2016 Brevard Music Center Overture Magazine

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INSIDE OVERTURE Letter from the President .......................................................................................... 4 About Keith Lockhart ................................................................................................. 5 Patron Information ...................................................................................................... 6 Dining & Accommodations ....................................................................................... 7 Board of Trustees ....................................................................................................... 8 Brevard Music Center Staff ...................................................................................... 9 Sponsors and Partners ............................................................................................ 10 BMC: Celebrating 80 Years .................................................................................... 13 80th Anniversary Timeline ................................................................................. 14-15 Falling Angel: A World Premiere Opera .............................................................. 18 Challenge Among Friends ...................................................................................... 19 Henry Janiec: In Appreciation ................................................................................. 22 Brevard Music Center Economic Impact ............................................................. 23 Artist Faculty ........................................................................................................ 26-36 Opera Artistic Staff.............................................................................................. 37-38 2016 Performance Schedule ................................................................................. 42 Ensembles ...................................................................................................................43 Performance Programs ....................................................................................44-122 Soloists and Conductors ...................................................................................... 123 Opera Cast ............................................................................................................... 134 Opera Designers ..................................................................................................... 138 Production Staff ...................................................................................................... 139 Student Roster ........................................................................................................ 140 Distinguished Service and Alumni Awards ....................................................... 148 Brevard Music Center Association ..................................................................... 152 Brevard Music Center Association Board ........................................................ 153 Named and Endowed Concerts ............................................................................157 Giving Opportunities ............................................................................................... 162 Annual Fund Contributors ..................................................................................... 165 Encore Planned Giving Society ........................................................................... 169 Lifetime Giving Society ...........................................................................................170 Gifts in Honor and Memory ...................................................................................171 Brevard Music Center Endowment .................................................................... 174 2016 Overture Advertisers Index ........................................................................ 193

Editor Associate Editor Creative Design Advertising

Photograph Credit

Cally Jamis Vennare Dilshad Posnock Market Connections Virginia Carter Cassie Gerring Jennifer Snowdon John Allen Mike Belleme Tracy Turpen

SEASON SPONSORS Jacquelyn and Bruce Rogow

MEDIA SPONSORS

The Biltmore Beacon

2016 Summer Institute & Festival

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LETTER FROM THE PRESIDENT

BREVARD MUSIC CENTER

WELCOME BACK! Quite honestly, the most difficult thing about my job is waiting for the next season to begin! This summer, I am especially excited because, as I hope you all know by now, the Brevard Music Center is celebrating its 80th Anniversary.

To prepare for this epic event, the entire staff has been working diligently to produce a spectacular festival for our patrons, alumni, sponsors, and guest artists, as well as to ensure a very successful season for our students, faculty, and volunteers.

The festivities and fanfare begin with French “gentleman, poet and pianist” Jean-Yves Thibaudet and six-time Grammy winner Amy Grant in late June, and culminate in early August with a grand performance of one of the best-known works in classical music – Beethoven’s 9th Symphony.

In between our Opening Weekend and Season Finale, you will be captivated by an ever-expanding series of symphony, opera, jazz, chamber, pops, and bluegrass performances. In total, more than 80 performances over 10 weeks — now that’s a great summer music festival!

Additional season highlights include the operatic world premiere of Falling Angel, produced in collaboration with New York’s esteemed Center for Contemporary Opera; A Gospel Celebration with “the Godfather of Gospel” Rance Allen, who will be joined by the NC AT&T Gospel Choir; and Mahler’s powerful 5th Symphony, one of the composer’s greatest symphonic achievements conducted by our own Keith Lockhart.

Curated by former New York Times music critic Joseph Horowitz, the Dvořák Festival is equally beguiling. Widely recognized as the definitive expert on classical music in America, you will be immersed in a deep exploration of the roots of “the American Movement.”

Along the way, and from beginning to end, you will inspired

by Mozart, Wagner, Strauss, Stravinsky, Tchaikovsky, Ravel, Gershwin, Rodgers and Hammerstein, and yes – Béla Fleck and Abigail Washburn.

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In this, our 80th year of existence, you will also experience the unveiling of our brand new “state of the art” acoustical shell that was designed specifically for the Brevard Music Center.

This beautiful and flexible Whittington-Pfohl Auditorium shell will increase the ability of performers on stage to hear each other and, having been finely tuned by expert acousticians, will deliver a dramatically improved sound for your listening pleasure.

We do all this for you — the 31,000 dedicated music fans who visit BMC each season — and for the thousands of students (and now distinguished alumni) who have graced our practice rooms, campus, and performance stages in preparation for producing great musical works at the highest artistic level.

The 2016 improvements to the WPA, including new backstage rigging and lighting, are only part of our multi-million dollar commitment to rejuvenate our campus for the next generation of artists and audiences. Throughout the season you will be hearing of our capital campaign, “A Challenge Among Friends.” Please consider a gift to help us set the stage for continued success at Brevard Music Center both now and in the future.

Thank you for being here in Brevard to celebrate, to be inspired, and to witness performances as captivating as the view. Enjoy the season!

Warmest regards,

Mark Weinstein

About Mark Weinstein Mark Weinstein has devoted his professional career to music having previously served as Executive Director of the New York City Opera at Lincoln Center, General Director of the Pittsburgh Opera, Executive Director of the Washington National Opera at the Kennedy Center, and CEO of the AT&T Performing Arts Center in Dallas, Texas. Mark has an MBA from the Harvard Business School and a BA in Political Science from Carleton College in Northfield, Minnesota. His wife, Susanne Marsee, was the leading Mezzo-Soprano soloist at New York City Opera at Lincoln Center for over 20 years.

Photo Credit: Marco Borggreve

LEADERSHIP

KEITH LOCKHART, ARTISTIC DIRECTOR David Effron Principal Conductor Chair

Artistic Director Keith Lockhart assumed the role of Principal Conductor of the Brevard Music Center in 2007. Maestro Lockhart is an alumnus of the Brevard Music Center, having attended as a student in 1974 and 1975.

Keith Lockhart has conducted nearly every major orchestra in North America, as well as the Royal Concertgebouw Orchestra, the Deutsches Symphonie-Orchester Berlin, the NHK Symphony in Tokyo, and the Melbourne Symphony Orchestra. In October 2012, he made his London Philharmonic debut in Royal Albert Hall. 2014-15 included a return to the Melbourne Symphony, and debut with the Adelaide (Australia) Symphony, as well as a special residency at Wright State University culminating in performances of the Britten War Requiem with the Dayton Philharmonic. In the opera pit, Maestro Lockhart has conducted productions with the Atlanta Opera, Washington Opera, Boston Lyric Opera, and Utah Opera.

Celebrating his twentieth anniversary season as Conductor of the Boston Pops, Keith Lockhart has added his artistic vision to the Pops tradition established by his predecessors John Williams and Arthur Fiedler. During these years he has conducted nearly 1700 concerts and made 76 television shows, including 38 new programs for PBS’s Evening at Pops, and the annual July Fourth Spectacular, produced by Boston’s WBZ-TV and broadcast nationally for many years on the A&E and CBS television networks. The Boston Pops’ 2002 July Fourth broadcast was Emmy-nominated, and the Evening at Pops telecast of “Fiddlers Three” won the 2002 ASCAP-Deems Taylor Award. The 2015 “Very Best of the Boston Pops” tour of the southeastern United States was his 40th national tour with the Pops. In addition, he has led the orchestra on four overseas tours of Japan and Korea, in performances at Carnegie Hall and Radio City Music Hall, and

at sports arenas across the country. In September 2004, they appeared live on national television with Sir Elton John during the NFL Season Kickoff special. In February 2002, Maestro Lockhart led the Boston Pops in the pre-game show of Super Bowl XXXVI at the Louisiana Superdome in New Orleans. Since November 2004, he and the Boston Pops have released five self-produced recordings: 2013’s A Boston Pops Christmas—Live from Symphony Hall, Sleigh Ride, America, Oscar & Tony, and The Red Sox Album, all available online through www.bostonpops.org.

Keith Lockhart and the Boston Pops Orchestra recorded eight albums with RCA Victor — Runnin’ Wild: Keith Lockhart and The Boston Pops Orchestra Play Glenn Miller, American Visions, the Grammy-nominated The Celtic Album, Holiday Pops, A Splash of Pops, Encore!, the Latin Grammy-nominated The Latin Album, and My Favorite Things: A Richard Rodgers Celebration.

Since Keith Lockhart’s appointment as seventh Principal Conductor of the BBC Concert Orchestra (London, UK) in August of 2010, highlights of his tenure include critically acclaimed North American tours (2010-11, 2012-13, and 2015), conducting annual performances at The Proms, and celebrating the orchestra’s 60th year in 2012. In June of that same year, Keith Lockhart conducted the orchestra during Queen Elizabeth II’s gala Diamond Jubilee Concert, which was broadcast around the world.

In 2009, Keith Lockhart concluded eleven seasons as Music Director of the Utah Symphony. He led that orchestra through the complete symphonic works of Gustav Mahler and brought them to Europe on tour for the first time in two decades. He stood at the front of that organization’s historic merger with the Utah Opera to create the first-ever joint administrative arts entity of the Utah Symphony and Opera. Since the merger, arts institutions nationally and internationally have looked to Maestro Lockhart as an example of an innovative thinker on and off the podium.

Maestro Lockhart conducted three “Salute to the Symphony” television specials broadcast regionally, one of which received an Emmy award, and, in December 2001, he conducted the orchestra and the Mormon Tabernacle Choir in a national PBS broadcast of Vaughan Williams’ oratorio Hodie. Maestro Lockhart led the Utah Symphony during Opening Ceremonies of the 2002 Olympic Winter Games and conducted two programs for the 2002 Olympic Arts Festival. Under his baton, the Utah Symphony released its first recording in two decades, Symphonic Dances, in April 2006.

Keith Lockhart previously served as associate conductor of both the Cincinnati Symphony and Cincinnati Pops Orchestras. As a guest conductor, he has appeared with the Symphony Orchestras of Chicago, Cleveland, Dallas, Houston, Minnesota, Montreal, Philadelphia, San Francisco, Baltimore, Atlanta, St. Louis, Indianapolis, Singapore, Toronto, and Vancouver as well as the Los Angeles and St. Paul Chamber Orchestras, the National Arts Centre Orchestra (Canada), and the Philharmonics of New York and Los Angeles.

Born in Poughkeepsie, NY, Keith Lockhart began his musical studies with piano lessons at the age of seven. He holds degrees from Furman University in Greenville, SC, and Carnegie Mellon University in Pittsburgh, PA. Visit keithlockhart.com for further information.

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PATRON INFORMATION

BREVARD MUSIC CENTER

BOX OFFICE HOURS Whittington-Pfohl Auditorium

(Brevard Music Center Campus)

June 23 – August 7 Monday – Saturday: 10 am to Intermission, or 5 pm (if no evening event) Sunday: Noon to Intermission

Porter Center

(Brevard College Campus)

June 23 - August 4 Open on performance days only, 2 hours prior to the start of a performance through intermission.

Phone: (828) 862-2105 Toll free: (888) 384-8682 Email: boxoffice@brevardmusic.org Website: brevardmusic.org

BMC thanks Brevard Rescue Squad for volunteering standby service at all weekend concerts.

Exchanges are available up to 24 hours before the exchanged event.

Unused tickets can be turned in for a tax deduction. Subscription tickets may be exchanged for events not currently included within your series. Subscription tickets may not be exchanged for BMC Presents or Opening Night. Refunds are not available.

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Late Arrivals & Seating Latecomers will be asked to wait until an appropriate break in the performance before being seated.

Photography & Recording Photography and the use of recording devices are strictly prohibited in all concert venues.

Restrooms Whittington-Pfohl Auditorium: Restrooms are located in the lobby and the adjacent building behind the concession kiosks.

Porter Center: Restrooms are located in the lobby, on either side of Scott Concert Hall.

Telephones Please turn off all cell phones, pagers, and alarm watches during performances.

Students Students 18 and older receive a 50% discount for tickets inside the auditorium. With a valid student ID, students 18 and older may sit on the lawn free of charge*.

Children Children 17 and under may sit on the lawn free of charge* with a paying adult. Auditorium tickets are available for $15 for children 6 and over.

Children under 6 are not permitted inside Whittington-Pfohl Auditorium.

Smoking Smoking is strictly prohibited in all BMC buildings; all forms of smoking

are also prohibited on the adjacent outdoor lawn seating area during all performances.

Concessions Please enjoy your refreshments outside of the concert venue. No food or drink, except bottled water, is allowed in any performance facility.

Lawn Etiquette We welcome our patrons to enjoy a picnic and listen to the concert from the lawn. Please remember that noise and excessive movement during the performance can be distracting to the performers and other listeners.

Pets Pets are not allowed in or around the area of the Whittington-Pfohl Auditorium during a performance.

Properly identified service animals are permitted in all areas in which BMC patrons are allowed.

Harmony Gifts Harmony Gifts is the official gift shop of the Brevard Music Center. Located at the front of Whittington-Pfohl Auditorium, it carries signature apparel, jewelry, music themed novelties, picnic accessories, and more.

Harmony Gifts is managed by the Brevard Music Center Association and is staffed by volunteers. All proceeds directly benefit the educational programs of the Brevard Music Center. * Complimentary lawn tickets are not available for BMC Presents concerts.

DINING & ACCOMMODATIONS

PICNICS ON THE LAWN! Enjoy a delicious picnic meal while experiencing an orchestra performance at Whittington-Pfohl Auditorium (WPA).

Picnics can be pre-ordered through the BMC box office at least 24 hours in advance by calling (828) 862-2105. Or, simply visit our main concessions area at WPA for a tasty selection of casual picnic fare and snacks.

An assortment of beverages is also available for your enjoyment including Rodney Strong red and white wines by the glass, Oskar Blues beer, Pepsi products, bottled water, and coffee.

WPA concessions – including the main building and whitetented areas – open one hour prior to each performance.

Kiwi Gelato Delicious desserts, including signature gelato and sorbetto flavors, are offered as a refreshing finish to your Brevard Music Center experience at WPA and Porter Center concerts.

Concessions at the Porter Center (Brevard College) A selection of wine, beer, soft drinks, and coffee – as well as cookies and candy – is available in the lobby of the Porter Center prior to and during intermission of concerts and operas.

Important Note: Please allow ample time to enjoy your picnic or concessions items. No food or drink, except bottled water, is permitted in any performance venue on the BMC campus or at the Porter Center.

Off Campus The following local restaurants support the Brevard Music Center: Dugan’s Pub .....................................................(828) 862-6527 Food Matters Market and Cafe .....................(828) 885-3663 Hawg Wild Bar-B-Que ...................................(828) 877-4404 Hobnob ..............................................................(828) 966-4662 Kiwi Gelato ........................................................(828) 877-4659 Marco Trattoria ..................................................(828) 883-4841 Mayberry’s - Just Good Food ........................(828) 862-8646 Pad Thai .............................................................(828) 883-9299 Quotations Coffee Café .................................(828) 883-8966 Rocky’s Soda Shop .........................................(828) 877-5375 Sora Japanese Restaurant & Sushi Bar ......(828) 883-9808 The Falls Landing .............................................(828) 884-2835 The Square Root Restaurant ........................(828) 884-6171 Accommodations: Hampton Inn of Brevard ..................................(828) 883-4800 Bed & Breakfast on Tiffany Hill ......................(828) 290-6080 Key Falls Inn .......................................................(828) 884-7559 The Inn at Brevard.............................................(828) 884-2105 The Sunset Motel ..............................................(828) 884-9106

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BREVARD MUSIC CENTER

WELCOME FROM THE BOARD On behalf of the BMC Board of Trustees, it is my pleasure to welcome you to our stellar 80th anniversary season.

I write you as the brand new chairman of that board, but I attended my first performance here more than fifty years ago. My own time on BMC’s board was preceded by my mother Dicksie Cribb’s 45 years of service as a trustee.

This is the kind of continuity one so frequently sees at “Brevard”, even as we have recently welcomed aboard eight distinguished trustees who are already strengthening our work to keep BMC moving smartly forward.

One of the best exemplars of BMC’s special blend of tradition and progress is the dynamic partnership between Artistic Director Keith Lockhart and President Mark Weinstein. Maestro Lockhart’s association with BMC began many years ago as a student here, and impresario Weinstein is just now entering his third season as our CEO — after heralded tenures as executive director of the New York City Opera, the Pittsburgh Opera, and the Washington National Opera. Already this collaboration between one of the world’s great conductors and a world-class arts administrator has produced the major upgrade of the acoustics that you will experience this season in historic Whittington-Pfohl Auditorium (WPA).

Keith had counseled our board that, as good as the musical experience has been for audiences, it could be even better: “If only you could hear in the back row what I am hearing on stage as I conduct!” Immediately on his arrival Mark initiated a planning process that brought the entire BMC family together for ‘A Campaign Among Friends’ to, among other important undertakings, execute an ambitious acoustical fix for WPA. Last season audiences were treated to a stage extension that brings the music into their very midst, and this year you will experience a new shell that projects that amazing sound to the furthest reaches of the amphitheater. What a way to celebrate our 80th!

And yet these signal performances under the WPA roof are just part of the story. As we trustees continually remind ourselves, “It’s all about the kids and the music.” So the twenty-seven musical events enjoyed by our season ticket holders at WPA are but a part of some eighty performances by our students and faculty over the ten weeks of our season. Each of our performance venues is an opportunity for the magical transfer of artistry from the best faculty it is possible to assemble to the best students it is possible to recruit — from the present custodians of the treasure of classical music to the new custodians who follow.

To observe this transformation is literally thrilling. As great as the performances are in and of themselves, they are further enriched, even ennobled, by our witness to the encounter between a new generation of highly talented musicians and the great masterworks of the classical tradition. It is so wonderful that you can be with us to see this unfold.

I want to express the gratitude of our entire board to my predecessor, Dr. Falls Harris, for his leadership as our Chairman. Among many achievements he led a national search that culminated with the recruitment of Mark Weinstein as BMC president. Thank you Falls, from the bottom of our hearts.

Since last season we have lost former BMC CEO Henry Janiec after a long and distinguished life dedicated to music. But we have also welcomed back onto our board another former CEO, John Candler, who led us from one height to another during his long tenure. So our world changes, in which the finest of our musical traditions find new artists and new audiences through the alchemy we call “Brevard.”

2016 BOARD OF TRUSTEES

T. Kenneth Cribb, Jr. Chairman, Board of Trustees Doug Bailey Belleair, FL

Falls Harris Greenville, SC

Doug Ombres Tequesta, FL

M. Beattie Wood Atlanta, GA

William White, Jr. Charlotte, NC

Bruce Berryhill Cashiers, NC

Sue Henderson Winston-Salem, NC

Helen Peery Charlotte, NC

Kurt Zimmerli Spartanburg, SC

Thomas C. Bolton Asheville, NC

Phillip Jerome Pisgah Forest, NC

John S. Candler Brevard, NC

Elaine Knight The Villages, FL Ex officio

Penny Roubion Pisgah Forest, NC Ex officio

Trustee Emeriti Doug Booth Charlotte, NC

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Martha Coursey Atlanta, GA T. Kenneth Cribb, Jr. Spartanburg, SC Robert H. Dowdeswell Flat Rock, NC Jerusha Fadial Charlotte, NC Bill Hackney Marietta, GA

Wilbur Boswell III Hendersonville, NC

Life Trustees Karl Straus Asheville, NC

Robby Russell Arden, NC

Dicksie Cribb Spartanburg, SC

Katie Loeb-Schwab Marco Island, FL

Arthur Schreiber Brevard, NC

Mary Helen Dalton Atlanta, GA

Donna Lohr Landrum, SC

Linda Thompson Pisgah Forest, NC

Robert Dalton, Jr. Charlotte, NC

Arthur Schreiber, Treasurer

Ruby Morgan Greenville, SC

Joella Utley Spartanburg, SC

Frederick Dent Spartanburg, SC

Linda Thompson, Secretary

Russell Newton Brevard, NC

Mark Weinstein Brevard, NC Ex officio

Mitchell Watson West Palm Beach, FL

Mark Weinstein, President Ex officio

Officers T. Kenneth Cribb, Jr., Chair Joella Utley, Vice Chair

BOARD & STAFF

2016 STAFF

Mark Weinstein – President and CEO Keith Lockhart – Artistic Director

Instruction & Performance Jason Posnock

Dorothy Knowles Andrew Parker Nicole Murray Barney Culver Matthew Urquhart Carrie White Erin Chiparo Joseph Hendricks Jayme Nelson William Sahely Megan Sahely Michael Schweppe Robert Rydel Alex Carlson Edwin Huet Benjamin Schwartz Ye Yuan Harry Weinhofer Graham Anderson Steven Sykes

Student Life

Cale Self Leigh Dixon Erik Shinn Jacob Powers Larissa Powers

Production

Andrea Boccanfuso Rebecca Armstrong Jerry Pedroza Daniel Schwab Mary Cate Mangum Collin Huse Danielle Ranno

Development

Dave Perrett Palma Cohen Jennifer Snowdon Laura-Kate Gonyea Alisha Carland Mackenzie Williams Elizabeth Root

Director of Artistic Planning & Educational Programs Director of Admissions Artistic Coordinator Artistic Liaison* Orchestra Manager* Assistant Orchestra Manager* Head Librarian* Assistant Librarian* Assistant Librarian* Assistant Librarian* Student Services Manager* Student Services Assistant* Supervisor of Recording* Associate Director of Recording* Audio Engineering Intern* Audio Engineering Intern* Audio Engineering Intern* Audio Engineering Intern* Manager, Guest Artist Services* Chief Piano Technician* Piano Technician*

Dean of Students* Assistant Dean* Assistant Dean* Assistant Dean* Assistant Dean*

Anne Katherine Stiekes Doriane Feinstein Caroline Beard

Box Office Cashier* Box Office Cashier* Box Office Cashier*

Finance and Administration Keith Arbogast Ashley Gilleland J Cantrell June Kim

Director of Finance Operations Supervisor Accounting Manager Business Administration Intern*

Information Technology Sean Manning

Director of Technology

Facilities and Campus Operations Nathan Kawa Steve Dunston Josh Ziegler Bill Wilson David Pederson Adam Trahan Nathan Locke EverGreen Professional Services, LLC Brevard College

Facilities Manager Maintenance Maintenance Maintenance Grounds Crew* Grounds Crew/Parking Supervisor* Grounds Crew* Housekeeping

Food Services

* Seasonal Staff

Director of Production Associate Production Manager* Assistant Production Manager, PSM of Orchestra* House Manager* Company Manager* Technical Director* PSM of Opera*

Director of Development Manager, Annual Giving Manager, Special Events & Community Relations Special Events and Hospitality Coordinator* Development Intern, Raffle Coordinator* Special Events Intern* Special Events Intern*

Marketing and Box Office Cally Jamis Vennare Virginia Carter Jessica Yang Sophia Han Amber Svetik

Director of Marketing and Communications Manager, Box Office & Ticketing Marketing Coordinator* Box Office Supervisor* Box Office Supervisor*

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2016 SPONSORS AND PARTNERS

BREVARD MUSIC CENTER BREVARD MUSIC CENTER Gratefully Acknowledges its 2016 Sponsors and Partners*

Jacquelyn and Bruce Rogow Season Sponsors

SEASON PARTNERS

LEAD SPONSORS An Anonymous Benefactor The Magic Flute Hampton Inn BMC Presents Series

A Night at the Movies

Bed & Breakfast on Tiffany Hill Official Bed and Breakfast

Broad Street Wines Special Event Sponsor

A Loyal Friend of Brevard Music Center The Magic Flute Kickoff Reception Sponsor, & Maestro Society Lounge Wine Sponsor Béla Fleck in Concert

Hampton Inn Official Hotel

of Asheville

New World Symphony

Official Beer Season Finale: Beethoven 9

Official Piano Opening Weekend and Community Outreach Sponsor

ADDITIONAL SUPPORT PROVIDED BY

SUSTAINING SPONSORS Kristine and John Candler Saint-Saëns Piano Concerto No. 2 Blue Mountain Medicine BMC Presents: 80th Anniversary Spectacular The Zimmerli Family Opera Endowment The Magic Flute The Zimmerli Foundation BMC Piano Competition Finals *Sponsors as of May 2, 2016

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COMMUNITY PARTNERS Brevard Ballet Free Rein Habitat For Humanity The Haven Mountain Sun Community School Rise and Shine Smart Start of Transylvania County The Cindy Platt Boys & Girls Club of Transylvania County

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CELEBRATING 80 YEARS

BREVARD MUSIC CENTER: CELEBRATING 80 YEARS

by Jason Posnock – Director of Artistic Planning & Educational Programs

1936

Jesse Owens wins four gold medals at the Berlin Olympics; FDR is elected for a second term; the Spanish Civil War begins; King Edward VIII abdicates the throne to marry Wallis Simpson; the Hoover Dam is completed; BBC debuts the world’s first television service; Margaret Mitchell’s epic novel “Gone With the Wind” is published; and Davidson Music Camp for Boys opens for business in Davidson, NC. It all began for us in 1936. Actually, it really started in 1929, when a teen-aged James Christian Pfohl attended the second-ever session of the Interlochen Music Camp. Even back then, he believed the South needed one of those – its very own center of music. And this young, audacious, visionary genius was going to be the one to make it happen.

Pfohl initiated the project at Davidson College, where he served as Director of the Music Department. Seven years later he moved the venture to Brevard after he happened upon this very land, an abandoned boys camp, during a visit to the western part of the state. He and his wife looked out and knew immediately. “This is the spot.”

Brevard Music Center, née the Transylvania Music Camp, was christened in 1955. Full of artistic aspiration and a commitment to education, it was a “vacation with a purpose.”

This musical oasis was dedicated to developing the ability and broadening the horizons of young musicians, promoting fellowship among the participants, and enriching our musical culture. And oh, did it do just that. The faculty comprised musicians from the best schools and orchestras; talented students flocked from all over; and Dr. Pfohl presented the first complete performance of Beethoven 9 in the South, programed monumental works like Mahler’s Das Lied von der Erde, invited the likes of Isaac Stern and Beverly Sills, and so much more.

Years have gone by, centuries and millennia have turned, and BMC is still committed to the mission of teaching gifted young musicians to prepare and perform great musical works at a high artistic level. The mantle has been passed to Henry Janiec, David Effron, and now Keith Lockhart – BMC’s Artistic Directors and keepers of the flame. They in turn have stood on the shoulders of passionate board members, donors, administrators, and Presidents John Candler and now Mark Weinstein. And of course the hundreds of teachers, thousands of students, and hundreds of thousands of audience members. It truly takes a village, and Brevard Music Center has been blessed with one that remains loyal, generous, and connected.

Throughout our festivities this season, let’s not only celebrate that we are here, a huge accomplishment in itself – but also why we are here. Classical music is as relevant now as it ever was – and will always be. It still matters to young and old alike, performers and audiences, students and teachers.

The discipline of learning an instrument, and the intentional act of listening to great music, makes us more focused, more capable, more complete. Important, whether you are a musician, or a doctor, lawyer, or engineer. And no other art form touches the depths of our soul in quite the same way, evokes that kind of emotion, captures the human spirit.

So here’s to 80 more years of Mozart, Beethoven, and Mahler…80 more years of world premieres and genreblending innovations…80 more years of faculty members coming home each summer to teach, perform, be the artists they are…80 more years of talented, wonderful students learning, growing, being more than they ever dreamed they could be…80 – no 180 more years of music in Brevard.

Here’s to the Brevard Music Center. Bravo…Encore!!

Davidson College Summer Band Camp James Christian Pfohl, Director

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BREVARD MUSIC CENTER

1936 - 2016

1968: Brevard Music Center Orchestra created as flagship orchestra

1965: Whittington-Pfohl Auditorium (WPA) opens & new resident opera company created

1936: Dr. James Christian Pfohl creates a summer music camp for boys at Davidson College

1944: Camp relocates to Brevard and is renamed Transylvania Music Camp 1964: Henry Janiec succeeds Dr. Pfohl as Artistic Director & Converse College affiliation of over 40 years begins 1946: Brevard Music Festival launched during final week of camp season

1940

1950

1943: WWII necessitates move to Queens College; co-ed enrollment begins

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1955: Brevard Music Center name adopted

1960

1970

1961: BMC’s Transylvania Symphony Orchestra performs at White House for JFK and guests

TIMELINE

"I always felt embraced by Brevard...and I still do. This institution is one of the nation’s greatest cultural treasures...wonderful and fleeting magic resides here in our Brigadoon.” — Keith Lockhart

1996: Opera company renamed Janiec Opera Company in honor of Maestro Janiec’s retirement

1997: BMC Alumnus David Effron named Artistic Director

1978: BMC debt eliminated, followed by 37 years of balanced budgets

2016: Brevard Music Center celebrates a spectacular 80th anniversary & unveils a new acoustic shell at WPA

2013: Mark Weinstein appointed President and CEO

1979: Brevard Music Center Association formed, now a 200-strong volunteer group

1980

1990

2000

1993: BMC’s first President, John Candler, is appointed

2010

2007: Keith Lockhart, principal conductor of Boston Pops and BMC Alumnus, named Artistic Director

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BREVARD MUSIC CENTER

FALLING ANGEL: A WORLD PREMIERE OPERA

by Rebecca Schmid

With Falling Angel, the Brevard Music Center (BMC) breaks new ground on more than one front. The stage work by American composer J. Mark Scearce kicks off a collaboration with the Center for Contemporary Opera in New York. Over the course of a multi-year cycle, freshly commissioned operas will be workshopped in New York before receiving fully staged premieres in North Carolina — with the possibility of traveling back to New York or another city.

“It is fantastic for our students from an educational viewpoint,” says BMC President Mark Weinstein. “They’ll be forming the characters and music side by side with the composer and be showcased to representatives of other opera companies from around the country. It could be the launch of a career.”

Falling Angel, based on the novel by William Hjortsberg — which was transformed into the 1987 film Angel Heart starring Robert DeNiro and Lisa Bonet — also forays into an unlikely genre: opera noir. Both Scearce’s score and the staging by BMC faculty member Dean Anthony evoke the black-and-white imagery and horror elements of film noir within an operatic context.

Librettist Lucy Thurber charts the journey of Harry Angel, a private detective under contract by Louis Cyphre (an allusion to Lucifer) to hunt down the singer Johnny Favorite. Favorite — the suspect in a series of murders in New York City — in fact sold his soul to Satan in exchange for stardom, but neurological trauma after serving in World War II has marred his memory: Johnny is in fact none other than Harry himself.

For Scearce, the story clearly stands in the Faustian tradition of a character “who is willing to sell everything” and another “who is willing to take.” The challenge was to tell the story without

giving away too much: “In opera, the music has to keep that tension alive for two hours,” he says. “The music withholds. It does not reveal.”

His scoring includes an alto saxophone, harmonica and a Turkish Rebab, a single-stringed instrument which evokes both the lonely Harry Angel in his search for identity and his involvement in a bombing raid of Tunisia as a soldier. Scearce also weaves in a popular song alluding to a kind of “1930s crooner” (Favorite) which came to him in a dream.

