATURDAY, JULY 9

10am, Outdoor gathering site, adjacent to the Schaefer Center Free Event

David Boyajian Silver Sage

Jackie Braitman Man, I Feel Like a Woman

Kevin Curry Lost and Found

Kevin Eichner Mei Amour

Andrew Light Divergent

Susan Moffatt Sinuousity II

Shawn Morin Longing for Santa Croce

Matt Newman Here to There

Alexander Paris Love Bound with Claws

Wayne Vaughn The Window

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

The Rosen Sculpture Competition & Exhibition is a national, juried competition presented annually by the Turchin Center for the Visual Arts and An Appalachian Summer Festival. To celebrate its 36th anniversary, join competition juror Elizabeth Brim on an educational outdoor tour of the 10 selected works. The tour concludes with an outdoor lunchtime reception and awards presentation in a tented location adjacent to the Schaefer Center. The Rosen Family proudly continues the legacy of Martin and Doris by generously supporting this important program dedicated to sharing the power and joy of public art, creating a fascinating glimpse into the world of contemporary sculpture and building new audiences for the visual arts.

About the Juror

Elizabeth Brim is a sculptor who uses traditional and innovative blacksmithing techniques and is best known for feminine imagery in her ironwork. A native of Columbus, Georgia, she graduated with an MFA in printmaking before studying and working with a variety of materials at the Penland School of Crafts in North Carolina. Quite unexpectedly, she fell in love with iron. With a unique juxtaposition of the feminine and the ferrous, Brim transforms the frilly dresses, fairy tales, and gender expectations of her childhood into remarkable works of social commentary. Brim is a teacher and lives in western North Carolina. The Rosen Sculpture Walk will take place rain or shine. In the event of heavy rain, a presentation by the juror, including images of the sculptures, will be held indoors at the Schaefer Center.


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esperanza spalding in Concert SATURDAY, JULY 9

8pm, Schaefer Center for the Performing Arts Tickets: $40 Adults / $25 Students


Bonnie and Jamie Schaefer


Explore Boone, Mast General Store, Goodnight Brothers, SkyBest Communications, Inc., PEAK Insurance Group, Appalachian Home Care LLC, and Berkshire Hathaway HomeServices Vincent Properties This performance is supported by a generous gift from Nancy Tafeen, in memory of Mark Tafeen.

Grammy® winner esperanza spalding – American jazz bassist, singer, songwriter and composer — took home her fifth career Grammy at this year's 64th Annual Grammy Awards on April 3, 2022, winning Best Jazz Vocal Album for her eighth studio album, Songwrights Apothecary Lab. esperanza spalding (also known as irma nejando, or, i.e.) is a being who has grown to recognize love in the abstract and aspirational, and is now fully dedicated to learning how she can serve and embody actualized love through honor for and receptivity to fellow humans, teachers, and practitioners of various regenerative arts. Bass, piano, composition, performance, voice and lyrics are tools and disciplines she is engaged in deeply to cultivate her own channel for transmitting care and beauty through vibration/sound/presence. She has written an opera with Wayne Shorter; she is currently developing a mockumentary in collaboration with brontë velez and San Francisco Symphony; researching and developing liberation rituals in jazz and black dance; and continuing a lifelong collaboration with practitioners in various fields relating to music, healing, and cognition to develop music with enhanced therapeutic potential. She is presently paid by Harvard University to co-create and learn with students enrolled there, working on developing creative practices that serve the restoration of people and land.


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7pm, Schaefer Center for the Performing Arts Tickets: $35 Adults / $20 Students / Free children 12 and younger with purchase of an adult ticket

Gerard Schwarz, conductor and music director, Alan Benaroya Music Director Chair Santiago Rodriguez, piano Umoja for Orchestra

Valerie Coleman

Piano Concerto in a minor, Op. 16 Allegro molto moderato Adagio Allegro moderato molto e marcato

Edvard Grieg

Santiago Rodriguez, piano Symphony No. 4 in f minor, Op. 36 Andante sostenuto Andante in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con brio

Pyotr Ilyich Tchaikovsky

This performance is 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. Additional support for this performance has been generously provided by Barbara Freiman.

2022 marks Gerard Schwarz’ 18th year with Eastern Music Festival (EMF). He joined EMF as Music Advisor in 2005, became Principal Conductor in 2006, and music director in 2008. Internationally recognized for his moving performances, innovative programming and extensive catalogue of recordings, American conductor Gerard Schwarz serves as Music Director of the All-Star Orchestra, Eastern Music Festival, Palm Beach Symphony, and Mozart Orchestra of New York and is Conductor Laureate of the Seattle Symphony and Conductor Emeritus of the Mostly Mozart Festival. He holds the position of Distinguished Professor of Music, Conducting and Orchestral Studies of the Frost School of Music at the University of Miami and Music Director of the Frost Symphony Orchestra. Schwarz is a renowned interpreter of 19th century German, Austrian, and Russian repertoire, in addition to his noted work with contemporary American composers. The All-Star Orchestra is an ensemble of top musicians from America’s leading orchestras featured in 16 programs that have aired throughout the United States on public television, worldwide by internet streaming, and is the basis for their Khan Academy education platform that has already reached over six million students. Gerard Schwarz has also collaborated with the United States Marine Band adding three more programs. All the programs are released by Naxos on DVD and have been awarded nine Emmy Awards and the Deems Taylor Television Broadcast Award from ASCAP. Eastern Music Festival in North Carolina is among the country’s most important summer educational institutions bringing together world-renowned artists and exceptionally gifted young musicians from across the United States and beyond. With more than 300 world premieres to his credit, Schwarz has always felt strongly about commissioning and performing new music. As Music Director at EMF, he


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initiated the Bonnie McElveen-Hunter Commissioning Project that has thus far commissioned works by John Corigliano, Richard Danielpour, André Previn, HyeKyung Lee, and Lowell Liebermann. In all, Ms. McElveen-Hunter has committed to 10 new works from American composers. A prolific recording artist, Schwarz’s total discography numbers over 350 on labels such as Naxos, Delos, EMI, Koch, Artek, New World, Nonesuch, Reference Recording, RLPO Live, Columbia/Sony, and RCA. In November 2017, The Gerard Schwarz Collection, a 30-CD box set of previously unreleased and limited release works spanning his entire recording career was released by Naxos. His vast repertoire includes major 20th century ballets by composers Stravinsky, Strauss, Bartók, Ravel, and Prokofiev, as well as multi-disc cycles of works by Schumann, Strauss, Wagner, and Stravinsky. Schwarz’s dedication to the promotion of American music is also represented with his pioneering cycles of 26 American symphonists such as William Schuman, David Diamond, Walter Piston, Paul Creston, Peter Mennin, Alan Hovhaness, and Howard Hanson. The Howard Hanson cycle, first released on Delos, was a mainstay on Billboard’s classical music best-selling list for 41 weeks, earned Grammy nominations and was named 1989 Record of the Year by Stereo Review. The new Russian series on Naxos has been acclaimed as “a high point in the extensive Schwarz/Seattle discography” (Classics Today), “very fine” (The Guardian) and “a powerhouse in Russian Romantic repertoire” (MusicWeb International). He released Rimsky-Korsakov’s 1st and 3rd Symphonies with the Berlin Radio Symphony Orchestra in 2016. In addition to his numerous recordings with the Seattle Symphony, he has also recorded with the 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 Eastern Music Festival.

A gifted composer and arranger, Schwarz has expanded his compositional activities in recent years. His Trio for Violin, Horn and Piano, recently released on Good Child Recordings, was called a work of “sophistication and intelligence” (Seattle Post- Intelligencer). Earlier works include In Memoriam and Rudolf and Jeanette (dedicated to the memory of his grandparents who perished in the Holocaust) — both recorded by Naxos; Human Spirit, a composition for choir and orchestra, and his duos for violin and cello were called “redolent of the gentle humanism central to much of the music Schwarz loves to conduct” by The Seattle Times. 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 largescale orchestral tone poem, received its world premiere at 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 and recently recorded by the Marine Band for broadcast on PBS in November 2018. His newest work for that ensemble, a new version of Rudolf and Jeannette, was premiered in February 2016. His orchestral work, A Poem, was given its first performance by the Hartford Symphony. His Triptych for violin and cello was premiered at Bargemusic in 2018 and his work for euphonium and band, based on In Memoriam, was premiered in Korea also in 2018, as was his Rhapsody for cello and orchestra. Adagio, based on Webern’s Langsamer Satz, premiered at Eastern Music Festival in July 2019. Schwarz 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, Hagen, and Gluck.

Born in America to Viennese parents, Schwarz began studying piano at the age of five and soon focused on the trumpet. A graduate of both New York City’s High School of Performing Arts and The Juilliard School, he joined the New York Philharmonic in 1972 as co-principal trumpet, a position he held until 1977. Schwarz’s numerous previous positions include Music Director of New York’s Mostly Mozart Festival (1982-2001), where he presided over sold-out houses, developed the orchestra’s international touring, maintained a nine-year residency in Tokyo, considerably expanded its Mozart repertoire and lead numerous televised Live from Lincoln Center appearances. His tenure as Music Director of the Royal Liverpool Philharmonic Orchestra (2001-2006) 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 (1978-1985) and New York Chamber Symphony (1977-2001) 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 series and the successful Soundbridge Seattle Symphony Music Discovery Center;


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regular programming of innovatively themed festival weeks; in addition to dramatically increased audience attendance and classical subscription weeks. Schwarz’s 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 seven 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. 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. Gerard Schwarz’s much-anticipated memoir, Gerard Schwarz: Behind the Baton, was published by Hal Leonard Performing Arts Publishing Group in March 2017. He has been married to Jody for 38 years, has four children, and lives in Florida.

Santiago Rodriguez has been called “a phenomenal pianist” (The New York Times) and “among the finest pianists in the world” (The Baltimore Sun). He has performed internationally with leading orchestras, including the London Symphony, the Dresden Staatskapelle, the Weimar Philharmonic, the Yomiuri-Nippon Symphony Orchestra of Japan, the Tampere Philharmonic of Finland, the Berliner Symphoniker, the Philadelphia, Chicago, St. Louis, Baltimore, Seattle, Indianapolis, American Composers, and Houston Symphony orchestras, the National Symphony Orchestra of Washington, D.C., and the American Symphony Orchestra at Avery Fisher Hall in New York. Rodriguez has appeared in recital at the Schauspielhaus in Berlin, Leipzig’s Gewandhaus, Queen Elizabeth Hall in London, Montreal’s Theatre Maisonneuve, the Santander Festival in Spain, Alice Tully Hall in New York, The Kennedy Center in Washington, D.C., the Herbst Theater in San Francisco, the Ambassador Auditorium in Pasadena, and at the prestigious Ravenna Festival in Italy, where the critics proclaimed that “he conquered the audience.” Rodriguez made his Carnegie Hall debut under the baton of Dennis Russell Davis, and also traveled to Finland for a series of concerts with Eri Klas, conducting. In the 2016-2017 season, Rodriguez had return engagements in China, Korea, and Taiwan. As a chamber musician, Rodriguez has enjoyed collaborations with illustrious ensembles, such as the Guarneri String Quartet and the Chamber Music Society of Lincoln Center. He also toured extensively as member of a piano trio with Ruggiero Ricci and Nathaniel Rosen, and he has performed with such distinguished musicians as Walter Trampler, Ransom Wilson, Gervaise de Peyer, Aurora NátolaGinastera, and Robert McDuffie. Santiago Rodriguez’s vast repertoire of concertos and recital programs reflect his great versatility and musical interests.

Commanding a repertoire of over 65 concertos, he has performed concertos of Bach, Bartók, Beethoven, Brahms, Chopin, Mozart, Tchaikovsky, Grieg, Gershwin, Liszt, Schumann, Franck, Mendelssohn, Prokofiev, and Rachmaninoff over his 35-year performing career. His allencompassing list also includes the more unusual works of Khachaturian, Strauss, Saint-Saëns, MacDowell, Falla, Pónce, Surinach, Albéniz, Castelnuovo-Tedesco, and Previn. His recital list, displaying a stunning variety of solo works, ranges from the music of J.S. Bach, Mozart, Brahms, Beethoven, Chopin, Liszt, and Debussy, to Scriabin, Prokofiev, Albéniz, Granados, and Ginastera. One of today’s foremost interpreters of the music of Sergei Rachmaninoff, Santiago Rodriguez has performed all of the composer’s major piano works in concert. He is currently recording The Rachmaninoff Edition, which, when completed, will encompass the entire catalog of Rachmaninoff’s original solo piano compositions. The three volumes which have been released have received international acclaim. In reviewing Volumes 1 and 2, Bryce Morrison of Gramophone stated that “Santiago Rodriguez, the Cuban-American virtuoso, is born for Rachmaninoff, and I doubt whether any of the works on these two discs have often been played with such a spellbinding mix of high-born virtuosity and poetic glamour.” Volume 2 was awarded the Washington Area Music Award for best classical recording of 1995, and Volume 3 was selected by Classical Pulse as one of the best recordings of 1995. Santiago Rodriguez’ other recordings of repertoire from Bach to Ginastera, all on Élan Recordings, have been acclaimed for their “blazing conviction, tremendous technical strength, unswerving concentration and galvanic excitement...” (American Record Guide). National Public Radio’s Guide to Building a Classical CD Collection recommends three of Rodriguez’ recordings as “the best available” performances, and his recording of the Rachmaninoff and Prokofiev Third Concertos has been internationally


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acclaimed as one of the best in recorded history; the Chicago Tribune spoke of “the enormous sweep and impeccable control,” and American Record Guide concluded that “this Rachmaninoff Third goes immediately to the top of the list.” Rodriguez has recorded numerous world premieres, including Piano Concerto No. 1 by Mario Castelnuovo-Tedesco; the Concertino for piano, strings, and cymbals of Carlos Surinach; Leonard Bernstein’s Touches; piano concertos from the movies Nightsong and Phantom of the Opera, both of which are featured on his release Piano in Hollywood, and the Piano Sonata No. 2 of Alberto Ginastera, which was premiered by Rodriguez at Alice Tully Hall in New York. His latest project took him to Berlin, where he recorded Rachmaninoff’s Piano Concerto No. 2 and Chopin’s Piano Concerto No. 2 with the Berliner Symphoniker and Stephen Gunzenhauser, conducting. This is his 14th recording for the company. Santiago Rodriguez was born in Cárdenas, Cuba, and began his piano studies at age four. After Castro seized power in Cuba, his parents sent Rodriguez and his younger brother to America under the care of the Catholic Charities. He spent the next six years in an orphanage in New Orleans. Fortunately, his mother had concealed money along with a note begging the nuns to continue his musical education. Two years after his arrival, he made his concert debut at age 10 performing Mozart’s Piano Concerto No. 27 with the New Orleans Philharmonic. His international career was launched in 1981, when he won the Silver Medal at the Van Cliburn International Piano Competition; he also received a special prize for the best performance of Leonard Bernstein’s Touches, a work commissioned for the competition. Rodriguez’ unique life and artistry were profiled on CBS Sunday Morning with Charles Kuralt in 1993. He has also been featured numerous times on the ABC, NBC, PBS, CNN, BBC, and CBC television networks. Rodriguez also enjoys a distinguished reputation as a teacher and master-clinician. In 1980, he was a member of the Piano

Division at the University of Maryland, where he held the rank of Professor and artist-in-residence. Beginning in September 2009, he accepted the position of Professor and Artist-in-Residence at the Frost School of Music, University of Miami. Rodriguez has presented master classes at many major music schools and national/state teacher’s conferences in the U.S. and abroad and has been actively involved in the outreach programs of almost every musical organization for which he has performed. Most recently, he was Chair of the Jury at the William Kapell International Piano Competition in College Park, Maryland, and the San Antonio International Piano Competition in Texas. Rodriguez is also the Artistic Director of the Florida International Piano Competition and Artist-in-Residence at the Endless Mountain Music Festival in Pennsylvania. Santiago Rodriguez holds a master’s degree from The Juilliard School, where he studied on full scholarship as a pupil of Adele Marcus, and he completed his undergraduate studies magna cum laude with William Race at the University of Texas-Austin.

Program Notes


Coleman was born in Louisville, Kentucky in 1970, and lives in New York City.

Umoja: Anthem of Unity (for Orchestra) Valerie Coleman is a living composer whose work as a performer, educator, composer, and advocate has a transformative impact everywhere her journey takes her. Coleman was named to The Washington Post’s “Top 35 Women Composers” and in 2020 was honored as Classical Woman of the Year by American Public Media’s classical music review Performance Today. She is a Grammynominated flutist, award-winning composer, and founder of the internationally renowned woodwind quintet Imani Winds. In Fall of 2021 Coleman joined the faculty of the Mannes School of Music after previously teaching at The Frost School of Music at the

University of Miami and in a residency at The Juilliard School through the American Composers Forum. Umoja: Anthem of Unity was commissioned by The Philadelphia Orchestra and premiered in 2019 as their first performance of a classical work by a living African American woman. “Umoja”, in its original form, is the Swahili word for unity and is also the first principle of Kwanzaa. Coleman first created Umoja as a simple song for women’s choir that embodied a sense of “tribal unity” through the traditions of call and response singing and drum circles. She later rearranged the work as an anthem for Imani Winds in celebration of the diverse heritages each member of the ensemble represents. In reimagining Umoja for full orchestra, Coleman expanded the melody from the original song by passing it through each family of instruments following its initial statement by a solo violin. Coleman describes how this melody is, “interrupted by dissonant viewpoints led by the brass and percussion sections, which represent the clash of injustices, racism and hate that threatens to gain a foothold in the world today.” After these moments of division and aggression the melody returns, uniting the sections of the orchestra. Coleman writes, “this version honors the simple melody that ever was, but is now a full exploration into the meaning of freedom and unity. Now more than ever, Umoja has to ring as a strong and beautiful anthem for the world we live in today.” Edvard Grieg

Grieg was born in Bergen, Norway on June 15, 1843, and died in Bergen on September 4, 1907.