In Anthony’s staging, Harry is followed by a Greek chorus, of sorts, as if the ensemble were “in his mind, fighting to find the truth.” "This is a journey we are all taking through the eyes of Harry," the director explains. Back-lighting to create shadows and multiple surfaces for video projections will visually underscore the psychological landscape.

Both the score and staging build into the final scene in which the devil worshipper Ethan Krusemark reveals the truth to Harry.

Scearce integrates quotes from both the Renaissance composer and notorious sado-masochist Carlo Gesualdo, and J.S. Bach for the climax. “Moro, lasso, al mio duolo,” sings the chorus (‘I die, alas, in my suffering’).

Anthony calls it a thrill to produce a new opera from the ground up. “The gift is that nothing is set until we open. Things will change many times over even after the cast assembles. They have to live this, not me."

Rebecca Schmid is a classical music and culture journalist based in Berlin who writes for the New York Times, Financial Times, Musical America Worldwide, Gramophone, and many other publications.

Photo Credit: John Allen

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CHALLENGE AMONG FRIENDS

CHALLENGE AMONG FRIENDS SETTING THE STAGE FOR A THRIVING FUTURE Here at Brevard, our picturesque setting provides the perfect backdrop for unforgettable performances, transformative experiences, and magical memories.

campus — including, dorms, faculty housing, teaching and practice facilities, and performance spaces — are in dire need of updating, renovation and replacement.

Never in its 80-year history has Brevard Music Center undertaken such an essential and comprehensive initiative as A Challenge Among Friends, an effort that has already secured $3.2 million of the more than $5 million in identified projects required to address the most critical needs across our 180-acre campus.

Improving our campus is essential to maintaining Brevard’s artistic excellence and international reputation as a destination for the learning and love of music. When you choose to support A Challenge Among Friends, you invest in the ambition and drive of our talented students of today, and the future of classical music for generations to come. Your support, through commitments payable over up to five years, is needed and will make the difference. Please join other Music Center friends and make a pledge. To learn how you can help, contact Dave Perrett at (828) 862-2121 or dperrett@brevardmusic.org.

At this moment in our history, our beloved campus is in urgent need of renewal and restoration in order to give students, faculty, artists, and patrons a home that is adequate for inspirational music making. Many of the 150 buildings throughout our

Brevard Music Center is grateful to these friends listed below – and all others who have contributed to date – whose commitments to “A Challenge Among Friends” will help ensure its success. $250,000 + The Cannon Foundation Gail L. and William S. Hagler Foundation Nancy Crow Trentini Bill and Betsy White $100,000+ Anonymous Friends of Brevard Music Center Doug Bailey Emily and Doug Booth T. Kenneth Cribb, Jr. Falls Harris Dr. Ruby Morgan Laureen and Douglas Ombres Carole and Arthur Schreiber

$50,000+ Dr. and Mrs. Bruce Berryhill Betsy and Tom Bolton City of Brevard John and Kristine Candler Dan and Jane Carter Claudia and Henry Colvin Eugenia and Robert Dowdeswell Shirley Smith and Stuart Fendler Helen C. Gift William R. Hackney, III Vivian S. Hoeppner Barbara and John Lawless Bob and Inez Parsell Donna and Frank Patton

$25,000+ Arcadia Foundation Brevard Music Center Administrative Staff Martha and Walter Coursey Frederick Dent Emiley and Keith Lockhart Carlene S. Jerome Patti and Phillip Jerome Helen and Walt Peery Dr. James T. and Valeria B. Robertson Transylvania County Joe R. and Joella F. Utley Foundation Harriet Hutchinson and Kenneth Wallace Walls Patricia R. Webb Miller Williams

$10,000+ Jan and Mary Dryselius The Glass Foundation Ladene and Russell Newton Donna Reyburn and Michael Griffith Michelle and Robby Russell Eleanor and Bert Schweigaard-Olsen Mark Weinstein and Susanne Marsee

2016 Summer Institute & Festival

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BREVARD MUSIC CENTER

HENRY JANIEC: IN APPRECIATION

by Jamie Hafner – Director Emeritus of Education Henry Janiec (1929-2015), the second Artistic Director of the Brevard Music Center, came to us with a strong mandate. In 1965, the BMC Board of Trustees arranged a deal with Converse College to underwrite the Music Center’s debt and bring the Dean of the School of Music on board as the new Photo Credit: Transylvania Times Artistic Director. It would be Henry’s job to supervise the retirement of said debt and maintain the high level of artistry for which BMC had a sterling reputation.

Janiec commanded from the bridge as the Music Center doggedly emerged from rough seas, and he did it while enhancing the educational program. It took about ten years, give or take a year or two, but I remember clearly when Henry presided over a burning of the mortgage after a July board meeting in the mid-‘70s.

To accomplish such an imposing task required careful budgeting, superb leadership, and artistic integrity. In spite of supervising an austere budget, Henry was able to strengthen the artistic program of BMC. He founded the opera company and staged performances almost weekly. He secured

Henry Janiec and James Christian Pfohl

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a Rockefeller Foundation grant to begin a Teacher Aide program. He established a Repertoire Training Program for young orchestral musicians — the current BMC Sinfonia is the grandchild of that original RTP orchestra.

Henry also maintained the partnership with the American Federation of Music Clubs, which brought regional and national meetings to the Music Center. He supervised the opening of Whittington-Pfohl Auditorium and guided subsequent repairs and enhancements to that now famous venue. He introduced pops concerts to the Music Center, thus bringing a new audience to the campus. He conducted operas, orchestral concerts, supervised the artistic program, hired the faculty and guest artists, and encouraged the educational program in which faculty and students rehearse and perform together. He did it all while producing balanced yearly budgets that BMC has proudly maintained for thirty-seven years. Without the leadership of Henry Janiec, the Brevard Music Center would not be the premier institute and festival it is today.

I do have a personal observation about playing in the orchestra pit when Henry was conducting opera. Typically, we could be playing along in a subdivided twelve with a fermata on the “and” of seven, the soprano was being stabbed and stuffed into a sack, part of the set was falling, a mouse was creating havoc in the pit, and the orchestra knew exactly where we were in the score. Only Henry Janiec could do that.

ECONOMIC IMPACT

BREVARD MUSIC CENTER ECONOMIC IMPACT 2015 STUDY "Brevard Music Center is not only an important provider of cultural and academic opportunities to visitors, residents and program participants, but is also a strong economic driver for Brevard, Transylvania County and local businesses."

- prepared by Professor Inhyuck "Steve" Ha, Ph.D. Western Carolina University

"Brevard Music Center is not only an important provider of cultural and academic opportunities to visitors, residents and program participants, but is also a strong economic driver for Brevard, Transylvania County and local businesses." ­ prepared by Professor Inhyuck "Steve" Ha, Ph.D. Western North Carolina University

$14.9 Million Total economic impact for Transylvania County

$2.6 Million

Total taxes generated by BMC

$1.2 Million

Total state and local taxes generated by BMC

THANK YOU

#

%

99% OF RESPONDENTS WOULD RETURN TO BMC

BMC RANKED #1

among reasons to visit TC

31,000 ATTENDEES over 7 week festival

245 FTE JOBS

Full-time Equivalent (FTE) jobs supported locally by BMC despite seasonality

to the hundreds of patrons who completed our 2015 Economic Impact Study. Because of your support and feedback, Brevard Music Center was able to quantify the dramatic economic impact that our Institute and Summer Music Festival have on Transylvania County.

TC Visitors* Average Night Stay = 8 Median Night Stay = 3 80% spend the night in TC * 60% from outside of Transylvania County

95% AGREE BMC IS VITAL TO MAINTAINING/GROWING TC'S REPUTATION AS AN ARTS & CULTURE COMMUNITY 84% OF LOCAL BUSINESSES BELIEVE BMC IS IMPORTANT TO THEM

65% AGREE BMC INFLUENCED THEIR DECISION TO SELECT BREVARD AS A PRIMARY OR SECONDARY RESIDENCE

BMC is proud to be a significant contributor to the artistic excellence and cultural vitality of this community for almost eight decades, as well as a significant economic driver for Brevard, Transylvania County, and local businesses.

The 2015 BMC Economic Impact Study was prepared and analyzed by Professor Inhyuck “Steve” Ha, Ph.D., with support from his dedicated staff at Western Carolina University.

“I participated in the chamber music program and then the piano program. Now I own a successful private studio in Chapel Hill. I look back on my summers at Brevard with so much fondness and gratitude!”

– Janna Nordberg Carlson (BMC Alumna,1976, Piano) 2016 Summer Institute & Festival

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ARTIST FACULTY

BREVARD MUSIC CENTER ROBERT ALDRIDGE has written more than 80 works for orchestra, opera, musictheater, dance, string quartet, solo, and chamber ensembles. He has received numerous fellowships and awards for his music from institutions including the Guggenheim Foundation and the NEA. Aldridge received the 2012 Grammy for Best Contemporary Classical Composition for his opera, Elmer Gantry.

He is currently Director/Chair of the Music Department at Mason Gross School of the Arts, Rutgers University.

SUE BARBER serves as Professor of Bassoon, Chair of the Woodwind Area, and member of the Montpelier Wind Quintet at James Madison University. Dr. Barber is an active performer and clinician, presenting workshops and recitals throughout the United States. She has previously held positions with the Baton Rouge Symphony, The Hartford Symphony, The Connecticut Opera, Sarasota Opera, Orquesta Sinfonica de Galicia, and the Soni Fidelis Woodwind Quintet.

NEAL BERNTSEN joined the trumpet section of the Pittsburgh Symphony in 1997, after previously serving as a member of the Chicago Lyric Opera and the Grant Park Symphony. Mr. Berntsen teaches at Carnegie Mellon University and has presented masterclasses and recitals around the world.

Mr. Berntsen holds degrees from the University of Puget Sound and Northwestern University, and has studied with Adolph Herseth, Vincent Cichowicz, and Manuel Laureano.

EMILY BREBACH , a native of Philadelphia, joined the Atlanta Symphony as English horn and oboe in the fall of 2012. Prior to joining the ASO, Ms. Brebach held the position of English horn and oboe with the Sarasota Orchestra. She has also performed with the Boston Symphony, the Minnesota Orchestra, Houston Symphony, and the Kansas City Symphony. Ms. Brebach holds degrees from Oberlin Conservatory and Rice University, and has studied with Louis Rosenblatt, James Caldwell, Robert Atherholt, and Robert Walters.

Bassist CRAIG BROWN is a member of the North Carolina Symphony and serves on the faculty at the University of North Carolina at Greensboro. He has been Principal Bass in the Des Moines Metro Opera Orchestra, and has been a member of the Toledo Symphony.

Mr. Brown is an active chamber musician, and has also been a bass clinician for the American String Teachers Association.

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Baltimore Symphony Orchestra Concertmaster JONATHAN CARNEY is in his 14th season with the BSO, after 12 seasons in the same position with London's Royal Philharmonic Orchestra. Born in New Jersey, Mr. Carney hails from a musical family with all six members having graduated from The Juilliard School. After completing his studies with Ivan Galamian and Christine Dethier, he was awarded a Leverhulme Fellowship to continue his studies in London at the Royal College of Music. Mr. Carney is passionate about music education and currently serves as artistic advisor for the Maryland Classic Youth Orchestras and is on the board of the Baltimore School for the Arts.

Bassist KEVIN CASSEDAY is a member of the Jacksonville Symphony Orchestra and teaches bass at the University of Florida. Mr. Casseday holds degrees from Indiana University, and has studied with Stuart Sankey, Eugene Levinson, and Edgar Meyer.

As a composer, he has written music for solo bass, chamber ensembles with bass, and a book of technical exercises written to help players of all levels maintain a relaxed technique.

Pianist JIHYE CHANG is the First Prize recipient of the Mikhashoff Pianist-Composer Competition and has appeared as soloist and collaborative artist in venues throughout North and South America, Europe, and Asia. An avid performer of new music, Dr. Chang has also recorded for Albany, Sony/ BMG Korea, and Sony Music Korea. She holds degrees from Indiana University and Seoul National University. Dr. Chang currently serves on the faculty of the Nuevo Mundo Festival and Academy and Florida State University.

Cellist SUSANNAH CHAPMAN is well established as a chamber musician, soloist, and performer in leading chamber orchestras.

She performed the entire 2012-13 season with the New York Philharmonic, has played Principal Cello in the Oregon Bach Festival and the Mostly Mozart Festival Orchestra, is a former member of the Saint Paul Chamber Orchestra, and currently performs regularly with the Orpheus Chamber Orchestra. Ms. Chapman holds a DMA from SUNY Stony Brook, and teaches at Sarah Lawrence College, Kean University, Princeton University, and Rutgers University.

ARTIST FACULTY

ARTIST FACULTY JAY CHRISTY is Acting Associate Principal Second/Assistant Principal Second Violinist in the Atlanta Symphony Orchestra.

He has performed with the Cleveland Orchestra, the National Symphony, the Pittsburgh Symphony, the Minnesota Orchestra, and the Grand Teton Music Festival. An active teacher and coach in the metropolitan Atlanta area, he is an Artist Affiliate at Emory University, and has been on the faculty of Reinhardt College and Covenant College. Mr. Christy holds degrees from The Cleveland Institute of Music and Indiana University.

STEVE COHEN is Professor of Clarinet at Northwestern University. He performs regularly with the Chicago Symphony and the Chicago Lyric Opera. He is the former Principal Clarinet of the New Orleans Symphony, and previously served on the faculties of Cincinnati College-Conservatory of Music and the Louisiana State University.

Mr. Cohen holds degrees from the Oberlin Conservatory and his teachers have included Loren Kitt, Larry McDonald, Karl Leister, and Robert Marcellus.

DAVID COUCHERON joined the Atlanta Symphony Orchestra as Concertmaster in September 2010. He has been a soloist with the BBC, Sendai, and Trondheim Symphony Orchestras as well given solo recitals in concert halls around the world. Mr. Coucheron is the featured soloist on the Atlanta Symphony Orchestra’s recording of Vaughan William’s The Lark Ascending. He holds degrees from The Curtis Institute of Music, The Juilliard School, and the Guildhall School.

GWENDOLYN DEASE is currently Associate Professor of Percussion at the Michigan State University College of Music.

She maintains a career as an active solo, chamber, and orchestral musician, performing throughout the United States, Asia and South America. Dease has studied with worldrenowned professors Robert van Sice, Keiko Abe, and John Beck. She holds degrees from the Interlochen Arts Academy, Eastman School of Music, Peabody Conservatory, and the Yale School of Music.

DAVID DZUBAY is chair of the Composition Department and Director of the New Music Ensemble at the Indiana University Jacobs School of Music. His music has been performed by orchestras, ensembles, and soloists throughout North America, Europe, and Asia, and has been recorded on the Sony, Bridge, and Naxos labels. Recent honors include Guggenheim and MacDowell fellowships, a 2011 Arts and Letters Award, and the 2010 Heckscher Prize.

ERIKA ECKERT is Associate Professor of Viola at University of Colorado Boulder. As co-founder of the Cavani Quartet, she performed worldwide and garnered an impressive list of awards and prizes. Ms. Eckert performs frequently as guest-violist with the Takács Quartet. She also served as adjudicator for the NFAA Arts Recognition and Talent Search, the exclusive nominating agency for the Presidential Scholars in the Arts, and appeared in their Academy Nominated Documentary, Rehearsing a Dream.

Violist SUSAN CULPO is currently Assistant Principal Viola of the Rhode Island Philharmonic, a member of the Boston Pops Esplanade Orchestra and performs regularly with the Boston Symphony Orchestra and Boston Pops. She is also a member of the Proteus String Quartet at Rhode Island College. Ms. Culpo earned her bachelor’s and master’s degrees from Boston University.

JOSEPH EVANS has appeared as leading tenor at opera houses around the world including La Scala, English National Opera, La Fenice, and the New York City Opera.

Concert appearances include performances with the New York Philharmonic, the Cleveland Orchestra, the Atlanta Symphony, the Tokyo Philharmonic, the Orchestre L’Ile de France, and the Radio-Symphonie Orchester of Berlin. Mr. Evans is Professor of Voice and Division Chair of Voice Studies at the University of Houston Moores School of Music.

Hornist HAZEL DEAN DAVIS currently resides in Boston, where she frequently performs with the Boston Symphony and Pops, the Grammy-nominated chamber orchestra A Far Cry, and the San Francisco Symphony. For 11 years prior, she played second and fourth horn with the Virginia Symphony Orchestra. She has spent past summers at the Aspen, Tanglewood, Pacific Music Festival, and Marlboro. She holds degrees from the Juilliard School and Harvard University where she studied with Julie Landsman and James Sommerville.

Hornist GABRIELLE FINCK is currently Associate Principal Horn of the Baltimore Symphony Orchestra. She has also performed with the Chicago Civic Orchestra, Milwaukee Symphony, National Symphony, Santa Fe Opera Orchestra, Virginia Symphony, and the New World Symphony.

Ms. Finck studied at Boston University and has been on the faculty at Towson University and the National Symphony’s Summer Music Institute.

2016 Summer Institute & Festival

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Du

gan’s

Pub

®

“Irish to the Last Pint”

Brevard, NC

29 West French Broad St. Suite 101 Brevard, N.C. 28712

828-862-6527 www.Duganspub.com

Join us for lunch, an early dinner, a late night snack, and a pint!

Close regular Dinner Menu at 10pm.

Late night menu until closing!

DINE IN OR TAKE OUT

“Let the Music PLay On” great food ~ warm people ~ good times

2016 Summer Institute & Festival

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ARTIST FACULTY

BREVARD MUSIC CENTER AUBREY FOARD is Principal Tubist of the Charlotte Symphony Orchestra and Professor of Tuba at the University of California, Los Angeles (UCLA). He also serves as Principal Tubist of the Britt Festival Orchestra and the Santa Barbara Symphony. He has performed with the Los Angeles Philharmonic, The Cleveland Orchestra, as Acting Principal Tubist of the San Diego Symphony, and as a soloist with several orchestras and chamber ensembles.

Violinist CAROLYN HUEBL is in demand as a soloist, chamber musician, and orchestral leader, winning critical acclaim throughout the United States, Canada, and South America.

Formerly Assistant Principal Second Violin with the Pittsburgh Symphony Orchestra, she often appears as Concertmaster with the IRIS Chamber Orchestra. She has previously taught at Carnegie Mellon University, and is currently on the faculty of the Blair School of Music at Vanderbilt University.

ELIZABETH FREIMUTH is the principal Horn of the Cincinnati Symphony and Pops Orchestras. Before joining the CSO, Ms. Freimuth was Principal Horn of the San Francisco Ballet Orchestra and the Kansas City Symphony, and Assistant Principal Horn of the Colorado Symphony. Ms. Freimuth serves as Adjunct Horn faculty at the University of Cincinnati's College Conservatory of Music. She holds degrees from Eastman and Rice University, where her teachers included Verne Reynolds, W. Peter Kurau, and William VerMeulen.

DAVID JACKSON , Associate Professor of Trombone at the University of Michigan School of Music, enjoys an active career as a performer and teacher. He is a member of the Detroit Chamber Winds and Chicago’s Fulcrum Point New Music Project, and has performed with orchestras throughout the United States including the Detroit Symphony, Dallas Symphony, and Chicago Symphony. Mr. Jackson is a Conn-Selmer artist and clinician.

MARIANNE GEDIGIAN is Professor of Flute and holds the Butler Professorship in Music at The University of Texas at Austin Butler School of Music. She has served as Acting Principal Flute of the Boston Symphony, Pittsburgh Symphony, and Boston Pops. Ms. Gedigian has recorded extensively with the Boston Symphony and Boston Pops, and can be heard on the soundtracks for Schindler’s List and Saving Private Ryan. She has previously served on the faculties of Boston University, Boston Conservatory, and Tanglewood.

ERIC GINSBERG is Professor of Clarinet at Western Illinois University and clarinetist of the Camerata Woodwind Quintet. He has performed with the New York City Ballet, the Brooklyn Philharmonic, the Pittsburgh Opera Orchestra, and the Omaha Symphony Orchestra. Mr. Ginsberg studied with Kalmen Opperman and with Stanley Drucker at Juilliard, where he received both his bachelor’s and master’s degrees.

DAVID GRESHAM currently serves as Director of Choral Activities at Brevard College as well as Artistic Director and Conductor of the Transylvania Choral Society and Minister of Music at the Lutheran Church of the Good Shepherd. He is President of the North Carolina chapter of the National Association of Techers of Singing. In addition to his conducting, Dr. Gresham is a singer and studio teacher and has been most active as an oratorio soloist and recitalist.

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BENJAMIN KARP is Professor of Cello and Director of Chamber Music at the University of Kentucky School of Music, and is the principal cellist of the Lexington Philharmonic. He has served on the faculty at Indiana University and frequently performs with the Cincinnati Symphony. Mr. Karp received his MM degree from Indiana University, where he was a student of Janos Starker and Gary Hoffman, and a BA in Philosophy from Yale University, where he studied with Aldo Parisot.

Violinist MARGARET KARP is Lecturer in Violin and Viola at the University of Kentucky School of Music. She is Assistant Concertmaster of the Lexington Philharmonic Orchestra, and was previously Principal Second Violin of the Florida Orchestra and the Sarasota Opera, and a member of the Philharmonia da Camera in Dortmund, Germany. Ms. Karp has performed in chamber music festivals throughout the U.S., and was a student of James Buswell at Indiana University. Ms. Karp was named Outstanding Educator of 2015 by the Kentucky chapter of ASTA. Pianist NORMAN KRIEGER is Professor of Keyboard Studies at the University of Southern California. He regularly appears in recital and as a concerto soloist across the United States, Europe, and Asia. Mr. Krieger has studied with Adele Marcus, Alfred Brendel, Maria Curcio, and Russell Sherman, and holds degrees from The Juilliard School and New England Conservatory. Mr. Krieger was named Gold Medal Winner of the first Palm Beach Invitational Piano Competition.

ARTIST FACULTY

ARTIST FACULTY As a soloist and chamber musician, flutist RENÉE KRIMSIER has made a name for herself in the areas of contemporary and classical repertoire. Ms. Krimsier performs regularly with the Boston Pops Esplanade Orchestra, has toured with the Aurora Trio, has been a member of Boston Musica Viva, and has participated inthe Marlboro, Tanglewood, and La Musica in Sarasota festivals. Ms. Krimsier serves on the faculties of Boston University and the New England Conservatory of Music.

Pianist MIN KWON has appeared in North and South America, Europe, and Asia with orchestras including the Philadelphia Orchestra, North Carolina, New Jersey, and Forth Worth Symphonies. As a chamber musician, she has performed and recorded with many prestigious ensembles throughout the world. Ms. Kwon has earned degrees from the Curtis Institute of Music and the Juilliard School. She is currently Chair of Keyboard Studies at Rutgers University.

Pianist DONNA LEE made her debut in 1990 with the National Symphony Orchestra.

She has since appeared as soloist and collaborative artist in Asia, Europe, and throughout the U.S. A student of Julian Martin, Rudolf Firkušný, and Thomas Schumacher, Ms. Lee earned degrees from Peabody Conservatory, The Juilliard School, and University of Maryland. Ms. Lee is Associate Professor and Coordinator of the Piano Division at Kent State University.

Pianist DELOISE LIMA holds degrees from the School of Music and Fine Arts of Parana, the Trinity College of Music, the Royal College of Music, University of Notre Dame, and Florida State University. A sought-after accompanist and chamber musician, she has performed extensively throughout Brazil, Europe, and South America with many recognized singers and instrumentalists. Ms. Lima is currently Assistant Professor of Collaborative Piano at Florida State University and Principal Keyboard of the Tallahassee Symphony.

Saxophonist JOSEPH LULLOFF is in demand as a soloist and clinician throughout the United States and abroad, and has worked under many leading conductors as Princpal Saxophonist in the St. Louis, Cleveland, and Chicago Symphony Orchestras. A recipient of the Concert Artist Guild and Pro Musicis Awards, and the MSU Distinguished Faculty Award, Mr. Lulloff serves as Professor of Saxophone and Chair of the Woodwinds Area at Michigan State University. Mr. Lulloff is a Yamaha and Vandoren Performing Artist.

WILLIAM LUDWIG is Professor of Bassoon and Chair of the Woodwind Department at Indiana University Jacobs School of Music. Previously he had been Professor of Bassoon at Louisiana State University. Mr. Ludwig has performed as Principal Bassoon with the Baton Rouge Symphony and the Florida Orchestra, and more recently as extra with the Los Angeles Philharmonic. A noted chamber musician, he has performed in a wide variety of settings throughout the United States and Europe. Mr. Ludwig holds degrees from LSU and Yale School of Music.

Cellist ALISTAIR MACRAE has appeared as a soloist, chamber musician, and orchestral principal throughout North America and in Europe, Asia, South America, and the Middle East. He has performed in Carnegie Hall's Zankel and Weill Halls; as a member of Soprello, Puget Sound Piano Trio, Richardson Chamber Players, Fountain Ensemble, and the Berkshire Bach Ensemble; and with the Manhattan Sinfonietta, Suedama Ensemble, and counter)induction. Mr. MacRae is Principal Cello of the Princeton Symphony Orchestra and is the Cordelia Wikarski-Miedel Artist in Residence at the University of Puget Sound.

JANICE MURRAY has performed throughout North America as soloist, accompanist, and chamber player. She currently serves as Rehearsal/ Performance pianist at Miami University (OH), and has been an adjunct faculty member at Brevard College, where she taught piano, music theory, and served as staff accompanist. At the Brevard Music Center, she teaches courses in music theory and keyboard skills, and serves as Music Director of the High School Voice program.

WESLEY NANCE holds the position of Second Trumpet with the Rochester Philharmonic Orchestra, and is a member of the Rochester Philharmonic Brass Quintet.

He has performed with the Indianapolis Symphony Orchestra, Arizona Musicfest Festival Orchestra, and the Skaneateles Festival Orchestra. As a composer, he has had several works commissioned and premiered by the Rochester Philharmonic. Mr. Nance holds bachelor’s and master’s degrees from the Eastman School of Music.

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ARTIST FACULTY

BREVARD MUSIC CENTER CRAIG NIES is Associate Professor of Piano at the Blair School of Music, Vanderbilt University. He has performed and recorded extensively across the U.S. and collaborated with world-renowned ensembles and conductors. Dr. Nies holds degrees from Curtis, Yale, and SUNY Stony Brook. During the 2014-15 season, Mr. Nies performed the complete 16 sonatas for piano and violin by Mozart with colleague Carolyn Huebl. His teachers have included Mieczyslaw Horszowski, Rudolf Serkin, Claude Frank, Beveridge Webster, and Gilbert Kalish.

ERIC OHLSSON is the Charles O. DeLaney Professor of Music in Oboe at Florida State University, and serves as Principal Oboe of the Tallahassee Symphony and the Palm Beach Opera Orchestra. Mr. Ohlsson was previously Assistant Professor of Oboe and Assistant Director at the University of South Carolina. Mr. Ohlsson holds degrees from The Ohio State University. His teachers have included John Mack, William Baker, and James Caldwell.

Flutist DILSHAD POSNOCK , originally from Bombay, India, has appeared in concerts across the U.S., England, and India. She has served as Artist Lecturer in Flute at Carnegie Mellon University, and performed with the Pittsburgh Symphony, and Pittsburgh Opera and Ballet. She holds performance degrees from the Royal College of Music, London, and Carnegie Mellon, where she was a student of Jeanne Baxtresser.

Ms. Posnock is currently on the faculty of Brevard College and performs regularly with the Asheville Symphony.

JASON POSNOCK is Director of Artistic Planning & Educational Programs at the Brevard Music Center, and Concertmaster of the Asheville Symphony Orchestra. He has appeared as soloist, chamber musician, and orchestral principal throughout the United States, UK, and Asia, and has performed with prominent American ensembles including the Philadelphia Orchestra and Pittsburgh Symphony. He holds the AB degree from Princeton University and graduate degrees from Carnegie Mellon and the Royal College of Music.

WILLIAM PREUCIL is Concertmaster of The Cleveland Orchestra and Distinguished Professor of Violin at the Cleveland Institute of Music. Previously, he was first violinist of the Cleveland Quartet. Other Concertmaster positions have included the Atlanta, Utah, and Nashville Symphony Orchestras. Mr. Preucil appears frequently as a recitalist, chamber musician, and soloist with orchestras and at major chamber music festivals in the United States and abroad.

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TINA RAIMONDI studied music at DePaul University and the University of Minnesota, where she received the Doctor of Musical Arts degree. She currently performs with the Palm Beach Opera Orchestra and The Symphonia Boca Raton. Previously, she was a member of the New World Symphony and the Florida Philharmonic Orchestra. Dr. Raimondi is a registered Suzuki teacher, maintaining a successful private studio and serving as adjunct faculty at Lynn University Conservatory of Music.

Violist SCOTT RAWLS has appeared as soloist and chamber musician throughout North America, Japan, and Europe. A champion of new music, Rawls has toured extensively as a member of Steve Reich and Musicians. His recordings can be heard on the Centaur, CRI, Nonesuch, Capstone, and Philips labels. Dr. Rawls currently serves as Associate Professor of Viola and Chair of the Instrumental Division at the University of North Carolina at Greensboro.

Violinist WENDY RAWLS is presently Assistant Concertmaster of the Greensboro Symphony and has also performed with the North Carolina Symphony and the Charlotte Symphony. Ms. Rawls earned degrees from Ithaca College, New England Conservatory, and Mannes. Her major teachers have included Paul Kantor, Linda Case, and Hiroko Yajima. Ms. Rawls is founder and director of the Gate City Suzuki School in Greensboro, N.C.

SIEGWART REICHWALD is Professor of Music History at Converse College where, in addition to teaching music history, he also conducts the Converse Symphony Orchestra.

He holds the BM degree in Organ Performance from the University of South Carolina, as well as a MM degree in Instrumental Conducting and a Ph.D. in Historical Musicology from the Florida State University. Dr. Reichwald is the author of The Genesis of Felix Mendelssohn’s Paulus, and editor of Mendelssohn in Performance.

CHARLES ROSS is Principal Timpanist of the Rochester Philharmonic and is on the faculty of the Eastman School of Music. A graduate of the Curtis Institute of Music, he has performed as timpanist with many orchestras in the U.S. and abroad, including the Philadelphia Orchestra, La Scala Opera, Baltimore Symphony, Santa Fe Opera, RAI Torino, Chatauqua Festival Orchestra, and the Moscow and Philadelphia Chamber Orchestras.

ARTIST FACULTY

ARTIST FACULTY Hornist ROBERT RYDEL is a member of the Charlotte Symphony, performs regularly with the Atlanta and Pittsburgh Symphony Orchestras, and is on the faculty of Winthrop University. He attended the New England Conservatory, where he studied with Richard Mackey of the Boston Symphony. In addition to his playing responsibilities, Mr. Rydel is also a recording engineer, and serves as Brevard’s Associate Director of Recording.

DAN SATTERWHITE enjoys a versatile career as an orchestral bass trombonist, tubist, and euphonium player. He has performed with ensembles including the Chicago Symphony, Metropolitan Opera Orchestra, and Cincinnati Pops, and has held positions with the the Orquesta Sinfonica de Asturias and the Orquesta Filarmonica de Santiago. Mr. Satterwhite is currently Assistant Professor of Trombone at Lynn University and serves as bass trombonist of the Florida Grand Opera Orchestra.

MARK SCHUBERT is on the faculty at Baylor University where he teaches Applied Trumpet, coaches chamber music and sectionals for large ensembles, and teaches brass method courses. Mr. Schubert graduated from the New England Conservatory and was a member of the Honolulu Symphony for thirty-three years. He has also performed with such orchestras as the Boston Symphony, Boston Pops, and the Houston Symphony.

Pianist SANDRA WRIGHT SHEN has performed as a soloist and chamber musician in the United States and Asia and has won first prizes in several piano competitions, including the 2012 International Piano Competition of France, the 1997 Hilton Head International Piano Competition, and the 1996 Mieczyslaw Munz Piano Competition.

She has recorded for Taiwan Rock Music label. Ms. Shen has served as Piano Lecturer at Southern Illinois University, and currently is based in Northern California.

GREG SIMON, composer and jazz trumpeter, is incoming Assistant Professor of Composition at the University of NebraskaLincoln. His work has been performed throughout the United States by groups such as Alarm Will Sound, the Nu Deco Ensemble, and the Fifth House Ensemble; recent commissions include new works for the Rogue Two, the Michigan Men's Glee Club, and the Esoterics.

Greg earned degrees from the University of Michigan, the University of Colorado, and the University of Puget Sound.

MAGGIE SNYDER is Associate Professor of Viola at the Hugh Hodgson School of Music at the University of Georgia. She is Principal Viola of the Chamber Orchestra of New York with whom she records for Naxos. Her two solo albums are released on Arabesque Records. Ms. Snyder has performed and given masterclasses throughout the U.S. and in Russia, Korea, and Greece. She attended the Peabody Conservatory and has previously served on the faculties of Ohio University, West Virginia University, and the University of Alabama.

Bassist GEORGE SPEED is Associate Professor of Double Bass at Oklahoma State University and Principal Bass of the Oklahoma City Philharmonic. He has also performed with the Florida Philharmonic, Boston Pops Esplanade Orchestra, and the symphonies of Boston, Dallas, and Fort Worth. In 2005, Mr. Speed co-founded the Oklahoma Bass Bash, a summer clinic for Oklahoma pre-college bassists. A native of Spartanburg, South Carolina, Mr. Speed earned his degrees from Vanderbilt University and Boston University.

JONATHAN SPITZ is Principal Cellist of the New Jersey Symphony Orchestra and the American Ballet Theater, and a member of the Orpheus Chamber Orchestra. He is an active recitalist and chamber musician and has recorded for the Deutsche Grammophon and Sony labels, among others. Mr. Spitz is a graduate of the Curtis Institute, and currently serves on the faculty of the Mason Gross School of the Arts at Rutgers University.

CORINNE STILLWELL is Associate Professor of Violin at Florida State University.

She has performed across the U.S. and in China, Europe, and Canada. A member of Trio Solis, she was previously Assistant Concertmaster of the Rochester Philharmonic, and toured with the Harrington Quartet. Ms. Stillwell entered the Juilliard School at age 10, where she studied with Dorothy DeLay. She is Concertmaster of the Tallahassee Symphony and has recorded for Naxos, Harmonia Mundi, and MSR Classics.

BENJAMIN SUNG is Assistant Professor of Violin at Florida State University, and concertmaster of the Fargo-Moorhead Symphony Orchestra. Mr. Sung has performed as soloist with the Camerata Romeu and the Virtuosi of Festival Internacionale de Musica.

His recent album entitled FluxFlummoxed on Albany Records was hailed by Fanfare Magazine. Mr. Sung holds a bachelor’s degree from the Eastman School of Music, where he studied with Oleh Krysa, and master’s and doctorate degrees from the Indiana University Jacobs School of Music, where he studied with Nelli Shkolnikova.

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ARTIST FACULTY

BREVARD MUSIC CENTER BYRON TAUCHI is the Principal Second Violin of the Louisiana Philharmonic. He has served as Concertmaster of the Manhattan Chamber Orchestra and Associate Concertmaster of the San Jose Symphony, and has been on the faculty at the University of Nevada Las Vegas. Mr. Tauchi studied at the Manhattan School of Music with Raphael Bronstein and Ariana Bronne, and also holds a degree in computer science from the University of California at Berkeley.

Tubist CHARLES VILLARRUBIA is Associate Professor of tuba/euphonium at The University of Texas at Austin and a founding member of Rhythm & Brass. He has regularly performed with the Boston Symphony and Boston Pops, and has been a member of the Dallas Brass and the Tanglewood Music Center Orchestra. He holds degrees from Louisiana State University and Boston University and can be heard on the Telarc, Angel, and EMI labels.

FELIX WANG is currently Professor of Cello at the Blair School of Music at Vanderbilt University. He is the cellist of the Blair String Quartet and Blakemore Trio, and Co-Principal Cellist of the IRIS Orchestra. Mr. Wang earned degrees from the Peabody Institute, New England Conservatory, and the University of Michigan, and was a recipient of the Frank Huntington Beebe Grant enabling him to study in London with William Pleeth.

Steinway Artist DOUGLAS WEEKS is Babcock Professor of Piano at Converse College. A prizewinner in the Robert Casadesus International Piano Competition, he has performed solo and chamber recitals in the U.S., Europe, and Central America, as well as in Africa, South Asia, and the Middle East, for the U.S. State Department. He holds degrees from Indiana University, Illinois State, Florida State, and the École Normale de Musique in Paris.

JANICE WILLIAMS has served as Director of Choral Activities at Bolton High School in Arlington, Tennessee, and on the faculty of the University of Memphis Community Music School, as the director of the Memphis Area Children’s Choir. Ms. Williams has made presentations for the Texas Music Educators Association and has been published in “Texas Music Education Research.”

INA ZDOROVETCHI is an internationally acclaimed harp soloist, having performed in major concert venues in North and South America, Europe, and the Middle East.

Multiple top prize winner at the 17th International Harp Contest in Israel, she is currently Principal Harpist of the Boston Lyric Opera, Boston Pops Esplanade Orchestra, and Boston Modern Orchestra Project, and is on the faculty at the Boston Conservatory, Wellesley College and New England Conservatory Preparatory Division.

JOIN THE MAESTRO SOCIETY! Help ensure the mission and student education experience of Brevard Music Center and join The Maestro Society today with your annual contribution of $2,500 or more!

Enjoy a variety of benefits to enhance your BMC experience including: • • • •

Advance ticket purchase before the public Complimentary, preferred parking Access to The Maestro Society lounge Invitations to special events, and more!

For information, call (828) 862-2114 or email development@brevardmusic.org

“ I give huge credit to BMC for stimulating my love of classical music, and inspiring me to make a career in music.”

– Raymond Walton (BMC Alumnus,1969, Bassoon) 36

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OPERA ARTISTIC STAFF

OPERA ARTISTIC STAFF DEAN ANTHONY Director of Opera Enjoying a 25-plus year career as a stage performer, Dean Anthony - often referred to as “The Tumbling Tenor” - created over 100 roles and was highly praised as a character artist for his vocal, dramatic, physical and acrobatic abilities. Mr. Anthony has quickly established himself as a dynamic Stage Director and teacher on the operatic scene with his energetic, gritty and physical style of work.

In the summer of 2013 Mr. Anthony began his new appointment as Director of Opera with the Janiec Opera Company at the Brevard Music Center. A member of the faculty at Brevard since 2008, his productions include The Ballad of Baby Doe, Rigoletto, the Merry Widow, Falstaff, Albert Herring, Sweeney Todd, The Threepenny Opera, Elixir of Love, Suor Angelica, Tintypes, HMS Pinafore, a workshop of Robert Aldridge’s new opera Sister Carrie, a workshop of J. Mark Scearce’s Falling Angel in collaboration with the Center for Contemporary Opera to premiere in full this season, and the world premiere of the new opera, Speed Dating Tonight! conceived by Mr. Anthony, with words and music by Michael Ching.

Mr. Anthony recently directed La Traviata and The Merry Widow for Pensacola Opera, HMS Pinafore and Dead Man Walking for Shreveport Opera, Glory Denied by Tom Cipullo with Ft. Worth Opera Festival, Elixir of Love with Opera Delaware, Barber of Seville with Opera Naples, Falstaff with Winter Opera of St. Louis, Sweeney Todd with St. Petersburg Opera, I Pagliacci with Shreveport Opera, The Magic Flute with Opera on the James, Trouble in Tahiti & Arias and Barcarolles at the University of Kansas, Pirates of Penzance with Nashville Opera, La Bohéme at Pensacola Opera, The Marriage of Figaro and Speed Dating Tonight! at the University of Memphis, as well as Carmen for Opera on the James, the Pacific Symphony, Tulsa Opera, Florentine Opera, and Pensacola Opera.

Mr. Anthony’s unique Master Class series based on Movement and Acting for Singers has lead him to opera companies and universities across the country. In the 2016-2017 season, Mr. Anthony will direct Dead Man Walking, Glory Denied and Aida with Pensacola Opera, Falstaff with Opera on the James, The Merry Widow with Winter Opera Saint Louis, and The Marriage of Figaro with Amarillo Opera.

JEROME SHANNON Conductor / Vocal Coach Praised for his “skill and verve” (New York Times), Jerome Shannon celebrates nearly 30 years as a professional operatic pianist, vocal coach, conductor and administrator.

During this time, Maestro Shannon has held leadership positions with Sarah Caldwell’s Opera Company of Boston (Artistic Administrator, Assistant Conductor, Conductor), Virginia Opera (Artistic Administrator, Associate Artistic Director, Conductor), Pensacola Opera (Executive Director, Music Director, Principal Conductor), Shreveport Opera (Music Director, Principal Conductor), Mobile Opera (General & Artistic Director, Principal Conductor) and the

Janiec Opera Company of the Brevard Music Center (Conductor, Vocal Coach). In addition, Jerome Shannon has enjoyed successful and repeated engagements as guest conductor with Washington National Opera, Nashville Opera, Tulsa Opera, Opera Delaware, San Antonio Opera, Shreveport Opera, Anchorage Opera, Baltimore Concert Opera, Fresno Grand Opera, Opera Naples, Opera Roanoke, Lake George Opera, Chautauqua Opera, and the Ash Lawn-Highland Festival.

Jerome Shannon has conducted more than 500 performances of 50+ operatic and musical theater titles encompassing the traditional repertoire operas of Mozart, Verdi, and Puccini with works by Sondheim, Gilbert & Sullivan, and the contemporary operas of Robert Ward, Mark Adamo, and Jake Heggie. Jerome Shannon has also served as a judge for the Metropolitan Opera National Council Auditions and numerous regional opera voice competitions, an On-Site Evaluator and Reporter for the National Endowment for the Arts, and is the recipient of OPERA America’s BRAVO Service award for dynamic leadership in the industry.

Maestro Shannon’s 2016/2017 season includes productions of Glory Denied, Aida and Dead Man Walking for Pensacola Opera, Fiddler on the Roof and Marriage of Figaro for Shreveport Opera, and a return to Dayton Opera for Pagliacci.

ANDREW WENTZEL Voice Instructor Having been one of the most requested bassbaritones in the U.S. during his most active years, Mr. Wentzel has performed with a number of the country’s top opera companies, including the Metropolitan Opera. A popular concert singer and recitalist, he appeared regularly with major symphony orchestras including the Boston Symphony and the National Symphony. Mr. Wentzel is Professor of Voice at the University of Tennessee, Administrator of the Knoxville Opera Studio, and sits on the Board of Directors of the Knoxville Opera.

SUSANNE MARSEE Guest Lecturer Susanne Marsee (B.A., UCLA; advanced studies, The Juilliard School), was one of New York City Opera’s leading mezzos for over twenty years and had the honor of partnering with Beverly Sills for ten of those years. Ms. Marsee taught voice at Carnegie Mellon University, Catholic University, and as an associate professor at LSU. Nationally, Ms. Marsee sang extensively throughout the United States at such opera companies as San Francisco Opera, Houston Grand, Washington Opera, Philadelphia Grand, San Diego Opera, New York City Opera, and many others. Her concert repertoire is extensive and she has performed with the Hollywood Bowl, Los Angeles Chamber Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Handel Society at Kennedy Center, Los Angeles Philharmonic, and New York Philharmonic, among many others.

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OPERA ARTISTIC STAFF

BREVARD MUSIC CENTER KAREN ROETHLISBERGER VERM Head Vocal Coach/Pianist Pianist Karen Roethlisberger Verm has been on faculty at Carnegie Mellon University as a vocal coach, accompanist, and opera coordinator since 2005. Originally from the Pittsburgh area, she has performed with the Mendelssohn Choir, Bach Choir, Pittsburgh Concert Society, and Pittsburgh Opera. She has also worked as a collaborative artist at Duquesne University, Point Park University, Aspen Music Festival, Brevard Music Center, and Opera Theater of Lucca (Italy), among others.

EILEEN DOWNEY Chorus Master, Pianist, Vocal Coach Eileen Downey is currently Lecturer of Piano at the University of Tennessee-Knoxville, where she is a vocal coach and collaborative pianist, as well as a rehearsal pianist for Knoxville Opera. Ms. Downey has collaborated at AIMS in Graz, Austria, SongFest, Project Canción Española, Aspen Opera Theater Center, Opera North, and the Opera Theatre and Music Festival of Lucca, Italy. She holds bachelor’s and master’s degrees from Michigan State University.

JEFFREY BUCHMAN Stage Director Opera News calls director Jeffrey Marc Buchman “a formidable talent”, and the South Florida Classical Review claims “Buchman has mastered an art beyond the powers of many directors”. He has enjoyed great success for a wide range of productions, including the world premieres of Carson Kievman’s Intelligent Systems and Fairy Tales: Songs of the Dandelion Woman. His production of No Exit for Florida Grand Opera's Young Artists was named “the best & brightest" of that season. Next season he will return to Florida Grand Opera to create a new production of Eugene Onegin, and will also make his debut with Opera Colorado directing Laura Kaminsky’s As One.

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Overture

JESSICA HARIKA Assistant Director New York based mezzo-soprano Jessica Harika enjoys splitting her time in the opera world between singing and directing. She is thrilled to be returning as Assistant Director of the Janiec Opera Company for her fourth season. Ms. Harika received her master’s degree from New England Conservatory, and her bachelor’s degree from Virginia Commonwealth University in her hometown of Richmond, VA. She will be a Resident Artist with Shreveport Opera for their 2016-2017 season.

MICHAEL GAERTNER Staff Pianist Michael Gaertner is a staff accompanist for the Mannes School of Music and a soughtafter collaborator and vocal coach. Past professional affiliations include the Nashville Opera, Aspen Music Festival, Carnegie Hall Neighborhood Concert Series, Titus Art Song Recital Series of the Dallas Opera, Emerging Artist Recital Series of Opera America, Shreveport Opera, and Music Academy of the West. Mr. Gaertner holds degrees from the University of Michigan and Ithaca College.

JONATHAN HEANEY Staff Pianist Jonathan Heaney is a master’s student in vocal accompanying at Manhattan School of Music. He recently graduated from Washington University in St. Louis with a bachelor’s degree in piano performance.

Mr. Heaney served as a staff pianist for the Janiec Opera Company in 2014-15 for their productions of Rigoletto, Così fan tutte, The Ballad of Baby Doe, Albert Herring, Don Giovanni, Sweeney Todd, and Falling Angel.

DISTINGUISHED BREVARD MUSIC CENTER GUEST ARTISTS OVER 8 DECADES: Issac Stern, Itzhak Perlman, Van Cliburn, Yo-Yo Ma, Joshua Bell, Richard Tucker, Jan Peerce, Beverly Sills, Samuel Ramey, Robert Shaw, Renata Scotto, Marilyn Horne, Frederica von Stade, Renee Fleming, Kathleen Battle, Victor Borge, Benny Goodman, Peter Nero, Andy Williams, Tony Bennett, Doc Severinsen, Burt Bacharach, John Denver, Garrison Keillor, and many more...

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40

Overture

2016 Summer Institute & Festival

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2016 MONDAY

TUESDAY

WEDNESDAY

JUNE 27

JUNE 28

JUNE 29

THURSDAY

FRIDAY

SATURDAY

SUNDAY

JUNE 23

JUNE 24

JUNE 25

JUNE 26

Opera’s Greatest Hits

Opening Night!

An American in Paris with JeanYves Thibaudet

80th Anniversary Spectacular with Amy Grant

Shostakovich 5

7:30pm PC

6pm WPA

7:30pm WPA

3pm WPA

JUNE 30

JULY 1

JULY 2

JULY 3

Student Piano Recital

Falling Angel

(World Premiere Opera)

Tchaikovsky Piano Concerto No. 1

Mozart and Wagner

A Gospel Celebration

7:30pm IA

7:30pm PC

7:30pm WPA

7:30pm WPA

3pm WPA

JULY 6

JULY 7

JULY 8

JULY 9

JULY 10

12:30pm SH*

BMC Artist Faculty I

Béla Fleck in Concert

7:30pm IA

7:30 WPA

JULY 4

JULY 5

(World Premiere Opera)

Falling Angel

BMC Artist Faculty II

Student Piano Recital

Program of Song

2pm PC

Pendergrast Family Patriotic Pops

Pianist Norman Krieger & Friends

12:30pm SH*

4:30pm SH*

The Shanghai Quartet

An Alpine Symphony

A Night at the Movies

A Suite Symphonic Afternoon

2pm WPA

7:30pm PC

7:30pm PC

7:30pm WPA

7:30pm WPA

3pm WPA

JULY 11

JULY 12

JULY 13

JULY 15

JULY 16

JULY 17

JULY 14

BMC@TCL

New Music

12:30pm TCL*

Student Piano Recital

Piccolo Opera

2pm PC

12:30pm SH*

4:30pm PC*

Concerto Competition Finals

12:30pm SH*

The Magic Flute

International Contemporary Ensemble

Just Brass

Alumni Reunion

The Magic Flute

Mahler 5

Symphonie Fantastique

7:30pm IA

7:30pm WPA

7:30pm IA

7:30pm PC

7:30pm WPA

7:30pm WPA

7pm WPA*

JULY 18

JULY 19

JULY 20

JULY 21

JULY 22

JULY 23

JULY 24

12:30pm SH*

Brevard Symphonic Winds

BMC Artist Faculty III

Apollo’s Fire: Sugarloaf Mountain - An Appalachian Gathering

Student Piano Recital Bill Preucil and Friends

Harpeth Rising

Saint-Saëns Piano Concerto No. 2

Daphnis and Chloé

Franck Symphony in D minor

7:30pm PC

7:30pm PC

7:30pm PC

7:30pm PC

7:30pm WPA

7:30pm WPA

3pm WPA

JULY 25

JULY 26

JULY 27

JULY 28

JULY 31

BMC@TCL 12:30pm TCL*

BMC@TCL 12:30pm TCL*

7:30pm SA*

JULY 29

JULY 30

Student Piano Recital

Program of Song

A Midsummer Night’s Dream

12:30pm SH*

4:30pm SH*

2pm PC

Soloists of Tomorrow

Dvorák’s ˇ American String Quartet

New Music

Kevin Deas in Recital

A Midsummer Night’s Dream

Bernstein & Copland

New World Symphony

Supersonic

7:30pm IA

12:30pm SH*

7:30pm IA

7:30pm PC

7:30pm WPA

7:30pm WPA

7pm WPA*

AUGUST 1

AUGUST 2

AUGUST 3

AUGUST 4

AUGUST 5

AUGUST 6

AUGUST 7

Student Piano Recital

Some Enchanted Evening: The Music of Rodgers and Hammerstein 7:30pm PC

BMC@TCL

12:30pm SH*

BMC Artist Faculty IV

Piano Competition Finals

7:30pm PC

7:00pm PC

7:30pm PC

12:30pm TCL*

LOCATION GUIDE

Brevard Camerata

New Music

12:30pm SH* 4:30pm PC*

Brevard Symphonic Winds

Lockhart Conducts Sibelius

The Firebird Suite

Season Finale: Beethoven 9

7:30pm WPA

3pm WPA

Piccolo Opera

7:30pm WPA

Brevard College Campus IA Ingram Auditorium PC Porter Center

Downtown Brevard TCL Transylvania County Library

ADDRESS

BOX OFFICE INFORMATION

Brevard Music Center 349 Andante Lane Brevard, NC 28712 Brevard College 1 Brevard College Drive Brevard, NC 28712

Phone: 828.862.2105 Toll-Free: 888.384.8682 Web: brevardmusic.org Email: boxoffice@brevardmusic.org

Overture

10:30am SA*

*Free Event

Brevard Music Center Campus SA Straus Auditorium SH Searcy Hall WPA Whittington-Pfohl Auditorium

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3pm WPA

DON'T MISS! BMC PRESENTS Gillian Welch August 19 @ 8:00pm

ENSEMBLES Brevard Music Center Orchestra The Brevard Music Center Orchestra is BMC’s flagship ensemble led by Artistic Director Keith Lockhart and renowned guest conductors throughout the season. The majority of the Music Center’s instrumental faculty performs in the ensemble, leading sections of College Division students.

Brevard Sinfonia Students in the Music Center’s College Division comprise the Brevard Sinfonia. This ensemble will present one performance each week beginning with the June 26 program featuring Keith Lockhart and violinist Emmanuel Tjeknavorian.

Brevard Concert Orchestra The Brevard Concert Orchestra features Brevard Music Center’s talented high school students. The BCO presents three concerts throughout the season culminating with Maestro Lockhart leading the orchestra in a performance of Sibelius's Second Symphony.

Brevard Festival Orchestra Comprised of Brevard’s artist faculty and College Division students, the Brevard Festival Orchestra is the central ensemble for opera productions and special concerts.

Brevard Symphonic Winds High school woodwind, brass, and percussion students make up the Brevard Symphonic Winds led by Kraig Alan Williams. The BSW performs throughout the summer, including the Pendergrast Family Patriotic Pops concert on July 4. itch itch is an ensemble comprised of instrumentalists in the College Division who have demonstrated ability and interest in the performance of new music. The ensemble performs new works

by BMC’s composition students in four New Music concerts throughout the summer.

BREVARD MUSIC CENTER ORCHESTRA

The following artist faculty and students comprise the Brevard Music Center Orchestra.

Personnel for each concert vary, depending on the requirements of the repertoire. Principal players are listed first, followed (alphabetically) by artist faculty and students. The roster of students is accurate as of May 15, 2016.

VIOLIN William Preucil*++ Jonathan Carney*++ David Coucheron*++ Dr. and Mrs. William J. Pendergrast Concertmaster Chair Benjamin Sung*+ Jay Christy* Margaret Karp* Jason Posnock* Tina Raimondi* Wendy Rawls* Corinne Stillwell* Byron Tauchi* Ryann Aery Samuel Araujo Alem Ballard Sarah Berger John Bian Anna Bishop Anna Dean Makeda Diggs Joanna Dzik Pedro Oseias Da Silva Christina Eastman Daniel Geisel William Gibb Casey Gregory Sarah Gudbaur Alexandria Harrington Sarah Heuermann Saikat Karmakar Grace Kenny Sarah Lee Lauren Lew Patrick Lin Emmeline MacMillan Colleen Mahoney Kay Nakazawa Stephanie Oh Chelsea Pierce Reonel Rafols Elizabeth Scarnati Brian Schmidt Elizabeth Smith Kendra Sobania Nathan Sonnenfeld Hannah Sorrells Jacob Todd Rebecca Tozzie

Robin Tozzie Kisa Uradomo John Uzodinma Ruoheng Wang Qian Yang

Brianna Tagliaferro Brianna Tam Abigayle Witt Lisa Yasui Paul Zmick

VIOLA Scott Rawls*+ Susan Culpo* Erika Eckert* Margaret Snyder* Sean Askin Alexis Ayala Kelly Bartek Erik Binkhuysen Elizabeth Boyce Neelee Brauner John Cooper David Doucette Rachel Fishback Amanda Hamilton Austin Han Alicia Keener Darryl Manley Ryan McDonald Rayford McDowell Rachel Mossburg Hunter Sanchez Tracie Walker

DOUBLE BASS Craig Brown*+ Walter Linwood Pendergrast Double Bass Chair Kevin Casseday* George Speed* Bryan Bailey Judson Baines John Bunck Ben Cordell Samuel Dugo Patrick Fowler Jack Henning Adam Maloney Zachary Merkovsky Max Mulpagano Evan Musgrave Erin Ventura

CELLO Jonathan Spitz*+ Susannah Chapman* Benjamin Karp* Alistair MacRae* Felix Wang* Emily Azzarito Mattie Brister Julia Dixon Monica Grady Daniel Hoppe Mary Horst Amjed Jabarin Jerram John Rajan Kapoor Timothy Leonard Katherine McCarthy William Meyer Emily Quigley Pono Santos Ben Sharp

FLUTE Marianne Gedigian*+ Renée Krimsier*+ Martha Pendergrast Coursey Flute Chair Dilshad Posnock* Melissa Cheng Dominic Dagostino Allison DeFrancesco Nicholas Goodwin Allison Jayroe Gabriel Mende-Fridkis OBOE Eric Ohlsson*+ Emily Brebach* Siobhan Ciulla Elizabeth Hebert Emily Kirven Casey Knowlton Amelia Merriman Jamie Sanidad

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BREVARD MUSIC CENTER | OVERTURE BMCO Roster Continued CLARINET Steve Cohen*+ Eric Ginsberg* Sarah Crowell Sam Frenduto John Milakovich Danny Mui Christopher Rueda Tyler Webster BASSOON William Ludwig*+ Susan Barber* Conor Bell Rachel Frederiksen Eleni Katz Ethan Lippert Caroline Miller Ian Schneiderman SAXOPHONE Joseph Lulloff*+ Richard Brasseale Andrew Lammly Brandon Nowakowski Dylan Ward

FRENCH HORN Elizabeth Freimuth*+ Gabrielle Finck*+ Hazel Dean Davis* Robert Rydel* Christina Ackerman Nick Auer Matthew Baldridge Brooke Boehmer Joseph Cradler Julia Dombek Hajime Goto Melvin Jackson Thomas Vienna Jacob Wiggins TRUMPET Neal Berntsen*+ Wesley Nance*+ Joe R. Utley Trumpet Chair Mark Schubert* Daniel Haddock Gillian Huff Nathan Little Samuel Thurston Tamara Vaughn

TROMBONE David Jackson*+ Myles Blakemore Julia Dennis Matthew Herrmann BASS TROMBONE Dan Satterwhite*+ Derek Mitchell TUBA Charles Villarrubia*+ Aubrey Foard*+ Preston Light TIMPANI Charles Ross*+ William Jefferson Pendergrast, Jr. Percussion Chair

Bryce Leafman Yu Chien Lin HARP Ina Zdorovetchi*+ Samantha Bittle Celia van den Bogert Anna Wiegandt KEYBOARD Deloise Lima *+ Xin Chang Ting-Tzu Chiu Hanna Chung Ricardo Da Silva Pozenatto Kayoko Miyazawa ++Concertmaster +Principal *Artist Faculty

PERCUSSION Gwendolyn Dease*+ Christine Comer Jonathan Fourrier Sijia Huang William Kan

BREVARD SINFONIA

The following student ensemble list is alphabetical and accurate as of May 15, 2016.

The personnel for each concert vary depending on the requirements of the repertoire.

VIOLIN Ryann Aery Samuel Araujo Alem Ballard Sarah Berger John Bian Anna Bishop Anna Dean Makeda Diggs Joanna Dzik Pedro Oseias Da Silva Christina Eastman Daniel Geisel William Gibb Casey Gregory Sarah Gudbaur Alexandria Harrington Sarah Heuermann Saikat Karmakar Grace Kenny Sarah Lee Lauren Lew Patrick Lin

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Overture

Emmeline MacMillan Colleen Mahoney Kay Nakazawa Stephanie Oh Chelsea Pierce Reonel Rafols Elizabeth Scarnati Brian Schmidt Elizabeth Smith Kendra Sobania Nathan Sonnenfeld Hannah Sorrells Jacob Todd Rebecca Tozzie Robin Tozzie Kisa Uradomo John Uzodinma Ruoheng Wang Qian Yang VIOLA Sean Askin Alexis Ayala

Kelly Bartek Erik Binkhuysen Elizabeth Boyce Neelee Brauner John Cooper David Doucette Rachel Fishback Amanda Hamilton Austin Han Alicia Keener Darryl Manley Ryan McDonald Rayford McDowell Rachel Mossburg Hunter Sanchez Tracie Walker CELLO Emily Azzarito Mattie Brister Julia Dixon Monica Grady Daniel Hoppe

Mary Horst Amjed Jabarin Jerram John Rajan Kapoor Timothy Leonard Katherine McCarthy William Meyer Emily Quigley Pono Santos Ben Sharp Brianna Tagliaferro Brianna Tam Abigayle Witt Lisa Yasui Paul Zmick DOUBLE BASS Bryan Bailey Judson Baines John Bunck Ben Cordell Samuel Dugo Patrick Fowler

Brevard Sinfonia Roster Continued Jack Henning Adam Maloney Zachary Merkovsky Max Mulpagano Evan Musgrave Erin Ventura FLUTE Melissa Cheng Dominic Dagostino Allison DeFrancesco Nicholas Goodwin Allison Jayroe Gabriel Mende-Fridkis OBOE Siobhan Ciulla Elizabeth Hebert Emily Kirven Casey Knowlton Amelia Merriman Jamie Sanidad CLARINET Sarah Crowell Sam Frenduto

John Milakovich Danny Mui Christopher Rueda Tyler Webster

Hajime Goto Melvin Jackson Thomas Vienna Jacob Wiggins

Sijia Huang William Kan Bryce Leafman Yu Chien Lin

BASSOON Conor Bell Rachel Frederiksen Eleni Katz Ethan Lippert Caroline Miller Ian Schneiderman

TRUMPET Daniel Haddock Gillian Huff Nathan Little Samuel Thurston Tamara Vaughn

HARP Samantha Bittle Celia van den Bogert Anna Wiegandt

SAXOPHONE Richard Brasseale Andrew Lammly Brandon Nowakowski Dylan Ward FRENCH HORN Christina Ackerman Nick Auer Matthew Baldridge Brooke Boehmer Joseph Cradler Julia Dombek

TROMBONE Myles Blakemore Julia Dennis Matthew Herrmann

KEYBOARD Xin Chang Ting-Tzu Chiu Hanna Chung Ricardo Da Silva Pozenatto Kayoko Miyazawa

BASS TROMBONE Derek Mitchell TUBA Preston Light PERCUSSION Christine Comer Jonathan Fourrier

BREVARD CONCERT ORCHESTRA

The following student ensemble list is alphabetical and accurate as of May 15, 2016.

The personnel for each concert vary depending on the requirements of the repertoire.