Piano Concerto in a minor, Op.16 While studying at Leipzig Conservatory from 1858 to 1862, a young Norwegian named Edvard Grieg earned his way into the piano studio of Ernst Ferdinand Wenzel, a friend of Robert Schumann. Wenzel was passionate about Schumann’s compositions, sharing this love with Grieg who himself became a lifelong admirer the composer. Grieg recounted one experience hearing virtuoso pianist, and Robert’s wife, Clara Schumann perform


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Robert’s piano concerto in a 1903 article for The Century magazine. Grieg’s high regard for both Schumanns is evident in his writing: “Inspired from beginning to end, it [Schumann’s piano concerto] stands unparalleled in music literature and astonishes us as much by its originality as by its noble disdaining of an ‘extrovert, virtuoso style.’ It is beloved by all, played by many, played well by few, and comprehended in accordance with its basic ideas by still fewer — indeed, perhaps by just one person — his wife.” Like Schumann, Grieg would write only one piano concerto. Both concertos are set in the key of a minor and begin with a dramatic opening chord from the orchestra answered by descending arpeggiated flourishes by the piano then a quiet pronouncement of the main theme, predominantly by the woodwinds. Despite their similarities, however, Grieg did not merely copycat the idolized concerto by Schumann, but rather created his own unique work with nods of homage to his inspiration. Grieg’s Piano Concerto in a minor is a beloved example of his superb lyricism, and the second movement, with its chamber music like intimacy, reminds us of the smaller scale genres of music Grieg was most comfortable writing in. His piano concerto drew praise from Liszt and Tchaikovsky, and Tchaikovsky’s description of Grieg’s music provides a succinct summary: “What warmth and passion in his melodic phrases, what teeming vitality in his harmony, what originality and beauty in the turn of his piquant and ingenious modulations and rhythms, and in all the rest what interest, novelty and independence! If we add to this that rarest of qualities, a perfect simplicity, far removed from affectation and pretense... it is not surprising that everyone should delight in Grieg.” Sergey Prokofiev

Prokofiev was born in Sontsovka, Ukraine on April 23, 1891, and died in Moscow on March 5, 1953.

Symphony No. 5 in B-flat Major, Op.100 Sergey Prokofiev returned to Russia in 1936 after 18 years of living and traveling abroad. He was eager to settle into his new

life yet cautious to avoid the same political turmoil as fellow Soviet composer Dmitri Shostakovich. For his first projects Prokofiev began composing works to commemorate the 1937 centenary of the revered author Alexander Pushkin’s death. These works, including a film score for The Queen of Spades and incidental music for Pushkin’s plays Boris Godunov and Yevgeny Onegin, were unfortunately never performed. Prokofiev found some success during this period with a series of compositions for children from 1935-36, including the eternally popular Peter and the Wolf. In the summer of 1944, 15 years after completing his Fourth Symphony (the first version, op.47) and with the world firmly entrenched in war, Prokofiev returned to the genre of the symphony. Within the span of one month, he completed his Symphony No. 5 in B-flat Major, Op.100. Prokofiev described the Fifth Symphony by writing that, “I regard the Fifth Symphony as the culmination of a long period in my creative life. I conceived of it as glorifying the grandeur of the human spirit... praising the free and happy man — his strength, his generosity, and the purity of his soul.” The Symphony begins with a traditional sonata form first movement. This movement displays a calm and steady sense of heroic grandeur; the flute and bassoon play the first theme in unison octaves followed by a second theme soaring over tremolo strings, while the magnificent coda epically emphasizes the “strength” Prokofiev envisioned. For the second movement, Prokofiev created a quick and spritely scherzo filled with equal parts satire and comic relief. He then shifted to a nostalgic lyricism in the third movement, building into a climax suffused with hints of tragedy before returning to its initial dream-like state. The finale opens with the cellos playing a theme clearly derived from the first theme of the Symphony, followed by the delightful giocoso main theme of the rondo. Prokofiev ends the work with a dramatic, unexpected B-flat major chord “glorifying the grandeur of the human spirit.”

The Fifth Symphony was premiered in the Great Hall of the Moscow Conservatory on January 13, 1945 by the State Symphonic Orchestra of the USSR with Prokofiev conducting. It was billed as Prokofiev’s first unquestionably Soviet symphony and was received as a roaring success. The pianist Sviatoslav Richter was in the audience and recounted an appropriately dramatic moment during the performance: “then, when Prokofiev had taken his place on the podium and silence reigned in the hall, artillery salvos suddenly thundered forth. His baton was raised. He waited, and began only after the cannons had stopped. There was something very significant in this, something symbolic. It was as if all of us — including Prokofiev — had reached some kind of shared turning point.” Later that year, the Fifth Symphony was premiered in the United States by the Boston Symphony Orchestra. Their conductor, Serge Koussevitzky, wrote that Prokofiev’s Fifth Symphony is, “the greatest musical event in many, many years. The greatest since Brahms and Tchaikovsky! It is magnificent! It is yesterday, it is today, it is tomorrow.” Pyotr Ilyich Tchaikovsky

Tchaikovsky was born in Kamsko-Votkinsk, Russia on May 7, 1840, and died in St. Petersburg on November 6, 1893.

Symphony No. 4 in f minor, Op.36 The year 1877 was a dramatic one for both Tchaikovsky’s personal life and his professional career, and its implications reached into his compositions, or more accurately, lack thereof. Tchaikovsky’s financial situation at this time was rather tenuous, to the point of factoring into his decisions regarding work and marriage. He had been teaching at the Moscow Conservatory, but was unhappy that he had to continue spending great time and energy in that position merely to maintain a source of income. Perhaps for financial reasons, or to keep his private affairs secret from the public (he had lived as a bachelor his entire adult life), Tchaikovsky suddenly married Antonina Milyukova, a former student who professed her love to him through a letter, in June of 1877. Their


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marriage would last only three months, during which Tchaikovsky felt emotionally tortured, suffered severe illness, and struggled to write. In an effort to rescue Tchaikovsky from himself, his brother Anatoly took the despondent composer on an extended journey to Europe. Getting away from Russia cleared the fog for Tchaikovsky but he did not immediately begin composing new ideas. Instead, he finished two works that had been put aside early in the year, his Fourth Symphony and the great opera Eugene Onegin. During those more productive first months of 1877, Tchaikovsky began corresponding with a wealthy widower, Nadezhda von Meck, whose sharp intellect and affinity for his music resulted in a lasting friendship between the two. Tchaikovsky and von Meck never met in person, communicating entirely through letters, and by fall of 1877 von Meck became Tchaikovsky’s official patron, thus solving his financial problems. Tchaikovsky began composing the Fourth Symphony before the marriage debacle occurred, completing the first three movements and perhaps most of the fourth. In January of 1878 the symphony was finally complete, and Tchaikovsky inscribed the score “Dedicated to My Best Friend,” in reference to von Meck and in acknowledgement of her financial and emotional support. Fortunate for us, von Meck kept Tchaikovsky’s letters, and in one of these letters Tchaikovsky provided a detailed account of this symphony, albeit at the patroness’ request. It seems plausible that most of this description is applied by the composer after the fact, perhaps simply to satisfy von Meck and maintain their relationship, but one theme Tchaikovsky describes was most certainly on his mind through the conception of this symphony: Fate. Tchaikovsky begins his description of the symphony to von Meck with the acknowledgment of this main theme, heard as a powerful brass fanfare opening the work: “The introduction is the seed, the chief thought of the whole Symphony. This is Fate, the fatal power that hinders one in the pursuit of happiness from gaining the goal, which jealously provides that peace and comfort do not prevail, that the sky is not free from clouds — a might that swings, like the sword of Damocles, constantly over the head, that poisons continuously the soul. This might is overpowering and invincible.” Following the Fate theme, Tchaikovsky leads us into a second dreamlike theme, played by the clarinet. He continued his description of this movement: “Would it not be better to turn away from reality and lull one’s self in dreams? Deeper and deeper the soul is sunk in dreams. All that was dark and joyless is forgotten... No – these are but dreams: roughly we are awakened by Fate. Thus we see that life is only an everlasting alternation of somber reality and fugitive dreams of happiness.” The second movement begins with a solo oboe whose opening melody is a somber recollection of once joyous memories. Tchaikovsky called it “a whole procession of memories... it is at once sad and somehow sweet to lose ourselves in the past.” This movement also reminds us of Tchaikovsky’s brilliant ballet scores, particularly the emotionally charged lyricism he could effortlessly infuse within a pas de deux. The Fourth Symphony’s pizzicato Scherzo also speaks to his ballet scores with its light playfulness and sense of energy, and Tchaikovsky himself used the language

of ballet in calling its motives “capricious arabesques.” Tchaikovsky skillfully utilizes the extremes of the orchestra with the lowest rumbles from the double basses upwards to the piccolo’s soaring height, and telling von Meck that, “When I was writing the Scherzo of our Symphony, I imagined it exactly as you heard it. It is unthinkable played any other way than pizzicato.” Tchaikovsky begins the finale with a striking cymbal crash, abruptly ending the playful mood of the Scherzo and signaling that something altogether more dramatic was about to occur. He draws upon his Russian heritage by invoking a village celebration, complete with the quotation of the folk song “A Birch Stood in the Meadow” by the woodwinds. His letter to von Meck continued, “As to the finale, if you find no pleasure in yourself, look about you. Go to the people. See how they can enjoy life and give themselves up entirely to festivity. The picture of a folk holiday. Hardly have we had time to forget ourselves in the happiness of others when indefatigable Fate reminds us once more of its presence. The other children of men are not concerned with us. How merry and glad they all are. All their feelings are so inconsequential, so simple. And do you still say that all the world is immersed in sorrow? There still is happiness, simple, naive happiness. Rejoice in the happiness of others — and you can still live.” With the symphony’s final chords, there is little doubt that every word of Tchaikovsky’s last sentence in his letter rings true: “There is not a single line in this Symphony that I have not felt in my whole being and that has not been a true echo of the soul.”


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2022 EASTERN MUSIC FESTIVAL ARTIST FACULTY Conductors Gerard Schwarz, Alan G. Benaroya

Music Director Chair

Grant Cooper, Resident Conductor Eric Garcia, Resident Conductor** Scott Flavin, Resident Conductor** José-Luis Novo, Resident Conductor Violin I Jeffrey Multer,

John R. Kernodle, Jr. Concertmaster Chair

John Fadial, Assistant Concertmaster Scott Flavin, 1st Assistant Concertmaster Avi Nagin, 2nd Assistant Concertmaster Courtney LeBauer Fabián López Adelya Nartadjieva,

Tannenbaum Sternberger Foundation First Violin Chair**

Uli Speth

Violin II Randall Weiss,

Timothy W. Lane Principal Second Violin Chair

Jenny Grégoire, Assistant Principal Catherine Cary Ioana Galu Susan McCallum Dan Skidmore

Viola Daniel Reinker, Principal Ben Geller, Associate Principal Chauncey Patterson, Assistant Principal Sarah Coté Jamie Hofman Diane Phoenix-Neal Cello Neal Cary, Principal Julian Schwarz, Associate Principal Allan Steele, Assistant Principal** Marta Simidtchieva Beth Vanderborgh

Double Bass Leonid Finkelshteyn, Principal Joel Braun, Assistant Principal Marc Facci Meredith Johnson Donovan Stokes** Flute Jake Fridkis, Principal ** Ann Choomack, Flute/Piccolo Oboe Randall Ellis, Principal Karen Birch Blundell, English Horn/

Associate Principal Oboe

Clarinet Shannon Scott, Principal Anthony Taylor Bassoon George Sakakeeny, Claire Kelleher Principal Bassoon Chair

Karla Ekholm

Horn Kevin Reid, Principal Joy Branagan Kelly Hofman Trumpet Chris Gekker, Co-Principal Rich Harris, Co-Principal** Paul Randall, Distinguished Guest** Trombone James Justin Kent, Principal Graeme Mutchler, Bass Trombone** Tuba Aaron Tindall, Principal Euphonium Demondrae Thurman Timpani Eric Schweikert, Principal Percussion John Shaw, Principal Matthew Decker Harp Anna Kate Mackle, Principal Piano Marika Bournaki Santiago Rodriguez** William Wolfram

Guitar JIJI Kami Rowan Jason Vieaux String Leadership Scott Flavin Adelya Nartadjieva Orchestra Librarian Marc Facci Personel Manager Meredith Johnson 2022 Orchestral Fellows Anthony Bock, piano Ching-Hung Chen, cello Ethan Durell, viola Ava Figliuzzi, violin Claire Hebeisen, violin Aubrey Holmes, violin Jaewoo Lee, trombone Hee Won Jeon, cello Elizabeth Lee, cello Zoe Loversky, viola Nathan Lowman, violin Nicole Oswald, violin Annabelle Spoto, viola Yue Yang, violin On Leave Amy Frost Baumgarten Michael Kris Rick Ostrovsky Awadagin Pratt Les Roettges Judith Saxton HeeSun Yang ** One Year Appointment

Section strings are listed alphabetically and seated in rotation


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Tickets: $30 / Free for children 12 and younger

The Hayes School of Music Faculty Chamber Players invite you to a feast of music to share tastes of cuisine, tradition and home. Conducted by Dr. Régulo Stabilito, the chamber orchestra concert opens with la revue de cuisine (The Kitchen Revue) by Bohuslav Martinů, a jazzinfluenced ballet suite depicting a humorous romance among kitchen utensils. Next is Divertimento for 11 Instruments by Gonzalo Castellanos Yumar, an energetic and varied display of musical textures and motives. Finally, two works by Aaron Copland, Old American Songs (with Dr. Gennard Lombardozzi) and Appalachian Spring, invite the audience into scenes of American life and tradition.

Sponsored by McDonald’s of Boone


The 2022 Broyhill Chamber Series is dedicated to the memory of Larry Freiman, a devoted supporter of classical music programming at An Appalachian Summer Festival, who with his wife Barbara has provided significant annual support for this series.

Hayes School of Music Faculty Chamber Players:

“Together at the Table” TUESDAY, JULY 12 7pm, Rosen Concert Hall

This concert is presented in honor of Dr. William Pelto, former Dean of the Hayes School of Music.

“Together at the Table” The Hayes School of Music Faculty Chamber Players Régulo Stabilito, conductor Divertimento for 11 instruments

Castellanos, Gonzalo

Old American Songs

Aaron Copland Gennard Lombardozzi, soloist

“Boatmen's Dance” “The Dodger” “Long Time Ago” “Simple Gifts” “I Bought Me a Cat”


La Revue De Cuisine Prologue Tango Charleston Final

Martinu, Bohuslav

Appalachian Spring: Suite

Aaron Copland

The Broyhill Chamber Ensemble Concert Series is generously supported by the Muriel and Arnold Rosen Endowment for the Arts, the Rosen-Schaffel Endowment for Classical Music Programming, the Broyhill Family Foundation, Barbara Freiman, and Venda Lerch / McDonald’s of Boone. We wish to thank artist Amy Reshefsky, for her gift of the musically-themed artwork exhibited in the lobby of Rosen Concert Hall.

Gavin Armstrong is an undergraduate student at Appalachian State University, completing a Bachelor of Music degree in Clarinet Performance. This past spring, he was principal clarinetist of the Appalachian Symphony Orchestra and the Appalachian Wind Ensemble. He will begin his junior year this upcoming semester. Violinist Dr. Nancy Bargerstock holds degrees from the Juilliard School and the University of NCGreensboro. Committed to the traditions of her musical mentors, she has performed as soloist, chamber musician, and recitalist throughout the U.S., Europe, and the Far East and in festivals in Bermuda, Santorini, Bellingham, Craftsbury, and Athens, Greece. As violinist in the Nakas and Lenape String Quartets, Hayes Ensemble, and Van Arnum and Deree Piano Trios, she has been passionately involved in chamber music all her career. Presently Professor of Violin at Appalachian State, her students have been successful in competitions and are teaching and performing all over the globe.