VIOLIN Sandra Bouissou Margaret Caballero Maxwell Chambers Catherine Cook Ryan Detwiler Caleb Doucette Isabella Gorman Caya Greenspan-Layman Anna Horzen Heather Hunter Jerrica Jenkins Madison Jones Jesse Kaiser Maggie Kasinger Noah Kelly Daniel Kim David Lane Samantha McClendon Myles McKnight Lily Mell Michaela Murray Karl Pless Samir Robinson Abigail Salyers

Julia Sellman Hayden Shaner Elliott Weeks Kalyani Weiss VIOLA Ariana Blevins Wesley Hamilton Susan Howard Peihong Ji Amy Liu James Oh Leilani Rogers Jordan Stuckey Sara Truncali Serena Votapek Michelle White CELLO Juliette Blais Ethan Blake Joseph Brown Clarisa Colton Brent Davis Andrew Englehardt

Jocelyn Hartley Matthew Henegan Malik Johnson Roland Kahn Garrison Keller Samuel Konkol Paul Lee Dan Oliver Megan Pham Lydia Pless Christopher Santos William Taylor Ian Wasserman DOUBLE BASS Peter Casseday Taylor Dawkins Gabriel English James McMillan Bergen Pohl Alex Schwarz Dillon Wilson

FLUTE Emily Elmore Eliza Fisher Felicity Fulton Joanna Lau Samuel Primack Madeleine Stern OBOE Gillian Bobnak Mekhi Gladden Jessica Key Alexa Kroll Alexandra Lynch Margaret Williams Nathaniel Wolff CLARINET Amer Hasan Christopher Juhn Samantha Locraft Hugh Pauwels Erica Smith Jennifer Weiss

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BREVARD MUSIC CENTER | OVERTURE Brevard Concert Orchestra Roster Continued BASSOON Christopher Chung Cassie Ferrer Marissa Honig Nathan Morris Julianne Mulvey Samuel Rhoton Dotan Yarden SAXOPHONE Benjamin Conte Jaser Doja Noah Miller FRENCH HORN Hannah Culbreth Corinne Farley

Tyler Gillespie Miya Paserba William Sands Molly Shannon Caroline Villacis Maya Waller Sheng-Mu Wang

TROMBONE Austin Canon Katie Kearney Noah Sloan

TRUMPET Justin Humphrey Mason Krusch Reynolds Martin Hailey Menkhus Cortney Runyan Madison Sinan Bethany Vaughan

TUBA Stephen Adcock Errol Rhoden, III

BASS TROMBONE Garett Byrne

PERCUSSION Chandler Brown Aidan Carey Olivia Jones James Leonard

Noah Mallett Cheuk Hin Keith Ng HARP Hannah Lee Emily Stone KEYBOARD Xin Chang Ting-Tzu Chiu Hanna Chung Ricardo Da Silva Pozenatto Kayoko Miyazawa

BREVARD SYMPHONIC WINDS

The following student ensemble list is alphabetical and accurate as of May 15, 2016.

The personnel for each concert vary depending on the requirements of the repertoire.

FLUTE Emily Elmore Eliza Fisher Felicity Fulton Joanna Lau Samuel Primack Madeleine Stern OBOE Gillian Bobnak Mekhi Gladden Jessica Key Alexa Kroll Alexandra Lynch Margaret Williams Nathaniel Wolff CLARINET Amer Hasan Christopher Juhn Samantha Locraft

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Overture

Hugh Pauwels Erica Smith Jennifer Weiss BASSOON Christopher Chung Cassie Ferrer Marissa Honig Nathan Morris Julianne Mulvey Samuel Rhoton Dotan Yarden SAXOPHONE Benjamin Conte Jaser Doja Noah Miller FRENCH HORN Hannah Culbreth Corinne Farley

Tyler Gillespie Miya Paserba William Sands Molly Shannon Caroline Villacis Maya Waller Sheng-Mu Wang TRUMPET Justin Humphrey Mason Krusch Reynolds Martin Hailey Menkhus Cortney Runyan Madison Sinan Bethany Vaughan TROMBONE Austin Canon Katie Kearney Noah Sloan

BASS TROMBONE Garett Byrne TUBA Stephen Adcock Errol Rhoden, III PERCUSSION Chandler Brown Aidan Carey Olivia Jones James Leonard Noah Mallett Cheuk Hin Keith Ng HARP Hannah Lee Emily Stone

THURSDAY, JUNE 23 THURSDAY, JUNE 23 7:30 PM PORTER CENTER AT BREVARD COLLEGE OPERA'S GREATEST HITS Brevard Festival Orchestra Jerome Shannon, conductor Members of the Janiec Opera Company of the Brevard Music Center MOZART (1756-1791) STRAUSS, JR. (1825-1899)

Overture to The Magic Flute "What a joy to be here!" from Die Fledermaus Janiec Opera Company

MOZART (1756-1791)

"Zu Hilfe!" Act I Opening from The Magic Flute Tamino: Orin Strunk 1st Lady: Caroline Dunigan 2nd Lady: Camille Sherman 3rd Lady: Mackenzie Phillips

DONIZETTI (1797-1848)

"Tran, tran, tran, tran" Act I Trio from L'elisir d'amore Nemorino: Myles Garver Adina: Asleif Willmer Belcore: Tyler Wolowicz

PUCCINI (1858-1924)

“Addio dolce svegliare” Act III Quartet from La Bohème Mimi: Laurie Ann Taylor Rodolfo: Kevin Gino Musetta: Evelyn Saavedra Marcello: Matthew Queen

ROSSINI (1792-1868)

“Don Basilio! – Cosa veggo!” Act II Quintet from Il Barbiere di Siviglia Bartolo: Brandon Bell Basilio: Matthew Fleisher Figaro: Adam Wells Rosina: Jennie Moser Almaviva: Alexander Sheerin

MOZART (1756-1791)

“Soave sia il vento” Act I Trio from Così fan tutte Fiordilidgi: Elisa Sunshine Dorabella: Christina Scanlan Alfonso: Steele Fitzwater

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VERDI (1813-1901)

“Coro di zingari” (Anvil Chorus) from Act II of Il Trovatore Janiec Opera Company

INTERMISSION

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HANDEL (1685-1759)

Overture to Giulio Cesare

HANDEL (1685-1759)

“Scherzano sul tuo volto” Act I Duet from Rinaldo Rinaldo: Rudy Giron Almirena: Melanie Burbules

MOZART (1756-1791)

“Pa…pa…pa…” Act II Duet from The Magic Flute Papageno: August Bair Papagena: Sara Law

PUCCINI (1858-1924)

“Io so che alle sue pene” Act III Trio from Madama Butterfly Suzuki: Allyson Goff Sharpless: Drew O’Shanick Pinkerton: Orin Strunk

MOZART (1756-1791)

“Sola, sola in buio loco” Act II Sextet from Don Giovanni Donna Anna: Aslief Willmer Donna Elvira: Caroline Dunigan Zerlina: Jennie Judd Don Ottavio: Kevin Gino Masetto: Adam Wells Leporello: Matthew Fleisher

MONTEVERDI (1567-1643)

“Pur ti miro, pur ti godo” Final Duet from L’incoronazione di Poppea Poppea: Rachel Anthony Nero: Guillaume Poudrier

ROSSINI (1792-1868)

"Siete voi?" Act II Sextet from La Cenerentola Clorinda: Jennie Judd Tisbe: Brianna Bragg Cenerentola: Allyson Goff Ramiro: Frederick Schlick Dandini: Tyler Wolowicz Magnifico: Brandon Bell

VERDI (1813-1901)

“Va, pensiero” (Chorus of the Hebrew Slaves) from Act III of Nabucco Janiec Opera Company

FRIDAY, JUNE 24 FRIDAY, JUNE 24 6:00 PM

OPENING WEEKEND SPONSOR

WHITTINGTON-PFOHL AUDITORIUM OPENING NIGHT: AN AMERICAN IN PARIS Brevard Music Center Orchestra Keith Lockhart, conductor Jean-Yves Thibaudet, piano

Official piano of the Brevard Music Center

DEBUSSY (1862-1918)

Prélude à l’après–midi d’un faune

GERSHWIN (1898-1937)

Concerto in F for Piano and Orchestra Allegro Adagio. Andante con moto Allegro agitato Mr. Thibaudet, piano

INTERMISSION

– BMC Alumnus

GERSHWIN (1898-1937)

Variations on I Got Rhythm

GERSHWIN (1898-1937)

An American in Paris

RAVEL (1875-1937)

Bolero

Mr. Thibaudet, piano

CLAUDE DEBUSSY (1862-1918) Prélude à l’après-midi d’un faune Premiered on December 22, 1894, in Paris under the direction of Gustave Doret.

While it is easy to enjoy this piece, it is extremely difficult to talk about its meaning and content. Debussy expresses moods and colors he associates with the poem L’aprés-midi d’un faune (“The Afternoon of a Faun”). He called his composition a prelude, because he was also going to write an interlude and a final paraphrase as part of a suite. Obviously, the other two movements never materialized. The designation “prelude” nevertheless suggests (rightly so) that the listener should

not expect to find a musical rendering of the poem. And indeed, a close look at the poem does not aid our intuitive enjoyment of the piece, considering that this eclogue (a classical poem on a pastoral subject) is a long and complex work—writer Paul Valéry pronounced it the greatest poem in French literature. Just a few words might suffice. The faun, a mythological creature who is half man and half goat is daydreaming about nymphs (real or imaginary, he is not sure), recalling vaguely sensuous dreams about their past visits. The prominent flute part represents the faun with his panpipe. As the flute interacts with the orchestra, a new, contrasting theme is introduced in the woodwinds and horn.

Eventually, the flute closes out the piece quietly. The genius

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of Debussy’s approach to the poem lies in the shockingly vague melodic contours and wide orchestral sound palette that so perfectly explore the sensuous nature of the poem.

GEORGE GERSHWIN (1898-1937) Concerto in F for Piano and Orchestra Premiered on December 3, 1925, in New York; conducted by Walter Damrosch, the composer was the soloist.

Rhapsody in Blue is clearly Gershwin’s most successful and enduring orchestral work, yet he viewed it merely as a steppingstone toward greater things. In fact, Walter Damrosch commissioned the Piano Concerto in response to the premiere of the Rhapsody.

When Gershwin accepted the commission, he was fully aware of the task ahead, since he actually had not orchestrated his Rhapsody in Blue (Ferde Grofé did that). The young, inexperienced composer therefore devoted the next few months to the study of orchestration and analysis of concertos. By the summer Gershwin felt up to the task, and he spent three months composing the concerto and one month orchestrating it. Wanting to be sure that his concerto would work, he hired sixty New York musicians at his own expense, which led to numerous revisions. The outcome is nothing short of astounding: a polished first concerto that belies Gershwin’s inexperience as composer of concert music.

GEORGE GERSHWIN (1898-1937) Variations on I Got Rhythm Premiered on January 6, 1934, in Boston under the direction of Charles Previn with the composer as soloist.

Always the showman and entrepreneur, Gershwin wanted to get his music out, so he agreed to a tour of 28 concerts in 28 cities in 28 days. His variations were composed as the new piece for the tour.

On a 1934 radio broadcast, Gershwin described the work: After the introduction by the orchestra the piano plays the theme rather simply. The first variation is a very complicated rhythmic pattern [marked in the score “bitingly” and “with metronomic precision”] played by the piano while the orchestra takes the theme. The next variation is in waltz time. The third is a Chinese variation in which I imitate Chinese flutes played out of tune, as they always are. . . . Next the piano plays the rhythmic variation in which the left hand plays the melody upside down and the right plays it straight, on the theory that you shouldn’t let one hand know what the other is doing. Then comes the finale.

GEORGE GERSHWIN (1898-1937) An American in Paris Premiered on December 13, 1928, in Carnegie Hall under the direction of Walter Damrosch.

An American in Paris is an unmatched American cultural icon that everybody recognizes but few know much about. While the 1951 movie and the symphonic poem share the same musical material, the story lines are completely unrelated. The movie offers the quintessential Hollywood love story, while Gershwin’s piece merely relates impressions of an American tourist. Even though the movie won several Oscars, it is Gershwin’s innovative

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score that continues to capture the imagination of concert audiences around the world. Gershwin offered the following description of the piece: This new piece, really a rhapsodic ballet, is written very freely and is the most modern music I’ve yet attempted. The opening part will be developed in typical French style, in the manner of Debussy and the Six, though all the themes are original.

My purpose is to portray the impression of an American visitor in Paris, as he strolls about the city and listens to various street noises and absorbs the French atmosphere.

MAURICE RAVEL (1875-1937) Bolero Premiered at the Paris Opéra on November 22, 1928, as a ballet with choreography by Bronislava Nihinska and under the direction of Walter Straram.

When Russian actress and dancer Ida Rubinstein asked Ravel to compose a ballet score for her, he initially came up empty.

While on vacation, Ravel played a friend a melody with one finger and said, “Don’t you think this theme has an insistent quality?

I’m going to try and repeat it a number of times without any development, gradually increasing the orchestra as best I can.”

That’s Bolero in a nutshell — a 15-minute orchestral crescendo using the simple Bolero rhythm as the main building block. The program for the ballet’s premiere provided the following scenario: Inside a tavern in Spain, people dance beneath the brass lamp hung from the ceiling. [In response] to the cheers to join in, the female dancer has leapt onto the long table and her steps become more and more animated.

This was not what Ravel had envisioned. He had wanted an open-air setting in front of a factory, emphasizing the music’s mechanical drive. In the end the chosen scenario was irrelevant, as the wild success of Bolero is found not in the ballet but in the music, which contains all of the choreography the piece ever needed.

-Siegwart Reichwald

Bolero became Ravel’s most famous composition despite his prediction that most orchestras would probably refuse to play it.

SATURDAY, JUNE 25 SERIES SPONSOR BMC Presents Hampton Inn - Brevard

SATURDAY, JUNE 25 7:30 PM WHITTINGTON-PFOHL AUDITORIUM

SUSTAINING SPONSOR

OPENING WEEKEND SPONSOR SPECIAL EVENT SPONSOR

BMC PRESENTS: 80TH ANNIVERSARY SPECTACULAR WITH SPECIAL GUEST ARTIST AMY GRANT Brevard Music Center Orchestra Keith Lockhart, conductor Amy Grant, special guest artist

Amy Grant has built a long, successful career on music that matters. Ever since she burst on the scene as a fresh-faced teenager bringing contemporary Christian music to the forefront of American culture, the Nashville native gained a reputation for creating potent songs that examined life’s complexities with an open heart and keen eye. She became the first artist in Christian music to have a platinum record and went on to become a crossover sensation, her musical gifts transcending genre boundaries to make her a household name.

Grant has earned six Grammy Awards and numerous Gospel Music Association Dove Awards as well as three multi-platinum albums, six platinum albums and four gold albums. She’s achieved 10 Top 40 pop singles and placed 17 hits on the Top 40 Adult Contemporary chart as well as scoring numerous hits on the contemporary Christian charts. A longtime and active Nashville resident, Grant is as well known for her philanthropy as her music. She and husband, Vince Gill, are tireless in their efforts to aid worthy causes.

– BMC Alumnus

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SUNDAY, JUNE 26 3:00 PM

OPENING WEEKEND SPONSOR

WHITTINGTON-PFOHL AUDITORIUM SHOSTAKOVICH 5 Brevard Sinfonia Keith Lockhart, conductor Emmanuel Tjeknavorian, violin RUO (1976-) SIBELIUS (1865-1957)

Announcement Violin Concerto in D minor, Op. 47 Allegro moderato Adagio di molto Allegro ma non tanto Mr. Tjeknavorian, violin

INTERMISSION

SHOSTAKOVICH (1906-1975)

Symphony No. 5 in D minor, Op. 47 Moderato Allegretto Largo Allegro non troppo

– BMC Alumnus

HUANG RUO (1976-) Announcement

Premiered on October 5, 2000, in Philadelphia under the direction of Wolfgang Sawallisch Notes provided by the composer: The most important thing is not where you are, but where you are going…

An opening can be thought of as a step in a new direction; as a motion to another motion. Part of life’s beauty is in its wealth of possibilities. In music, as in life, there are many ways to begin. Announcement (2000), part of my Three Pieces for Orchestra, is one of three different openings for orchestral music.

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Announcement represents a moderate balance between the polar extremes of the other two pieces — Prelude and Fanfare. Announcement is a solemn, dignified, and ceremonious statement, full of passionate emotion. As a mixture and polymerization, it combines various elements together and allows them to speak floatingly one by one. The performers are asked to sing the Chinese words “Ni Xiao De” at the end of the piece, which translates “Do you know?” This ambiguous final question finds its subject in the preceding musical declaration. Often, in composing and experiencing music, no definitive final truth exists, and thus a question is its own answer. Everything has an end, and the end is a new beginning. It is true that the Announcement is completed, but in an incomplete way. What is before, after, and beyond, is left to the listeners.

SUNDAY, JUNE 26 JEAN SIBELIUS (1865-1957) Violin Concerto in D minor, Op. 47

The original version was premiered on February 8, 1904, in Helsinki under the direction of the composer with Victor Nováček as soloist; the premiere of the revised version took place on October 19, 1905, in Berlin with Karl Halir as soloist and Richard Strauss as conductor.

There are two important things that will greatly enhance our understanding of this concerto. Firstly, Sibelius had long dreamed of becoming a violinist. But since he didn’t pick up the instrument until he was fourteen, this goal was unrealistic.

It is not difficult to see Sibelius’s returning to his dream when he decided to write a violin concerto: it’s the piece he would have always wanted to play. Secondly, and this stands in contrast to the first point, writing a concerto was an enigma to the composer. His introverted nature, his stage fright, and his symphonic style make the flashy concerto an uncomfortable choice. It is no surprise then, that this is his only concerto — for any instrument. Sibelius solved the problem of the soloist in the most natural way: the work is symphonic in approach and language, and the soloist becomes the protagonist. The result is an absolutely captivating work — a concerto in the best sense of the word, as the soloistic nature of the work is fully integrated into Sibelius’s symphonic artistry.

One wonders if Sibelius’ failed aspirations have anything to do with the false starts in the work’s performance history. While the piece was originally dedicated to Willy Burmester and slated to be premiered in Berlin, Sibelius changed his mind, and the near-disastrous premiere took place in Helsinki with pedagogue Victor Nováček as soloist. And even though Burmester implored Sibelius to let him perform the revised concerto a year later, the composer went once again with a “non-soloist,” Karl Halir, the concertmaster in Berlin and former member of the the Joachim quartet. It seems almost as if Sibelius wanted to “protect” his concerto from the hands of the virtuoso in order to preserve the work’s (and thereby his own) artistic voice.

DIMITRI SHOSTAKOVICH (1906-1975) Symphony No. 5 in D minor, Op. 47

Premiered on November 21, 1937, in Leningrad under the direction of Yevgeny Mravinsky.

What do you do when your world comes apart and everything you do is called into question? You go back to the basics.

That’s exactly what Shostakovich did with his Fifth Symphony.

After the public denunciation of his opera Lady Macbeth, Shostakovich knew he might be in big trouble. He now had two strikes against him, and he had already seen friends and family sent off to Siberia. Going back to basics for a symphonist meant returning to Beethoven — a leaner orchestra, simpler forms, and a clear, personal narrative. And that’s exactly what we find in his Fifth Symphony. To be sure that the communist party would understand, Shostakovich even provided a narrative prior to the premiere: The birth of the Fifth Symphony was preceded by a prolonged period of internal preparation. Perhaps because of this, actual writing of the symphony took a comparatively short time. The theme of my symphony is the development of the individual. I saw Man with all his sufferings as the central idea of the work, which is lyrical in mood from start to finish; the finale resolves the tragedy and tension of the earlier movements on a joyous, optimistic note.

Conductor Michael Tilson Thomas provides the following description of the opening: “assertive statement, apprehensive retraction, dead end.”

It’s so simple and gripping that anybody can hear it. The question is, “What’s the dead end?” To the audience, who felt emotionally gutted by the directness of Shostakovich’s language, it was presumably a statement of personal suffering under an oppressive regime. Fortunately (for Shostakovich), party officials were unable or unwilling to see themselves as the culprit for the suffering.

-Siegwart Reichwald

The ovation after the premiere of Shostakovich’s 5th Symphony lasted well over half an hour.

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MONDAY, JUNE 27 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE BMC ARTIST FACULTY I BEETHOVEN (1770-1827)

Seven Variations on “Bei Männern, welche Liebe fühlen” from Mozart’s Die Zauberflöte, WoO. 46 Felix Wang, cello Norman Krieger, piano

PREVIN (1929-)

Trio for Piano, Oboe, and Bassoon Lively Slow Jaunty Emily Brebach, oboe Susan Barber, bassoon Jihye Chang, piano

INTERMISSION

BRAHMS (1833-1897)

Piano Quartet No. 3 in C minor, Op. 60 Allegro ma non troppo Scherzo Andante Finale. Allegro Byron Tauchi, violin Susan Culpo, viola Alistair MacRae, cello Donna Lee, piano

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MONDAY, JUNE 27 LUDWIG VAN BEETHOVEN (1770-1827) Seven Variations on “Bei Männern, welche Liebe fühlen” from Mozart’s Die Zauberflöte, WoO. 46

When Cologne Elector Maximilian Franz (son of Empress Maria Theresia) sponsored Beethoven’s first visit to Vienna in 1787, the teenage musician surely hoped to meet Mozart. (Unsubstantiated) rumor has it that Beethoven did meet Mozart, who supposedly said, “Keep your eyes on him, one day he will give the world something to talk about.” By the time Beethoven relocated to Vienna permanently, Mozart had died, so Beethoven got to know Mozart through his music both as an instrumentalist in the court orchestra and as an audience member. Upon attending a performance of The Magic Flute in 1801, Beethoven decided to write a set of variations on Pamina and Papageno’s duet from act 1, scene 2. In choosing this duet, the composer is able to place the cello and piano on equal footing, setting up beautiful dialog between the heroine and the “funny sidekick” about the virtues of marriage. This simple tune gives Beethoven ample material to explore a wide range of emotions, underscoring not only his keen understanding of Mozart’s music, but also proving Mozart’s prophetic words to have come to pass.

ANDRÉ PREVIN (1929-) Trio for Piano, Oboe, and Bassoon

Premiered on January 31, 1996, by the St. Luke’s Chamber Ensemble.

Commissioned by the Orchestra of St. Luke’s, the National Endowment for the Arts, and the Mary Flagler Cary Charitable Trust, this work speaks many musical languages — as does its composer, who is as much at home in the concert hall (conducting posts in Pittsburgh, Los Angeles, and many more), on Broadway, at jazz settings (Dizzy Gillespie stated that “He has the flow”), and at the movies (four time Oscar winner). This trio encompasses all of these musical strands. The opening movement, marked “Lively” (a grave understatement), starts with European art music, in particular Poulenc; whose 1926 trio for the same somewhat unusual ensemble surely was a starting point. The gut-wrenching slow movement, subtitled appropriately, “Lonely,” showcases Previn’s powers of expression, while the “Jaunty” last movement takes us to the world of jazz — with equal hints of Stravinsky and Copland. Despite the work’s wide range of influences, it is coherent and focused, offering a clear musical narrative — all of which makes it unmistakably Previn.

JOHANNES BRAHMS (1833-1897) Piano Quartet No. 3 in C minor, Op. 60 On the cover, you must have a picture, namely a head with a pistol pointed at it. Now you may get an idea of the music. I shall send you a photograph of myself for the purpose. Blue coat, yellow breeches and top-boots would do well, as you seem to like color-printing.

This seemingly silly remark, especially coming from the “guardian of absolute music,” cuts right to the heart of this highly personal work, for it took Brahms twenty years to finish/revise the work he had begun in 1855. As a then 22-year old, the young composer had rushed to the Schumann’s home to help Clara deal with her struggling husband Robert, who had tried to commit suicide.

Sadly, Robert ended up institutionalized until his death in 1856.

Brahms meanwhile fell madly in love with Clara, who was not only married but also 14 years older. Originally set in the key of C-Sharp minor, this work might have been an expression of Brahms’ emotional turmoil. The very specific description of the suggested photograph is an obvious allusion to Goethe’s Werther. In it, the protagonist is in love with a married woman.

While Werther ends up committing suicide, Brahms seems to have found solace in his art, as this work attests.

There are two loose ends, however. Firstly, it is surprising to note that Brahms sent the original 1855 version not only to his friend, the famous violinist Joachim, but also to Clara. One wonders if or how much Clara understood of what was behind the angst of this work. Secondly, one has to wonder how the 1855 version ended. Was it as puzzling as the published version? Did it have the same hollow ending in C major, which almost sounds ironic? Did Brahms already invoke Mendelssohn’s flighty style and Beethoven’s fate motive? Did he include a chorale (German Protestant hymn) much like Mendelssohn and Schumann had done in their Piano Trios only to render its latent redemptive powers irrelevant? We will never know, for Brahms, the “guardian of absolute music” destroyed a multitude of sketches and drafts in order to let the music speak for itself. That will have to do — and it does so marvelously!

-Siegwart Reichwald

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TUESDAY, JUNE 28 7:30 PM

SERIES SPONSOR BMC Presents Hampton Inn - Brevard

WHITTINGTON-PFOHL AUDITORIUM LEAD SPONSOR

BMC PRESENTS: BÉLA FLECK IN CONCERT Brevard Festival Orchestra Keith Lockhart, conductor Béla Fleck, banjo Abigail Washburn, banjo Just in case you aren’t familiar with Béla Fleck, there are some who say he’s the premiere banjo player in the world. Others claim that Béla has virtually reinvented the image and the sound of the banjo through a remarkable performing and recording career that has taken him all over the musical map and on a range of solo projects and collaborations. If you are familiar with Béla, you know that he just loves to play the banjo, and put it into unique settings.

Already a powerfully creative force in bluegrass, jazz, pop, rock and world beat, Béla made the classical connection with Perpetual Motion, his critically acclaimed 2001 Sony Classical recording that went on to win a pair of Grammys, including Best Classical Crossover Album, in the 44th annual Grammy Awards. Collaborating with Fleck on Perpetual Motion was his long time friend and colleague, bassist Edgar Meyer. Béla and Edgar co-wrote and performed a double concerto for banjo, bass and the Nashville Symphony, which debuted in November 2003. They also co-wrote a triple concerto for banjo, bass and tabla, with world renown tabla virtuoso Zakir Hussain entitled The Melody of Rhythm. In 2011, Béla wrote his first stand alone banjo concerto, The Impostor, on commission with the Nashville Symphony. His second concerto, the Juno Concerto, premiered with the Canton Symphony Orchestra in March, 2016.

The recipient of Multiple Grammy Awards going back to 1998, Béla Flecks’ total Grammy count is 15 Grammys won, and 30 nominations.

He has been nominated in more different musical categories than anyone in Grammy history. Most recently, Béla and Abigail Washburn took home the 2016 Grammy for Best Folk Album.

If American old-time music is about taking earlier, simpler ways of life and music-making as one’s model, Abigail Washburn has proven herself to be a bracing revelation to that tradition. She — a singing, songwriting, Illinois-born, Nashville-based clawhammer banjo player — is every bit as interested in the present and the future as she is in the past, and every bit as attuned to the global as she is to the local. Abigail pairs venerable folk elements with far-flung sounds, and the results feel both strangely familiar and unlike anything anybody’s ever heard before.

Her music ranges from the “all-g’earl” string band sound of Uncle Earl to her bi-lingual solo release Song of the Traveling Daughter (2005), to the mind-bending “chamber roots” sound of the Sparrow Quartet, to the rhythms, sounds and stories of Afterquake, her fundraiser CD for the Sichuan earthquake victims. The New York Times praised her 2011 release, City of Refuge, written with collaborator Kai Welch, saying the the songs “mingle Appalachia and folk-pop, with tinges of Asia and Bruce Springsteen.” Her most recent release, Béla Fleck & Abigail Washburn (2014) was recorded with her husband, Béla Fleck.

Having toured the world, Washburn is also armed with Chinese language ability and profound connections to culture and people on the other side of the Pacific. Washburn is one of the few foreign artists currently touring China independently and regularly.

Currently Abigail and Béla are touring the world as a “trio” with their growing little boy Juno.

– BMC Alumnus

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WEDNESDAY, JUNE 29 WEDNESDAY, JUNE 29 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE BMC ARTIST FACULTY II ŠULEK (1914-1986)

JANÁČEK (1854-1928)

Vox Gabrieli David Jackson, trombone Deloise Lima, piano Mládí (Youth), Suite for Wind Sextet Allegro Andante sostenuto Vivace Allegro animato Marianne Gedigian, flute Eric Ohlsson, oboe Steve Cohen, clarinet Daniel Gilbert*, bass clarinet William Ludwig, bassoon Elizabeth Freimuth, horn

INTERMISSION

RAVEL (1875-1937)

Piano Trio in A minor Modéré Pantoum (Assez vif) Passacaille (Très large) Final (Animé) Craig Nies, piano Corinne Stillwell, violin Benjamin Karp, cello

*guest performer – BMC Alumnus

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STJEPAN ŠULEK (1914-1986) Vox Gabrieli

MAURICE RAVEL (1875-1937) Piano Trio in A minor

Don’t expect a “showpiece.” As the title suggests, this work delivers a variety of angelic messages. Not all of them are good news, however. And as we know from the Bible, when angels show up, people are frightened to death (why else would the archangel Gabriel always start with “Do not be afraid”). The Croatian violinist, composer, conductor, and teacher Šulek clearly did not want to write yet another showpiece when the International Trombone Association commissioned this work in 1973. Instead, Šulek offers a wide range of Gabriel’s “voices,” creating a symphonic poem for trombone and piano, which requires utmost virtuosity from both players.

“My Trio is finished. I only need the themes for it.” Ravel’s paradoxical statement might betray his conventional approach to the genre. It seems, however, that this approach changed somewhat once he had “found” his themes, as the work contains a variety of innovative elements. His use of music from his native Basque provinces (area in southern France and northern Spain) might also have altered his approach, making it much more personal.

LEOŠ JANÁČEK (1854-1928) Mládí (Youth), Suite for Wind Sextet

Premiered on October 21, 1924, in Brno by faculty members of the Brno Conservatory.

While the concept of eternal youth has been at the heart of many artworks, it might never have been more aptly expressed than in Janáček’s Wind Sextet. The composer actually did not set out to express “Youth” in this one single work. Rather, it is the exclamation mark at the end of his final compositional phase which was so full of zest that a biographer described him in his final years as “the eternally young old man from Brno.” Composed in 1924, when he was finally receiving the attention he deserved, the work incorporates Janáček’s memories of his youth, such as his life as a schoolboy at the Augustian monastery — to name one of the few specific memories we know about. But the work is more than just nostalgic reflection. The main theme of the first movement, for example, is based on the speech pattern “Mládi,” which has the more concise meaning of “Golden Youth.” It is not difficult to hear the work’s theme penetrate all four classically conceived movements.

The Trio opens with the typical Basque rhythm 3 + 2 + 3. Initially, this musical material was intended for an aborted piano concerto called Zazpiak Bat, which means “the Seven are One” in Basque and is the motto of the Basque movement for a united country of the seven Basque provinces. Surprisingly, the opening movement’s two main themes are both in the main key, creating a musical conundrum, since there is no contrast of keys to be resolved. Furthermore, Ravel decided to let the movement end in the “wrong” key, the relative major, thereby exacerbating the issue further. Ravel achieves somewhat of a resolution melodically by sounding both themes at the same time. Given the Basque allusions, it is not difficult to read this unusually designed movement from a political perspective.