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Jon Beebe has served on the faculty of the Hayes School of Music since 1986. He has performed with the NC Symphony, the Las Vegas Symphony, the Madison (WI) Symphony, the Wisconsin Chamber Orchestra, the Kingsport Symphony (TN, now Symphony of the Mountains) and has been principal bassoonist of the Oshkosh (WI) Symphony and the Western Piedmont Symphony in Hickory, NC. He has been a guest artist at the Conference of the International Double Reed Society, has authored numerous articles for the IDRS, and is the creator of bassoONLY, a database devoted to music for unaccompanied bassoon and contrabassoon. Dr. Adam Booker serves as Associate Professor of Double Bass at Appalachian State University. Dr. Booker has performed with various symphonies throughout the United States. He recently performed in Edinburgh, St. Andrews, and Well’s Cathedral in the United Kingdom, held a residency at the Royal College of Music in London, and a residency and recital at the Boccherini Institute in Lucca, Italy. Dr. Booker has released three albums, Unraveled Rival (2015), Seven Last Words (2019), and Lucca Live (2021) ,on the Shifting Paradigm Records label. Dr. Booker is also a proud veteran of the US Navy. Margaret Bragg retired from the Houston Symphony Orchestra in May of 2013, having been a full-time member of the organization since the summer of 1972. She earned her Bachelor of Music degree from the Oberlin Conservatory of Music and her Master of Music degree from the University of Illinois. While a member of the Symphony, she performed in various quartets, most recently as a member of the Johnson Quartet, which performs throughout the Houston area as part of the Symphony’s “Community Connections” program. She also is active in Chamber Music Houston, an organization that brings outstanding chamber music groups to Houston. Joseph Brown joined the faculty of the Hayes School of Music in 2019. He has performed with orchestras in North Carolina, Tennessee, Texas, Illinois, Ohio, and West Virginia. He is active in several chamber groups including the low brass trio 3Basso as well as Ohio Trombone Quartet. He has performed at the International Trombone Festival, the International Tuba-Euphonium Conference, and was recently featured soloist with the Appalachian Wind Ensemble for their performance at the 2021 NCMEA Convention. He holds degrees from the University of Texas at Austin and Appalachian State University, where he was a North Carolina Teaching Fellow. Oboist Alicia Chapman joined the applied music faculty as instructor of oboe in January 2001, as full-time Assistant Professor in 2015, and is currently Associate Professor of oboe, Director of the Collegium Musicum and coordinator of Woodwind Chamber Music. Dr. Chapman is principal oboist with the Asheville

and Johnson City Symphony orchestras and is performing this season with the Symphony of the Mountains. She is a member of the North Carolina Baroque Orchestra, where she performs on historical oboes. Pianist Junie Cho has appeared as soloist with orchestras, recitalist and chamber musician throughout the United States, and in Europe and Asia. Her performance of Beethoven’s Emperor Concerto with Prime Symphony at Merkin Hall, New York City, was acclaimed for its “majestic resonance and graceful melodies.” The New York debut recital at the Weill Recital Hall at Carnegie Hall has been followed by engagements of solo recitals and ensemble concerts with partners from the New York Philharmonic and the Orpheus Chamber Orchestra. Cho joined the faculty at Appalachian State University Hayes School of Music in Boone, NC in 2014. Chandler Fadero is a professional violinist currently based in Oklahoma City. He completed a Bachelor of Music degree at Appalachian State University under Nancy Bargerstock, a Master of Music degree at Baylor University under Bruce Berg, and a Doctor of Music degree at the University of Oklahoma under Gregory Lee, where he served as the Mark Allen Everett doctoral fellow. Recently, Fadero was named winner of the 2021 Jacqueline Avant Concerto Competition, and subsequently soloed with the Sewanee Festival Orchestra. In addition to maintaining an active studio, he performs with the Norman Philharmonic, Oklahoma Virtuosi, and Oklahoma City Philharmonic. Jason Gardner is the Associate Director of Bands in the Hayes School of Music at Appalachian State University, including the 275-member Marching Mountaineers. Dr. Gardner has over 20 years of teaching experience, 14 of which were spent teaching high school and middle school bands. He has been active as an adjudicator, committee chairman, event host, and performer. For over 20 years he performed with various bands and orchestras across Indiana and Illinois. He earned a Doctor of Musical Arts degree from the University of Illinois at Urbana-Champaign, a Master of Music in Wind Conducting from Ball State University, and a Bachelor of Music Education from Taylor University. As recitalist, chamber musician and orchestral musician, Constance Gee has performed extensively across the U.S. and Europe. With over 20 years of teaching experience, Gee has taught all levels and ages in many different contexts, and is currently the Assistant Professor of Viola at the University of South Carolina. She is the founder of the Chamber Music Workshop at the University of Virginia, a community-based program linking the University of Virginia with its local amateur musicians.

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Julie Goforth is a graduate of Appalachian State, where she studied piano and cello performance. She was principal cellist of the Appalachian Symphony, played with the Cello Quartet, and was a winner of the Concerto-Aria competition. After marrying her college sweetheart, she spent the next 20 years playing cello and piano in their church orchestras and worship bands in Texas and Georgia. In Alaska she began teaching private cello and piano lessons as well as playing cello in the Anchorage Symphony. She and her husband have recently moved back to Boone where she is currently accompanying voice students in the Hayes School of Music. Soo Goh is an Assistant Professor of Clarinet and co-coordinator of the Music Performance area at Appalachian State University. He has performed with numerous regional orchestras, including the Carolina Philharmonic. As founding member, he made his Carnegie Hall debut with the ensemble under the direction of Maestro David Michael Wolff. Soo has performed and taught masterclasses in Malaysia, Singapore, Austria, and Jordan. His Batik Clarinet Quartet actively performs and promotes works by under-represented composers in juried music conferences. As an educator, Soo firmly believes in mentorship and advocacy for students who may otherwise not have access to music education.

Hayden Green is pursuing a Bachelor of Music degree in Violin Performance in the Hayes School of Music. Green has been the concertmaster for the Spartanburg Philharmonic Youth Orchestra and has been a part of South Carolina’s District 7 Orchestra, All-State, and Regional orchestras, as well as the Carolina Youth Symphony. Amber Koeppen has been a prize winner in a number of national and international solo competitions, including first place in the RosenSchaffel Competition in 2014. She has performed across the United States and abroad and has lectured at the WAAE music education conference in Auckland, New Zealand. Koeppen maintains an active teaching career, teaching harp at the Hayes School of Music and also at various summer programs such as Interlochen Center for the Arts. She is the Executive Director of Brush Strokes and Music Notes, a non-profit that provides financial access to immersive arts education for students from diverse backgrounds. Violist Eric Koontz joined the string faculty at the Hayes School of Music in 2005, after leading the viola sections of the Barcelona Symphony Orchestra and the Jerusalem Symphony Orchestra. In Barcelona, he premiered Max Bruch's Double Concerto for Viola, Clarinet and Orchestra on the Iberian Peninsula. He was a



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founding member of the Nayades Trio (flute, harp and viola); the Reinecke Trio (clarinet, viola and piano); and the Quartet Glinka, performing the complete string quartets of Shostakovich. He has appeared in chamber music performances with Bernard Greenhouse, Gary Hoffman, Dmitri Sitkovetsky, the Russian Emigré Chamber Orchestra, Brooks Whitehouse, and Cuarteto La Catrina, among others. Establishing himself as a successful performer in opera, oratorio, and musical theatre repertoire, tenor Gennard Lombardozzi has been heard on stages throughout the United States, Europe, and Asia. Gennard has performed with Opera Orlando, Gotham Chamber Opera, Virginia Opera, New York Festival of Song, The Glimmerglass Festival, The Hollywood Film Orchestra, and others. Gennard has also established himself as an accomplished educator and director and continues to challenge the traditions of opera and musical drama with original productions. Gennard is the Assistant Professor of Voice and Director of Opera at the Hayes School of Music at Appalachian State University. Mary Kay (McQuilkin) Robinson grew up in Knoxville, TN, and studied violin with William Starr. She studied briefly with Josef Gingold at Indiana University before going to the Juilliard School, where her teachers and mentors included Dorothy DeLay, Ivan Galamian, Don Weilerstein, and Felix Galimir. She has played as a substitute with the New York Philharmonic and been a member of major orchestras and renowned music festival ensembles across the

United States. She is currently teaching at Duke University, as well as privately from her home studio in Chapel Hill, NC. Flutist Dr. Nancy Schneeloch-Bingham has performed throughout North America, Switzerland, United Kingdom, and Ireland. Her performance experience spans 400 years of flute history, including Renaissance, Baroque, 19th century, and modern flutes. She is a founding member and frequent recitalist with early music ensemble Harmonia Baroque. An accomplished player in the Irish traditional flute style, she has performed with Irish music band Sunday’s Well. She is Director of the Hayes School of Music's Ireland Program, an intensive study abroad course in Irish traditional music. Her modern flute duo with flutist Leslie Marrs, Dúo Pelirroja, tours annually and presents dynamic, team-taught masterclasses. Reeves Shulstad has been a member of the Hayes School of Music faculty since 2009. Shulstad earned a Masters and Ph.D. in Historical Musicology from Florida State University and teaches music history and special topics courses in the undergraduate curriculum. Recently, she was named the AppState winner of the UNC Board of Governors Excellence in Teaching award. 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. Régulo Stabilito is a conductor whose musical education began in the world-renowned project “El Sistema” in Venezuela. With a career that spans more than 20 years, Stabilito has been invited as guest conductor for orchestras across Latin America and Europe and has maintained close working relationships with the principal orchestras of Venezuela. Stabilito is a co-founder of LAMI (Latin American Music Initiative) and is also a lawyer. He holds Doctor of Musical Arts and Master of Music degrees from the University of Michigan and a Master of Music from the Universidad Simón Bolívar. Currently, Dr. Stabilito serves as Visiting Assistant Professor and Visiting Director of Orchestral Activities at Appalachian State University. Dr. James M. Stokes, Jr. has performed throughout the U.S. and internationally as an orchestral, commercial, jazz, solo, and chamber music artist. Dr Stokes is the Professor of Trumpet in the Hayes School of Music, principal trumpet of the Symphony of the Mountains, and a Vincent Bach Artist for the Conn/Selmer Corporation. In 2018, Dr. Stokes and Brent Bingham co-hosted the William Adam International Trumpet Festival and the Appalachian Summer Festival-featured trumpeter Chris Botti. Dr. Stokes has performed with many ensembles and musical artists including the Columbus Symphony, Charlotte Symphony, John Williams, Frank Sinatra Jr., Aretha Franklin, The Temptations, Mannheim Steamroller, Barry Manilow, Canadian Brass, and many others.

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Cellist Ellie Wee, Doctor of Musical Arts, has performed as a soloist, chamber musician, and an orchestra player in the U.S., France, Italy, Turkey, Japan, and Korea with such groups as Handel and Haydn Society, Boston Baroque, Menotti Lyric Opera and Arizona Opera. She has received numerous awards and scholarships including the Anna Rosenzweig String Award, the Regent Full Scholarship Award, the Boston University Full Scholarship Award, and The American Conservatory Full Scholarship Award, to name a few. A dedicated teacher as well, her students were winners of the Lowell Philharmonic Orchestra Concerto Competition and state and national-level honors orchestras.

Program Notes

by Reeves Shulstad, Ph.D. The concert begins with a jazz-infused frolic in the kitchen! Czech composer Bohuslav Martinů enjoyed the Jazz Age (1920s) in Paris. After receiving a scholarship from the Czechoslovakian ministry of education, he arrived in Paris in October 1923 to study with Albert Roussel. Beyond his work with Roussel, Martinů’s range of musical experiences included jazz, the music of Igor Stravinsky, and Les Six — a group of avant-garde French composers. Parisians were wild for jazz along with new, popular dances, like the Charleston and the Tango. Eager to experiment with these styles, Martinů incorporated them into a one-act ballet, la revue de cuisine, which is based on Jamila Kröschlová’s Temptation of the Sanctimonious Pot. The characters in the ballet are a Pot, Lid, Dishcloth, Twirling Stick, and a Broom. With the help of the Broom, the Lid works to regain the affections of the Pot who has been seduced by the Twirling Stick. Parisian audiences loved the ballet, and the chamber suite as a stand-alone work. The last movement reveals Martinů’s compositional prowess as he layers the dances from the previous movements with folk-like passages, often presenting them in dense, contrapuntal textures. Although Martinů is often touted as a prolific 20th-century Czech composer, he spent the majority of his career in Paris and the United States. After the domestic romp of la revue, the Divertimento for 11 instruments by Venezuelan composer and conductor Gonzalo Castellanos (b. 1926) reflects a neo-classic style that permeated Europe in the first half of the 20th century. Castellanos studied composition with Vicente Emilio Sojo at the Escuela Superior de Música in Caracas and continued his studies in Europe. He completed his Divertimento for 11 Instruments in 1961 while studying conducting in Germany, analysis in Siena, and orchestration in Paris between 1959 and 1963. As the piece begins, the horn provides the opening motive over a syncopated accompaniment that returns in various instruments throughout the piece. Repeated Stravinsky-esque syncopated rhythms lead into a slow section that features lyrical melodic material from the strings. An extended cello solo segues back to the opening motive and tempo. The neo-classic style of this piece has elements of Béla Bartók along with Stravinsky. Castellanos returned to Venezuela in 1963 and held important conducting and teaching positions. From 1966 to 1978, he was the

music director of the country’s Symphony Orchestra. After 1978, he focused primarily on composition and received the National Music Prize of Venezuela for lifetime achievement in 1990. The repertoire on the second half of the concert reflects Aaron Copland’s complicated connection with the idea of America. According to scholar Elizabeth Crist, “American and Americanism are political terms to be endlessly contested, whether used to describe political alignment or musical expression. ...And while it may seem that Copland’s music can be (or has been) attached to an unproblematic ideal of Americanness, his work actually provides an opportunity to interrogate the musical and political projects behind Americanism as but a single term for a variable set of ideals.” Before World War II, Copland had strong ties to the Communist party. Although never an official member, he used his music and his voice in support of left-wing political ideology. His populist leanings influenced his musical style as he was commissioned to write for film, including a pro-Soviet film produced by Samuel Goldwyn. His collaboration with modern dance icon Martha Graham in New York culminated in several popular ballets, including Appalachian Spring (1943–44). Supported by pianist and philanthropist Elizabeth Sprague Coolidge, this work won the Pulitzer Prize and the New York Music Critics’ Circle Award. The suite from this ballet, which has also been orchestrated, has been aligned with a Classical sound of America. Copland’s use of the Shaker Tune, Shakers being a unique Protestant sect of The Second Great Awakening, along with other folk-like tunes accompany the wedding of a 19th-century Pennsylvania farmer. After the war, Copland’s participation in the 1949 World Peace Conference along with his previous connections to the Communist party triggered an investigation by the House Un-American Activities Committee. Although he avoided being blacklisted and never implicated colleagues, Copland stepped out of the highly publicized arenas of film and ballet, shifting his focus to the concert stage. Crist remarks that “ a composer for the concert hall he was much less vulnerable to being blacklisted than a Hollywood actor or director.” His Old American Songs, commissioned in 1950 by composer Benjamin Britten and his partner, tenor Peter Pears, for their Music and Arts Festival in England, reflect this shift along with Copland’s desire to further investigate the history of American music. He researched various sources to find the material for this collection. “The Boatman’s Dance” reflects America’s complicated history of minstrelsy. The song was originally composed by Daniel Decatur Emmett for his group The Virginia Minstrels. Copland removed the slave dialect and racial connotations so that the song focuses on the Ohio River landscape. “The Dodger” is a campaign song linked specifically with the 1884 election of Grover Cleveland, and satirizes the personas of the political candidate, the preacher, and the lover. Copland discovered “Long Time Ago” in the Harris Collection at Brown University. Also a clever entrepreneur, Copland includes the popular “Simple Gifts” in this collection as well. On the surface, Copland’s music has been used to reflect a simple idea of America; however, Elizabeth Crist aptly notes, “Copland’s music projects an individual subjectivity and speaks with an identifiably American voice, but the accent is hard to place.”



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Belfast In English with English subtitles

WEDNESDAY, JULY 13 7pm, Schaefer Center for the Performing Arts Tickets: $10 Features a pre-film introduction and a post-film moderated discussion with this year’s film series curator, Dale Pollock Director Kenneth Branagh's semi-autobiographical film chronicles the life of a working-class family and their young son’s childhood during the tumult of the late 1960s in the Northern Ireland capital. Surrounded by sporadic violence and growing danger, nine-year-old Buddy finds himself confronted with the ugly reality of sectarian conflict. And, as the suffocating stranglehold of increasing turmoil tightens around his once-peaceful working-class neighborhood, Buddy tries his best to understand The Troubles — after all, someone must be responsible for forcing people to flee their homes. Now, Buddy's family must come face to face with a nearly impossible, life-altering decision: stay or start packing? Branagh won the Academy Award for Best Original Screenplay for this film at this year’s Oscars. The film also stars Dame Judi Dench and Ciaran Hinds, both of whom were nominated in the Supporting Actor categories. United Kingdom, PG-13, directed by Kenneth Branagh, 2021, drama, 98 minutes With special thanks to our generous sponsors for this series, Helene and Stephen Weicholz, and our curator, Dale Pollack.



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Rene’e Elise Goldsberry SATURDAY, JULY 16

8pm, Schaefer Center for the Performing Arts Tickets: $50 Adults / $25 Students


Bonnie and Jamie Schaefer


Explore Boone, Mast General Store, Goodnight Brothers, SkyBest Communications, Inc., PEAK Insurance Group, Appalachian Home Care LLC, and Berkshire Hathaway HomeServices Vincent Properties This performance is supported by a generous gift from Ralph Grier and from Joan and Albert Benbasat

Renée Elise Goldsberry is a multihyphenate actress and singer who has delivered award-winning performances both on Broadway and the screen. She is perhaps best known for her role as Angelica Schuyler in the musical phenomenon Hamilton, which received rave reviews across the board and has become a cultural touchstone for the ages. Renée’s performance earned her a Tony Award, Grammy Award, Drama Desk Award, and Lucille Lortel Award. In July 2021, she was nominated for an Emmy Award for the Disney+ film adaptation. Renée can be seen in Tina Fey’s Peacock network hit musical comedy Girls5Eva. Renée starred in the A24’s critical darling Waves, opposite Sterling K. Brown, and in the hit Netflix series Altered Carbon. She has also appeared on NBC's musical sensation Zoey’s Extraordinary Playlist, in addition to lending her voice to bring characters to life on the Netflix animated series Fast & Furious Spy Racers and Centaurworld. Other highlights from her film and television career include her work on Documentary Now’s cult favorite, Original Cast Album: Co-Op; The Good Wife; The House with a Clock in Its Walls; The Immortal Life of Henrietta Lacks; The Following; The Get Down; All About You; Evil; and her creation of the beloved character Evangeline Williamson on ABC'S One Life to Live, for which she received two Daytime Emmy nominations and two NAACP Image Award nominations. Renée's appearances on stage include her Outer Critics Circle Award nominated performance opposite Frances McDormand in the play Good People, and the original Broadway version of The Color Purple. She made her Broadway debut as Nala in The Lion King, and her performance as Mimi in Broadway's closing cast of RENT was immortalized in film! Off-Broadway, Renée's performance as Sylvia in the Public Theater's production of Two Gentlemen of Verona for their Shakespeare in the Park series garnered her across the board rave reviews. Renée's set covers music from Hamilton, RENT, The Lion King, The Color Purple, other Broadway numbers, and a tribute to the great Aretha Franklin.


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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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BROYHILL CHAMBER MUSIC SERIES The 2022 Broyhill Chamber Series is dedicated to the memory of Larry Freiman, a devoted supporter of classical music programming at An Appalachian Summer Festival, who with his wife Barbara has provided significant annual support for this series.

Imani Winds TUESDAY, JULY 19 7pm, Rosen Concert Hall

Tickets: $30 / Free for children 12 and younger Sponsored by McDonald’s of Boone

“THE BEAUTY OF STRIFE” Political conflicts, world crisis, human atrocities will always yield significant art. “Nkosi si ke Leli” (South African National Anthem)

Enoch Mankayi Sontonga arr. Valerie Coleman

Le Tombeau de Couperin i. Prelude ii. Fugue iii. Menuet iv. Rigadon

Maurice Ravel arr. Mason Jones

Quartet No. 8, Op. 110 i. Largo ii. Allegro molto iii. Allegretto iv. Largo v. Largo

Dmitri Shostakovich arr. Mark Popkin

“Gift of Life” from Wanderings

Derek Bermel

Wind Quintet, Op. 10 i. Preludio ii. Preghiera iii. Ballo Eccentrico iv. Epilogo

Pavel Haas


Paquito D’Rivera

Brandon Patrick George, flute; Toyin Spellman-Diaz, oboe Mark Dover, clarinet; Kevin Newton, French horn; Monica Ellis, bassoon The Broyhill Chamber Ensemble Concert Series is generously supported by the Muriel and Arnold Rosen Endowment for the Arts, the Rosen-Schaffel Endowment for Classical Music Programming, the Broyhill Family Foundation, Barbara Freiman, and Venda Lerch / McDonald’s of Boone. This performance is supported by a generous gift from Joni and Peter Petschauer. We wish to thank artist Amy Reshefsky, for her gift of the musically-themed artwork exhibited in the lobby of Rosen Concert Hall.

Imani Winds

Celebrating over 20 years of music making, the twice Grammy-nominated Imani Winds has led both a revolution and the evolution of the wind quintet through their dynamic playing, adventurous programming, imaginative collaborations and outreach endeavors that have inspired audiences of all ages and backgrounds. The ensemble’s playlist embraces traditional chamber music repertoire, and as a 21st century group, Imani Winds is devoutly committed to expanding the wind quintet repertoire by commissioning music from new voices that reflect historical events and the times in which we currently live. Present and future season performances include a Jessie Montgomery composition inspired by her great-grandfather’s migration from the American south to the north, and socially conscious music by Andy Akiho designed to be performed both on the concert stage and in front of immigrant detention centers throughout the country. Imani Winds regularly performs in prominent international concert venues, including Carnegie Hall, Lincoln Center, The Kennedy Center, Walt Disney Hall and the Kimmel Center. Their touring schedule has taken them throughout the Asian continent, Brazil, Australia, England, New Zealand and across Europe. Their national and international presence includes performances at chamber music series in Boston, New York, Washington D.C., San Francisco, Philadelphia and Houston. Festival performances include Chamber Music Northwest, Santa Fe Chamber Music Festival, Ravinia Festival,


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Chautauqua, Banff Centre and Music from Angel Fire. Imani Winds’ travels through the jazz world are highlighted by their association with saxophonist and composer Wayne Shorter, woodwind artist and composer Paquito D’Rivera, and pianist and composer Jason Moran. Their ambitious project, Josephine Baker: A Life of Le Jazz Hot! featured chanteuse René Marie in performances that brought the house down in New York, Pittsburgh, San Francisco, Los Angeles and St. Louis. Imani Winds’ commitment to education runs deep. The group participates in residencies throughout the U.S., giving performances and master classes to thousands of students each year. Academic and institutional residencies include the Chamber Music Society of Lincoln Center, Duke University, University of Chicago, Curtis Institute of Music, University of Michigan, Da Camera of Houston and numerous others across the country. The ensemble launched its annual Imani Winds Chamber Music Festival in 2010, bringing together young instrumentalists and composers from across North America and abroad for exploration and performance of the standard repertoire and newly composed chamber music. Festival participants also take part in workshops devoted to entrepreneurial and outreach opportunities, with the goal of creating the complete musician and global citizen. In 2021, Imani Winds released their latest album, Bruits on Bright Shiny Things Records which garnered the ensemble their second Grammy Award nomination. Grammophone states, “the ensemble’s hot rapport churns with conviction throughout...” Imani Winds has six albums on Koch International Classics and E1 Music, including their Grammy Award-nominated recording The Classical Underground. They have also recorded for Naxos and Blue Note and released Stravinsky’s Rite of Spring on Warner Classics. Their most recent recording, Bruits, has been receiving critical acclaim since its release on the

Bright Shiny Things label in February 2021. Imani Winds is regularly featured on all media platforms including NPR, American Public Media, the BBC, SiriusXM, The New York Times and the Wall Street Journal. In 2016, Imani Winds received their greatest accolade in their two decades of music making: a permanent presence in the classical music section of the Smithsonian’s National Museum of African American History and Culture in Washington D.C.

Program Notes

by Susan Halpern IMANI WINDS “THE BEAUTY OF STRIFE” Political conflicts, world crisis, human atrocities will always yield significant art. “Nkosi si ke Leli” (South African National Anthem) ... Enoch Mankayi Sontonga, arr. Valerie Coleman The Imani Winds has written a brief note to explain this arrangement: “Sung originally as a hymn, Sontonga’s 1897 melody Nkosi si ke lel ‘i Afrika focused on text to stir the heart and give strength to millions during struggles in South African history. Adopted as the African National Congress anthem, and later as the national anthem of South Africa, Tanzania and Zambia, this rendition for woodwinds by flutist/composer Valerie Coleman is upbeat and celebratory.” “Nkosi si ke Leli” (also known as Nkosi Sikelei ‘ i Afrika or “Lord, bless Africa”) was adopted as the national anthem of South Africa after its first democratic elections in 1994. It was a song of comfort, defiance, and ceremony. With new English lyrics, it was joined with Die Stem van Suid-Afrika (“The Call of South Africa”), written by C.J. Langenhove, which served as the national anthem during apartheid, to form a new anthem for South Africa. The late 19th-century South African Xhosa composer Enoch Mankayi Sontonga (1873-1905) wrote the original song and its first verse in 1897 while he was a teacher and choirmaster at a Methodist school in Nancefield, Soweto. It was first performed at the ordination of Methodist

minister Reverend Boweni. In 1912, the African National Congress sang it after its initial meeting. Poet Samuel Mqhayi added seven stanzas to it in Xhosa, after which it was included in the Presbyterian Xhosa hymn book. (There are articles that suggest that the melody was loosely based on a Welsh hymn written by Joseph Parry around 1879 and brought to Africa by Welsh missionaries.) Nkosi si ke Leli was adopted by the African National Congress (ANC) as its official anthem. It was not only sung at official events but at protest rallies, and thus it became a symbol of resistance, taking on a political context. Valerie Coleman, founding member and flutist of the Imani Winds, who played with the ensemble until 2018, arranged the version for wind quintet. “Le Tombeau de Couperin” (“The Tomb of Couperin”) ... Maurice Ravel, arr. Mason Jones (Born March 7, 1875, in Ciboure; died December 28, 1937, in Paris)

At the outbreak of the First World War in 1914, Ravel tried repeatedly to enlist in the French army, but he was rejected because of his height and physical frailty. He decided then that he would express his love for his country in music by composing a Suite française for piano. He based it not on patriotic songs but on old French dances of the kind used in the many harpsichord suites by François Couperin (1668-1733), the favorite composer of the “Sun King,” Louis XIV. In 1916, while the work was still in progress, Ravel was finally accepted in the army, served for a few months as a truck driver under extremely hazardous conditions, and then was discharged because of his failing health. When he regained his strength, he began to work at his music again, and in November 1917, he finished the French Suite for piano. Ravel renamed this work Le Tombeau de Couperin (literally “The Tomb of Couperin” or “Couperin’s Tombstone”), after the 17th and 18th century French practice of using the word tombeau in the title of memorial compositions. Although tombeau literally translates as “tomb,” it also refers to a collection of works in memorial to a


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deceased person. Ravel wrote that the work was “really less a tribute to Couperin himself than to 18th century music in general.” Although Ravel’s original intentions changed dramatically after he witnessed the horrors of World War 1, his music is not somber. He instead celebrates the joy and warmth of his memory of his friends through the influence of traditional baroque dance styles. He dedicated each of the six movements he wrote to the memory of a friend who had died in the war. After many delays, the French pianist Marguerite Long, to whose late husband the Toccata of the original suite was dedicated, performed the premiere on April 11, 1919. Ravel orchestrated four of the movements in 1919. The orchestral version was used for a very successful production by the Swedish Ballet of Paris. Noted French horn player Mason Jones (1919– 2009) arranged the orchestral version for wind quintet. Jones was the principal horn of the Philadelphia Orchestra for nearly 40 years (1939–1978), co-founder of the Philadelphia Woodwind Quintet, and faculty member at the Curtis Institute of Music. He devoted much effort to creating wind quintet arrangements of well-known compositions. The original six movements of the piano suite were re-ordered and four movements selected for the wind arrangement. The work takes the form of a suite of dance movements, a common configuration for instrumental Baroque music. It begins with a lively Prelude, based principally on the opening running figure and dedicated “To the memory of Lieutenant Jacques Charlot” (who transcribed Ravel’s four-hand piece Ma Mère l’Oye for solo piano). Next comes the Fugue followed by the graceful Minuet, “To the memory of Jean Dreyfus” (at whose home Ravel recuperated after he was demobilized). The finale of the Suite is a spirited Rigaudon, a lively dance from Provence, “to the memory of Pierre and Pascal Gaudin” (brothers killed by the same shell).

Quartet No. 8 in c minor, Op. 110... Dmitri Shostakovich, arr. Mark Popkin

(Born September 25, 1906 in St. Petersburg; died Aug. 8, 1975 in Moscow)

Shostakovich, music’s last great classicist, composed 15 symphonies, two operas, three ballets, 15 string quartets, and 36 film scores. Communists paid lip service to new art, yet attacked Shostakovich’s works of the late 1920s and early 30s for “bourgeois decadence” and ideological “formalism,” and they were withdrawn from circulation. Shostakovich humbly described his Symphony No. 5 (1937) as “a composer’s reply to just criticism,” and with it, re-entered the mainstream of Russian musical life. String Quartet No. 8, composed in 1960, is one of Shostakovich’s most emotional, most private and most desolate works. His viewing of Dresden’s ruins after World War II inspired it; the music echoes the bleakness and the hopelessness of that experience. At first, Russian authorities described the work as anti-Fascist, but in truth, and with historical perspective, it is not. Shostakovich, in his autobiography Testimony, published posthumously, reveals that this composition speaks most clearly in an autobiographical voice. The critic, Paul Griffiths, has hypothesized that it owes its “relative popularity to the fact that it is ostensibly a public expression of privacy.” The quartet has five movements, which although characteristic of Shostakovich, includes one more movement than traditionally written as a string quartet, and these five differ from those of Shostakovich’s other quartets. Reflective of the mood is the very slow tempo of the first and last two movements, Largo, especially noteworthy since almost all quartets, even most of Shostakovich’s, conclude with a fast movement. Structurally, the Quartet No. 8 is cyclical, returning in its final movement to the theme first articulated in the opening measures of the first movement. The Borodin Quartet recalled their playing a private performance for Shostakovich, which emphasizes the predominantly emotional nature of listening to this

exceptional quartet. As they played, they noticed Shostakovich sinking lower and lower in his chair. When they finished, the composer buried his head in his hands, “apparently sunk in inconsolable grief.” Today’s listeners might not be fully aware of the details of Shostakovich’s life, taken up with the struggles of maintaining artistic integrity under Stalin. Yet the impact of his suffering and pain still speaks clearly from the music. The quartet’s most distinctive feature is Shostakovich’s personal stamp, the musically initialed signature that begins and ends this poignant composition. In German notation S(ES) is E flat, and H is B natural. Those notes, emblematic of D. SCH, (Shostakovich’s first initial and the first three letters of his last name) are D, E flat, C and B, and they are the first notes the unaccompanied cello sounds in the first movement. After appearing episodically throughout the quartet, these notes return as the subject of the fugue, bringing the quartet to an end. In his autobiography, Shostakovich identified for his listeners the many musical borrowings he uses in this quartet: a Russian revolutionary song that would have been recognized by his contemporary compatriot auditors, “Exhausted by the hardships of prison” and the medieval chant of Requiem Masses, Dies Irae. Also present are quotations from his own music: in the first movement, Largo, he quotes his Symphony No. 1 and Symphony No. 5; in the second movement, Allegro Molto, he takes what he calls a “Jewish” theme from his Piano Trio No. 2. Known as the “Dance of Death” theme, Jews sang it in concentration camps as they dug their own graves. In the Allegretto third movement, Shostakovich quotes the opening of his Cello Concerto No. 1, and in the fourth movement, Largo, a motif from the opera Lady Macbeth of Mtsensk appears. The five movements connect without pause. Two Largo movements flank the quartet. The first movement begins with a fugato theme; this movement also contains three other themes. The second movement, an angry, percussive toccata,


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Allegro molto and the Dance of Death segment (mentioned above), follow. The third movement, a menacing waltz, is based again on DSCH, and the fourth movement, also slow, contains some brutal chords over the whine of the sustained violin. Some critics say this whining sound reflects gunfire over Dresden. The DSC(H) motive again predominates in the last Largo movement, and a Russian funeral song, ‘Tormented by the Lack of Freedom,’ appears close to the end, before the D-S-C-H returns. Mark Popkin (1929–2011) is known for his many arrangements for wind quintet. A bassoonist, he performed with several ensembles, including the Chamber Music Society of Lincoln Center, and was on the faculty of the North Carolina School of the Arts. “Gift of Life” from Wanderings... Derek Bermel (Born January 1, 1967 in New York)

Derek Bermel is an American composer, clarinetist, and composer with a wide range of musical interests, from classical to popular and, particularly, world music. Currently, he is the Artistic Director of the American Composers Orchestra. Bermel is acclaimed for music that is “intricate, witty, clear-spoken, tender, and extraordinarily beautiful [and] covers an amazing amount of ground, from the West African rhythms of Dust Dances to the Bulgarian folk strains of Thracian Echoes, to the shimmering harmonic splendor of Elixir.” Bermel has been awarded the Alpert Award in the Arts, Rome Prize, Guggenheim and Fulbright Fellowships, the Trailblazer Award from the American Music Center, and the Academy Award from the American Academy of Arts and Letters. Bermel received his B.A. and D.M.A. degrees from Yale University and the University of Michigan. Notable among his composition teachers are William Albright, Louis Andriessen, William Bolcom, Henri Dutilleux, and Michael Tenzer. Bermel has stated that his studies of ethnomusicology and orchestration with André Hajdu in Jerusalem heralded his immersion in music of the world. He later travelled to

Bulgaria to study the Thracian folk style; to Dublin, to study uilleann pipes; to Ghana, to study the Lobi xylophone; and to Brazil, to learn caxixi, adding the study of Dutch, Portuguese, French, and Italian along the way. Inevitably, his engagement with other musical cultures became “part of the fabric and force of his compositional language, in which the human voice and its myriad inflections play a leading role.” Bermel composed Wanderings for woodwind quintet in 1994. He has written a program note: “In Jerusalem’s Old City, the Muslim and Jewish quarters exist side by side. There are no absolute boundaries; those that are identified exist largely through a mix of tradition, community, and fear. Similarly, the musical threads of continuity appear and suddenly vanish, remaining elusive. While strolling between the Wailing Wall and the Arab Market, an outsider may find a peculiar fascination with the interaction of these worlds whose fates have been inextricably twisted together. The first movement of Wanderings, ‘Gift of Life,’ is a musical representation of this duality.” The New York Youth Symphony/FIRST MUSIC 11 commissioned Wanderings. It premiered at Weill Hall in Carnegie Hall in March 1995. Wind Quintet, Op. 10... Pavel Haas

(Born June 21, 1899 in Brno, Czechoslovakia, today’s Czech Republic; died October 17, 1944 in Auschwitz Concentration Camp, Oswiecim, Poland)

The music of Pavel Haas is powerful, captivating, and original. Haas began lessons on piano as a child and started his more formal musical education when he was 14. He studied composition at the Brno Conservatory and from 1920-1922, he worked with composer Leoš Janácě k. In 1938, he won the Smetana Foundation award for his opera Šarlatán (“Charlatan”), which was first performed in Brno April, 1938. In 1941, he was deported to Theresienstadt concentration camp, where he managed to continue composing, completing his most famous work, Study for Strings, in 1943. The following year he was sent, along with 18,000 other prisoners, to Auschwitz, where they were all killed.