The second movement digresses by employing a Pantoum, a Malaysian verse form, which had been all the rage in France. This Scherzo sparkles with a wide timbral palette, situating this 19th-century genre clearly in the 20th century. In a seemingly complete u-turn, the ensuing Passacaglia harkens back to Baroque times. Over a slow moving repeated bass line the movement spins out in continuous variations. The repeated theme is based on the Basque theme from the first movement, bringing our attention back to the composer’s cultural heritage. The finale jolts us back to the composer’s present time with a brilliant, explosive opening. The use of irregular compound meters (5/4 and 7/4) seems the perfect choice for this finale, as it places this typical Basque dance rhythm within the context of modern music, creating a sense of resolution and arrival.

-Siegwart Reichwald

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THURSDAY, JUNE 30 THURSDAY, JUNE 30 7:30 PM SATURDAY, JULY 2 2:00 PM

This project is supported in part by an award from the National Endowment for the Arts

PORTER CENTER AT BREVARD COLLEGE

FALLING ANGEL - WORLD PREMIERE Janiec Opera Company of the Brevard Music Center Dean Anthony, stage director Brevard Festival Orchestra Jerome Shannon, conductor MUSIC LIBRETTO

Produced in association with the Center for Contemporary Opera

J. Mark Scearce Lucy Thurber

ACT I INTERMISSION ACT II INTERMISSION ACT III

Bobby Bradley, scenic, lighting & projection designer Aaron Chvatal, costume designer Sondra Nottingham, wig & makeup designer Brady Hislop, projection engineer – BMC Alumnus

CAST Young Soldier – Adam Wells Margaret Krusemark – Melanie Burbules Johnny Favorite – Myles Garver Harry Angel – Matthew Queen Louis Cyphre – Steele Fitzwater Dr. Fowler – Orin Strunk Toots Sweet – Brandon Bell Epiphany Proudfoot – Evelyn Saavedra Detective Deimos – August Bair Ethan Krusemark – Frederick Schlick

CHORUS Rachel Anthony Brianna Bragg Caroline Dunigan Matthew Fleisher Myles Garver Rudy Giron Allyson Goff Jennie Judd Sara Law Jenny Moser

Andrew O’Shanick Mackenzie Phillips Guillaume Poudrier Christina Scanlan Alexander Sheerin Camille Sherman Asleif Willmer

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J. MARK SCEARCE (1960-) Falling Angel For those of us who first came to William Hjortsberg’s ground-breaking horror/detective mash-up through Alan Parker’s film, “Angel Heart” (1987), certain images are indelibly imprinted: - Robert DeNiro’s peeling of a hard-boiled egg - a teenage Lisa Bonet - a smoldering Charlotte Rampling - a once-beautiful Mickey Rourke - a teenage Lisa Bonet One can’t emphasize enough the shock and awe that Cosby kid’s fall from grace had in Eighties culture! And what a fall! If you saw it, you’d remember. The small roles were memorable, too. Blues guitarist Brownie McGhee, Pulitzer-prize-winning playwright Charles Gordone, the Broadway actor Michael Higgins, and Dann Florek long before his Captain Kragen Law & Order franchise.

Did I mention a teenage Lisa Bonet? But in spite of DeNiro’s curtain-chewing cameo, it is Mickey Rourke’s movie as it is Harry Angel’s, the character he plays, in book and movie and now opera.

It is the self-realizing hero’s journey of all great literature from Dante to every great detective story there is — for the mystery is always about discovering yourself. It is a hajj of the soul. A pilgrimage of great consequence, of moral and spiritual significance. And besides being a truly great story (thank you, William Hjortsberg!), it is a metaphorical journey justifying opposite aspects of self: our morning’s striving to be intentionally better and our evening’s fall from grace into a less socially-attractive, personally-desirous shadow, undermining us at every turn.

I ask you: is that not opera? To ask the question “Who are we?” only to discover “We don’t know.” That is pure horror and what it means to be human. Only to learn in the asking what we truly don’t want to know, coming face to face with the moral of Sophocles’ “Oedipus Rex”: “Alas, how terrible is wisdom when it profits not the wise.” The movie has generated an industry of soul-searching: an exhibit in “Psychiatry and the Cinema,” the central character in “The Philosophy of Neo-Noir,” a starring role in “Black Magic and White Guilt.” And as great and over-the-top as the movie is, the book is SO much better. And fortunately William Hjortsberg likes opera too! And the supremely talented playwright Lucy Thurber brilliantly adapted the story to the stage! And Dean and Michael and all these young actor-singers are bringing our opera to life in a joint venture between Brevard and the Center for Contemporary Opera in New York!

On one hand the story is simple: a detective is hired to find a missing person — a big band singer from a decade earlier, Johnny Favorite.

[How fun it is to have an opera about a missing singer!] On the other hand, this story is quite complicated as most mysteries are.

So — SPOILER ALERT — here’s a chronological time line of Johnny Favorite’s life. DO NOT READ if you want to figure it out on your own!

- Meets Toots Sweet and Spider Simpson and begins playing in their band with them.

- Meets Ethan Krusemark, a fellow devil worshipper, and greatly impresses him by conjuring an image of Lucifer right in front of him.

- Ethan introduces his daughter Margaret to him and Johnny begins dating Margaret.

- Meets Evangeline Proudfoot, begins an affair with her.

- Offers his soul up to Satan for eventual collateral in exchange for stardom in the music industry and hits it big as popular singer “Johnny Favorite”.

- Backs out of the deal with Satan, and finds an ancient ritual to do so.

- Goes to Time Square, New Year’s Eve, 1943 with the Krusemarks to find someone his age to steal his soul, choosing a soldier, Harold Angel.

- They take the soldier to a nearby hotel room, enacting the ritual by stealing Harold Angel’s soul and memories after eating his heart.

- Johnny seals the dog tags in a vase without showing them to anyone but himself, completely hiding the identity from everyone involved in the ritual.

- Margaret hides the vase without ever opening it, never knowing who Johnny became nor knowing the soldier’s identity.

- 1944, Johnny gets drafted into service during World War II, going to Africa to serve as part of the entertainment division.

- Johnny is shell-shocked in an attack in Tunisia and shipped home as a vegetable to a military hospital in Poughkeepsie, NY. - During his stay at the hospital, his memories as Harold Angel take over his mind, and he loses all memories as “Johnny.”

- During his stay, his doctor, Dr. Fowler, operates on his face, surgically repairing his war injuries, but changing his appearance enough so that he no longer resembles Johnny Favorite.

- With his face still bandaged, the Krusemarks come to Poughkeepsie using false identities, and pay Fowler to release “Johnny” to them but to continue falsifying hospital records to show that he’s “still there”.

- The Krusemarks drop “Johnny” off in Times Square, thinking it’s the last place that the soldier they kidnapped will remember before the ritual.

- And it works! He is found wandering around Times Square claiming to be a soldier named Harold Angel. He is treated for “shell-shock”, rehabilitated, and becomes a private detective.

- Satan greets him as Louis Cyphre, hiring Angel to “find” Favorite.

And our opera begins...

-J. Mark Scearce

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FRIDAY, JULY 1 FRIDAY, JULY 1 7:30 PM

SPONSOR A Loyal Friend of Brevard Music Center

WHITTINGTON-PFOHL AUDITORIUM TCHAIKOVSKY PIANO CONCERTO NO. 1 Brevard Music Center Orchestra Ken Lam, conductor Joyce Yang, piano

Official piano of the Brevard Music Center

STRAVINSKY (1882-1971)

Feu d’artifice (Fireworks)

STRAVINSKY (1882-1971)

Le sacre du printemps (The Rite of Spring) Part I: The Adoration of the Earth Introduction The Auguries of Spring Daces of the Young Girls Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage The Sage Dance of the Earth Part II: The Sacrifice Introduction Mystic Circles of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance (The Chosen One)

INTERMISSION TCHAIKOVSKY (1840-1893)

Piano Concerto No. 1 in B flat minor, Op. 23 Allegro non troppo e molto maestoso Andantino semplice Allegro con fuoco Ms. Yang, piano

IGOR STRAVINSKY (1881-1971) Feu d’artifice (Fireworks)

Premiered on February 6, 1909, in Saint Petersburg under the direction of Alexander Siloti.

It is difficult to fathom that Feu d’artifice is only four years removed from Le sacre. Compositionally, it seems to be in a different orbit.

Composed on the heels of Scherzo fantastique, Stravinsky took another crack at the scherzo genre. Stravinsky scholar, Richard Taruskin, suggests that the young composer successfully progressed in his second scherzo by creating a work that is much more organic, where “technical debts to Rimsky-Korsakov and others remain but no longer obtrude.” Ballet impresario Diaghilev, who heard both scherzos at a concert, was impressed enough that he commissioned

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Stravinsky to orchestrate some Chopin pieces, which lead to the commissioning of Firebird, Petrushka, and Le sacre de printemps.

While Feu d’artifice seems simplistic compared to Le sacre, it nevertheless shares stylistic traits. Besides the colorful orchestration, Stravinsky’s harmonic language, based to a large extend on the octatonic scale (eight-note scale with alternating half and whole steps), is for the first time fully developed. His complex interlocking rhythmic patterns are also a key ingredient, albeit in simplest form.

But it is the unbound energy created through the composition’s extreme compactness and lightning fast harmonic rhythm that makes the work incredibly exciting and paves the way for his extraordinary ballet scores.

IGOR STRAVINSKY (1881-1971) Le sacre du printemps (The Rite of Spring)

Premiered May 29, 1913, in Paris under the direction of Pierre Monteux.

Le sacre is one of the most talked and written about pieces in music history. Rather than providing yet another bland summary, it might be more fun to play “Fact or Fiction” in order to gain a better understanding of the work’s context and meaning.

Fact or Fiction: The premiere of Le sacre caused an unprecedented riot.

Answer: Fiction (sort of). Throughout music history there have been many strong disagreements and even riots in the concert hall. Le Sacre has just gained more notoriety — much due to Diaghilev’s good business sense. Once the ballet impresario realized the radical nature of his newest ballet, he made sure that it would become the hottest ticket in town. Furthermore, he sandwiched Le Sacre between crowd pleasers, making it seem all the more progressive. At the same time, the audience was so loud, that the dancers were unable to hear the music, causing people backstage to count out the rhythm in order for the performance to continue.

Fact or Fiction: The riot was mainly in response to Stravinsky’s “primitive” music.

Answer: Fiction. First of all, there is absolutely nothing primitive about Le sacre. In fact, its complexity is so mind-boggling that this work is still a challenge for any orchestra and conductor today. The reason people called it primitive was the storyline, in which spring is ushered through a variety of rituals — including the selection of a virgin who will dance until she drops dead. The strong reaction was caused by a combination of an explosion of extreme orchestral color, complex rhythmic layering, the shocking story line, and very progressive choreography.

Fact or Fiction: The music of Le sacre was radically new.

Answer: Fact (mostly). There is no doubt that Le sacre is one of the most influential works of the twentieth century. It is the first composition to truly offer a comprehensively new aesthetic and compositional framework in post-Romantic Europe. Stravinsky’s new way of layering melodic and rhythmic motives and his approach to their development paved the way for much of the music of the twentieth century. At the same time, there is a clear progression in Stravinsky’s music, which can be linked back to his study of Russian folklore and his musical studies with Rimsky-Korsakov. Le sacre is the composition where he was able to “put everything together.”

PYOTR IL’YCH TCHAIKOVSKY (1840-1893) Piano Concerto No. 1 in B flat minor, Op. 23

Premiered on October 25, 1875, in Boston under the direction of Benjamin Johnson Lang with von Bülow as soloist.

Few pieces have an opening as memorable as this piano concerto.

There are even fewer pieces with a more unusual history. Given the opening’s popular appeal, it would seem that the success of this piece should never have been in doubt. On Christmas Eve, 1874, Tchaikovsky took the completed score to his friend and its dedicatee, the highly esteemed pianist Nicholas Rubinstein, assuming smooth sailing. Things did not go as hoped, however. Here is Tchaikovsky’s recollection of the fateful meeting: I played the first movement. Never a word, never a single remark. Oh, for a single word, for friendly abuse, for anything to break the silence! I fortified myself with patience and played through to the end. Still silence.

“Well?” I asked, and rose from the piano. Then a torrent broke from Rubinstein’s lips, gentle at first, gathering volume as it proceeded, and finally bursting into the fury of a Jupiter. My Concerto was worthless, absolutely unplayable; the passages so broken, so disconnected, so unskillfully written, that they could not even be improved.... I left the room without a word. Presently Rubinstein came to me and, seeing how upset I was, repeated that my Concerto was impossible but said if I would suit it to his requirements he would bring it out at his concert. “I shall not alter a single note,” I replied.

Fortunately, he didn’t. Instead, Tchaikovsky sent the score to the famous German pianist and conductor Hans von Bülow, who received the work enthusiastically. Von Bülow premiered the piece 4500 miles west of Moscow in Boston on October 13, 1875, during his tour of America. It was a triumphant success.

The famously passionate beginning of the piece is actually just an introduction, and while the opening theme never returns, several other themes are motivically reminiscent of the beginning. The first movement’s main theme stands in contrast to the lush introduction with its rhythmic fervor and light character. It is based on a Ukrainian folk song Tchaikovsky heard performed by a blind beggar in Kamenka (near Kiev). Yet it is the lyrical secondary theme that plays the central role for the rest of the first movement. The strength of the first movement illustrates Tchaikovsky’s ability to create an exciting narrative while at the same time writing brilliant passagework for the soloist.

The second movement opens with another beautiful melody. The sprightly middle section incorporates the French chansonette “Il faut s’amuser, danser, et rire” (“One Must Have Fun, Dance, and Laugh”), which creates the perfect contrast to the outer sections. This tune was a favorite of the composer’s one-time fiancée, soprano Désirée Artot, which accounts for the personal character of the work. The main theme of the last movement is based on another Ukrainian folksong, cementing the concerto’s “Russian” character. Just as in the first movement, the simple beauty of the newly-composed second theme provides Tchaikovsky the framework to create an exciting back-and-forth between brilliant passagework and passionate lyricism, leading to a climactic ending.

-Siegwart Reichwald

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SATURDAY, JULY 2 SATURDAY, JULY 2 7:30 PM WHITTINGTON-PFOHL AUDITORIUM MOZART AND WAGNER Brevard Sinfonia Matthias Bamert, conductor Nigel Armstrong, violin Roberto Díaz, viola MOZART (1756-1791)

Overture to The Impressario

MOZART (1756-1791)

Sinfonia Concertante for Violin and Viola in E flat major, K. 364 Allegro maestoso Andante Presto Mr. Armstrong, violin Mr. Díaz, viola

INTERMISSION

`

WAGNER (1813-1883)

Prelude and Liebestod from Tristan und Isolde

WAGNER (1813-1883)

Siegfried’s Rhine Journey from Götterdämmerung

WAGNER (1813-1883)

Prelude to Die Meistersinger

– BMC Alumnus

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WOLFGANG AMADEUS MOZART (1756-1791) Overture to The Impresario The Impresario was premiered at the Schönbrunn Palace in Vienna on February 7, 1786.

This overture is the perfect way to open an evening of operatic masterworks, since it’s a piece about the inner workings of an opera. In this 1786 Singspiel (opera with spoken dialect) the impresario struggles to keep two divas happy. The whole play consists of only four musical numbers and runs less than 30 minutes. The farcical nature of the story becomes obvious right from the start of the overture, and intrigue and wit are ever-present once the secondary theme with its weirdly strong accents is heard. There may not be another overture under four minutes with this much punch!

WOLFGANG AMADEUS MOZART (1756-1791) Sinfonia Concertante for Violin and Viola in E flat major, K. 364 While this is the only work on tonight’s program not taken from opera, it might nevertheless be the most dramatic. As a concerto for two soloists, it has all the makings of competition, intrigue, and blissful union. Symphonia Concertantes were all the rage in 1770s Paris. So upon his return in 1778 to provincial Salzburg from cosmopolitan Paris, Mozart decided to bring some of the glitz and glamour to his hometown. Using all of the fashionable techniques, Mozart set out to write a work in the Parisian style.

Having also traveled to Mannheim, however, which was home of the most famous and progressive orchestra at the time, Mozart added more depth to his work by giving the orchestra a more prominent role than was customary in Paris. In fact, this piece is almost as much symphony as concerto. In the first movement the stage is set by the orchestra, before the two main characters enter in the form of the competing soloists. The slow movement presents a beautiful love duet, while the Presto bursts with joy and excitement, bringing the drama to a happy ending.

RICHARD WAGNER (1813-1883) Prelude and Liebestod from Tristan und Isolde Premiered on June 10, 1865, in Munich under the direction of Hans von Bülow.

If you don’t have five hours to enjoy the full music drama Tristan und Isolde, “Prelude and Liebestod” will give you the Reader’s Digest version, as it offers not only the beginning and end of the score but, most importantly, resolves the unremitting question posed by the famous Tristan Chord — all within twenty minutes!

When Wagner decided to take up the medieval Tristan tale, he did so partly because of two factors: his growing interest in Schopenhauer (in particular his The World as Will and Representation) and his love affair with Mathilde Wesendonck.

Put in (very) simple terms, Wagner wanted to express love as an ideal that transcends our perceived existence of which humanity can only catch glimpses within its limited sense of reality. Tristan is a watershed event in the history of opera. Among many innovations, Wagner is able to express the unfolding drama first and foremost in the score itself. This is presumably the reason for the popularity of this orchestral excerpt, as it is able to convey the

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essence of the work harmonically (by resolving the Tristan chord) as well as on an emotional level.

RICHARD WAGNER (1813-1883) Siegfried’s Rhine Journey from Götterdämmerung Premiered on August 17, 1876, in Bayreuth.

Before there was Star Wars there was Wagner’s Ring Cycle.

Conceived as a cycle of four operas, Wagner is able to create his own world based on Norse sagas in such a vivid way that the audience has no choice but to experience it with all its wonders and curses. “Siegfried’s Rhine Journey” is the prelude to the sixth scene of the last opera of the cycle, Twilight of the Gods.

In a way this music is the counterpart to “Liebestod.” Siegfried and Brunnhilde’s professed love for one another prepares them for what lies ahead: Siegfried is preparing himself for the fate that awaits him as Brunnhilde bestows her godly wisdom on him. As was the case with Tristan, the score contains all of the elements of the drama — from expressed love that not only dispels darkness but completes the complex characters of the two heroes, to the foreshadowing of deeds of valor in the face of impending doom.

RICHARD WAGNER (1813-1883) Prelude to Die Meistersinger Premiered on November 2, 1862, in Leipzig under the direction of the composer.

This prelude is the other bookend to tonight’s operatic affair, as it is taken from another opera about music. In this case, it’s about a 16th-century song competition. However, here the contestants are not divas but members of the Mastersingers musician guild. Intrigue and jostling for position are nevertheless also part of the story. The prelude opens with a processional of the Mastersingers, followed by a love theme of the main protagonists, Eva and Walther. After much intrigue and buffoonery (yes, Wagner did indeed write a comedy), all the themes reappear, pointing toward a surprisingly happy ending. The music drama is not all fun and games, however, as the competition pits musical conservatives against agents of change. The hero is of course a progressive, which makes for a rather lopsided affair in favor of the “music of the future.”

-Siegwart Reichwald

The famous Bayreuth Festspielhaus was constructed in order to have a performance space to handle the demands of Wagner’s epic musical dramas.

SUNDAY, JULY 3 SUNDAY, JULY 3 3:00 PM

SERIES SPONSOR BMC Presents Hampton Inn - Brevard

WHITTINGTON-PFOHL AUDITORIUM

COMMUNITY OUTREACH SPONSOR

BMC PRESENTS: A GOSPEL CELEBRATION The Rance Allen Group North Carolina A&T Fellowship Gospel Choir

The Rance Allen Group is one of the most explosive groups to emerge from the legendary Stax Records label in the 1970s. Their sanctified soul hits such as “Ain’t No Need of Crying,” “I Belong To You,” and their consecrated cover of The Temptation’s “Just My Imagination” placed them in a pantheon of deep soul artists like Otis Redding and Isaac Hayes.

In the decades since, the Allen Brothers (Rance, Tom and Steve) have built on that foundation with their Tyscot Records-era hits such as the R&B crossover smash “Miracle Worker,” “Do Your Will,” and “Something About The Name Jesus.” Their sacred-secular musical fusion, chunky harmonies, lyrical messages of faith and fraternity, and Rance’s stratospheric falsetto have made them standout as one of the most dynamic groups to ever shuffle across the stage of Harlem’s famed Apollo Theater.

Four decades into their career, the music industry has now begun to honor The Rance Allen Group’s groundbreaking work in bridging R&B and gospel. They received a Bobby Jones Legend Award during the 2009 Stellar Awards and were feted in a BMI Trailblazers of Gospel ceremony in 2008. The Allen Brothers and their respective wives and families all live in Toledo now. Steve is a physical therapist with the St. Vincent Medical Center and Tom is retired from the State of Michigan after a 39-year tenure. Allen pastors New Bethel COGIC where his wife, Ellen Marie Allen, is very active in supporting his ministry.

The North Carolina A&T Fellowship Gospel Choir is a vital part of the Student Affairs Division at NC A&T, and along with other choirs supports the United Christian Fellowship (UCF) program by providing music for worship services on campus and the surrounding community. Among the choir’s membership are some of A&T’s most outstanding students, including honor students, members of Who’s Who in Colleges and Universities, and student leaders. They are pursuing careers in various fields of study such as Agriculture, Arts and Science, Business and Economics, Education, Engineering, Nursing and Technology. These students are from across the country - North and South Carolina, Virginia, Texas, Washington, DC, Delaware, New York, New Jersey, Michigan, Florida, New Mexico, Pennsylvania, Indiana, Wisconsin, Illinois, Washington State, and Massachusetts.

The North Carolina A&T Fellowship Gospel Choir has enjoyed a high degree of visibility and popularity from the origin. It has been featured in concerts, convocations and other special services on campus and in churches throughout the city of Greensboro and across the state. It has also received numerous awards through its continued participation in the Annual Collegiate Gospel Choir Competition in New York City during spring tours.

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BREVARD MUSIC CENTER | OVERTURE

MONDAY, JULY 4 2:00 PM WHITTINGTON-PFOHL AUDITORIUM PENDERGRAST FAMILY PATRIOTIC POPS Brevard Symphonic Winds Kraig Alan Williams, conductor Brevard Community Band Jamie Hafner, conductor with Elisa Sunshine* and Laurie Ann Taylor*, sopranos Kevin Gino*, tenor Tyler Wolowicz*, baritone and Matt Walley, trombone BAGLEY

National Emblem March

KEY

National Anthem

BALMAGES

Proudly We Hail

BIERSHENK

Let Freedom Ring

arr. WAGNER

America, The Spirit Lives On!

BERLIN SCHAFFER APPERMONT TOBIAS/BROWN/STEPT arr. SWEENEY

Give Me Your Tired, Your Poor Purple Heart Faces of Freedom Colors for Trombone Don't Sit Under the Apple Tree Boogie Woogie Bugle Boy

INTERMISSION VON SUPPÉ RICHARD TCHAIKOVSKY SOUSA *BMC Student – BMC Alumnus

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Light Calvary Overture Armed Forces Salute 1812 Overture Stars and Stripes Forever

MONDAY, JULY 4 TUESDAY, JULY 5

TUESDAY, JULY 5 7:30 PM PORTER CENTER AT BREVARD COLLEGE NORMAN KRIEGER AND FRIENDS

BOLCOM (1938-)

BEETHOVEN (1770-1827)

Introduction and Rondo: Haydn Go Seek Norman Krieger, piano Benjamin Sung, violin Felix Wang, cello Piano Trio in D major, Op. 70, No. 1, "Ghost" Allegro vivace e con brio Largo assai ed espressivo Presto Norman Krieger, piano Benjamin Sung, violin Felix Wang, cello

INTERMISSION

BRAHMS (1833-1897)

Piano Quartet No. 2 in A major, Op. 26 Allegro non troppo Poco adagio Scherzo. Poco Allegro Finale. Allegro David Coucheron, violin Scott Rawls, viola Jonathan Spitz, cello Norman Krieger, piano

– BMC Alumnus

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BREVARD MUSIC CENTER | OVERTURE

WILLIAM BOLCOM (1938-) Introduction and Rondo: Haydn Go Seek

JOHANNES BRAHMS (1833-1897) Piano Quartet No. 2 in A major, Op. 26

As the title suggest, Haydn had a great sense of humor — sometimes to the dismay of his colleagues and employer. American composer William Bolcom was one of 18 composers who had been commissioned to write a work in honor of revered classical composer. Bolcom explained that this work was in response to Haydn’s many rondos, which were always full of surprises. Haydn Go Seek aims “to play a constant game of surprise throughout, in as Haydnesque a manner as I could muster from two centuries remove.”

The work opens with a slow introduction that channels Haydn’s Storm and Stress style of the 1760s and 70s, setting up the playful and witty Rondo that lets the audience “Haydn Go Seek.”

It was a match made in heaven! When Brahms decided to pay a visit to Vienna in 1863, he brought with him three pieces — including his first two Piano Quartets. As his reputation had preceded him (thanks mostly to an article by Robert Schumann), the Hellmesberger Quartet offered to premiere his two Piano Quartets with Brahms himself at the piano. The Second Piano Quartet quickly became a favorite in Vienna and beyond. Brahms of course had wanted to visit Vienna because of its great musical heritage. While we tend to think first of Haydn, Mozart, and Beethoven, it was actually Schubert who had inspired his Second Piano Quartet. It must have been all the more thrilling that, as Brahms wrote, “one has the sensation [in Vienna] that Schubert [died in 1828] is still alive! One keeps meeting new people who speak of him as a close acquaintance.” It must have been equally thrilling for the Viennese audience to hear music inspired by Schubert from a newcomer, who effortlessly continued on with their rich tradition. Not surprisingly, Brahms decided to make Vienna his permanent home.

Premiered in May 2009, in commemoration of Haydn’s death in May 1809, by the Haydn Trio Eisenstadt.

LUDWIG VAN BEETHOVEN (1770-1827) Piano Trio in D major, Op. 70, No. 1, “Ghost”

At the end of the 18th century, the piano trio had been the genre of choice for amateur music making. Composers, including Beethoven, published piano trios with these limitations in mind. “The Ghost,” which is not Beethoven’s nickname for this trio, would have haunted Vienna’s amateur musicians with its high technical and musical demands.

The ominous title for this work surfaced some 15 years after Beethoven’s death when Carl Czerny, one of Beethoven’s students, wrote that the ghost of Hamlet’s father is conjured up in the second movement. Beethoven might indeed have had Shakespeare swirling in his head, but it wasn’t Hamlet the composer had in mind. Rather, the manuscript includes allusions to Macbeth in the composer’s hand at the end of the second movement.

While the nickname places the focus on the second movement, the outer movements are not just bookends. Beethoven grabs the listener’s attention with the memorable opening theme. The contrasting, lyrical second theme provides Beethoven with plenty of ammunition for an exciting plot. The eerie beginning of the “Ghost” movement, heard within the context of the outer movements, creates an atmosphere of melancholy. Sudden outbursts might be seen as expressions of painful memories — if we want to follow Czerny’s interpretative path. Thankfully, the final movement offers a bright and joyful ending.

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Premiered on November, 29 1863, by the Hellmesberger Quartet with the composer at the piano.

In the opening movement Brahms was somehow able to write with the lyrical quality of Schubert and the emotive power of Beethoven, yet in an unmistakably new way. Brahms’s exploration of rhythm with the use of hemiola (duple versus triple division) is just one of the trademarks of this new style. The second movement turns from placid calm to stormy clouds in a flash, yet the lyricism of the first movement is actually intensified. The full-blown scherzo that follows is an obvious delight to any Viennese music lover, while the Finale brings to mind Haydn. To the Viennese public, Schumann’s prediction about Brahms as the next creative genius might have come to pass with works such as his Second Piano Quartet.

-Siegwart Reichwald

WEDNESDAY, JULY 6 WEDNESDAY, JULY 6 7:30 PM PORTER CENTER AT BREVARD COLLEGE THE SHANGHAI QUARTET Weigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello BRIDGE (1879-1941)

MENDELSSOHN (1809-1847)

Novelletten, H. 44 Andante moderato Presto. Allegretto Allegro vivo String Quartet in F minor, Op. 80 Allegro vivace assai Allegro assai Adagio Finale. Allegro molto

INTERMISSION

GRIEG (1843-1907)

String Quartet in G minor, Op. 27 Un poco andante. Allegro molto ed agitato Romanze. Andantino Intermezzo. Allegro molto marcato Finale. Lento. Presto al Saltarello

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BREVARD MUSIC CENTER | OVERTURE

FRANK BRIDGE (1879-1941) Novelletten, H. 44

When Schumann composed his Novelletten, Op. 21 for the piano in 1838, he wanted to write “straight from the heart” — no formal restrictions, no musical conventions. The cycle of eight pieces provides insights into Schumann’s emotional world at the time — which was focused on the love of this life, Clara Wieck (his eventual bride). Bridge presumably also wanted to write “straight from the heart” when he composed his Novelletten in 1904. While we have no indication about Bridge’s frame-of-mind during their composition, it is clear that he must have been equally happy. The three miniatures espouse a sunny disposition. Expertly written for the string quartet (Bridge was an excellent violinist and would join the Joachim Quartet as violist just two years later), each movement expresses a different sentiment: the first serenity, the second wonder, and the third joy.

FELIX MENDELSSOHN (1809-1847) String Quartet in F minor, Op. 80

It is amazing how far-reaching rumors can be. While Georg Knepler described Mendelssohn’s last string quartet a “requiem of an era,” the Wikipedia article turned that into “an homage to his sister Fanny who had died on 17 May of that year [1847] and it bore the title ‘Requiem for Fanny.’” Many program notes along the way have fallen prey to these rumors, presenting Mendelssohn’s last instrumental work not only as a “requiem for Fanny” but as a clear sign that Mendelssohn somehow knew of his impending death. Let me try to set the record straight.

Felix and Fanny were the closest of siblings. They had received the same musical education and would share everything with each other — musically and otherwise. On May 14, 1847, Fanny died suddenly after suffering a stroke. Felix, upon learning of his sister’s sudden death, “shrieked and fainted.” He spent most of the following summer with his family in southern Germany and Switzerland, in order to come to terms with Fanny’s death. During this time, he found solace first with drawings and watercolors (he was an excellent painter). He also composed a set of sacred choral works and the F minor String Quartet. While this is clearly one of his darkest and most disturbing works, composed during the aftermath of his sister’s death, the work does not bear the title

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“requiem for Fanny.” It is conventional in design and does not offer any hints for a program. It is the work of a grieving artist, whose sorrow made for a darker-than-usual tone. As is the case with all of Mendelssohn’s works, it is a polished, refined work, full of depth and rich in expression — the true nature of which is only found in the music itself, or as Mendelssohn once wrote, “music fills one’s soul with a thousand better things than words.”

EDVARD GRIEG (1843-1907) String Quartet in G minor, Op. 27

If Mendelssohn’s last string quartet was somewhat of a departure from his earlier string quartets with its darker tone, Grieg’s only completed string quartet is a general departure altogether from the Romantic quartet style. Among a variety of innovative elements, two stand out: its cyclic design, and the reimagining of the sound capabilities of a string quartet.