Haas composed his colorful Wind Quintet, Op. 10 in 1929. It was premiered on March 24, 1930 in Brno by the Moravian Wind Quintet to whom it was dedicated. It, one of very few of his compositions to be published during his lifetime, was issued in 1934 by the Prague publisher Edition Sadlo. Haas was very critical of his own work and only felt that 18 of his more than 50 compositions were worth preserving. His compositions include works for full orchestra, chamber music, choral pieces, song cycles, and works for solo piano. Very few copies of his Wind Quintet survived World War II. Lubomir Peduzzi, the editor of a new 1991 edition, based his work on a copy he found in the Moravian Museum in Brno. The Wind Quintet has been praised for its originality of its thematic invention as well as Haas’ command of compositional techniques. Early on, the music was recognized as having an unusual character with reviewers feeling that the Wind Quintet contained a mix of melancholy and parody. They noted the music’s bizarre and grotesque qualities and described Haas as a kind of “Moravian Stravinsky.” The Wind Quintet is now recognized as a complex piece that radiates both light and happiness while also having a serious mien containing and expressing serious tension and anxiety, as the music changes feelings quickly and is able to express human experience’s extremes of emotion and experience. Haas’ music, like that of his teacher Janácě k, is rooted in his native Moravian folk music, but it also has strains that are identifiable as strains of Jewish liturgical music. Although the quintet’s first movement, “Preludio,” (“Prelude”) exudes optimism, it begins seriously enough. Brief embellished figures join with more extended themes. Instruments blend together but often play different rhythms simultaneously, giving the forward motion an unstable feel. “Preghiera” (“Prayer”) contrasts strongly, taking listeners from the energetic to the ominous and even bleak. Here, the sounds of the soulful, embellished Jewish


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melodies come to the fore. The haunting sounds of prayer continues through the movement, becoming ever more urgent. The spirited “Ballo Eccentrico” (“Eccentric Ballet”) again makes a contrast in the mood projected. Playful and in good humor, here both piccolo and E-flat clarinet contribute to the lightness. After the music builds, Haas suddenly changes the mood, injecting more comedy before the movement comes to an abrupt end. The final movement “Epilogo” (“Epilogue”) changes mood again. Here Haas has used chorales and folk inspired music as well as unusual meter, reminiscent of eastern European dances. Although the overall feeling seems more serious and more introspective, the movement still projects some hope. “Wapango...” Paquito D’Rivera (Born in June 4, 1948 in Havana, Cuba)

Paquito D’Rivera, the winner of several Grammy Awards, is celebrated both for his artistry in Latin jazz and his achievements as a classical composer. He began his musical studies as a young child, studying classical saxophonist with his father, Tito Rivera. Paquito D’Rivera debuted with the National Theatre Orchestra at age 10, studied at the Havana Conservatory of Music and, at 17, became a featured soloist with the Cuban National Symphony. He co-founded the Orquesta Cubana de Música Moderna and was its conductor for two years. In 1973, he became co-director of Irakere, a popular

ensemble that became known for its explosive mixture of jazz, rock, classical, and traditional Cuban music. In 1981, while on tour in Spain, D’Rivera sought asylum in the United States embassy. Since then, he has toured the world with the Paquito D’Rivera Big Band, the Paquito D’Rivera Quintet, and the Chamber Jazz Ensemble and has recorded more than 30 solo albums. In 1988, he was a founding member of the United Nation Orchestra, a 15-piece ensemble Dizzy Gillespie organized to showcase the fusion of Latin and Caribbean influences with jazz. In 1991, D’Rivera received a Lifetime Achievement Award from Carnegie Hall for his contributions to Latin music and was featured on the Grammy Award-winning recording, Live at the Royal Festival Hall. He has appeared at or written commissions for Jazz at Lincoln Center, the Library of Congress, the National Symphony Orchestra, Brooklyn Philharmonic, London Philharmonic, Costa Rican National Symphony Orchestra, Simón Bolivar Symphonic Orchestra, and Montreal’s Gerald Danovich Saxophone Quartet. He is the artistic director of jazz programming at the New Jersey Chamber Music Society and director of the Festival Internacional de Jazz en el Tambo (Punta del Este, Uruguay) and the Duke Ellington Festival in Washington, DC. His memoir, My Sax Life, was released in 2005, the year he received the National Medal of Arts. The only artist ever to have won Grammy

awards in both the Classical and Latin Jazz music categories, he often creates genredefying compositions. “Wapango” is one of D’Rivera’s most widely-recorded and performed works. It dates from 1975; subsequently, it has been arranged for and recorded by string, brass, and wind ensembles. The wind quintet arrangement was created in 1996. In this version, the bassoon begins the dance before the other instruments of the quintet enter, led by the horn which introduces the main melody. “Wapango” displays D’Rivera’s ability to meld various musical traditions into a cohesive whole. In it, he enlarges the rhythmic and harmonic scope of the traditional northeastern Mexican folk dance, the huapango, creating an exciting balance of old and new. Taking the name Wapango back further in history, it derives from the Natuatl (Aztec family) word cuauhpango, literally “on top of the wood,” which refers to a wooden platform on which the dancers perform spirited, percussive dance steps. Program Notes: Susan Halpern, © 2022


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When Pomegranates Howl In Pashto/Farsi with English subtitles

WEDNESDAY, JULY 20 7pm, Schaefer Center for the Performing Arts Tickets: $10 Features a pre-film introduction and a post-film moderated discussion with this year’s film series curator, Dale Pollock Nine-year-old Hewad peddles food and amulets tackling dangers of daily street life during an ongoing war in Afghanistan. Following an explosion, he is photographed amongst other civilian casualties by an Australian journalist, igniting his daydreams of becoming a Hollywood actor. Hewad auditions a gang of street children for the journalist's camera not knowing that dreams would come true in unexpected ways by war. Australia/Afghanistan/The Netherlands, Iran, not rated, directed by Granaz Moussavi, 2021, drama, 83 minutes With special thanks to our generous sponsors for this series, Helene and Stephen Weicholz, and our curator, Dale Pollack.



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Scott Bradlee’s

Postmodern Jukebox: The Grand Reopening Tour SATURDAY, JULY 23

8pm, Schaefer Center for the Performing Arts Tickets: $40 Adults / $25 Students


Bonnie and Jamie Schaefer


Explore Boone, Mast General Store, Goodnight Brothers, SkyBest Communications, Inc., PEAK Insurance Group, Appalachian Home Care LLC, and Berkshire Hathaway HomeServices Vincent Properties This performance is supported by a generous gift from Steven and Lainey Brooks.

Scott Bradlee’s Postmodern Jukebox: The Grand Reopening Tour

The pop-jazz phenomenon makes its long-awaited return to live performance with a celebration of the new Roaring ’20s traveling across the U.S., Canada, U.K. and Europe. Early last year, pop-jazz phenomenon Postmodern Jukebox set out to celebrate a new-millennium Roaring ‘20s, promising audiences across the country and around the world “the most sensational ’20s party this side of The Great Gatsby.” Well, we all know what happened next. Just seven dates into the Welcome to the Twenties 2.0 Tour, PMJ creator Scott Bradlee pulled the tour off the road and made the decision to postpone the remaining dates — many of them sold out — as a global pandemic took its toll, silencing live music for more than a year. The wait is finally over and Postmodern Jukebox, the time-twisting musical collective known for putting “pop music in a time machine,” make the ‘20s roar again! The Grand Reopening Tour brings PMJ back to thrill music-starved audiences in the U.S., Canada, U.K., Europe, Australia and New Zealand, performing some of modern music’s biggest hits in the classic styles of bygone eras. “I’m grateful to be able to create and collaborate with so many talented people, and playing live to a theater full of music fans is something that we’ve all really missed,” says Bradlee. “We’re fortunate to have so many incredible fans worldwide that have enabled PMJ to become a global touring act, and we’re looking forward to bringing outstanding talent and classic sounds to every corner of the globe once more. It’s a Grand Reopening, but it’s also a Grand Reunion — not just for our talented cast and crew, but also for PMJ and fans of classic, ‘Old School’ entertainment.” As always with PMJ’s dazzling live shows, The Grand Reopening Tour features an ensemble of multi-talented singers and musicians bringing Bradlee’s generationspanning arrangements alive night after


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night. The core ensemble is often joined by surprise guests to make each concert unique and unpredictable — making for one of the most thrilling live music experiences of this and any other time period. put it quite simply in the “Before Times:” “Go see Postmodern Jukebox. Stop whatever you’re doing, right now, and go see them!” Over the past decade, Postmodern Jukebox has grown from a viral phenomenon into a worldwide juggernaut, amassing more than five million subscribers on their YouTube channel, growing from Bradlee’s tiny apartment in Astoria, Queens, to a Los Angeles studio befitting the bandleader’s increasingly ambitious vision. Most recently, PMJ reimagined the beloved theme from Friends via the evolution of music styles throughout the 20th century — beginning in the Hot Jazz 1920s and climaxing in the 90s with a guest appearance by original “I’ll Be There for You” performers, The Rembrandts.

Meanwhile, Concord Records has released two Essentials compilations featuring PMJ classics from American Idol alum Haley Reinhart’s torch song rendition of Radiohead’s “Creep” to actor-comedian Wayne Brady’s Cab Calloway-inspired version of Michael Jackson’s “Thriller.” In 2018, Bradlee told his incredible story in his memoir, Outside the Jukebox: How I Turned My Vintage Music Obsession into My Dream Gig. Since embarking on a touring career in 2014, PMJ has performed on bigger and bigger stages as they’ve traversed the globe, including memorable shows at Radio City Music Hall in New York City. As the Houston Press proclaimed, “Scott Bradlee’s project has turned into a worldwide phenomenon in quite a small amount of time, having sold out shows in more than 60 countries around the world — and rightly so.” For a band so deeply rooted in Jazz Age aesthetics — though their time warps have

touched on virtually every major trend in popular music, from doo-wop to Motown to hair metal — the coming of another ’20s was obviously a symbolic milestone. Ironically, the original Roaring ’20s was itself ushered in by a worldwide flu pandemic. “It's crazy how history repeats itself,” Bradlee says, “and it’s striking that people back then reported the same feelings — everybody was beyond tired of being cooped up by themselves after weathering a long pandemic. They just wanted to get out there and dance and party and see each other again. Music has served such a valuable function of inspiring us and reminding us of our shared humanity throughout history, and there’s simply no substitute for gathering together to experience such a powerful force live.”


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About the Competition

Rosen-Schaffel Competition for Young and Emerging Artists Final Round of Competition SUNDAY, JULY 24 2pm, Rosen Concert Hall In person and Livestream Free Event

Ouverture – Suite in a minor, TWV 55:a2 Georg Philipp Telemann Ouverture Les Plaisirs Polonaise Rejouissance Sydney Dayyani, flute Allison Bishop, piano Violin Concerto in D Major, Op. 35 Erich Wolfgang Korngold Moderato Noblie Rebekah Willard, violin Tatiana Wright, piano Piano Concerto No. 2 in F Major, Op. 102 Dmitri Shostakovich Allegro Andante Allegro Elisabeth Thomashoff, piano Intermission Piano Concerto No. 3 in c minor, Op. 37 Ludwig van Beethoven Allegro con brio Ashley May DePaola, piano Dr. Dmitri Vorobiev, piano

The festival proudly presents the 11th annual Rosen-Schaffel Concerto Competition for Young & Emerging Artists, known for the pivotal role it has played in launching the careers of some of our region’s most promising young artists. This year the competition, in partnership with the Hayes School of Music, expands its eligibility to undergraduate collegiate musicians to 10 states across the southeast: North Carolina, South Carolina, Virginia, Kentucky, Tennessee, Georgia, Alabama, Mississippi, Louisiana and Florida. In the final live round of the competition, presented during An Appalachian Summer Festival on the campus of Appalachian State University in Boone, NC, a panel of distinguished conductors will choose a First, Second, and Third Place winner from a group of finalists selected via a blind adjudication process by esteemed musicians and collegiate educators during the spring. The competition’s audience will also select an Audience Choice Award winner. In addition to a cash prize, the First Place Winner will receive an invitation to perform during An Appalachian Summer Festival's 2023 season. First Place: $2,500 Second Place: $2,000 Third Place: $1,500 Audience Choice: $1,000


Sydney Dayyani is a Taiwanese-Iranian student at Virginia Tech studying both Music Education and Professional Flute Performance under Professor Elizabeth Lantz. She received her bachelor’s degree this spring semester, and plans to pursue a master’s degree in education, as well as a masters and doctorate in performance with a focus on early music. Sydney has been a performing musician since the age of six, when she started private piano lessons with the acclaimed Thai pianist Anita Yuthasastrkosol. Her fascination with


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Violin Concerto in d minor, Op. 47 Jean Sibelius Allegro moderato Adagio di molto Luca Kevorkian, violin Tatiana Wright, piano Grand Concerto for Bassoon in F Major Johann Nepomuk Hummel Allegro moderato Adagio Rondo Winfred Felton, bassoon Arianna Bohning, piano

A reception in the lobby of Rosen Concert Hall will be offered during the competition program. Celebrating its 11th anniversary, this competition program was established in honor of Mrs. Muriel Rosen, who with her husband Arnold, served as a founding patron of An Appalachian Summer Festival. The festival extends its deepest appreciation to the Rosens’ daughter, Nancy Schaffel, and her husband, Neil Schaffel, whose vision and generosity have made possible this annual competition. The 2022 virtual celebration has also received generous support from both Nancy Tafeen (in memory of Mark Tafeen) and the Bruce J. Heim Foundation. In addition, the festival expresses its appreciation to Maestro Gerard Schwarz, Music Director of the Eastern Music Festival, and Dr. James Douthit, Dean, Hayes School of Music, for their assistance and support in developing and implementing this program.

Competition Founders and Patrons, Nancy and Neil Schaffel

baroque music also began around that time. She started playing the flute at age 10, although she did not receive any private instruction until her entrance into Professor Lantz’s studio in the fall of 2018. Since then, she has come to occupy the position of principal flutist in both the Virginia Tech Wind Ensemble as well as the VT Philharmonic, and performed in the world premiere of Dr. Dwight Bigler’s 14-movement large scale orchestral work, Mosaic for Earth. Today she will perform selected movements from Telemann’s Ouverture-Suite in a minor, demonstrating both her love for the baroque period and for virtuosic, soloistic performance. Ashley May DePaola, 21, is a third-year undergraduate student studying piano under Dr. Dmitri Vorobiev at the University of North Carolina School of the Arts. She was brought up in a military family and raised primarily in Fayetteville, NC. During her time in Fayetteville, she became a member of the Fayetteville Symphony Youth Orchestra, where she was both the principal pianist and principal flutist. She also participated in the Fayetteville Symphonic Band and played piano for many churches in the area. Throughout her college years, Ashley May has been given many learning and performing opportunities, including her most recent performance being UNCSA’s 2021 production of The Nutcracker. She has participated in master classes by several world-renowned pianists such as Alexander Braginsky, Arthur Greene, Alexander Kobrin, Marina Lomazov, Pavel Nersessian, and Joseph Rackers. Outside of piano, Ashley May enjoys playing flute, doing CrossFit, and most importantly spending time with her family. As Ashley May continues to grow as a pianist, she hopes to continue benefiting from the opportunity and privilege to work with and learn from other musicians who have mastered their craft.


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Winfred Felton is a fourth-year undergraduate music major at the University of North Carolina School of the Arts. He is currently in the studio of Saxton Rose, studying bassoon performance. His love for music came from growing up surrounded by church music and being fascinated by the many colors that can be found within music. Winfred’s principal engagements include performances with the Lamont Symphony Orchestra, UNCSA Symphony Orchestra, Eastern Music Festival Orchestra, as well as the Winston Salem Symphony. He has attended and been admitted to music festivals such as Boston University Tanglewood Institute, Miami Music Festival, Eastern Music Festival, and Aspen Music Festival. He is also a former student of the multiple Grammy Award-nominated bassoonist Martin Kuuskmann, with whom he studied at the Lamont School of Music. Next year, Winfred will be attending the Yale School of Music in order to complete his master’s degree in music performance. In his free time, Winfred is a voracious reader, poet, and consumer of all musical genres. Luca Kevorkian grew up in Rio de Janeiro, Brazil, where he began his music studies in 2004 through the social project “Bem Me Quer Paquetá.” After hearing a string quartet performance at the age of seven, he was quickly drawn to the violin and started taking lessons from violinist Carla Rincón. As a part of this music education project, he premiered works by Brazilian composers such as Edino Krieger and Edmundo Villani-Côrtes. He has performed as the concertmaster of Paquetá Youth Orchestra in several concert halls in Brazil and Germany, where, in 2014, they completed their first international tour. Luca has been awarded first prize in the 15th Paulo Bosísio National String Competition, Euterpe Music Club Competition, and the Chamber Music

Competition of the 52nd Villa-Lobos Festival with cellist Miguel Braga. As a first prize winner of the 2019 North Carolina Symphony’s Kathleen Price and Joseph M. Bryan Youth Concerto Competition, he will have the chance to perform as soloist with the North Carolina Symphony Orchestra. Luca has performed in masterclasses given by artists such as Leon Spierer, Ole Bohn, Koh Gabriel Kameda, Matt Haimovitz, Paul Neubauer, Nadja Salerno-Sonnenberg and Pinchas Zukerman. As a dedicated chamber music lover, he has attended the Green Mountain Chamber Music Festival several times. There he had the opportunity to meet Professor Kevin Lawrence, with whom he is pursuing his undergraduate studies at the University of North Carolina School of the Arts. Luca is extremely grateful to all his professors and artistic influences who shaped him to become the musician he is today. Through chamber music, he hopes to be able to change other children’s lives as a community social project once changed his. Elisabeth Thomashoff started piano at the age of four. She has given concerts in the USA, Austria, Germany, Netherlands, and Estonia. Recently, she performed Shostakovich Concerto No. 2 with the Ocala Symphony Orchestra and the Grieg Concerto with the PBA Symphony Orchestra. Her competitions include 1st Prize Ocala Young Artist Competition; Prize at Medici International Music Competition; Honorable Mention at FSMTA Concerto Competition; 1st Prize PBA Concerto Competition; 1st Prize at Grand Prize Virtuoso International Music Competition in Salzburg, Austria; prizes at International Competitions “Citta Barletta” and “Euterpe” in Italy; finalist at Alhambra Concerto Competition; and Honorable Mention at FSMTA Concerto Competition. Elisabeth’s past teachers include Dr. Joseph Kingma, Kristina Miller, Professor Stanislaw Tichonow, Professor Vladimir Genin, and Professor Johannes Kropfitsch. She currently studies with Dr. Roberta Rust at Lynn Conservatory of Music in Boca Raton, Fla.