Borrowing from his own music (as many composers before him had done), Grieg took parts of his song Spillamæd (Minstrels), heard at the very beginning, and made it not only the motto of the work, but closely related most everything else to it. In doing so, Grieg created a tightly composed quartet that invites critical listening. Grieg wrote, “I have recently finished a string quartet. It is in G minor and not planned to be meat for small minds! It aims at breadth, vigor, flight of imagination, and, above all, fullness of tone for the instruments for which it is written.”

One of Grieg’s novel ways of writing for the string quartet was the extensive use of double-stops (playing on two strings at the same time). In fact, his publisher C.F. Peters refused to publish the work because of the complexity of the double-stops. The richness and variety of sounds Grieg elicits from the ensemble was inspiring to many composers, including Debussy who would compose his own string quartet soon thereafter — in the same key and with a variety of similar features.

-Siegwart Reichwald

FRIDAY, JULY 8 FRIDAY, JULY 8 7:30 PM WHITTINGTON-PFOHL AUDITORIUM AN ALPINE SYMPHONY Brevard Music Center Orchestra Matthias Bamert, conductor Inon Barnatan, piano

BEETHOVEN (1770-1827)

Official piano of the Brevard Music Center

Concerto for Piano and Orchestra No. 3 in C minor, Op. 37 Allegro con brio Largo Rondo. Allegro Mr. Barnatan, piano

INTERMISSION

STRAUSS (1864-1949)

Eine Alpensinfonie (An Alpine Symphony), Op. 64

2016 Summer Institute & Festival

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BREVARD MUSIC CENTER | OVERTURE

LUDWIG VAN BEETHOVEN (1770-1827) Concerto for Piano and Orchestra No. 3 in C minor, Op. 37

Premiered on April 5, 1803, in Vienna with Beethoven at the piano.

We often think of great composers as somehow superhuman.

Well, the premiere of his Third Piano Concerto does showcase Beethoven’s extraordinary abilities in ways that have to make us think of him in superlatives. On the day of the premiere, the composer got up before dawn to finish writing out trombone parts for his oratorio, Christ on the Mount of Olives. He then sent Ferdinand Ries to find trombonists for the rehearsal, which began at 8 am and lasted sixand-a-half hours until 2:30. After lunch they ran the oratorio one more time (one hour in length). The four-hour long concert began at 6 pm.

It contained (among other things) Beethoven’s First and Second Symphonies, his new oratorio, and his Third Piano Concerto, which he had barely finished. In fact, he had not found the time to write out the piano part, as Ignaz von Seifert explained: I saw almost nothing but empty pages; at the most, on one page or another a few Egyptian hieroglyphs wholly unintelligible to me were scribbled down to serve as clues for him; for he played nearly all the solo parts from memory since, as was so often the case, he had not had time to set it all down on paper. He gave me a secret glance whenever he was at the end of one of the invisible passages, and my scarcely concealable anxiety not to miss the decisive moment amused him greatly and he laughed heartily at the jovial supper which we ate afterwards.

Beethoven’s Third Piano Concerto shows clear influences of Mozart’s Piano Concerto No. 24 in C minor. Not only are they in the same key, but the opening themes are also eerily similar.

Johann Baptist Cramer recalled hearing Mozart’s Concerto at an outdoor performance together with Beethoven, who was completely entranced by the work stating that, “we shall never be able to do anything like this.” Well, Beethoven did. His pupil Carl Czerny referred to the work as “written in a new way, a new style.” One of the most obvious innovative elements is Beethoven’s use of the extended range of the newest pianos, asking the soloist to play all the way to the high G (the first piece to make use of these newly added keys).

Of course, Beethoven did not use these new notes just because he could. Rather, the boldness and intensity of this extraordinary work demanded it. The heightened sense of drama, the interplay between the orchestra and soloist, and the imaginative and constantly changing figurations of the main themes in the piano part are all signs of this new style, paving the way for the age of Romanticism.

Herbert von Karajan’s 1981 recording with the Berlin Philharmonic became one of the first classical CDs ever produced.

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RICHARD STRAUSS (1864-1949) Eine Alpensinfonie (An Alpine Symphony), Op. 64

Premiered on October 28, 1915, in Berlin by the Dresden Hofkapelle under the direction of the composer.

The inspiration for Strauss’ last tone poem seems simple enough. In 1908 Strauss had built a home in Garmisch with magnificent view of the Alps. And there is of course his recollection of his own hiking adventure as a 15-year old boy: Recently we made a great hiking party to the top of the Heimgarten, on which day we walked for twelve hours. At two in the morning we rode on a handcart to the village, which lies at the foot of the mountain. Then we climbed by the light of lanterns in pitch-dark night and arrived at the peak after a five-hour march. There one has a splendid view [of lakes, mountains, glaciers, and so on].

Then we hiked down the other side to Lake Walchensee, but we took a wrong trail and had to climb around in the midday heat for three hours with no path...Lake Walchensee is a beautiful lake, but makes a melancholy impression since it is enclosed by forests and high mountains...[On the way from there to Lake Kochelsee] a terrible thunderstorm overtook us, which uprooted trees and threw stones in our faces. We hardly had time to find a dry spot before the storm broke. Lake Kochelsee, a very romantic and beautiful lake, made huge waves so that it was impossible to even think about crossing it.

After the storm had passed we had to settle for walking all the way around the lake, whether we wanted to or not. On the way the rain came again and that is how we arrived in Schlehdorf, after a breakneck march (we did not rest for a single moment) — tired, soaked to the skin — and spent the night; then the next morning we rode as calm as could be in the hay wagon to Murnau. The hike was interesting, unusual, and original in the highest degree.”

This account seems to cover the 22 programmatic titles pretty well.

However, during the genesis of the work Strauss hinted at another source of inspiration: Nietzsche’s 1888 essay Der Antichrist. A 1911 diary entry reads: “It is clear to me that the German nation will achieve new creative energy only by liberating itself from Christianity...I shall call my alpine symphony Der Antichrist, since it represents: moral purification through one’s own strength, liberation through work, worship of eternal, magnificent nature.” While Strauss scrapped the Nietzsche allusion in the printed score, the gigantic 125-piece orchestra and the sense of monumentality hints at a deeper meaning beyond an alpine adventure — speaking of things far beyond the adventures of an adolescent.

-Siegwart Reichwald

SATURDAY, JULY 9 SATURDAY, JULY 9 7:30 PM

LEAD SPONSOR

WHITTINGTON-PFOHL AUDITORIUM A NIGHT AT THE MOVIES CELEBRATING 80 YEARS OF OSCAR-WINNING MUSIC Brevard Sinfonia Ken Lam, conductor WAGNER (1813-1883)

Prelude to Act III from Lohengrin featured in One Hundred Men and a Girl (1937)

HAGEMAN (1881-1966)

Suite from Stagecoach (1939)

YOUNG (1900-1956)

"Overture" and "Epilogue" from Around the World in 80 Days (1956)

ROTA (1911-1979)

Suite from The Godfather, Parts 1 and 2 (1972, 1974)

INTERMISSION

WAXMAN (1906-1967) `

Sonata for Orchestra (arr. Mauceri) from Sunset Boulevard (1950)

YARED (1949-)

Suite from The English Patient (1996)

DUN (1957-)

"The Eternal Vow" from Crouching Tiger, Hidden Dragon (2000) Benjamin Karp, cello

WARBECK (1953-) WILLIAMS (1932-)

Suite from Shakespeare in Love (1998) "Adventure on Earth" from E.T. the Extra-Terrestrial (1982)

– BMC Alumnus

2016 Summer Institute & Festival

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BREVARD MUSIC CENTER | OVERTURE

SUNDAY, JULY 10 3:00 PM WHITTINGTON-PFOHL AUDITORIUM A SUITE AFTERNOON Brevard Concert Orchestra Ken Lam, conductor Eduardo Rios, violin

BIZET (1838-1875)

L’Arlésienne Suite No. 2

FALLA (1876-1946)

Suite No. 2 from The Three-Cornered Hat

Pastorale Intermezzo Minuet Farandole

Los vecinos Danza del molinero (Farruca) Danza final

INTERMISSION

SAINT-SAËNS (1835-1921)

`

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KODÁLY (1882-1967)

Introduction and Rondo Capriccioso, Op. 28 Mr. Rios, violin

Háry János Suite Prelude. The Fairy Tale Begins Viennese Musical Clock Song The Battle and Defeat of Napoleon Intermezzo Entrance of the Emperor and His Court

SUNDAY, JULY 10 GEORGE BIZET (1838-1875) L’Arlésienne Suite No. 2

The premiere of the play L’Arlésienne with Bizet’s incidental music took place on October 1, 1872, at the Vaudeville Theatre in Paris; Bizet played the harmonium.

“It was a glittering flop with the loveliest music in the world.” That’s the honest assessment of of the premiere of the play L’Arlésienne by the author himself, Alphonse Daudet. The music he refers to are Bizet’s 27 short musical numbers composed for the play.

Realizing the value of his contribution to the otherwise failed enterprise, Bizet reworked some of the movements in form of a suite. Presumably because of the success of the first suite, Bizet’s friend and musical collaborator Enest Guirard extracted a second suite from the incidental music four years after Bizet’s death. While the first two movements, Pastorale and Intermezzo, are taken from act 2, the Minuet has actually nothing to do with the play. Rather, Guiraud took music from Bizet’s La jolie fille de Perth. The Minuet nevertheless matches perfectly the folk-like character of the other three movements. The rousing last movement, Farandole, has long been a fan-favorite, and it has recently gotten a second life with arrangements by many artists for a wide variety of projects, including a jazz version by Bob James and a rock arrangement for the video game Catherine.

MANUEL DE FALLA (1876-1946) Suite No. 2 from The Three-Cornered Hat Premiered on June 17, 1919, in Madrid.

At the beginning of the twentieth century everything Spanish was all the rage from Paris (Debussy) to Saint Petersburg (RimskyKorsakov). Unlike Debussy and Rimsky-Korsakov, Falla was an insider to Spanish folk music. Ironically, as a young Spanish composer Falla was drawn to French music, which caused his earlier compositions to be considered too foreign for his Spanish audience.

The Three-Cornered Hat, first conceived as pantomime and then adapted as a ballet for the Ballets Russes with décor by Picasso, was his first composition without too much “debussismos” and “ravelismos.” Because the ballet was a big success, Falla extracted not one but two suites.

The story is about a miller and his wife, who is fancied by the Corregidor, a local official with a three-cornered hat that symbolizes his rude, snobbish nature. His attempts at courting the miller’s wife fail, and the couple resumes their happy life together. In “The Neighbor’s Dance” Falla pulled together various Spanish folk tunes to authenticate the setting. “The Miller’s Dance” is a flamenco-style dance full of passion and excitement. In “The Final Dance” the dancers rush about madly, as the comical plot reaches its happy conclusion.

CAMILLE SAINT-SAËNS (1835-1921) Introduction and Rondo Capriccioso, Op. 28

Premiered on April 4, 1867, in Paris with Pablo Sarasate as soloist.

It is said that behind every great concerto stands a great virtuoso, meaning that the performer championed the work or gave technical input. In the case of Saint-Saëns’s Opus 28, the performer’s impact goes much further, since the intended performer is the piece. In 1856, the 12-year-old child protégé Pablo de Sarasate showed up in Paris, and by the time he was 15 he was ready for primetime.

When he asked the 24-year-old Saint-Saëns to write a concerto for him, the composer gladly obliged, composing his First Violin Concerto. Four years later Saint-Saëns wanted to have another crack at writing for the Spanish virtuoso. But this time he wanted it to be something more personal, something that would express Sarasate’s personality. The Introduction and Rondo Capriccioso drips with Spanish flair, and its operatic quality allowed Sarasate to be the protagonist on stage. Saint-Saëns also captured the young virtuoso’s calling card — his pure tone and virtuoso tricks with song-like episodes as well as double-stops and show-stopping spiccato passages. Not surprisingly, this work would quickly enter the violin repertoire as a major virtuoso showpiece.

ZOLTÁN KODÁLY (1882-1967) Háry János Suite

Premiered on March 24, 1927, in Barcelona under the direction of Antal Fleischer.

Nothing like starting a composition with a musical sneeze?! That’s how the suite begins. Kodály explains, “According to Hungarian superstition, if a statement is followed by a sneeze of one of the hearers, it is regarded as confirmation of its truth. One of Háry’s group of faithful listeners sneezes at the wildest assertions of the old tale-spinner.” This seeming paradox is at the heart of Kodály’s comic folk opera, where tall tales dispense kernels of truth. Again, in the composer’s own word: “Háry is a peasant, a veteran soldier who day after day sits at the tavern spinning yarns about his heroic exploits.

The stories released by his imagination are an inextricable mixture of realism and naivety, of comic humor and pathos. Though superficially he appears to be merely a braggart, essentially he is a natural visionary and poet. That his stories are not true is irrelevant, for they are the fruit of a lively imagination, seeking to create, for himself and for others, a beautiful dream world.”

Kodály clearly had found the right topic. As a student of Hungarian folk music — together with Béla Bartók, he made countless recordings of authentic folk performances — he was able to create just the right atmosphere. The suite includes some of the most colorful tunes of the opera. After the Prelude, the young soldier arrives in Vienna and is mesmerized by the “Viennese Musical Clock.” For the ensuing “Song,” an actual Hungarian tune (“This side the Tisza, beyond the Danube”), Kodály employs the cimbalom (Hungarian hammer dulcimer). The battle movement contains a caricature of military music — including references to the “Marseillaise.” It ends with a mock funeral march featuring, surprisingly, a saxophone. During the “Intermezzo,” Hungarian soldiers try to enlist new recruits, as they dance to the traditional verbunkos rhythm. The last movement transforms the members of the court into fairy tale characters, thus revealing Háry’s fantastic adventures as folk tales.

-Siegwart Reichwald

In the play L’Arlésienne the title character actually never appears — so “L’Arlésienne” became a French tag for someone who fails to show up.

2016 Summer Institute & Festival

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BREVARD MUSIC CENTER | OVERTURE

MONDAY, JULY 11 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE INTERNATIONAL CONTEMPORARY ENSEMBLE Alice Teyssier, flute Joshua Rubin, clarinet Michael Nicolas, cello FULMER (1981-) DE OLIVEIRA (1936-) NAVARRO (1983-) LINDBERG (1958-) LEWIS (1952-) FUJIKURA (1977-)

Speak of the Spring for cello and electronics (2015) Sonar for bass clarinet with electronics (1998) Through for flute and bass flute (2015) Steamboat Bill, Jr. for clarinet and cello with video (1990) Shadowgraph 5, for ensemble (1977) featuring Brevard Music Center students being as one for soprano, clarinet, and cello (2013)

– BMC Alumnus

Alice Teyssier leads an exciting and unconventional career as a lyric soprano and flutist. She is a flutist with the International Contemporary Ensemble (ICE) and has appeared as a vocal soloist with San Diego Symphony, International Contemporary Ensemble, Talea Ensemble, the San Francisco Contemporary Music Players, Oberlin Contemporary Music Ensemble, and the Bach Collegium San Diego, amongst others.

She holds degrees from the Oberlin Conservatory and the Conservatoire de Strasbourg and is in the dissertation phase of her DMA at the University of California-San Diego. She lives in Brooklyn.

Joshua Rubin is a founding clarinetist and the co-Artistic Director of the International Contemporary Ensemble (ICE), where he oversees the creative direction of more than 140 events per season in the United States and abroad. As a clarinetist, the New York Times has praised him as, “incapable of playing an inexpressive note.” Recently he has been featured as a soloist with the Seattle Symphony (under Ludovic Morlot) and at the Mostly Mozart Festival at Lincoln Center, in engagements with the Nagoya Philharmonic Orchestra and the Saint Paul Chamber Orchestra, and has given solo performances of new music in New York, Chicago, Los Angeles, São Paulo, Rome and Berlin. He received degrees in Biology and Clarinet from Oberlin College and Conservatory, and his master’s degree from the Mannes College of Music, and is an alumnus of the Brevard Music Center.

Cellist Michael Nicolas is one of the rising stars of his generation and a dynamic performer on the classical and contemporary music scene, in demand as a soloist, chamber musician, recording artist, and teacher. Hailed by critics from the New York Times and Washington Post, the “brilliantly assured soloist” captivates audiences across North America, Europe, and Asia with his ravishing tone, refined musicality, and probing interpretations of a wide variety of repertoire. Of mixed French-Canadian and Taiwanese heritage, Michael was born in Winnipeg, Canada, and currently resides in New York City. He is a graduate of the Juilliard School. Michael’s debut solo album, Transitions, is available on the Sono Luminus label.

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MONDAY, JULY 11 TUESDAY, JULY 12

TUESDAY, JULY 12 7:30 PM WHITTINGTON-PFOHL AUDITORIUM JUST BRASS JANÁČEK (1854-1928)

Sokol Fanfare from Sinfonietta

CRESPO (1941-)

Bruckner Etude for Low Brass

GABRIELI (1557-1612)

Sonata pian e forte

HANDEL (1685-1759)

Six Pieces from The Water Music (arr. Martinet)

SUSATO (1500-1561)

Susato Suite (arr. Iveson) La morisque Branle quatre branles Ronde Basse danse bergeret Ronde mon amy Pavane bataille

INTERMISSION

ARNOLD (1921-2006)

Quintet No. 1, Op. 73

SCOTT (1908-1994)

Powerhouse (Arr. Parker/Rudd)

EWAZEN (1954-)

STRAUSS (1864-1949)

Allegro vivace Chaconne Con brio

Symphony In Brass Andante. Allegro Andante con moto Allegro vivace Vienna Philharmonic Fanfare

2016 Summer Institute & Festival

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BREVARD MUSIC CENTER | OVERTURE

WEDNESDAY, JULY 13 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE ALUMNI REUNION MOZART (1756-1791)

Kegelstatt Trio in E flat major, K. 498 Andante Menuetto Rondeaux. Allegretto Jonathan Cohen, clarinet Scott Rawls, viola Steve Cohen, piano

TORKE (1961-)

Corner in Manhattan Sixth Ave. in the Afternoon Bedford St. at Night Houston St. in the Morning Margaret Karp, violin Jonathan Karp, violin Aaron Karp, viola Benjamin Karp, cello

FRANÇAIX (1912-1997)

Trio for Oboe, Bassoon, and Piano Adagio Scherzo Andante Finale Andrew W. Parker, oboe Amy Pollard, bassoon Deloise Lima, piano

INTERMISSION DVOŘÁK (1841-1904)

– BMC Alumnus

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Piano Quintet No. 2 in A major, Op. 81 Allegro ma non tanto Dumka. Andante con moto Scherzo – Furiant. Molto vivace Allegro J. Patrick Rafferty, violin Byron Tauchi, violin Erin Rafferty, viola Michael Daniels, cello Eduard Zilberkant, piano

WEDNESDAY, JULY 13 ALUMNI GUEST PERFORMERS Clarinetist Jonathan Cohen began playing with The Saint Paul Chamber Orchestra in the 2014-15 season. He has performed as soloist with orchestras including the Louisiana Philharmonic Orchestra, the Montgomery Symphony Orchestra, and the Interlochen Arts Academy Orchestra, and will appear with the Minnesota Orchestra in the 2016-17 season. Jonathan’s major teachers have been his father Steve Cohen, Nathan Williams, Anthony McGill, Mark Nuccio, and Yehuda Gilad. He holds degrees from the Manhattan School of Music and The Juilliard School.

Michael Daniels currently serves as the principal cellist of the Virginia Symphony. He began studying the cello at age 12 in Spartanburg, South Carolina, and continued further studies at BMC. He later received his bachelor's and master's degrees from the Cincinnati CollegeConservatory of Music. He has been a member of the Swannanoa Chamber Music Festival, a faculty member at the Brevard Music Center, and a participant in the Grand Teton Summer Music Festival.

Violinist Jonathan Karp received the BA in English from Washington University in 2015, with minors in Music and Physics. There he studied violin with Silvian Iticovici and played with the St. Louis Symphony Youth Orchestra. He also worked for the school’s social justice center and was an organizer with St. Louis Students in Solidarity. In the fall, he will begin work on a Ph.D. in American Studies at Harvard University.

Aaron Karp, viola, will be a senior at Northwestern University double majoring in Music and Computer Science. He is a mentor with the Arts and Music Programs for Education in Detention Centers (AMPED), where he teaches residents at Cook County Temporary Detention Center the technical skills and creative aspects of music production. This summer he is conducting research in computer science at Northwestern.

Oboist Andrew W. Parker has performed throughout the United States in some of the country's most prestigious concert halls.

Dr. Parker received his BM from the SUNY Purchase College Conservatory of Music, MM from the Yale School of Music, and DMA from the University of Texas at Austin. His major teachers have been Rebecca Henderson, Stephen Taylor, Humbert Lucarelli, Johnathan Blumenfeld and Valerie Sulzinksi. Dr. Parker currently serves as Artistic Coordinator of the Brevard Music Center.

Amy Pollard is associate professor of bassoon at the Hugh Hodgson School of Music at the University of Georgia. She formerly served as lecturer of bassoon at Baylor University and has also been on faculty at the University of Dayton and the Cincinnati School for the Creative and Performing Arts. Pollard received her Doctor of Musical Arts and Master of Music degrees from the University of Cincinnati CollegeConservatory of Music, and a Bachelor of Music degree from Louisiana State University.

Violist Erin Rafferty grew up spending her summers at the Brevard Music Center, where she learned to love the orchestral repertoire. She received her master’s degree from Indiana University’s Jacob School of Music, and her bachelor’s degree from the University of Cincinnati College-Conservatory of Music, where she was the winner of the Geraldine Gee Scholarship and graduated cum laude. Her major teachers include Atar Arad, Roberto Diaz, Masao Kawasaki, and Catharine Carroll.

Violinist J. Patrick Rafferty served as Concertmaster of the Milwaukee Symphony orchestra, Associate Concertmaster of the Dallas Symphony, and as Concertmaster for the Brevard Music Center Orchestra, the Cincinnati Chamber Orchestra, the Dallas Bach Orchestra, and the Dallas Fine Arts Orchestras. Teaching positions have included the University of Wisconsin-Milwaukee, the University of Alabama, and the University of Louisville. His former students perform in many of the USA’s major symphonies, as well as holding teaching positions in excellent schools.

Russian born Eduard Zilberkant has an active career as conductor and pianist. A Yamaha performing artist, Dr. Zilberkant has been received enthusiastically by audiences and press alike throughout Europe, Canada, Asia, and the US. A Fulbright Scholar in Germany, Eduard Zilberkant received a Solisten Diploma from the Freiburg Musik Hochschule and a DMA from Temple University. For the past fifteen years he has been Music Director and Conductor of the Fairbanks Symphony Orchestra and the Arctic Chamber Orchestra.

2016 Summer Institute & Festival

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BREVARD MUSIC CENTER | OVERTURE

THURSDAY, JULY 14 7:30 PM SATURDAY, JULY 16 2:00 PM PORTER CENTER AT BREVARD COLLEGE

LEAD SPONSORS An Anonymous Benefactor A Loyal Friend of Brevard Music Center SUSTAINING SPONSOR Zimmerli Family Opera Endowment

THE MAGIC FLUTE Janiec Opera Company of the Brevard Music Center Jeffrey Buchman, stage director Brevard Festival Orchestra Jerome Shannon, conductor MUSIC LIBRETTO

Wolfgang Amadeus Mozart Emanuel Schikaneder ACT I INTERMISSION ACT II Danielle Schultz, scenic designer Tláloc López-Watermann, lighting designer Aaron Chvatal, co-costume designer Glenn Avery Breed, co-costume designer Sondra Nottingham, wig & makeup designer

CAST Tamino – Kevin Gino Papageno – Tyler Wolowicz Pamina – Laurie Ann Taylor Queen of the Night – Elisa Sunshine Sarastro – Matthew Fleisher 1st lady – Jennie Moser 2nd lady – Christina Scanlan 3rd lady – Allyson Goff Monostatos – Myles Garver 1st spirit – Sara Law 2nd spirit – Jennie Judd 3rd spirit – Brianna Bragg Speaker of the temple – Andrew O’Shanick 1st Priest – Alexander Sheerin 2nd Priest – August Bair Papagena – Rachel Anthony 1st Armored Man – Orin Strunk 2nd Armored Man – Steele Fitzwater

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CHORUS August Bair Brandon Bell Melanie Burbules Caroline Dunigan Steele Fitzwater Rudy Giron Matthew Queen Mackenzie Phillips Guillaume Poudrier Evelyn Saavedra Frederick Schlick Alexander Sheerin Camille Sherman Orin Strunk Adam Wells Asleif Willmer

THURSDAY, JULY 14 WOLFGANG AMADEUS MOZART (1756-1791) The Magic Flute Premiered on September 30, 1791, at the Theater auf der Wieden, Vienna, under the direction of the the composer.

Director’s Note: If childhood is a time of simplicity where life’s dilemmas fit into a mold of right & wrong, good & evil and likes & dislikes, adulthood is a time of complexity where we grow to accept that great love doesn’t come without great pain, where we knowingly do something wrong because we believe to be doing it for the right reasons, and where we give in to hedonistic temptation in spite of our awareness of its destructive power. The journey from simplicity to complexity is exemplified by adolescence, a time in our lives when we find ourselves questioning the hypocrisies of the world we are trying to understand. For me, these themes are at the heart of Mozart’s The Magic Flute, and the deeper messages, as well as the immediacy and charm of this ingenious work are heightened when told through adolescent eyes navigating the uncharted territory of a personal coming-of-age journey.

To this end, I have created a production where we are introduced to a young teenage boy in 1950’s America who is clearly being raised in a household that values reading, learning and imagination. As a gift from his father, he receives a book of The Magic Flute. He drifts off to sleep while reading the book late into the night, and his dreams transport him (along with other members of his family) deep into the story of The Magic Flute. He himself becomes the story’s protagonist, Tamino. Tamino’s journey becomes his journey, Tamino’s rites of passage his rites of passage and Tamino’s rewards his rewards. There is an important idea that is arguably raised in Mozart’s opera — that even supposedly “enlightened and wise” leaders can be so very wrong in their social beliefs and ideals, and that it sometimes takes the heart, mind and voice of a new generation to challenge and reshape those beliefs and ideals. In the Magic Flute, we see discrimination based on gender, race and perhaps age as well, and setting this piece in the 1950’s (more than 150 years after Mozart’s composition was penned), only reminds us how slow we are to change on our own paths toward greater enlightenment.

This production is dedicated to the child whose imagination takes him on exciting, magical journeys, as well as to the inner child in all of us that never stops questioning a world that clearly needs further questioning.

SYNOPSIS Overture In a typical 1950’s bedroom, we see a teenage boy along with his brothers, getting ready for bed. Their father arrives, sends the younger boys off to bed, and presents the teenage boy with a book of the Magic Flute as a gift. The boy falls asleep while reading the book, and transported through his dreams, becomes Tamino in the magical story of a boy’s journey into manhood.

Act 1 In a mythical land, three ladies in the service of the Queen of the Night save Tamino from a serpent. Left alone by his rescuers, Tamino meets the bird-catcher Papageno, who takes full credit for the rescue. The ladies return with a portrait of the Queen’s daughter, Pamina, who is supposedly enslaved by the evil Sarastro. Tamino is enamored by Pamina’s beauty, and the Queen appears commanding her rescue. Tamino receives a magic flute and Papageno magic bells to protect them on their dangerous mission.

Sarastro’s slave Monostatos is pursuing Pamina. Papageno enters and scares him away, telling Pamina about her imminent rescue

by Tamino. In the meantime, Tamino learns from a priest about the Queen’s evil character. Grateful for the news, Tamino plays his flute in hope of finding Pamina. Pamina hears Papageno’s pan pipes and follows the sound. Just as Papageno and Pamina are caught

by Monostatos, the bird-catcher uses his magic bells, putting his captors under a trance. Sarastro enters, punishes Monostatos and promises Pamina eventual freedom. Tamino is led in. Sarastro orders Tamino and Papageno to be taken into the temple for purification.

Act 2 Sarastro presents Tamino to the priests in order to endure the purification trials to ensure his union with Pamina. Tamino and Papageno’s first trial is a vow of silence, during which they encounter the evil Queen’s three ladies. They are able to drive them away without breaking their silence. In another area of the temple, Monostatos is about to kiss the sleeping Pamina. The Queen of the Night appears, giving Pamina the choice to save Tamino and herself by killing Sarastro with her dagger. After the Queen leaves, Monostatos, having overheard the Queen’s plot, demands Pamina’s love in exchange for his silence to Sarastro. Instead, Pamina reveals her mother’s plot directly to Sarastro, begging his forgiveness.

Tamino and Papageno, thirsty and still bound to silence, are offered water by an old lady. As she disappears, three boys bring food. Pamina enters. Not knowing of Tamino’s trial of silence, she is deeply hurt by his refusal to speak to her. Left alone, Papageno rings his magic bells and sings about his desire to have a wife. The old woman appears again and asks for his hand in marriage. When Papageno finally halfheartedly agrees, she is revealed as the beautiful young Papagena, but is swept off by the priests who determine that Papageno is not yet worthy of her.

Pamina, unsure of her ability to reach enlightenment, is tempted to kill herself with her dagger, but the three of boys bring her new hope, taking her to be with Tamino. Finally together again, Pamina and Tamino are ready to face the trials of water and fire, agreeing never to be separated. With the aid of his magic flute, they are able to negotiate the final challenges together. Papageno is unable to find his bride, and out of sadness, he decides to hang himself. But before he is able to do so, the three boys remind him to use his magic bells which work to bring Papagena back. The Queen of the Night promises Monostatos her daughter’s hand as they attempt to destroy Sarastro’s temple. But their efforts are in vain. The priests drive them out of the temple.

Darkness gives way to light, and as the sun rises, we are back in the young boy’s bedroom seeing him greeted by his family as he wakes from his fantastic dream.

- Jeffrey Buchman

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FRIDAY, JULY 15 7:30 PM

In memory of Henry Janiec

WHITTINGTON-PFOHL AUDITORIUM MAHLER 5 Brevard Music Center Orchestra Keith Lockhart, conductor Nicole Cabell, soprano STRAUSS (1864-1949)

Tonight's concert is performed in memory of Maestro Henry Janiac (1929-2015) - BMC Artistic Director for over three decades.

Four Last Songs Frühling September Beim Schlafengehen Im Abendrot Ms. Cabell, soprano

INTERMISSION

MAHLER (1860-1911)

Symphony No. 5 Trauermarsch Stürmisch bewegt, mit größter Vehemenz Scherzo Adagietto Rondo. Finale

– BMC Alumnus

RICHARD STRAUSS (1864-1949) Four Last Songs

Premiered in London on May 22, 1950, by Kirsten Flagstad, accompanied by the Philharmonia Orchestra under Wilhelm Furtwängler.