Already a seasoned performer at age 20, Rebekah Willard, of Jackson, Tenn., most recently performed as a soloist with the Georgia Philharmonic in Atlanta, Ga. in February of 2022. Other performances and awards include winner of the Concerto Competition at Samford University in Birmingham, Ala. (2021), the Gulf Coast Steinway Society Orchestra in Mobile, Ala. (2019), the Alpharetta Symphony Orchestra (2018), Alpharetta, Ga., MTNA for the state of Ga. (2017), the GMTA Concerto Competition (2017), and performer at the GMTA Conference (2017). Her debut as a soloist was as a winner of the Samuel Fordis Young Artist Concerto Competition in Atlanta, Ga., presented by the Georgia Philharmonic in 2013. In 2017, Rebekah was selected to attend the National Youth Orchestra (NY02) summer program hosted by the Carnegie Foundation in New York, where she performed in master classes for Pamela Frank, Daniel Han, and Paul Arnold. She has also had the privilege of performing in master classes for Stephen Clapp, former Dean of The Juilliard School, and Timothy Lees, University of Cincinnati faculty member. In 2015 Rebekah performed as a soloist at the Grand Ole Opry Stage and the Bluegrass Underground in Tennessee. She regularly appears in recitals, civic, church, and community events in Atlanta, Birmingham, and surrounding communities. In 2010, Rebekah began studying with Sonja Foster, a Juilliard School and Curtis Institute alumna. Currently, Rebekah is a junior, studying with Jeff Z. Flaniken, a Cincinnati-College Conservatory and Philadelphia College of Performing Arts alumna, at Samford University. Besides her passion for the violin, she is involved in ministry and has a photography business. She has been a recipient of the James Barnette Music Foundation Scholarship since 2010.


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Gerard Schwartz, conductor, Eastern Music Festival (see bio on page 47).

2021/2022 marks Maestro Robert Moody’s sixth season as Music Director of the Memphis Symphony Orchestra. Expanded and adventurous programming, expanded collaboration with multiple arts organizations in the mid-South, commission of several new works for the orchestra, the MSO’s first commercial recording in over three decades, and a new $25 million endowment are but some of the many achievements made under his direction. Moody is also Music Director of the lauded Arizona Musicfest, boasting one of the

finest festival orchestras in North America. Players hail from the top orchestras in the world, including the Vienna and New York Philharmonics, Philadelphia and Cleveland orchestras, Atlanta, Boston, Chicago, Dallas, Houston, Memphis, Seattle, and San Francisco symphonies, Los Angeles Philharmonic, and the San Francisco and Metropolitan Opera orchestras. In 2018, Moody completed 11 years as Music Director of the Portland Symphony Orchestra (Maine) and 13 years as Music Director of the Winston-Salem Symphony (NC). Prior to that he served as Resident Conductor for the Phoenix Symphony, Chorus Master for Santa Fe Opera, and Associate Conductor for the Evansville (IN) Philharmonic Orchestra. Moody recently guest conducted the three major orchestras of South Africa in Durban, Johannesburg, and Cape Town; he was immediately invited to return for more concerts with all three in the summer of 2020. Other guest conducting this season includes the orchestras of Bogota, Colombia; Aachen and Erfurt, Germany;

The Sacramento Philharmonic and Pacific Symphony in California; and a return to the Sewanee Music Festival in the mountains of Tennessee. Prior guest conducting has included Chicago Symphony; Los Angeles Philharmonic; Vienna Chamber Orchestra; and the orchestras of Toronto, Houston, Indianapolis, Detroit, Seattle, Ft. Worth, San Antonio, Buffalo, Columbus, Louisville and Minnesota; and the Slovenian Philharmonic. Festival conducting includes Santa Fe Opera, Spoleto Festival USA, Brevard Music Center, Sewanee Festival, Eastern Music Festival, Skaneateles Festival, Bowdoin International Festival, 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 conducted for the opera companies of Santa Fe, Brevard Music Center, and Hilton Head Opera. He also assisted on a production of Verdi’s Otello at the Metropolitan Opera (NY), conducted by Valery Gergiev, and at The English National

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Opera, where he was Assistant Conductor for Kurt Weill’s Street Scene. He made his Washington National Opera and North Carolina Opera debuts in 2014, and conducted Bartok’s Bluebeard’s Castle, Leoncavallo’s I Pagliacci, and Poulenc’s Dialogues of the Carmelites in the seasons following. Debuts to rave reviews with Brevard Music Center for Weill’s Street Scene, Opera Carolina for Mozart’s Le Nozze di Figaro, and Des Moines Metro Opera for Strauss’ Die Fledermaus came in 2017 and 2018. He makes his debut with Opera Memphis in performances of Mozart’s Cosi fan tutte in 2022. Moody is a champion of the works of his close friend Mason Bates, now Composer- in-Residence with the Kennedy Center for the Performing Arts, and prior in the same role with the Chicago Symphony. Moody commissioned/conducted Bates’ first full orchestra composition, and has been instrumental in the commission and premiere performances of several of Bates’ important major works for orchestra, including “Ode,” “Rusty Air in Carolina,” and “Desert Transport.” A trusted collaborator, Maestro Moody has conducted many of the world’s top classical artists in concert, including Joshua Bell, Sarah Chang, Van Cliburn, Renée Fleming, Yo Yo Ma, Midori, Itzhak Perlman, Gil Shaham, Yuja Wang, Andre Watts, and Chris Thile. Moody’s work can be heard on several commercially released recordings. He collaborated with the Canadian Brass for their Bach and Legends albums. He is also the conductor for Native American artist R. Carlos Nakai’s Fourth World album. In 2015, he was honored to conduct the Cancer Blows gala 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 are also commercially available. Fall of 2019 will see the release of Memphis Symphony Orchestra’s first commercial recording in several decades. The works are Jim Stephenson’s “Concerto for Hope,” featuring Ryan Anthony, and “Song of Hope” by Peter Meechan, featuring Ryan Anthony and Scott Moore. A South Carolina native, Moody holds degrees from Furman University and the Eastman School of Music, where he studied with Donald Neuen. He is a member of the Rotary Club of Memphis and serves/has served on the boards of AIDs Care Services, WinstonSalem YMCA, WDAV Radio, and the Charlotte Master chorale. Maestro Moody is an avid runner, swimmer, and snow skier. Alexandra Dee is the newly appointed Director of Orchestral Activities in the Hayes School of Music at Appalachian State University. Her previous positions include Director of Orchestral Studies and assistant professor of violin and viola at Indiana University of Pennsylvania, and Director of Orchestral Activities at the University of St. Francis in Joliet, Illinois. Outside of academia, she was music director and conductor of Chicago’s South Loop Symphony Orchestra and a cover conductor for the Joffrey Ballet, with whom she debuted in 2017, leading an opening week of performances with the Chicago Philharmonic on one day’s notice. In summer

2017 she was invited to conduct at the Peninsula Music Festival (Door County, Wisconsin) as an Emerging Conductor. Also at home in the opera pit, Dee has had multiple engagements with Manitoba Underground Opera (Winnipeg), Northwestern University Opera Theater, and the IUP Music Department's Main Stage Productions. Dee completed her doctoral studies in orchestral conducting at Northwestern University’s Bienen School of Music, where she studied with Victor Yampolsky. She is also an alumna of the Florida State University College of Music, where she completed both a Master of Music degree in Orchestral Conducting and a Bachelor of Music Education degree. While at FSU, Dee studied conducting with Alexander Jiménez, choral conducting with André Thomas, and violin with Corinne Stillwell. Her conducting positions at FSU included founding music director and conductor of the Campus Orchestra, a string orchestra geared toward non-music majors from across the university community. In addition to her formal studies, Dee has attended conducting workshops and festivals at such institutions as the Pierre Monteux School for Conductors and Orchestral Musicians, the Cabrillo Festival of Contemporary Music, the Royal Northern College of Music, and the Orkney Conductors’ Course, where she conducted the Scottish Chamber Orchestra. A consistent advocate for contemporary music, Dee has performed and premiered numerous works by living composers. In particular, she is a vigorous champion of the works of her husband, composer Roger Zare.



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BROYHILL CHAMBER MUSIC SERIES The 2022 Broyhill Chamber Series is dedicated to the memory of Larry Freiman, a devoted supporter of classical music programming at An Appalachian Summer Festival, who with his wife Barbara has provided significant annual support for this series.

Rolston String Quartet TUESDAY, JULY 26 7pm, Rosen Concert Hall

Tickets: $30 / Free for children 12 and younger Sponsored by McDonald’s of Boone

Luri Lee, violin; Jason Issokson, violin Hezekiah Leung, viola; Peter Eom, cello String Quintet, Op. 33 No. 4 i. Allegro Moderato ii. Scherzo: Allegretto iii. Largo iv. Finale: Presto

Joseph Haydn

Magic Gardens i. Scherzo ii. Celebration

A. R. Thomas

String Quartet Op. 33 No. 2 “The Joke” i. Allegro Moderato ii. Scherzo: Allegro iii. Largo iv. Finale: Presto

Joseph Haydn

String Quartet No. 16 in F major, Op. 135 Ludwig van Beethoven i. Allegretto ii. Vivace iii. Lento Assai, cantabile e tranquillo iv. “Der schwer gefaßte Entschulß”. Grave, ma non troppo tratto Rolston String Quartet appear by arrangement with Sciolino Artist Management. The Broyhill Chamber Ensemble Concert Series is generously supported by the Muriel and Arnold Rosen Endowment for the Arts, the Rosen-Schaffel Endowment for Classical Music Programming, the Broyhill Family Foundation, Barbara Freiman, and Venda Lerch / McDonald’s of Boone. We wish to thank artist Amy Reshefsky, for her gift of the musically-themed artwork exhibited in the lobby of Rosen Concert Hall.

With their debut album Souvenirs, an allTchaikovsky release that was named Recording of the Year by BBC Music Magazine, the Rolston String Quartet continues to receive acclaim and recognition for their musical excellence. The quartet was awarded First Prize at the 12th Banff International String Quartet Competition, and was the recipient in 2018 of Chamber Music America’s prestigious Cleveland Quartet Award. Other accolades include prizes in Astral Artists’ National Auditions and the Chamber Music Yellow Springs Competition. The Rolston String Quartet has performed at numerous important venues including Carnegie Hall, London’s Wigmore Hall, the Freer Gallery in Washington, DC, and UCLA’s Herb Alpert School of Music; at chamber music societies in Calgary, Vancouver, Houston, Detroit, Phoenix, and Philadelphia; and in such European cities as Paris, Leipzig, Berlin, Lucerne, Heidelberg, Barcelona, and Graz. Notable artistic collaborators have included David Shifrin, Janina Fialkowska, Gary Hoffman, Nobuko Imai, Miguel da Silva, and the St. Lawrence and Dover string quartets. The quartet’s 2021-22 schedule includes concerts at Music Mountain (CT), Bay Chamber Concerts and the Collins Center for the Arts (ME), Chamber Music Raleigh (NC), Palm Beach State College (FL), Music at Kohl Mansion (CA), and the Doudna Fine Arts Center at Eastern Illinois University. The quartet is an associated artist at the Queen Elisabeth Music Chapel in Waterloo, Belgium, and previously served as the Fellowship Quartet in Residence at the Yale School of Music. Previously, they were the graduate quartet-in-residence at Rice University’s Shepherd School of Music. They


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have also taught at the University of Toronto and the Bowdoin (ME) International Music Festival. Their primary mentors include the Brentano Quartet, James Dunham, Norman Fischer, and Kenneth Goldsmith, and they have received additional guidance from the St. Lawrence String Quartet, Barry Shiffman, Miguel da Silva, and Alastair Tait. The Rolston String Quartet was formed in the summer of 2013 at the Banff Centre for Arts and Creativity’s Chamber Music Residency. They take their name from Canadian violinist Thomas Rolston, founder and longtime director of the Music and Sound Programs at the Banff Centre. Luri Lee plays a Carlo Tononi violin, generously on loan from Shauna Rolston Shaw. The Rolston String Quartet is endorsed by Jagar Strings of Denmark. The Rolston String Quartet is represented in the United States by New York-based Sciolino Artist Management.

Program Notes

by Susan Halpern String Quartet in G Major, Op. 33 No. 4, in B flat Major... Joseph Haydn (Born March 31, 1732, in Rohrau; died May 31, 1809, in Vienna) When the Grand Duke Paul of Russia arrived at the Imperial Court in Vienna in November 1781, Haydn dedicated a set of six string quartets, his first in nine years, to the royal visitor. At least one of the them was probably performed for the first time at a private concert for the Duke and Duchess on Christmas Day. The quartets were published in 1782 as Haydn’s Op. 33 but did not become widely known as the “Russian Quartets” until after 1796, when Grand Duke Paul took the throne as Czar Paul 1. Haydn himself advertised his quartets in private subscription letters as having been written in a “new and special way.” Since his last quartets, those of Op. 20, he had acquired a new rhythmic freedom and mastery of form. He had learned how to make each instrumental voice more independent and the music more expressive and personal. In addition, the Op. 33 quartets introduced a new procedure of composition that makes them crucial works in the history

of music. The completion of the Op. 33 set came at a point among his 68 quartets when the 49-year-old Haydn had reached a certain high level of experience, proficiency, and maturity in string quartet writing. It is here that Haydn finally establishes the principle of thematic development as the essence of the sonata form movement that always opens a symphony, quartet, or sonata. Until then, little more structural apparatus or technique had been required than a way of moving around among related tonalities with some degree of musical fluency. Haydn’s new idea was to base his movements on melodies that could be fragmented and analyzed while moving from one musical place to another, in a new intensifying process that we call development. Overall, these quartets are light-hearted but nevertheless, they are concentrated, and as a consequence, they are briefer than the Op. 20 that preceded them. Haydn’s influential group of quartets is frequently referred to by three different nicknames: Gli scherzi (referring to the employment of scherzo movements rather than minuets), “The Russian Quartets” (referring to Haydn’s dedication of the quartets to Paul, Grand Duke of Russia — later named Czar Paul I) and lastly, “Jungfernquartette” (“The Maiden Quartets,” referring to the image of a young lady that had appeared on the cover of an early edition of the sheet music). Karl Geiringer, Haydn’s biographer, wrote, “The ‘Russian’ quartets... raised the principle of ‘thematic elaboration’ to the status of a main stylistic feature. Haydn had used thematic elaboration — a method of dissecting the subjects of the exposition and then developing and reassembling the resulting fragments in an unexpected manner — in his earlier works, but never with such logic and determination. Henceforth this device, combined with modulations, ruled the development sections of the sonata form.” Consequently, it is primarily by their power of development that we measure all the great composers who followed Haydn. Haydn’s new music made so powerful an impression on young Mozart that during the three years after Haydn’s Op. 33 quartets were written, Mozart composed six quartets

in which he tried out Haydn’s new procedures. In 1785, at the age of 29, Mozart sent the six quartets to the older composer with a touching letter of dedication that expressed his admiration and respect. Quartet, No. 4, although full of wit and flair and delightful throughout, is the least performed of the Op. 33 quartets. It has been hypothesized that it may be perhaps because the first movement, Allegro moderato, begins as if it were in the middle of a phrase (although Haydn did this to accentuate its humor) and that this first movement, although playful, does not have as varied a texture as some of the other Op. 33 quartets. The rhythmic accompanying figure heard when the first violin states the subject re-appears throughout the movement. In the development, the first violin goes through sequences of modulations above a three-note motif created from the final part of the main theme. When the recapitulation begins, it catches the listener unprepared. The movement ends in an impish short coda. The well-known Scherzo, Allegretto, introduces a lilting subject in what is a courtly dance sounding much like a minuet; its Trio section, although somewhat mysterious, effectively contrasts with the sounds of sighs in a minor tonality. The slow movement, Largo, is quite serious; it gives the first violin the lead and allows it to play its highest notes. The very fast Finale, an exuberant Rondo: Presto, has a comic theme which reappears in different forms. It ends with a softly played restatement of the jolly opening theme, pizzicato. “Magic Gardens”... Augusta Reed Thomas (Born 1964 in Glen Clove, New York) The music of Augusta Read Thomas is majestic, elegant, capricious, lyrical, and colorful. The Philadelphia Inquirer has praised her music: “It is boldly considered music that celebrates the sound of the instruments and reaffirms the vitality of orchestral music.” A Pulitzer Prize finalist, Thomas has written an impressive body of works that “embodies unbridled passion and fierce poetry” according to the American Academy of Arts and Letters, who further described her as “one of the most recognizable and widely loved figures in


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American Music.” The New Yorker magazine has called her “a true virtuoso composer.” Thomas is a University Professor of Composition in Music and the College at The University of Chicago. She was the longestserving Mead Composer-in-Residence with the Chicago Symphony Orchestra for conductors Daniel Barenboim and Pierre Boulez (1997-2006). During her residency, Thomas premiered nine commissioned orchestral works and also was greatly involved in establishing the thriving MusicNOW series, through which she commissioned and programmed the work of many living composers. In the 2017-2018 concert season, Thomas was Composer-inResidence with the Eugene Symphony Orchestra. Thomas has also been MUSICALIVE Composer-in-Residence with the New Haven Symphony, a national residency program of The League of American Orchestras and Meet the Composer. She has received many awards including the Ernst von Siemens Music Prize. Thomas is the former Chairperson for the American Music Center; Vice President for Music, The American Academy of Arts and Letters; and Member of the Conseil Musical de la Foundation Prince Pierre de Monaco. In 2016, Thomas founded the University of Chicago’s Center for Contemporary Composition, a dynamic, collaborative, and interdisciplinary environment for the creation, performance and study of new music and for the advancement of the careers of emerging and established composers, performers, and scholars. Recent and upcoming commissions include those from the Santa Fe Opera in collaboration with the San Francisco Opera and other opera companies, PEAK Performances at Montclair State University and the Martha Graham Dance Company, The Cathedral Choral Society of Washington D.C., The Indianapolis Symphony, Tanglewood, The Kaleidoscope Chamber Orchestra, Des Moines Symphony, Boston Symphony, the Utah Symphony, Wigmore Hall in London, JACK quartet, Third Coast Percussion, Spektral Quartet, Chicago Philharmonic, Eugene Symphony, the Danish Chamber Players, Notre Dame University, Janet Sung, Lorelei Vocal Ensemble, and the Fromm Foundation.