Strauss’s career as a composer spanned six decades and two world wars. He had seen the best and the worst in man. Always in the public’s eye, he had experienced tremendous triumphs and utter defeat. At the end of World War II he was in his eighties, struggling to put his life together as best as he could. The agony of personal loss is expressed deeply in his Metamorphosen, finished in 1945. By 1947 Strauss had regained some public trust, and he was able to find work again as composer and performer — only to realize that his strength was failing him. In

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May 1948 Strauss turned to the Eichendorff poem Im Abendrot (At Sunset) to compose one of his most personal songs. It is not difficult to imagine Strauss and his wife of over 50 years, sitting in their home in Garmisch, as we hear the opening verse, “In times of trial and joy we have gone hand in hand, now we can rest from our travels over the still land.” Only a month later Strauss composed three Hermann Hesse songs with a similarly introspective tone about the passing of time. He did not seem to conceive these four songs as cyclical and chose not to publish them, indicating their personal nature. Musically, these songs show the polish and mastery of a seasoned composer in complete control of his craft. Artistically, Strauss not only seems to find deep satisfaction in giving expression to the words, but we find a man once again at peace with himself and the world around him.

FRIDAY, JULY 15 GUSTAV MAHLER (1860-1911) Symphony No. 5

Premiered on October 18, 1904, in Cologne under the direction of the composer.

In a conversation with Sibelius, Mahler famously declared that, “A Symphony must be like the world — it must contain everything.”

His Fifth Symphony seems to do just that, as Mahler broke free from music inspired by folk tales and song. In fact, right from the start of his Fifth, Mahler refers back to the greatest symphonist of all — Beethoven. The opening funeral march brings to mind Beethoven’s Third, and the four-note motif played by the trumpet invokes the beginning of Beethoven’s Fifth. The trajectory is clear: a journey from darkness to light, from despair to hope, from loneliness to companionship.

In February 1901, Mahler came within an hour of bleeding to death from a hemorrhage. It took two surgeries and much rest for the overworked composer to fully recover. The “summer composer” — as he referred to himself — would pen much dark

music during the following summer at his villa at Maiernigg, including four of the Rückert Lieder and the first two movements of his Fifth Symphony. While the funeral march expresses deeply felt grief, the ensuing movement communicates despair and anger. The central Scherzo movement is full of drama, situated partly in the country (Ländler) and partly in Vienna (Waltz).

Then something remarkable and unexpected happens: the unsurpassed tenderness and beauty of the Adagietto shines into the darkness of Mahler’s world. According to his friend Willem Mengelberg, it was his “declaration of love to Alma! Instead of a letter, he confided it in this movement without a word of explanation. She understood and replied: He should come!!!” The movement runs straight into the celebratory Rondo-Finale, which leaves no doubt of the outcome: Mahler’s bleak “and-of-theworld” experience is replaced by pure bliss.

-Siegwart Reichwald

One of Strauss’s last wishes was that Kirsten Flagstad should be the first to sing his last songs.

TEXTS AND TRANSLATIONS STRAUSS Four Last Songs I. FRÜHLING — HERMANN HESSE

I. SPRING — HERMANN HESSE

In dämmrigen Grüften träumte ich lang von dein Bäumen und blauen Lüften, von deinem Duft und Vogelsang.

In dusky graveyards I dreamed long of your trees and blue skies, of your scent and your birdsong.

Nun liegst du erschlossen in Gleiss und Zier von Licht übergossen wie ein Wunder vor mir.

Now you lie uncovered glittering and ornamented bathed in light like a jewel before me.

Du kennst mich wieder, du lockst mich zart, es zittert durch all meine Glieder deine selige Gegenwart!

You recognize me, you entice me gently, A shudder runs through my body your blissful presence!

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II. SEPTEMBER — HERMANN HESSE

Der Garten trauert, kühl sinkt in die Blumen der Regen.

Der Sommer schauert still seinem Ende entgegen.

II. SEPTEMBER — HERMANN HESSE

The garden grieves, cool sinks the rain into the flowers.

The summer shivers quietly at the prospect of its end.

Golden tropft Blatt um Blatt nieder vom hohen Akazienbaum.

Sommer lächelt erstaunt und matt in den sterbenden Gartentraum.

Golden drop the leaves slowly from the tall acacia trees.

Summer smiles faintly and in surprise in the dying dream of the garden.

Lange noch bei den Rosen bleibt er stehn, sehnt sich nach Ruh, langsam tut er die müdgeword'nen Augen zu.

For a long time it lingers upon the roses, longing for rest, Slowly it crosses its great now weary eyes.

III. BEIM SCHLAFENGEHEN — HERMANN HESSE

III. UPON GOING TO SLEEP — HERMANN HESSE

Nun der Tag mich müd' gemacht, soll mein sehnliches Verlangen freundlich die gestirnte Nacht wie ein müdes Kind empfangen.

Made tired by the day now, my passionate longing shall welcome the starry night like a tired child.

Hände, lasst von allem Tun, Stirn, vergiss du alles Denken, alle meine Sinne nun wollen sich in Schlummer senken.

Hands, leave all your activity, brow, forget all thought, for all my senses are about to go to sleep.

Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief and tausendfach zu leben.

And my soul, unguarded will float freely, in order to live in the magic circle of the night deep and a thousand fold.

IV. IM ABENDROT — JOSEPH VON EICHENDORFF

IV. AT SUNSET — JOSEPH VON EICHENDORFF

Wir sind durch Not und Freude gegangen Hand in Hand, vom Wandern ruhen wir nun überm stillen Land.

In times of trial and joy we have gone hand in hand, now we can rest from our travels over the still land.

Rings sich die Täler neigen, es dunkelt schon die Luft; zwei Lerchen nur noch steigen nachträumend in den Duft.

All around the valleys descend, the sky is already growing dark; only two larks ascend night dreaming into the fragrant air.

Tritt her und lass sie schwirren, bald ist es Schlafenszeit, dass wir uns nicht verirren in dieser Einsamkeit.

Come closer and leave them to their fluttering, soon it will be time for sleep, lest we go astray in this lonely hour.

O weiter, stiller Friede!

So tief im Abendrot.

Wie sind wir wandermüde; ist dies etwa der Tod?

Oh, boundless, silent quietude so profound in the sunset!

How tired we are of our traveling; can this perhaps be death?

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SATURDAY, JULY 16 SATURDAY, JULY 16 7:30 PM WHITTINGTON-PFOHL AUDITORIUM SYMPHONIE FANTASTIQUE Brevard Sinfonia Robert Moody, conductor Mason Bates, electronica BATES (1977-)

BATES (1977-)

Rusty Air in Carolina Mr. Bates, electronica

Alternative Energy Mr. Bates, electronica

INTERMISSION

BERLIOZ (1803-1869)

Symphonie fantastique Rêveries, passions Un Bal Scène aux champs Marche au supplice Songe d’une Nuit du Sabbat

– BMC Alumnus

MASON BATES (1977-) Rusty Air in Carolina

Premiered on May 21, 2006, by the Winston-Salem Symphony under the direction of Robert Moody.

Not only is this composition about summer in the Carolinas, it is about the composer’s experience at Brevard: Not only did the thick buzzing of cicadas and katydids always accompany the concerts there, but sometimes it was the music itself: on more than one occasion, I remember sitting on the porch of 100-year old Nan Burt and listening to the sounds of summer while she told stories from her long life.

The work uses electronics to bring the white noise

of the Southern summer into the concert hall, pairing these sounds with fluorescent orchestra textures that float gently by. “Nan’s Porch” begins at dusk, while the katydids make their chatter. Three orchestral clouds — each inhabiting a different harmony, register, and orchestration — hover in the heavy air, and they ultimately begin to meld together when the cicadas start their singing. The climax of this movement sends us into “Katydid Country,” when the ambience of the first movement evolves into a bluesy, rhythmic tune. The clicks of the katydids become a beat track over which the orchestra, in a smaller, more chamber setting, riffs on a simple tune inspired by old-time blues. It is said that katydids are loudest at midnight, and as the work reaches its central point, the rhythmic katydid music at last finds its melody.

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Soaring in the strings over the last breaths of the blues tune, this long-lined melody moves us into “Southern Midnight.” The three distinct textures from the opening return, but now each is brought to life by a phrase of the melody. At the close of this lyrical section, we hover in that strange space between night and day, when only the singing of the first bird alerts us to the approaching dawn. But it is a hot, Southern dawn, both sparkling and heavy, with the air made rusty again by the buzzing cicadas (popularly called locusts).

The bluesy tune begins to creep back into the middle register, while above and below figuration buzzes about in different tonalities.

MASON BATES (1977-) Alternative Energy

Premiered on February 2, 2012, in Chicago under the direction of Riccardo Muti.

Again, in the composer’s own words: Alternative Energy is an “energy symphony” spanning four movements and hundreds of years. Beginning in a rustic Midwestern junkyard in the late 19th century, the piece travels through ever greater and more powerful forces of energy — a present-day particle collider, a futuristic Chinese nuclear plant — until it reaches a future Icelandic rainforest, where humanity’s last inhabitants seek a return to a simpler way of life.

The idée fixe that links these disparate worlds appears early in “Ford’s Farm, 1896.” This melody is heard on the fiddle — conjuring a figure like Henry Ford — and is accompanied by junkyard percussion and a “phantom orchestra” that trails the fiddler like ghosts.

The accelerando cranking of a car motor becomes a special motif in the piece, a kind of rhythmic embodiment of ever-more-powerful energy. Indeed, this crank motif explodes in the electronics in the second movement’s present-day Chicago, where we encounter actual recordings from the FermiLab particle collider. Hip-hop beats, jazzy brass interjections, and joyous voltage surges bring the movement to a clangorous finish.

Zoom a hundred years into the dark future of the “Xinjiang Province, 2112” where a great deal of the Chinese energy industry is based. On an eerie wasteland, a lone flute sings a tragically distorted version of the fiddle tune, dreaming of a forgotten natural world. But a powerful industrial energy simmers to the surface, and over the ensuing hardcore techno, wild orchestral splashes drive us to a catastrophic meltdown. As the smoke clears, we find ourselves even further into the future: a Icelandic rainforest on a hotter planet. Gentle, out-of-tune pizzicato accompany our fiddler, who returns over a woody percussion ensemble to make a quiet plea for simpler times.

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The occasional song of future birds whip around us, a naturalistic version of the crank motif. Distant tribal voices call for the building of a fire — our first energy source.

HECTOR BERLIOZ (1803-1869) Symphonie fantastique

Premiered on December 5, 1830, in Paris.

Mark Twain famously said, “Truth is stranger than fiction.” In case of this symphony, I’d say it’s a tie. When Berlioz composed one of the most pivotal 19th-century works — and one with the weirdest stories — he did what Romantic composers do: write about their own lives. Berlioz was madly in love with Shakespearean actress Harriet Smithson. Realizing that he was a struggling, virtually unknown composer, he poured his angst into this symphony.

Given the progressive nature of his compositional approach, Berlioz felt it necessary to provide the following program: 1. Reveries – Passions. A young musician sees a woman who embodies his ideals, and he falls desperately in love. The mere thought of her brings to his mind an obsessive melody. In the first movement his state of mind progresses from a melancholy reverie to fitful passions.

2. A Ball. Even at a ball the obsessive thought of his beloved and its melody return.

3. Scene in the Country. In the country, the artist’s mind is calmed by shepherds piping a folk melody.

Suddenly a dark thought comes to him — perhaps the beloved is not as perfect as he has imagined.

4. March to the Scaffold. In despair he takes opium and has a hellish nightmare. He imagines that he has killed his beloved, and he thinks one last time of her before the blade falls.

5. Dream of a Witches’ Sabbath. He awakens in hell, surrounded by witches. Their number is joined by the beloved, who has come to taunt him in a devilish orgy.

Funeral bells and the funeral chant “Dies Irae” (Day of Wrath”) are heard, and the witches then dance gleefully around him.

Having basically abandoned symphonic conventions, Berlioz had to figure out a way to help the audience follow along. His solution was brilliant. Possibly drawing on ideas from his medical studies, he employed an idée fixe, “a single pathological preoccupation in an otherwise sound mind.” Expressed as a musical motif, this obsession with the beloved controlled both Berlioz’s mind as well as his masterwork. While the symphony ends with a nightmare, the real story ends in marriage. Obviously, Berlioz had gotten the actress’s attention — once it was pointed out to her that this story was about her. Thus ends one of the strangest courtships in the history of music.

-Siegwart Reichwald

Rusty Air in Carolina is about Mason Bates’s experience at Brevard.

MONDAY, JULY 18 MONDAY, JULY 18 7:30 PM PORTER CENTER AT BREVARD COLLEGE BMC ARTIST FACULTY III

BUSONI (1866-1924)

Violin Sonata No. 2 in E minor, Op. 36a Langsam Presto Andante, piuttosto grave. Andante con moto Carolyn Huebl, violin Craig Nies, piano

INTERMISSION

WALTON (1902-1983)

Façade: An Entertainment Fanfare (Instrumental) Hornpipe En Famille Mariner Man Long Steel Grass (Trio for Two Cats and a Trombone) Through Gilded Trellises Tango-Pasodoble (I do like to be beside the Seaside) Lullaby for Jumbo Black Mrs. Behemoth Tarantella A Man From a Far Country

By the Lake Country Dance Polka Four in the Morning Something lies beyond the Scene Waltz Swiss Jodelling Song Scotch Rhapsody Popular Song Fox Trot (Old Sir Faulk) When Sir Beelzebub

Dilshad Posnock, flute/piccolo Eric Ginsberg, clarinet/bass clarinet Joseph Lulloff, alto saxophone Mark Schubert, trumpet Gwendolyn Dease, percussion Susannah Chapman, cello Joseph Evans, reciter – BMC Alumnus

2016 Summer Institute & Festival

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FERRUCCIO BUSONI (1866-1924) Violin Sonata No. 2 in E minor, Op. 36a

WILLIAM WALTON (1902-1983) Façade: An Entertainment

Busoni is one of those fascinating composers whose contributions have not yet been fully appreciated. During his lifetime he was celebrated as pianist. His focus was the music of Bach, Mozart, and Liszt. Yet his interests were much broader and included Amerindian folk music and Gregorian chant. He also explored new scales and microtones. Yet as a composer he would eventually reject atonality in favor of “Junge Klassizität” (Young Classicism), a style that would develop eventually into what we now call Neoclassicism.

London, January 1922. In a brightly lit room, performers rehearse Façade for the first time. Two problems: the score seemed absolutely hideous, which led to puzzlement and even anger amongst the performers. It also didn’t help that it was freezing cold, “so cold that they could hardly use their lips or fingers.”

Osbert Sitwell, the brother of the poet Edith Sitwell and good friend of Walton, knew what to do. He brought out the gin, which not only warmed the musicians but presumably helped them to see the truly funny nature of the collaborative venture. Thus began the notorious case of Walton’s most unusual composition.

Busoni’s Second Violin Sonata is a fascinating work on many levels. Made up of eleven connected movements, it is unlike any other sonata. Busoni’s experience as performer is obvious in his ability to create a duet in the truest sense of the word, as the violin and piano engage in beautiful and intimate dialog. The work is as much intellectually stimulating as it is emotionally engaging.

The inward-looking tone is the antithesis of virtuosity, which might explain why his success as a pianist unjustly overshadowed his compositional achievements. Yet it is this sonata that helped him move forward as a composer and helped him define who he was as an artist.

Some people might say that no amount of gin will help this piece. Composed seemingly strictly for fun — with no hidden meaning — the poetry only provides clever rhymes, rhythm, and sound. The text is not supposed to make logical sense (although some scholars have detected personal references to her unhappy childhood). Edith Sitwell had experimented with Sound Poetry extensively. So when the young and impressionable Walton moved into their London home (he was good friends with her two younger brothers), Sitwell realized her opportunity to expand her approach to Sound Poetry with a musician in the home, and she convinced him to write songs together. Walton quickly became a willing collaborator, and over the next few months they realized that they were onto something.

While it might be easy to dismiss Façade as a “youthful indiscretion,” history tells otherwise. Walton would revise Façade for the next 30 years, offering various versions with or without poetry for different ensembles. Even after the BBC offered a “complete” broadcast on March 3, 1930, Walton continued his revisions until 1951 and the first publication of the full score.

As late as the 1970s, the composer still added new pieces.

Obviously, there’s more to this piece than just a “façade.”

-Siegwart Reichwald

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TUESDAY, JULY 19 TUESDAY, JULY 19 7:30 PM PORTER CENTER AT BREVARD COLLEGE APOLLO'S FIRE - SUGARLOAF MOUNTAIN: AN APPALACHIAN GATHERING Jeannette Sorrell, harpsichord & direction Amanda Powell, soprano vocals Ross Hauck, tenor vocals Tina Bergmann, hammered dulcimer

Susanna Gilmore, fiddle Kathie Stewart, wooden flutes Brian Kay, lute, guitar, banjo René Schiffer, cello

PROLOGUE: The Mountains of Rhùm (arr. Sorrell) FAREWELL TO THE ISLES CROSSING TO THE NEW WORLD DARK MOUNTAIN HOME

CAMPFIRE TALES

We'll Rant & We'll Roar (arr. Sorrell) Farewell to Ireland - Highlander's Farewell The Cruel Sister (arr. Jeannette Sorrell) Se fath mo buartha - The Butterfly Barney Brallaghan (arr. Stewart) Nottamun Town (arr. Kay) Black is the Color of My True Love’s Hair (arr. Schiffer/Sorrell) I Wonder as I Wander - Kitchen Girl Over the Isles to America (arr. Sorrell) A Southern Jack Tale – Part I: The Fox Went Out on a Chilly Night (arr. Sorrell) A Frog He Went a-Courtin’ (arr. Sorrell)

INTERMISSION

FRONT PORCH LOVE & LOSS

GLORY ON THE MOUNTAIN APPALACHIAN HOME

Oh Susanna! (arr. Sorrell) Pretty Peg/Far from Home (variations by Schiffer) Once I Had a Sweetheart Wayfaring Stranger Pretty Betty Martin/Katy Did/Red Rockin' Chair (arr. Bergmann) Just Before the Battle, Mother Go March Along Glory in the Meeting House Oh Mary, Don't You Weep A Southern Jack Tale - conclusion Sugarloaf Mountain (lyrics and arr. Sorrell) 2016 Summer Institute & Festival

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WEDNESDAY, JULY 20 7:30 PM

SPONSOR Donna Lohr

PORTER CENTER AT BREVARD COLLEGE BILL PREUCIL AND FRIENDS FAURÉ (1845-1924)

Violin Sonata No. 1 in A major, Op. 13 Allegro molto Andante Allegro vivo Allegro quasi presto William Preucil, violin Kayoko Miyazawa*, piano

INTERMISSION

BRAHMS (1833-1897)

*BMC student + guest performer

Piano Quintet in F minor, Op. 34 Allegro non troppo Andante, un poco adagio Scherzo. Allegro Finale. Poco sostenuto - Allegro non troppo Presto, non tropppo William Preucil, violin Jason Posnock, violin Scott Rawls, viola Jonathan Spitz, cello Bruce Murray+, piano

– BMC Alumnus

Guest Performer Bruce Murray is no stranger to Brevard audiences. Currently Professor of Music and Chair of the Department of Music at Miami University, Dr. Murray served as Dean and Artistic Administrator of the Brevard Music Center from 2003 to 2012.

He is an active recitalist, known especially for his performances of Bach, Beethoven, Liszt, and new music. He has performed Bach’s Goldberg Variations some fifty times on three continents. Murray’s repertoire of concertos includes more than forty works for piano and orchestra. The list of conductors with whom he has performed includes Keith Lockhart, Matthias Bamert, Shinik Hahm, David Effron, Louis Lane, Anshel Brusilow, and Paul Polivnick. Murray has played chamber music and recitals with many important musicians of our time, including Frederica von Stade, Roberto Diaz, Elmar Oliveira, Ransom Wilson, Michael Thompson, Carol Wincenc, Andres Cardenes, Marianne Gedigian, Gail Williams, Øystein Baadsvik, Andres Diaz, Jeffrey Nelsen, the Audubon Quartet, and Miles Hoffman. Murray and violinist William Preucil presented recital series at the Brevard Music Center that included all of the violin/piano sonatas of Beethven and Brahms. During his twenty-year tenure with the renowned Cadek Trio, Murray performed virtually the entire repertoire of music for piano, violin, and cello. Bruce Murray is a Steinway Artist.

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WEDNESDAY, JULY 20 GABRIEL FAURÉ (1845-1924) Violin Sonata No. 1 in A major, Op. 13

Premiered on January 27, 1877, by violinist Marie Tayau with the composer at the piano.

In this sonata you can find everything to tempt a gourmet: new forms, excellent modulations, unusual tone colors, and the use of unexpected rhythms. And a magic floats above everything, encompassing the whole work, causing the crowd of usual listeners to accept the unimagined audacity as something quite normal. With this work Monsieur Fauré takes his place among the masters.

Saint-Saëns’s reaction to the premiere of this work speaks volumes — especially considering that he was Fauré’s teacher. In fact, Fauré wrote that “Saint-Saëns said that he felt that sadness mothers feel when they see their children are too grown up to need them any more!” Despite the obvious success of this astonishing work, Fauré had to wait another 15 years before his artistry was appreciated by the broader public.

What makes this sonata so rewarding is Fauré’s ability to compose in an essentially lyrical, song-like style (he is after all known as the French Schubert), yet within the context of sonata conventions. Not only does he write expertly for both instruments, but his fresh approach to traditional forms shows a high level of artistry, which is the reason why this work is not only considered his earliest masterwork, but it became a model for the next generation of French composers.

JOHANNES BRAHMS (1833-1897) Piano Quintet in F minor, Op. 34

‘Tis a lesson you should heed: Try, try, try again.

If at first you don’t succeed, Try, try, try again.

- William Edward Hickson (1803-1870) While Brahms might not have known this famous proverb by his British contemporary, the Piano Quintet is a perfect example of the kind of persistence the educational writer Hickson is talking about. This chamber work underwent not one but two drastic makeovers before it would meet the lofty standards of Brahms and friends. Conceived in 1862 as a string quintet, the famous violinist Joachim felt that something was missing, and he tactfully told his friend: “I am unwilling to let the quintet pass out of my hands without having played it to you. I do not wish to dogmatize on the details of a work which in every line shows some proof of overpowering strength. But what is lacking is, in a word, charm.

After a time, on hearing the work quietly, I think you will feel the same as I do about it.”

Brahms took the constructive criticism in stride and went back to work. Realizing that he wasn’t able to fix it easily, Brahms decided to turn his work of “overpowering strength” into a sonata for two pianos. Brahms presumably felt good about his sonata — until his musical confidant Clara Schumann took a closer look: “The work is splendid, but it cannot be called a sonata. Rather it is a work so full of ideas that it requires an orchestra for its interpretation.

The first time I tried the work I had a feeling that it was an arrangement. So please remodel it once more!” One might think that Brahms would now either give up or ignore his friends’ comments. Instead, the composer went back to work yet again, heeding the advice of a third friend, Hermann Levi, to rewrite the work for piano quintet. Thus Brahms’s complex musical ideas finally found expression, and Levi declared that “the Quintet is beautiful beyond words.” Thanks to countless hours of hard work, humble and honest reassessments, and the input of caring friends, Brahms’s only Piano Quintet would become one of the finest examples of “absolute music” — music with profound inner logic, depth of expression, and meaning that lies beyond words.

Maybe it’s not really that surprising, after all, that it took Brahms fourteen years to compose his First Symphony. . .

-Siegwart Reichwald

2016 Summer Institute & Festival

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THURSDAY, JULY 21 7:30 PM

SERIES SPONSOR BMC Presents Hampton Inn - Brevard

PORTER CENTER AT BREVARD COLLEGE BMC PRESENTS: HARPETH RISING Jordana Greenberg, violin Maria Di Meglio, cello Michelle Younger, banjo Chamberfolk: Three classically trained musicians playing original music, as intricately arranged as a string quartet, lyrically rooted in the singer/ songwriter tradition, and wrapped in three-part vocal harmonies reminiscent of both Appalachia and Medieval Europe. Building from the tonal depth of the cello (or is it a bass?), layer in the shimmering sounds of a violin and the strikingly natural addition of banjo to create a sound at once familiar and impossible to categorize.

Unapologetic genre-benders, Harpeth Rising fuses Folk, Newgrass, Rock and Classical into something organically unique.

The three musicians each hold classical performance degrees from some of the most venerated schools in the world: Indiana University, Oberlin, Eastman School of Music. But their classical background is only one dimension of this trio’s powerful musical voice. Hailing from vastly different parts of North America, each member of Harpeth Rising brings different influences to the core sound. Born in Brooklyn, NY, Maria Di Meglio began the cello in 4th grade, and developed her playing style studying both classical music and traditional songs of her families’ ancestry across Western Europe and the Caucasus. Michelle Younger of Charlottesville, VA comes by her modern spin on old-time infused banjo authentically; her family has been in the United States for generations, and she is a direct descendent of Cole Younger, a member of the James-Younger Gang and the namesake of his very own banjo tune. Jordana Greenberg, violin, grew up listening to the sounds of Stan Rogers, Leonard Cohen and Natalie McMaster in her native Canada before moving to Southern Indiana as a child. She studied classical violin by day through the pre-college program at Indiana University, and spent her nights learning the folk tunes and classic rocks songs that her family plays at the annual post-Passover jam session.

All three women began singing after they completed their instrumental studies, and found a passionate new musical avenue. They developed their voices and arrangements to bring life to the lyrical expressiveness of their original songs. Hallmarks of their music include expansive three-part harmonies, consummate musicianship and a deft, yet soulful, lyrical perspective.

Their most recent album, SHIFTED, debuted at #1 on the Folk-DJ charts and was released to international acclaim. Tim Carroll of Folkwords wrote “Choose words to define this latest album – progressive, creative, innovative, imaginative - they all describe what’s on offer…Alternatively, don’t attempt to categorise their ingenuity with words, take the shortest route, immerse yourself in Harpeth Rising and let the music carry you with its flow.” Chris Spector at Midwest Record said “Taking Newgrass to the next dimension, taking back lyric writing as an art form, if you’ve cleaned your ears out recently, this set is going to blow your mind. One of a kind, in a class by itself and simply superlative throughout.”

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Overture

THURSDAY, JULY 21 THURSDAY, JULY 21 7:30 PM STRAUS AUDITORIUM BREVARD SYMPHONIC WINDS Kraig Alan Williams, conductor

MASLANKA (1943-)

Symphony No. 8

REED (1921-2005)

Rosalind in the Forest of Arden

DE MEIJ (1953-)

GATES (1948-2007)

Symphony No. 1, “The Lord of the Rings”

Icarus and Daedalus Fantasy

2016 Summer Institute & Festival

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BREVARD MUSIC CENTER | OVERTURE

FRIDAY, JULY 22 7:30 PM

SUSTAINING SPONSOR Kristine and John Candler

WHITTINGTON-PFOHL AUDITORIUM SAINT-SAËNS PIANO CONCERTO NO. 2 GINA BACHAUER MEMORIAL CONCERT Brevard Music Center Orchestra David Effron, conductor Conrad Tao, piano SHOSTAKOVICH (1906-1975)

SAINT-SAËNS (1835-1921)

Official piano of the Brevard Music Center

Festive Overture, Op. 96

Piano Concerto No. 2 in G minor, Op. 22 Andante sostenuto Allegro scherzando Presto Mr. Tao, piano

INTERMISSION

PROKOFIEV (1891-1953)

Symphony No. 5 in B flat major, Op. 100 Andante Allegro marcato Adagio Allegro giocoso

– BMC Alumnus

DMITRI SHOSTAKOVICH (1906-1975) Festive Overture, Op. 96

Premiered on November 6, 1954, in Moscow under the direction of Alexander Melik-Pashayev.

The composition of Shostakovich’s Festive Overture highlights the best and worst of Soviet realities — in a comical sort of way.

Just days before the 57th celebration of the October Revolution, it became apparent that nobody had thought about selecting a suitable opener for the occasion. Lev Lebedinsky remembers:

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Overture

In desperation Nebol’s in came to see Shostakovich at his flat. “You see, Dmitri Dmitriyevich, we are in a tight spot. We’ve got nothing to open the concert with.” All right,” said Shostakovich [and] started composing. The speed with which he wrote was truly astounding.

Moreover, when he wrote light music he was able to talk, make jokes and compose simultaneously, like the legendary Mozart. After an hour or so Nebol’sin started telephoning: “Have you got anything ready for the copyist? Should we

FRIDAY, JULY 22 send a courier?” A short pause and then Dmitri Dmitriyevich answered, “Send him.” Dmitri Dmitriyevich sat there scribbling away and the couriers came in turn to take away the pages while the ink was still wet.” Two days later the dress rehearsal took place. I hurried down to the Theatre and I heard this brilliant effervescent work, with its vivacious energy spilling over like uncorked champagne.

CAMILLE SAINT-SAËNS (1835-1921) Piano Concerto No. 2 in G minor, Op. 22

Premiered on May 13, 1868, in Paris under Anton Rubinstein with the composer as soloist.

This is one of the most curious concertos of the 19th century — both in its genesis and compositional approach. When Rubinstein and Saint-Saëns wanted to quickly add an extra event to their eight-concert collaboration, the only date available was still three weeks away — giving Saint-Saëns the crazy idea that he would have enough time to produce a new work. Within the next 17 days he composed, learned, and rehearsed the work under Rubinstein’s baton in time for the premiere. Only thing is: it flopped. Had it been written in too much haste? Was Saint-Saëns’s unconventional approach to the genre too far out?

Franz Liszt, who was at the premiere, didn’t think so. And as it turns out, he was right. This seemingly hastily thrown-together concerto would become one of his most popular works.

The reason for the work’s rocky reception was presumably its seemingly incongruent styles. Polish pianist and composer Zymund Stojowski called it a work that “begins with Bach and ends with Offenbach” — a description that is not far from the truth. The opening movement is more like a Bach Fantasia than an opening concerto movement, and the last movement has all the playfulness and intrigue of an Offenbach Operetta. And to top it off, a slow movement is completely absent, as the central movement is a breathless Scherzo. While the movements on their own seem odd, as a whole the concerto works fantastically well.

In fact, it brings a freshness and originality to the stage that is spell-binding. In a way this work is a summation of Saint-Saëns’s personality of wit, refinement, and great ingenuity

With the US premiere of his 5th Symphony, Prokofiev made the cover of the November 19, 1945 issue of Time magazine.

SERGEI PROKOFIEV (1891-1953) Symphony No. 5 in B flat major, Op. 100

Premiered January 31, 1945, at Moscow Conservatory by the USSR State Symphony Orchestra under the direction of the composer.

Nothing can better frame the context of this concerto than the following excerpts from the 1945 Time article: In the Great Hall of the Moscow Conservatory, the intermission had just ended.

It was exactly 9:30 p.m. A woman announcer in a black dress stepped to the platform. Said she: “In the name of the fatherland there will be a salute to the gallant warriors of the First Ukrainian front who have broken the defenses of the Germans — 20 volleys of artillery from 224 guns.” The dark days of Stalingrad were over; the Polish offensive of January 1945 had begun.

As she spoke, the first distant volley shook the hall.