“Magic Gardens” was commissioned by the McCollin Fund and the Musical Fund Society of Philadelphia, Linda Reichert, President, in celebration of the organization’s Bicentennial. This work for string quartet is in two movements, Scherzo and Celebration. The Rolston String Quartet performed its world premiere May 1, 2022 at the Perelman Theatre in the Kimmel Center during celebrations of the Musical Fund Society of Philadelphia’s 200th anniversary. Thomas composed “Magic Gardens” in 2020. The title refers to Philadelphia’s Magic Gardens, a non-profit organization, folk art environment, and gallery space on South Street in Philadelphia. It is the largest work that Isaiah Zagar, a mosaic artist, has created. Magic Gardens spans three city lots and includes indoor galleries and a large outdoor labyrinth. The mosaics are constructed from various materials from kitchen tiles to bike wheels, Latin-American art, and china plates. Thomas has written the following note: “Inspired by Isaiah Zagar, award-winning mosaic mural artist of Magic Gardens in Philadelphia, my thanks are given with this composition for Zagar’s montage of humankind’s mutual celebration of life, creativity, human experiences of justice, love, joy, emotional health, knowledge, and beauty; and for insights into the nature of expression and of being. Music’s eternal quality is its capacity for change, transformation and renewal. I am honored and thrilled to have received a Musical Fund Society McCollin Commission and send my gratitude to the Fund and to the Rolston String Quartet for their commitments to music’s renewals. Movement #1 is in celebration of Naava and Sanford Grossman. Movement #2 is in celebration of Jeanne Guillemin.” String Quartet in b minor, Op. 33, No. 2 (“The Joke”)... Joseph Haydn The Op. 33 quartets are also sometimes called the Scherzi for more than one reason: scherzo is the Italian word for “joke,” and each work in the set includes jokes or tricks of some kind that it plays on the performers or listeners or both. There are rhythmic jokes in which measures and phrases fall together in irregular sizes and shapes, sometimes

with funny gaps in them. Quartet No. 2 has its joke in the finale and, to assure that it be unexpected, everything that precedes it is entirely different in character: warm, rich, and even mellow. In addition, the six quartets of Haydn’s Op. 33 constitute some of the earliest works in which the minuet as a dance begins its transformation into the scherzo that the next generations of composers, Beethoven, Schubert, Mendelssohn, and Schumann, would compose. The first movement of Quartet No. 2, Allegro moderato, cantabile, combines elegance and power in a way that was unknown earlier. The textures are extremely complex and full. The dynamic levels, which spread over a wide range, are very exactly specified and are very closely controlled. Everything is very carefully set in its own true, proper place in the compact movement. Next comes the Scherzando movement, which despite the “joking” indication, is very much in the manner of a heavy-footed, Austrian peasant minuet. The beautiful slow movement, Largo sostenuto, is a simple structure whose principal sections are set off by a series of dramatic chords. The Presto Finale, which is what gives the quartet its nickname, the “joke,” gives every sign of being a lively but conventional rondo in which the main theme alternates with contrasting episodes, but the episodes somehow seem never to get going with any momentum, and, from time to time, the music seems to pause as though it cannot quite remember what it should do next. A few slow and broad measures, Adagio, which almost sound like something Haydn would have composed as the introduction section of a symphony’s first movement, allows time for listeners to think things over, and then the sprightly main theme is picked up again. The music keeps breaking down, however, for progressively longer moments of silence, until it stops completely in what seems to be the middle of a phrase rather than its end. String Quartet No. 16, in F Major, Op. 135... Ludwig van Beethoven (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) On October 30, 1826, after only three months of work, Beethoven finished his last extended composition, the F-Major String


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Quartet, Op. 135, but it is not the very last chamber music he wrote. The last was a new finale for the Op. 130 Quartet, a dancing rondo to replace the great, weighty Grosse Fuge (“Grand Fugue”), which was later published as a separate composition, Op. 133. With Op. 135, Beethoven gave up the gigantism of his preceding quartets and returned to a compact four-movement structure. The new work surprised his friends and seems to have almost disappointed posterity. Even in the early 20th century, some scholars and critics seemed to feel that Beethoven had let them down by abandoning his colossal forms and earthshaking style for the simple charm, subtle clarity, and gentle wit of this work. Beethoven’s contemporaries interpreted the absence of solemnity from all but the slow movement as an offense against the future, a sin against history. For Romantic critics, the idea that Beethoven could even insert a private joke into his last work, whether or not he knew it to be his last, was incomprehensible. The truth is that the terrible troubles Beethoven endured in his last year did not destroy his frequently bitter wit and may even have enlivened it. During Beethoven’s last years, his friends competed with one another to get their hands on the music of his latest works before they were published; they were also expected to demonstrate their fidelity to the master by missing no opportunity to hear these pieces performed. One friend, a businessman who hired musicians to give quartet parties at his home, boasted that he could always get any music he wanted from Beethoven; however, he had failed to attend the first performance of the Op. 130 Quartet in March, and when he asked to borrow the music in April, the composer refused. An intermediary advised the friend that he could restore himself to Beethoven’s good graces by paying the full price of a concert-series subscription-ticket to the musicians who had performed it. “Must it be?” he is reported to have asked. In reply, Beethoven quickly composed a brief and humorous canon on the phrase “Es muss sein,” almost exactly as it would appear as the Allegro theme in Op. 135 a few months later. It is set for four male voices, to be sung “quickly and angrily” with the text, “It must be. It must be. Take out your purse!”

The famous frivolity of the Op. 135 quartet is a variant on this text in the heading of the finale, where Beethoven wrote, as though giving it a title, “The Difficult Decision.” Below this inscription is a line of music consisting of the movement’s two principal pieces of melodic material, each with a few words written under the notes, as in a song. First comes a question, gravely put, “Muss es sein? (“Must it be?”), and then comes the quick reply, Es muss sein! Es muss sein! (“It must be! It must be!”) to which he assigned the two threenote motives. In more recent years, the words that Beethoven used have been given philosophical meaning, but as the late Michael Steinberg explained in The Beethoven Quartet Companion, the heading replicated an often-repeated dialogue between Beethoven and his landlord, Frau Schnapps, when she asked for her rent. Beethoven found this question and answer useful in a variety of situations. He wrote to his publisher that he had written the quartet only because he had been paid in advance for it, and therefore he knew that “Es muss sein” (“It must be”). The letter Beethoven wrote to Moritz Schlesinger, his publisher, said: “Here, my dear friend, is my last quartet. It will be the last; and indeed, it has given me much trouble. For I could not bring myself to compose the last movement. But as your letters were reminding me of it, in the end I decided to compose it. And that is the reason why I have written the motto ‘The decision taken with difficulty – Must it be? – It must be, it must be!’” Another theory posits that Beethoven was overcoming melancholy and declaring his acceptance of destiny, and yet another idea that has been articulated is that Beethoven was exultant that he had resolved the difficult decision of how to end the last movement of what he had said would be his final string quartet. Of course, since he wrote the quartet, this unusual heading has undergone much scrutiny and occasioned many theories, many like those above, quite plausible. Other Beethoven intimates later told different stories based on the “Must I? — You must!” exchange. Perhaps they are all true. Beethoven evidently still enjoyed mixing truth and fiction and making little games out of his work.

The first movement of the quartet, Allegretto, opens with a long principal theme that also consists of a questioning figure, hesitatingly asked, and its answer. The second subject is a simple, direct theme that would not have been out of place in one of Beethoven’s earliest quartets or in one by Haydn, except that it is distributed among the instruments and is later developed in ways that belong entirely to this time of maturity. Even the simplest and most basic connecting passages here are so richly melodic that, in development, the movement seems to have not just two subjects but as many as a halfdozen. Next comes a scherzo, Vivace, of great rhythmic freedom, with a central trio section that is a rustic dance recalling the Pastoral Symphony. The third movement, Lento assai, cantabile e tranquillo, is a brief elegy, only 54 measures long, that Beethoven described as a sweet song of calm and peace. In form, it is a simple set of variations on a short theme that becomes, among other things, a recitative, a smooth and elaborately polyphonic long phrase, and a complex fragmented texture. Before the finale, consisting of a brief slow introduction followed by an energetic allegro, Beethoven wrote the words “Der schwer gefaßte Entschluß” [ Entschluß] (“The difficult decision”) and then “Muss es sein?” (Must it be?) and “It must be.” (“Es muss sein.”) The introduction begins Grave, ma non troppo tratto with the viola and the cello articulating the difficult question, “Muss es sein?” (“Must it be?”) with the three-note motif that is used in the introduction. The two three-note motifs that make up the Allegro’s principal theme, come from the words, “Es muss sein! Es muss sein!” (“It must be! It must be!”). This question and answer are expressed in musical terms with the answer motif being the inversion of the motif of the question. The question will be asked again later, even more forcefully, but most of the movement is devoted to the triumphant answer, Allegro, “It must be!” or, in the end, perhaps “What must be, must be!” This answer brings the quartet to its finish. Program Notes: Susan Halpern, © 2022


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Boz Scaggs: Out of the Blues Tour 2022 WEDNESDAY, JULY 27 8pm, Schaefer Center for the Performing Arts Tickets: $50 Adults / $25 Students


Bonnie and Jamie Schaefer


Explore Boone, Mast General Store, Goodnight Brothers, SkyBest Communications, Inc., PEAK Insurance Group, Appalachian Home Care LLC, and Berkshire Hathaway HomeServices Vincent Properties This performance is supported by a generous gift from Wendy and Mike Brenner, and from Christine Petti, in memory of Dr. A.F. Petti.

It’s appropriate that Boz Scaggs’ new album is Out of the Blues, since the blues is what first sparked his five-decade musical career. Born William Royce Scaggs in Canton, Ohio, on June 8, 1944, he grew up in Oklahoma and Texas, where he spent his teenage years immersed in the blues, R&B and early rock ‘n’ roll. While attending school in Dallas, he played in local combos. After several years as a journeyman musician around Madison, WI, and Austin, TX, Scaggs spent time traveling in Europe, the Middle East, and Asia, eventually settling in Stockholm where he recorded the album Boz. Returning to the U.S. in 1967, Scaggs joined the Steve Miller Band in San Francisco, performing on that group's albums Children of the Future and Sailor, before launching his solo career with 1968’s seminal Boz Scaggs LP, recorded in Muscle Shoals, AL, for Atlantic Records. Scaggs continued to mine a personalized mix of rock, blues, and R&B influences, along with a signature style of ballads on such influential ’70s albums as Moments, Boz Scaggs & Band, My Time, Slow Dancer and 1976’s Silk Degrees. The latter release became a massive commercial breakthrough, reaching Number Two and remaining on the album charts for 115 weeks. It spawned three Top 40 hit singles: “It's Over,” “Lido Shuffle” and the Grammy-winning “Lowdown.” Subsequently, “We’re All Alone,” from that same album, would become a #1 single for Rita Coolidge. Silk Degrees was followed by the albums Down Two then Left and Middle


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Man, and such hit singles as “Breakdown Dead Ahead,” “Jo Jo” and “Look What You've Done to Me.” Despite his ’70s successes, Scaggs spent much of the 1980s out of the music-biz spotlight, traveling, opening a family business, fathering young children, and founding the San Francisco nightclub Slim’s. He returned to the studio after an eight-year hiatus and released Other Roads, Some Change, Dig, the Grammy-nominated Come on Home, the unplugged Fade into Light, and the in-concert retrospective Greatest Hits Live, as well as a stint touring with Donald Fagen’s New York Rock & Soul Review, all while continuing to maintain a loyal audience in the U.S. and overseas, particularly in Japan. A pair of albums of jazz standards, But Beautiful and Speak Low, the latter topping the Billboard Jazz chart, demonstrated Scaggs’ stylistic mastery, as did the Southern-flavored Memphis and the rhythm & bluesy A Fool to Care. “Music has been a constant companion and I’m feeling more free with it than ever,” Scaggs comments. “I feel like I’ve found my voice through all these years, and I’ve gotten closer to where I want to be with my approach.”

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On the Water (Vee peal) In Estonian with English subtitles


7pm, Schaefer Center for the Performing Arts Tickets: $10 Features a pre-film introduction and a post-film moderated discussion with this year’s film series curator, Dale Pollock On the Water unfolds in rural Soviet Estonia in the early 1980s, during a pivotal year in the life of a shy teen, Andres, who is being raised by his strict grandparents. Surrounded by eclectic neighbors including brawling alcoholics, grifting prostitutes and cranky war veterans, Andres slowly unlocks his potential through seasons of experiences that include fishing expeditions, adolescent angst, and a summer romance. The touching yet never sentimental screenplay is by Olavi Ruitlane, based on his own best-selling novel. Estonia, not rated, directed by Peeter Simms, 2020, 106 minutes With special thanks to our generous sponsors for this series, Helene and Stephen Weicholz, and our curator, Dale Pollack.



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7pm, Schaefer Center for the Performing Arts Tickets: $35 Adults / $20 Students / Free for children 12 and younger This performance was supported by a generous gift from Chuck and Anna Eyler.

Associate Director CYNTHIA QUINN with HEATHER CONN, NATHANIEL DAVIS, SEAH HAGAN, AURELIE GARCIA, SEAN LANGFORD, ELISE PACICCO, JADE PRIMICIAS, AND COLTON WALL Program Subject to Change Conceived and Directed by: MOSES PENDLETON Associate Director: CYNTHIA QUINN Assisted by: ANTHONY BOCCONI, BEAU CAMPBELL, JENNIFER CHICHEPORTICHE, SAMANTHA CHIESA, HEATHER CONN, GREGORY DE ARMOND, JONATHAN EDEN, MATT GIORDANO, SEAH HAGAN, HANNAH KLINKMAN, SEAN LANGFORD, HEATHER MAGEE, SARAH NACHBAUER, JADE PRIMICIAS, REBECCA RASMUSSEN, COLTON WALL, and JASON WILLIAMS Production Manager & Lighting Supervisor: WOODROW F. DICK II Technical Crew: MARIA PINGGERA, ERIK FULK Lighting Design: MICHAEL KORSCH Music Collage: MOSES PENDLETON Music Editing: ANDREW HANSON Video Design: WOODROW F. DICK, III Spider Puppet Design: MICHAEL CURRY Costume Design: PHOEBE KATZIN Costume Construction: PHOEBE KATZIN & BERYL TAYLOR Ballet Mistress: VICTORIA MAZZARELLI Research Consultant: PHILIP HOLLAND Communications Manager: QUINN PENDLETON Company Manager: PAULA BUDETTI BURNS This production of Alice has been funded, in part, by a contribution from Next Move Dance. “Would you tell me, please. which way I ought to go from here?” “That depends a good deal on where you want to get to.” “I don’t much care where –” “Then it doesn’t matter which way you go.” - Lewis Carrol

About the Company

MOMIX, a company of dancer-illusionists founded and directed by Moses Pendleton, has been presenting work of exceptional inventiveness and physical beauty for more than 40 years. From its base in Washington, Connecticut, the company has developed a devoted worldwide following. In addition to stage performances, MOMIX has also worked in film and television, as well as corporate advertising, with national commercials for Hanes and Target, and presentations for Mercedes-Benz, Fiat, and Pirelli. With performances on PBS’s Dance in America series, France’s Antenne II, and Italian RAI television, the company’s repertory has been beamed to 55 countries. The Rhombus Media film of Mussorgsky’s Pictures at an Exhibition with MOMIX and the Montreal Symphony was the winner of an International Emmy for Best Performing Arts Special. MOMIX was also featured in Imagine, one of the first 3-D IMAX films released in IMAX theaters worldwide. MOMIX dancers Cynthia Quinn and Karl Baumann, under Moses Pendleton’s direction, played the role of “Bluey” in the feature film F/X2, and “White Widow,” co-choreographed by Pendleton and Quinn, was featured in Robert Altman’s movie The Company. With nothing more than light, shadow, fabric, props, and the human body, MOMIX continues to astonish and delight audiences on five continents.

Who’s Who in the Company

MOSES PENDLETON (Artistic Director) has been one of America’s most innovative and widely performed choreographers and directors for almost 50 years. A co-founder of the ground-breaking Pilobolus Dance Theater in 1971, he formed


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ACT ONE: Down the Rabbit Hole A Summer Day Alice Down the Rabbit Hole Pool of Tears The Tweedles The Cheshire Cat Advice from a Caterpillar The Lobster Quadrille Madhatters The Queen of Diamonds The Queens of Clubs & Spades The Mad Queen Cracked Mirrors ACT TWO: Through the Looking Glass There Is Another Shore Garden of Live Flowers & Other Creatures The Cards Fall Bed of Roses Queen Alice *ALICE is performed with one 20-minute intermission Alice Soundtrack: “Cracked Mirrors and Stopped Clocks” by Origamibiro - Tom Hill, Andy Tytherleigh “Faster and Faster” by Tony Kinsey “Fungiferous Flora” by Chris Vrenna “Skool Daze” by Chris Vrenna “Taal Se Taal” by A.R. Rahman, Anand Bakshi “The Cheshire Cat” by Danny Elfman “Restless” by Nick Woolfson and Eliot Jones “The Lobster Quadrille” by Franz Ferdinand “Mexicali” by Polo and Pan “1977” by Ana Tijoux “Don’t Worry, We’ll Be Watching You” by Gotye - Wouter De Backer “Falling Down the Rabbit Hole” by Chris Vrenna “Smoke and Mirrors” by Gotye - Wouter De Backer “The Sea” by Joey Pecoraro “Nzuku” by Arp “The Cheshire Cat” by Danny Elfman “2 Songvar” by Jon Leifs “Indifferent Universe”, “Liminalidad”, and “Edge” by Lucrecia Dalt “Taking Tea in Demand” by Chris Vrenna “Jacquadi” by Polo & Pan “Womb Duvet” by Origamibiro - Tom Hill, Joy of Box, Andy Tytherleigh “White Rabbit” words and music by Grace Wing Slick, Irving Music, Inc. on behalf of Copperpenny Music.

his own company, MOMIX, in 1980. Mr. Pendleton has also worked extensively in film, TV, and opera and as a choreographer for ballet companies and special events. Mr. Pendleton was born and raised on a dairy farm in Northern Vermont. His earliest experiences as a showman came from exhibiting his family’s dairy cows at the Caledonian County Fair. He received his BA in English Literature from Dartmouth College in 1971. Pilobolus began touring immediately, and the group shot to fame in the 1970s, performing on Broadway under the sponsorship of Pierre Cardin, touring internationally, and appearing in PBS’s Dance in America and Great Performances series. By the end of the decade, Mr. Pendleton had begun to work outside of Pilobolus, performing in and serving as principal choreographer for the Paris Opera’s Intégrale Erik Satie in 1979 and choreographing the Closing Ceremony of the Winter Olympics at Lake Placid in 1980. In that same year he created MOMIX, which rapidly established an international reputation for inventive and often illusionistic choreography. The troupe has now been creating new work under his direction and touring worldwide for four decades. Mr. Pendleton has also been active as a performer and choreographer for other companies. He staged Picabia’s Dadaist ballet Relâche for the Paris Opera Ballet and the Joffrey Ballet, and Tutuguri, based on the writings of Artaud, for the Deutsche Oper Berlin. He created the role of the Fool for Yuri Lyubimov’s production of Mussorgsky’s Khovanschina at La Scala, choreographed Rameau’s Platée for the U.S. Spoleto Festival, and contributed choreography to Lina Wertmuller’s production of Carmen at the Munich State Opera. Mr. Pendleton has created new works for the Arizona Ballet and the Aspen Santa Fe Ballet, and he teamed up with Danny Ezralow and David Parsons, both former MOMIX dancers, to choreograph AEROS with the Romanian National Gymnastics Team. Most recently, Mr. Pendleton choreographed The Doves of Peace, featuring Diana Vishneva and 50


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ballerinas, for the Opening Ceremony of the 2014 Winter Olympics. Mr. Pendleton’s film and television work includes the feature film F/X2 with Cynthia Quinn, Moses Pendleton Presents Moses Pendleton for ABC ARTS cable (winner of a CINE Golden Eagle award), and Pictures at an Exhibition with Charles Dutoit and the Montreal Symphony, which received an International Emmy for Best Performing Arts Special in 1991. Mr. Pendleton has also made music videos with Prince, Julian Lennon, and Cathy Dennis, among others. Mr. Pendleton is an avid photographer whose work has been presented in Rome, Milan, Florence, and Aspen. Images of the sunflower plantings at his home in northwestern Connecticut have been featured in numerous books and articles on gardening. He is the subject of Salto di Gravita by Lisavetta Scarbi (1999), and his photographs accompany the sixteen cantos of Phil Holland’s The Dance Must Follow (2015), which takes Mr. Pendleton’s own creative process as its subject. Mr. Pendleton was a Guggenheim Fellow in 1977. He was a recipient of the Connecticut Commission on the Arts Governor’s Award in 1998. He received the Positano Choreographic Award in 1999 and the 2002 American Choreography Award for his contributions to choreography for film and television. In 2010, Mr. Pendleton received an Honorary Doctorate of Fine Arts (HDFA) from the University of the Arts in Philadelphia, where he delivered the commencement address. In 2021, Mr. Pendleton received an Honorary Doctor of Arts from his alma mater, Dartmouth College, for his lifetime contribution to the arts. CYNTHIA QUINN (Associate Director) grew up in Southern California. She graduated Phi Beta Kappa from the University of California at Riverside and continued there as an Associate in Dance for five years. As a member of Pilobolus in the 1980s, she performed on Broadway and throughout the United States, Europe, Canada, Israel and Japan, and she collaborated on the choreography of Day Two, Elegy for the Moment, Mirage, What Grows in Huygens Window and Stabat Mater. Ms. Quinn began performing with MOMIX in 1983 and has toured worldwide with the company.

She has appeared in numerous television programs and music videos, and has assisted Moses Pendleton in the choreography of Pulcinella for the Ballet Nancy in France, Tutuguri for the Deutsche Oper Berlin, Platée for the Spoleto Festival USA, Les Mariés de la Tour Eiffel in New York, AccorDION for the Zurich-Volksbuhne Theatre, Carmen for the Munich State Opera, as well as Opus Cactus for the Arizona Ballet and Noir Blanc for the Aspen Santa Fe Ballet. She has also appeared as a guest artist with the Ballet Théâtre Française de Nancy, the Deutsche Oper Berlin Ballet, and the Munich State Opera, as well as international galas in Italy, France and Japan. Ms. Quinn made her film debut as “Bluey” (a role she shared with Karl Baumann) in F/X2. She was a featured performer in the Emmy Award-winning Pictures at an Exhibition with the Montreal Symphony and has also appeared in the 3D IMAX film Imagine. Ms. Quinn is a board member of the Nutmeg Conservatory in Torrington, Conn., and is on the advisory board of the Torrington’s Susan B. Anthony Project. She was featured with RuPaul and k.d. lang for M.A.C. Cosmetics’ “Fashion Cares” benefit in Toronto and Vancouver. Ms. Quinn is co-choreographer of “White Widow,” which is featured prominently in Robert Altman’s The Company. Ms. Quinn was also featured in the film First Born, with Elisabeth Shue. Most recently, she co-choreographed The Doves of Peace, featuring Diana Vishneva, for the Opening Ceremony of the 2014 Winter Olympics. Her most rewarding and challenging role, however, has been as a mother to her daughter, Quinn Elisabeth. HEATHER CONN (Dancer) is originally from New York. She attended the Long Island High School for the Arts as a dance major and holds a BFA in dance from the Tisch School of the Arts at New York University. Additionally, she has trained with the Joffrey Ballet School, the Bolshoi Ballet, and the Boston Conservatory, among others. Heather has performed professionally across the United States and beyond, in contemporary dance, musical theater, film, and live production art. She has performed in such notable venues as Radio City Music Hall, The Kennedy Center, the Apollo

Theater, Jacob’s Pillow, and the Folies Bergere in Paris, France. Heather has danced for Nickerson-Rossi Dance, Schoen Movement Company, and The Orsano Project as assistant to Phil Orsano. She was given a leading role in Busch Gardens Christmastown production of their show Miracles. She performs for TEN31 Productions as a “living art” performer at events, as well as the live arts company Moving On. Heather is featured in the published photography book Dance Across the USA by Jonathan Givens, as a dancer representing the state of New York. She is a certified yoga teacher, a certified Animal Flow® instructor, and an Essential Oil Specialist. Heather has a passion for healing and is an advocate for social justice, wildlife, and the Earth. Heather joined MOMIX in 2018. NATHANIEL DAVIS (Dancer) was born in Toronto, Canada, and started his training at the age of 17. He attended the New World School of the Arts College, graduating cum laude in 2015 with a BFA in dance. He has previously worked with the Peter London Global Dance Company in Miami, Florida and Artichoke Dance Company in Brooklyn, New York. He has performed works choreographed by Robert Battle, Daniel Ulbricht, George Balanchine, Jose Limon, Kyle Abraham, Bill T. Jones and Darshan Bueller. Nathaniel joined MOMIX in 2016. SEAH HAGAN (Dance Captain) is a thirdgeneration dancer who was born and raised in Tallahassee, Florida. She began her training at the Southern Academy of Ballet Arts under the tutelage of Natalia Botha and Charles Hagan. At age 14 she became an Advanced Company member with the Pas de Vie Ballet, where she performed many classical and contemporary, soloist and principal roles. In 2017, Seah was ranked number one at the world championship in her division for ballroom dancing. At age 16, she graduated summa cum laude from the Florida State University School and later held a position with the State of Florida at the Florida Fish and Wildlife Conservation Commission. Seah joined MOMIX in 2017.


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AURELIE GARCIA (Dancer) is a dancer, dance teacher and young choreographer. She grew up in South of France where she first started dancing in a small local dance school. After graduating from high school, she moved to New York City at the age of 18 years old to attend The Ailey School and graduated from their scholarship program in 2018. She performed works by Ray Mercer, Elizabeth Roxas, Tracy Inman, Jacqulyn Buglisi, Talley Beatty, Anabelle Lopez Ochoa, Eduardo Vilaro, Michelle Manzanalez, Pedro Ruiz and Alvin Ailey. Since she moved to New York to pursue her dance career, Aurelie has performed with companies such as the Alvin Ailey American Dance Theater, Ballet Hispanico and Ntrinsik Movement, Bloodline Dance Theater, Ann Nuo Spiritual Dance Art. Aurelie joined MOMIX in 2019. SEAN LANGFORD (Dancer) is a dance artist residing in Jersey City. Sean graduated cum laude from Mason Gross School of the Arts in 2016. While at school, he had the privilege of performing the works of Shen Wei, Pam Tanowitz, Niv Sheinfeld, Oren Laor, and Camille A. Brown. Professionally, he has worked with Keith Thompson, Alison Chase/Performance, Erick Montes/ Danceable Projects and Rock Dance Collective. He is a certified Pilates teacher and enjoys long walks on the beach, video games, and making people laugh. Sean joined MOMIX in 2018. ELISE PACICCO (Dancer) is from Charlotte, NC, and currently resides in Brooklyn, New York. She graduated magna cum laude from Wake Forest University where she was a recipient of the Presidential Scholarship and a member of the Phi Beta Kappa honor society. Elise earned her MFA in dance performance and choreography from NYU’s Tisch School of the Arts in 2015. She has performed in works of Bill T. Jones, Pilobolus, Paul Taylor, Shannon Gillen, Helen Simoneau, and others. Elise was a member of Carolyn Dorfman Dance from 2015-2019, where she worked nationally and internationally as a teaching and performance artist. She also dances for Rovaco Dance Company, based in New York, under the direction of Rohan Bhargava. Elise is also passionate about

teaching yoga and Pilates and currently teaches at Y7 Studios throughout New York City. Elise joined MOMIX in 2019. JADE PRIMICIAS (Dancer) began her dance training by watching PBS in her living room and eventually taking dance lessons in small-town Kentucky dance studios. After graduating summa cum laude from Western Kentucky University with a BA in Dance and a BA in English, she went on to study with Pilobolus and the Limón Dance Company, exploring the pedagogy of movement, partnering, and dancemaking. In 2015, she moved to Memphis to join the Tennessee Ballet Theater as a dancer and teaching artist. Now, Associate Creative Director Jade shares her passion for dance and history through site-specific performances in collaboration with Artistic Director Erin Walter. Along with principal roles in The Nutcracker, she has performed works by Bob Fosse, José Limón, Colin Connor, and Desmond Richardson. Jade joined MOMIX in 2018. COLTON WALL (Dancer) started his movement career in his home state of Florida at the age of four training in gymnastics and martial arts. Wall studied dance at Santa Fe College and, in 2015, received his BFA in Dance from Florida State University. Wall had the privilege to join the cast of Diavolo: Architecture in Motion in 2016 to perform their work L’espace Du Temps. Since being in New York, Wall has worked with MOMIX, Douglas Gillespie, Cortney Andrews, Shawn T Bible, and Mathew James. Wall joined MOMIX in 2017 and has been touring internationally since. Follow his journey at @coltlwall. PHOEBE KATZIN (Costume Designer) After graduating from Endicott College’s fashion design program, Phoebe worked for Kitty Daly, building dance costumes and dressmaking. For several years she lived in New York making costumes for Kitty Leach, Greg Barnes, and Allison Conner, among others. Phoebe has been instrumental in designing and constructing costumes for MOMIX and Pilobolus for more than 20 years. MICHAEL KORSCH (Lighting Designer) is a lighting and scenic designer based in

Philadelphia. He has worked with numerous directors and choreographers, creating visual designs for dance and theatre throughout North and South America, Europe, Australia and Asia. Michael has been the resident lighting/scenic designer and technical director for Complexions Contemporary Ballet since 1998, and the resident lighting designer for Ballet Arizona since 2001. In addition, he has created original designs for companies including Alvin Ailey American Dance Theater, Aspen/Santa Fe Ballet, BalletMet, BalletX, Carolina Ballet, Cleveland Play House, DanceBrazil, Dance Theatre of Harlem, Daytona Contemporary Dance Company, Disney Creative Entertainment, English National Ballet, Hubbard Street Dance Chicago, North Carolina Dance Theatre, Oakland Ballet, Pennsylvania Ballet, Pittsburgh Ballet Theatre, Sacramento Ballet, Staatsballett Berlin and Washington Ballet, and has worked with MOMIX on several shows. WOODROW F. DICK III (Production Manager & Lighting Supervisor) is MOMIX’s go-to guy for anything and everything production-related. He has worked on numerous productions both big and small. Woody joined MOMIX in 2005. VICTORIA MAZZARELLI (Ballet Mistress) Following an impressive and extensive professional international ballet career, Mazzarelli returned to her roots at the Nutmeg Ballet Conservatory in Torrington, Conn., where she serves as Artistic Director, training the next generation of dancers. MOMIX PO Box 1035 Washington, Connecticut 06793 Tel: 860•868•7454 / Fax: 860•868•2317 / / Margaret Selby - Selby Artists/Management 262 West 38th Street, Suite 1701 New York, NY 10018 1-212-382-3260 Instagram @MomixOfficial Facebook @OfficialMomix Twitter @Momix #MOMIXALICE


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LUNCH & LEARN SERIES JULY 7, 14, 21 & 28

All events held in person on Thursdays throughout July in the Turchin Center Lecture Hall and online via Zoom Webinar, from 12-1pm Free The Lunch and Learn Lecture Series features interesting and informative virtual programming that provides a behind-the-scenes view of the festival’s offerings in the visual arts, music, theater and dance.

July 7 – The Turchin Center’s Faculty Biennial Exhibition, in partnership with the Department of Art at Appalachian State University

Turchin Center Curator Mary Anne Redding moderates a panel discussion with Appalachian State University Art Department faculty members featured in the current biennial exhibition, which will be exhibited at the Turchin Center and in the Smith Gallery of the Schaefer Center. Hear from and learn about the work and practice of esteemed artists and professors including Adam Adcock, Andrew Caldwell, Andréa Keys Connell and Jessica Greenfield. There will be an opportunity to ask questions and view the galleries.

July 14 – Meet the Film Curator, featuring Dale Pollock, curator for the 2022 Weicholz Global Film Series

Dale Pollock is a distinguished film critic, movie producer and film professor who served as Dean and taught in the celebrated film school at UNC School of the Arts, where he is now an emeritus professor. Pollock is a member of the Motion Picture Academy and sits on the Academy Awards nominating committee for international films. Join Dale for a fascinating glimpse into his life

in the world of film, and his perspective on the summer festival’s tradition of presenting stellar films from around the world.

July 21 – Boone 150: A Celebration of Boone’s History

Following the screening of Beth Davison’s short film, DocuAppalachia: A Half Century Focus on the Environment, participants will enjoy an engaging panel discussion with the filmmaker; film co-director Dr. Kristan Cockerill; and Digital Watauga’s Dr. Eric Plaag, as they reflect on the impact of environmental protection legislation and on what has changed and what has remained the same in the rural southern Appalachian mountains.

July 28 – “A Central Visual Heritage of the Holocaust: The Wehrmacht and Anti-Jewish Propaganda,” presented by Dr. Daniel Uziel

Most of the visual documentation of WWII, from the German side, originates from the Propaganda Companies (PK) of the Wehrmacht. These specialized units were responsible, among others, for providing the German media with war correspondence materials. The Wehrmacht Propaganda organization supported the wartime anti-Semitic propaganda of the Nazi regime by providing relevant visual material. As a result, a significant portion of the core visual documentation of the Holocaust originates from this source. This talk will focus on the reasons and circumstances of its creation. Dr. Daniel Uziel is an expert in the field of the Nazi party’s antisemitic propaganda and the Propagandakompanien. This presentation is part of the 2022 Martin & Doris Rosen Summer Symposium on Film and Photography during the Holocaust.



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