A lank, bald-headed man in white tie and tails, who bore a slight resemblance to U.S. Senator Robert Taft, mounted the podium and stood with bowed head, facing the Moscow State Philharmonic. He seemed to be counting off the rumbles of artillery. At the 20th, he raised his baton and began the world’s premiere of his newest symphony. The bald-headed conductor was Russia’s greatest living musician, Sergei Prokofiev.

Last week in Boston’s Renaissance Symphony Hall, that same music, Prokofiev’s Fifth, had its U.S. premiere. It was large in scale, a great, brassy creation with some of the intricate efficiency and dynamic energy of a Soviet power plant and some of the pastoral lyricism of a Chekhov countryside.

The man who introduced it to the U.S., the Boston Symphony’s famed Russian-born Sergei Koussevitsky, was ecstatic. He called the Fifth “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...Prokofiev is the greatest musician today! Nobody else can write with such technical perfection, with such instrumentation.

And all the time there is beautiful melody!” Not all Boston’s music-goers share Koussevitsky’s enthusiasm for his fellow Russians — Prokofiev and Dmitri Shostakovich — but they respect his judgment.

Koussevitsky rates 39-year-old Shostakovich as a great-composer-to-be and 54-year-old Prokofiev as a great composer who has already arrived.

-Siegwart Reichwald

2016 Summer Institute & Festival

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BREVARD MUSIC CENTER | OVERTURE

SATURDAY, JULY 23 7:30 PM WHITTINGTON-PFOHL AUDITORIUM DAPHNIS AND CHLOÉ HINDA HONIGMAN MEMORIAL CONCERT Brevard Sinfonia Jayce Ogren, conductor Charles Vernon, trombone VAUGHAN WILLIAMS Symphony No. 3 (A Pastoral Symphony) (1872-1958) Molto moderato Lento moderato. Moderato maestoso Moderato pesante Lento Evelyn Saavedra*, offstage soprano INTERMISSION LINDBERG (1958-)

Chick’a’Bone Checkout Vivid City: “Stormy, husky, brawling, city of big shoulder” Fort Dearborn: One of the smallest battles in history; 60 Indians dead within 90 minutes The Chicago Butcher: “You better make sure it reaches Bennigans at Michigan Avenue...fresh and tender!”

The Frogs at Hawthorn Woods: The moon is full, the brain is silent...but the bullfrogs make me surrender!!

Prohibition: Exultation from Scarface, one of the most infamous bootleggers of them all Morning with Orange Juice: “A moment of simple joy and happiness” Wind and Mortar: “Dig and dream, dream and hammer until your city is finished” Mr. Vernon, trombone

*BMC student – BMC Alumnus

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Overture

RAVEL (1875-1937)

Suite No. 2 from Daphnis et Chloé Lever du jour Pantomime Danse générale

SATURDAY, JULY 23 VAUGHAN WILLIAMS (1872-1958) Symphony No. 3 (A Pastoral Symphony)

Premiered on January 16, 1922, in London under the direction of Sir Adrian Boult.

The subtitle Pastoral brings to mind Beethoven’s Sixth Symphony and its expression of idyllic landscapes and rustic scenes. The only dramatic aspect of this otherwise sunny work is a brief thunderstorm. Well, Vaughan Williams shows us a completely different landscape — one destroyed by World War I and loitered with memories of the dead. As a result, the symphony doesn’t seem like a symphony at all — especially since all four movements are essentially slow movements. Roger Norrington offers a fascinating and convincing reading, where the movements are to be understood as seasons. Here are his comments for each movement from a television interview: It starts in high summer, a beautiful summer day, but it’s very, very sad, because in fact people have died here. The second movement is autumn. Where is the harvest of the autumn? It’s only in men. It’s a slow and incredibly beautiful movement with a trumpeter improvising his own funeral song, and somehow you know that trumpeter will be dead within a week. The third movement I think of as Winter. It’s Christmas at the front, and [we hear] some quite happy Christmas music, and yet it’s also very serious. The fourth movement, spring, is supposed to be a happy time, but it brings no renewal. You can’t bring all these German and English people back to life. But there’s a girl singing right at the beginning. Somehow you know it’s the trumpeter’s girlfriend, and he’s never going to come back. So it’s a deeply moving piece, apparently about the countryside, but in fact it’s a requiem about the first world war.

CHRISTAN LINDBERG (1958-) Chick’a’Bone Checkout

Premiered on September 28, 2006, in Chicago.

Program notes provided by the composer: My first experience of Chicago was overwhelming. I had been invited to fly in from Sweden on the 4th of July 1986 to play Pryor´s Variations on Blue Bells of Scotland and other showpieces in Grant Park, and when I walked onto the stage I looked out on a crowd of 800,000 people!! I was immediately hypnotized by this amazing city, and since then I have grasped every opportunity to get back, including this one: to hear the premiere of my new piece commissioned by the Chicago Symphony Orchestra.

Chick´a´Bone Checkout is a tribute to the city of Chicago and the music is primarily inspired by Carl Sandburg’s colorful poems. At the same time, many of the original motifs, or embryos upon which the piece is based, came to me while reading an exciting book called Chicago by Swedish author Jan Olof Olsson.

The book taught me an awful lot about the history and

people of Chicago that was indispensable in writing the piece. So, too, was what I learnt on rides round the city organized by my dear friends in the Chicago trombone section. I ended up with a vast amount of material and a wealth of ideas.

As I don´t want to get in the way of each listener´s unique receptivity and imagination, nor to write on anyone’s nose so to speak, I will not detail the history behind each movement. (This would fill at least 5 pages and bore you all to death.) Instead I have used descriptive titles for the 7 different movements of the piece (which run without pauses) and these should give everyone familiar with Chicago quite enough hints. On the other hand, the listener is free to forget about Chicago and to listen to the piece purely as a concerto for trombone and orchestra.

MAURICE RAVEL (1875-1937) Suite No. 2 from Daphnis et Chloé

Premiered on April 30, 1914, in Paris.

Most composers’ music can be easily identified because of their unmistakable “sound.” Yet Ravel was able to compose in a variety of styles, showcasing not only his remarkable skills but also his ability to find the right “sound” for the given task. In the case of Daphnis and Chloé, he realized that an impressionistic approach would offer the widest palette — especially for this pastoral setting. Composed for Diaghilev’s Ballet Russe (following the huge successes of Stravinsky’s Firebird and Petrushka), Ravel wanted to tell the 2nd-century story with a decidedly French accent. Not long after the premiere of the ballet, Ravel distilled two suites from the score. While most suites become mostly “absolute” music, Ravel decided to keep the story of Daphnis et Choé intact. Here’s the story of the Second Suite in his own words: [Daybreak] No sound but the murmur of rivulets of dew trickling from the rocks. Daphnis lies still before the grotto of the nymphs. Little by little, day breaks.

Bird songs are heard. Herdsmen arrive searching for Daphnis and Chloé. They find Daphnis and awaken him. In anguish, he looks around for Chloé, who at last appears surrounded by shepherdesses...

Daphnis and Chloé mime the story of the nymph Syrinx who was beloved of the god Pan. Chloé impersonates the young nymph wandering in the meadow. Daphnis appears as Pan and declares his love. The nymph repulses him. He grows more insistent. She disappears among the reeds.

[Pantomime] In despair he plucks some reeds and shapes them into a flute and plays a melancholy tune.

Chloé returns and dances to the melody of the flute.

[Dance] The dance grows more and more animated and, in a mad whirl, Chloé falls into Daphnis’ arms... A group of young girls, dressed as bacchantes, enters...

A group of young men invade the stage. Joyous tumult. General Dance.

-Siegwart Reichwald

2016 Summer Institute & Festival

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BREVARD MUSIC CENTER | OVERTURE

SUNDAY, JULY 24 3:00 PM WHITTINGTON-PFOHL AUDITORIUM FRANCK SYMPHONY IN D MINOR Brevard Concert Orchestra Ken Lam, conductor David Kim, violin SCHNITTKE (1934-1998)

(K)ein Sommernachtstraum

MOZART (1756-1791)

Concerto for Violin and Orchestra No. 4 in D major, K. 218 Allegro Andante cantabile Rondeau. Andante grazioso Mr. Kim, violin

INTERMISSION

FRANCK (1822-1890)

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Overture

Symphony in D minor Lento. Allegro non troppo Allegretto Finale. Allegro non troppo

SUNDAY, JULY 24 ALFRED SCHNITTKE (1934-1998) (K)ein Sommernachtstraum

Premiered on August 12, 1985, at the Salzburg Festival under the direction of Leopold Hager.

Remember the 2007 Disney movie Enchanted, where fairy tale characters are banned “to a place where there are no happy endings” — the harsh reality of New York City? In Schnittke’s case, the sound world of a young Mozart (simple minuet) is transported into a modern-day festival atmosphere (marches).

The composer’s trademark polystylism perfectly captures this musical culture clash. Having spent some of his teenage years in Vienna, Schnittke had no lack of inspiration for this piece. His prior connections with the Salzburg Festival provided him with another set of memories — albeit not-so-happy ones. Schnittke explains in his program notes that “in 1977, Gidon Kremer played Beethoven’s Violin Concerto with my cadenza, provoking a strong outcry from the press…and in 1978, I provoked another storm of disapproval in the press there on account of my arrangement of Silent Night (‘a desecration of culture’).” This might explain the dark undertones and the pun of the title — (K)ein Sommernachtstraum [(Not) a Midsummer Night’s Dream]. As to the allusion to Shakespeare, the composer freely admits that, “it has no direct connection.” But what about the Mozartian minuet/rondo?

Schnittke might have exasperated his Salzburg critics further, stating that “I did not steal all the ‘antiquities’ in this piece; I faked them.”

WOLFGANG AMADEUS MOZART (1756-1791) Concerto for Violin and Orchestra No. 4 in D major, K. 218

“I played as if I were the greatest fiddler in all of Europe,” Mozart proudly wrote to his father from Munich. To which his father, who literally wrote the book on violin playing, replied (probably exasperated): “You yourself do not know how well you play the violin; if only you will do yourself credit and play with energy, with your whole heart and mind, yes, just as if you were the first violinist in Europe. Many people do not even know that you play the violin, since you have been known from childhood as a keyboard player.” Such is the life of a multi-talented genius with an overbearing father, who happens to be one of the great violin teachers of his generation. And thus ended his budding career as violinist, for not long after this exchange the young Mozart quit the violin and focused solely on the keyboard, choosing to play the viola in chamber music settings (did he do that to spite his father?). Fortunately, he had already composed five violin concertos, presumably for himself. He never wrote another violin concerto for the rest of his life.

In his Fourth Violin Concerto, Mozart explores new ways to juxtapose the violin against the orchestra. Initially, the solo violin enters surprisingly in a high register, making it stand out against the orchestra. To drive the point of unusual registers home, Mozart places the second theme as low as possible on the violin.

In the slow movement, Mozart transcends the genre, as he lets the soloist “sing” one of the most beautiful arias every composed for the instrument. The dazzling last movement is full of surprises.

Cutting back and forth between a graceful Andante and a spirited Jig, he suddenly shifts to a simple folk dance, which includes “bag pipes.” But the zinger comes toward the end of the dance,

when Mozart introduces an absolute no-no: simultaneous cross relation (a fancy term for what we might now call blue notes — in this case sounding the notes g and g# at the same time). After briefly “sticking out his tongue” (maybe to his father), Mozart ends the piece without further transgressions.

CÉSAR FRANCK (1822-1890) Symphony in D minor

Premiered on February 17, 1889, at the Paris Conservatoire under the direction of Jules Garcin.

By the late 1880s Franck was in the twilight of a long and successful career as virtuoso organist, teacher, and composer. It would be easy to look at Franck’s only symphony as a summation of his compositional career and his musical testament — as colleagues, students, and friends celebrate the aging master.

While the parts about the summation and musical testament are true, the bit about celebration and appreciation is, unfortunately, not. Sadly, factions within the Conservatoire and the broader public made it impossible for Franck’s symphony to receive a fair hearing. Conductor Charles Lamoreux flat-out refused its performance, and rehearsals by the Conservatoire orchestra were contentious, as various factions of students and faculty alike used this work to settle some scores. Even Franck’s wife got involved — and not in his favor! And so Franck proved the dictum to be true that “the prophet is not accepted in his hometown.”

Once the symphony got outside of the Paris city walls, however, it quickly became a huge success in Europe and beyond.

A closer look at the score quickly reveals the work of a mature master who not only had a deep understanding of the history of the symphony, but was able to add new and fascinating elements.

The symphony begins with a three-note motive eerily similar to the opening question of Beethoven last string quartet: “Ist es wahr?”

(Is it true?). And like Brahms’s Third Symphony, composed only five years earlier, the short opening motive becomes the work’s motto. In fact, at the end of the first movement, the opening question screams at us — with no answers in sight.

Franck then surprises us with a second movement that fulfills the role of both inner movements of a typical symphony. It opens slowly, as expected. Yet half-way through the movement fast figurations infuse scherzo elements. The cathartic finale brings back the work’s main themes, leading the work to a glorious and convincing ending.

-Siegwart Reichwald

“The goal of my life is to unify serious music and light music, even if I break my neck in doing so.” - Alfred Schnittke

2016 Summer Institute & Festival

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BREVARD MUSIC CENTER | OVERTURE

MONDAY, JULY 25 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE DVO Ř ÁK IN AMERICA FESTIVAL: DVO Ř ÁK’S AMERICAN STRING QUARTET

DVOŘÁK (1841-1904)

This is the first of four concerts presented in Joseph Horowitz's groundbreaking Dvořák in America Festival. Horowitz showcases the master composer and his quest to create a new "American" music at the end of the 19th century.

Sonatina for Violin and Piano in G major, Op. 100 Allegro risoluto Larghetto Molto vivace Allegro Benjamin Sung, violin Sandra Shen, piano

DVOŘÁK (1841-1904)

Humoresques, Op. 101 Vivace Poco andante Poco andante e molto contabile Poco andante Vivace Poco allegretto Poco lento e grazioso Poco andante. Vivace. Meno moso, quasi Tempo I Douglas Weeks, piano

INTERMISSION

DVOŘÁK (1841-1904)

This program is supported in part by the National Endowment for the Humanities.

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Overture

String Quartet in F major, Op. 96, “American” Allegro ma non troppo Lento Molto vivace Finale. Vivace ma non troppo Corinne Stillwell, violin Byron Tauchi, violin Erika Eckert, viola Alistair MacRae, cello

MONDAY, JULY 25 Jeannette Thurber, president of the National Conservatory of Music in America (in New York), hired Dvořák as artistic director and professor of composition, a position he would hold from October 1892 until summer of 1895. Known as a nationalistic composer, Dvořák was tasked with aiding the creation of a national American style of art music. During his time in America, he wrote several important works. Tonight’s program showcases three of them.

ANTONÍN DVOŘÁK (1841-1904) Sonatina for Violin and Piano in G major, Op. 100

Two months after his arrival in New York, Dvořák wrote: The Americans expect great things of me. I am to show them the way into the Promised Land, the realm of a new, independent art, in short a national style of music! ... This will certainly be a great and lofty task, and I hope that with God’s help I shall succeed in it. I have plenty of encouragement to do so.

The following year Dvořák had composed his most famous American work, his Symphony From the New World. The Sonatina was written as Dvořák prepared the symphony for its premiere in December 1893. It represents a different side of the composer’s stay in America: he was homesick and had serious doubts about his endeavor. Written for his children, Ottilie and Antonín, the sonata is full of nostalgia and longing, while also betraying an American influence. It has been suggested that the first movement has melodic allusions to the American folk song “Oh My Darling, Clementine.” (You be the judge.) The second movement is known as Indian Lament, published under that name by Fritz Kreisler. The Scherzo vacillates between American and Czech characteristics, while the last movement echoes the sound of the New World Symphony.

ANTONÍN DVOŘÁK (1841-1904) String Quartet in F major, Op. 96, “American”

Premiered on January 1, 1894, in Boston by the Kneisel Quartet.

Dvořák’s American Quartet is a marvel both in its genesis and its compositional construction. Having just arrived in Spillville by train, the Bohemian composer might have experienced the most inspiring two weeks of his life. Within three days (June 8-10), Dvořák sketched the whole String Quartet, and by June 23, the scoring was completed. It must have been freeing for him to leave the city and his work at the conservatory behind in order to enjoy his family and his craft. Dvořák explains, Since I wrote the quartet in 1893 in the Czech community of Spillville (1,200 miles distant from New York), I wanted for once to write something very melodious and simple, and I always kept Papa Haydn before my eyes; for that reason it turned out so simple.

Well, according to Dvořák scholar Alan Houtchens, the work might be short (it’s his shortest quartet), but it ain’t simple. In fact, Houtchens has found four key compositional elements that betray a confounding complexity just beneath the surface of this melodious work. All four compositional concepts deal with extremely concise form and wide-ranging integration of melody, harmony, and rhythm both horizontally and vertically. This work represents one of those rare moments, where a composer seems to have been able to “put it all together,” offering compositional application for a variety of progressive trends. Within this context, it would seem only appropriate for Dvořák to lean on Papa Haydn, the “father of the string quartet.”

-Siegwart Reichwald

ANTONÍN DVOŘÁK (1841-1904) Humoresques, Op. 101

Dvořák might have been successful in creating American music in a way he never expected. Who would have known that his Humoresque No. 7 would be considered an American folk song, because in the 1940s and 50s the tune was associated with the words over train restrooms: “Passengers will please refrain from flushing toilets while the train is standing in the station.”

Obviously, this tune had become popular enough to receive this dubious honor.

The ethnic influences of these eight miniatures cannot be easily traced. Dvořák began drafting some of the pieces in Spillville, Iowa, a Bohemian community where Dvořák spent his summers while in America. Yet he finished them in 1895 upon his return to Bohemia. To make matters more confusing, there are some hints that the original title might have been New Scottish Dances.

Scholars have since tried to trace some of the movements to a variety of sources, including Longfellow’s Hiawatha, a variety of birdcalls, and even songs by Stephen Foster and Maurice Arnold, one of Dvořák’s African-American students. Pianist Radoslav Kvapil might have said it best, “they have some ‘American’ ideas, but to understand them you must also listen to the earlier pieces.”

So in a sense, these are Bohemian pieces with an American accent — or vice versa.

2016 Summer Institute & Festival

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BREVARD MUSIC CENTER | OVERTURE

WEDNESDAY, JULY 27 7:30 PM

COMMUNITY OUTREACH SPONSOR

INGRAM AUDITORIUM AT BREVARD COLLEGE DVO Ř ÁK IN AMERICA FESTIVAL: KEVIN DEAS IN RECITAL Kevin Deas, bass-baritone Deloise Lima, piano Joseph Horowitz, piano

This is the second of four concerts presented in Joseph Horowitz's groundbreaking Dvořák in America Festival. Horowitz showcases the master composer and his quest to create a new "American" music at the end of the 19th century.

HAYDN (1732-1809)

“Straight opening her fertile womb….Now shines the Glory of Heaven” from The Creation (Numbers 22 and 23)

BRAHMS (1833-1897)

Sapphische Ode Botschaft Die Mainacht Meine Liebe ist Grun

BACH (1685-1750)

"Mache dich, mein Herze, rein" from St. Matthew's Passion

DUPARC (1848-1933)

L’invitation au Voayage Chanson Triste La Vague et la Cloche

INTERMISSION

BURLEIGH (1866-1949) DVOŘÁK / FISHER (1841-1904) (1861-1948)

This program is supported in part by the National Endowment for the Humanities.

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Overture

Selected spirituals Goin’ Home

WEDNESDAY, JULY 27 THURSDAY, JULY 28

THURSDAY, JULY 28 7:30 PM SATURDAY, JULY 30 2:00 PM PORTER CENTER AT BREVARD COLLEGE

A MIDSUMMER NIGHT'S DREAM Janiec Opera Company of the Brevard Music Center Dean Anthony, stage director Brevard Festival Orchestra Jerome Shannon, conductor MUSIC LIBRETTO

Benjamin Britten By the composer and Peter Pears, adapted from the play by William Shakespeare

ACT I INTERMISSION ACT II INTERMISSION ACT III Bethanie Wampol Watson, scenic designer Tláloc López-Watermann, lighting designer Aaron Chvatal, co-costume designer Glenn Avery Breed, co-costume designer Sondra Nottingham, wig & makeup designer

– BMC Alumnus

CAST Oberon – David Daniels Tytania – Asleif Willmer Puck – Rudy Giron Cobweb – Sara Law Mustardseed – Jennie Judd Moth – Brianna Bragg Peaseblossom – Charly Anne Roper Lysander – Frederick Schlick Demetrius – Adam Wells Hermia – Camille Sherman Helena – Caroline Dunigan Theseus – Matthew Fleisher Hippolyta – Mackenzie Phillips Bottom – Brandon Bell

Peter Quince – Andrew O’Shanick Flute – Alexander Sheerin Snug – Steele Fitzwater Snout – Orin Strunk Starveling – Mathew Queen Chorus of Fairies: Lynsy Folckomer Madeline Lefler Rachel Rapp

2016 Summer Institute & Festival

103

BREVARD MUSIC CENTER | OVERTURE

BENJAMIN BRITTEN (1913-1976) A Midsummer Night’s Dream Premiered on June 11, 1960, with the composer conducting.

One would think that the daunting task of setting Shakespeare’s masterwork to music was a long-planned project. In actuality, Britten decided on this play on a whim, as he needed to settle quickly on a subject for the reopening of the refurbished Jubilee Hall in Aldeburgh. Short on time, he mostly stuck with the original play, making only major cuts in act 1. Musically, Britten cast a wide net, writing in an unmistakably 20th-century style with reminiscences of times gone by. While he wisely avoids Mendelssohn’s iconic opening chords of his Midsummer Night’s Dream Overture at the beginning of the opera, he nevertheless alludes to this famous opening at the beginning of act 2 in a very effective manner.

Yet even his 12-chord opening of act 1 has a similar effect to Mendelssohn’s four chords of “entering the realm of fairies.” Casting a countertenor as Oberon, however, traces further back through music history — especially since his “fairy music” creates a neo-baroque sound with the use of harps, harpsichord, celesta, and percussion. Britten smartly sets apart the other two dimensions as well: woodwinds and strings are prominent for the lovers, while bassoon and lower brass intone the rustics. These timbral distinctions are very helpful in creating coherence to the listener, since the cast of 20 is unusually large for an opera. Britten leaves the most direct and funniest musical allusion for the end, when the “play within a play,” performed by the rustics, turns out to be a parody of the mad scene from Donizetti’s Lucia di Lammermoor.

Despite these (not so) hidden allusions, Britten creates, in the words of Britten scholar Claire Seymour, “[his] own spell, a musical ‘dream’ which he hoped would be a realization of his yearning for a synthesis of imagination and reality.”

-Siegwart Reichwald

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SYNOPSIS Act 1 Night falls in the woods outside Athens. Oberon and Tytania fight over her servant’s son. Tytania leaves in anger, so Oberon sends Puck for a flower that will cause those upon whose sleeping eyelids the juice is dropped to fall in love with whomever they meet next. Meanwhile, Oberon watches a love quadrangle move past him: Lysander and Hermia want to flee Athens because of their forbidden love, while Demetrius (in love with Hermia) is pursued

by Helena. After Puck returns with the herb, Oberon decides to “fix” the situation and instructs Puck to make Demetrius fall in love with Helena. Finally, the “rustics” enter, casting the play they hope to perform at Theseus and Hippolyta’s wedding. The loudmouthed Bottom is given the part of Pyramus. Puck happens upon the exhausted Hermia and Lysander. Thinking Lysander to be Demetrius, he sprinkles his eyelids with the potion. Unfortunately, he sees Helena first, causing him to pursue her.

Act 2 Oberon finds Tytania asleep and applies the potion, causing her to fall in love with Bottom, whom Puck has mischievously given a donkey’s head. Oberon’s pleasure over his successful plan is quickly poisoned by the realization that Puck had messed up. Yet Oberon ends up also giving the potion to the wrong person and the love quadrangle gets even more complicated. Oberon instructs Puck to fix things.

Act 3 Dawn the next day. Oberon awakens the restored Tytania; the lovers awaken, finally happily paired off. Bottom awakens with his head on straight. To makes things even better, the rustics announce that the play is on!

The wedding day has come. The rustics perform Pyramus and Thisbe for not one, not two, but three couples. And the fairies bid us goodbye.

FRIDAY, JULY 29 FRIDAY, JULY 29 7:30 PM WHITTINGTON-PFOHL AUDITORIUM DVO Ř ÁK IN AMERICA FESTIVAL: BERNSTEIN AND COPLAND Brevard Music Center Orchestra JoAnn Falletta, conductor Robert McDuffie, violin

This is the third of four concerts presented in Joseph Horowitz's groundbreaking Dvořák in America Festival. Horowitz showcases the master composer and his quest to create a new "American" music at the end of the 19th century.

BERNSTEIN (1918-1990)

Overture to Candide

BERNSTEIN (1918-1990)

Serenade (after Plato's "Symposium") Phaedrus. Pausanias (Lento. Allegro marcato) Aristophanes (Allegretto) Eryximachus (Presto) Agathon (Adagio) Socrates. Alcibiades (Molto tenuto. Allegro molto vivace) Mr. McDuffie, violin

INTERMISSION

This program is supported in part by the National Endowment for the Humanities.

COPLAND (1900-1990)

Symphony No. 3

– BMC Alumnus

The two Bernstein works on tonight’s program are two sides of the same coin: musical works that deal with philosophical concepts. Candide explores Voltaire within the context of comedy while the Serenade offers musical essays on Plato through the medium of purely instrumental music. Bernstein was one of only a handful of composers of the last century who had the breadth of musical understanding to offer these two contrasting musical experiences.

LEONARD BERNSTEIN (1918-1990) Overture to Candide Candide opened on Broadway on December 1, 1956, under the direction of Tyrone Guthrie and conducted by Samuel Krachmalnick.

Molto moderato Allegro molto Andantino quasi allegretto Fanfare. Molto deliberato. Allegro risoluto

Only Bernstein would be able to write a comic operetta based on a Voltaire novel produced on Broadway. Despite (or maybe because) of its initial lack of success, Bernstein would continually revise the work for the rest of his career. Candide was clearly important to him. The Overture, which quickly took on a life of its own in the concert hall, gives us a glimpse of Bernstein’s genius. Conceived as a rather conventional overture, it showcases the wit, cleverness, and refinement of a work that can be thoroughly enjoyed by the casual listener and withstand rigorous analysis by the serious scholar — an achievement only the best opera composers can claim. Its clarity of expression is so vivid that absolutely no introduction or musical explanation are needed. Enjoy!

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BREVARD MUSIC CENTER | OVERTURE

LEONARD BERNSTEIN (1918-1990) Serenade (after Plato’s “Symposium”) Premiered on September 12, 1954, in Venice by the Israel Philharmonic Orchestra under the direction of the composer with Isaac Stern as soloist.

Bernstein provided the following program notes: There is no literal program for this serenade, despite the fact that it resulted from a rereading of Plato’s charming dialogue, The Symposium. The music, like the dialogue, is a series of related statements in praise of love, and generally follows the Platonic form through the succession of speakers at the banquet.

The “relatedness” of the movements does not depend on common thematic material, but rather on a system whereby each movement evolves out of elements in the preceding one. For the benefit of those interested in literary allusion, I might suggest the following points as guideposts: I. Phaedrus—Pausanias (Lento—Allegro): Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. (Fugato, begun by the solo violin.) Pausanias continues by describing the duality of lover and beloved. This is expressed in a classical sonata-allegro, based on the material of the opening fugato.

II. Aristophanes (Allegretto): Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime storyteller, invoking the fairy-tale mythology of love.

III. Erixymachus (Presto): The physician speaks of bodily harmony as a scientific model for the workings of love-patterns. This is an extremely short fugato scherzo, born of a blend of mystery and humor.

IV. Agathon (Adagio): Perhaps the most moving speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms, and functions. This movement is a simple three-part song.

V. Socrates—Alcibiades (Molto tenuto—Allegro molto vivace): Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. This is a slow introduction of greater weight than any of the preceding movements and serves as a highly developed reprise of the middle section of the Agathon movement, thus suggesting a hidden sonata form. The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, which is an extended rondo ranging in spirit from agitation through jiglike dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party.

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AARON COPLAND (1900-1990) Symphony No. 3 Premiered October 17, 1946, by the Boston Symphony Orchestra under the direction of Serge Koussevitzky Writing a symphony is serious business — and Copland knew it.

In the 1920's he composed his first symphony upon his return from his studies in France with Nadia Boulanger in order to establish himself as a serious composer. In the 30's he turned to the symphony for a second time in order to move toward a “purer, non-programmatic style, an attempt toward an economy of material and transparency of texture.” So when the Koussevitzky Foundation commissioned his Third Symphony in the early 40's, Copland was challenged once again to create another compositional mile marker. He labored slowly and deliberately over the next two years, creating one of his most substantial works. In fact, to Leonard Bernstein “the Symphony has become an American monument, like the Washington Monument or the Lincoln Memorial.”

Part of the reason for Bernstein’s assessment might be found in the last movement, which is based on his Fanfare for the Common Man, a piece that not only defines American music but has become a cultural marker about the sacrifice of the American people during World War II. While it is tempting to interpret the work from this vantage point, Copland doesn’t give us this option: “If I forced myself, I could invent an ideological basis for the Third Symphony. But if I did, I’d be bluffing — or at any rate, adding something ex post facto, something that might or might not be true but that played no role at the moment of creation.” Rather, Copland seemed to have a more pragmatic approach: “I knew exactly the kind of music he [Koussevitzky] enjoyed conducting and the sentiments he brought to it, and I knew the sound of his orchestra, so I had every reason to do my darndest to write a symphony in the grand manner.” In the end, his Third Symphony is a summation of Copland’s own development as the premier American composer who was able to capture the American spirit and express it in unparalleled fashion.

-Siegwart Reichwald

In 1943, Leonard Bernstein, then a twenty-fiveyear-old assistant conductor of the New York Philharmonic, stepped in at the last moment for Bruno Walter. His debut, broadcast nationwide over the radio, was a triumph and made the front page of The New York Times.

SATURDAY, JULY 30 SATURDAY, JULY 30 7:30 PM

LEAD SPONSOR

of Asheville

WHITTINGTON-PFOHL AUDITORIUM DVO Ř ÁK IN AMERICA FESTIVAL: NEW WORLD SYMPHONY Brevard Sinfonia JoAnn Falletta, conductor Kevin Deas, bass-baritone Joseph Horowitz, host, writer, and producer Peter Bogdanoff, visual artist DVOŘÁK (1841-1904) HOROWITZ AND BECKERMAN (1948-)

Tonight's performance is the culmination of Joseph Horowitz's groundbreaking Dvořák in America Festival. Horowitz showcases the master composer and his quest to create a new "American" music at the end of the 19th century.

Scherzo Capriccioso, Op. 66

The Hiawatha Melodrama (after Dvořák ) Movement 5: The Hunting of Pau-Puk Keewis Epilogue: Hiawatha’s Departure Mr. Deas, bass-baritone

INTERMISSION

DVOŘÁK (1841-1904)

Symphony No. 9 in E minor, Op. 95, “From the New World” Adagio - Allegro molto Largo Scherzo. Molto vivace Allegro con fuoco Visual presentation for the Largo and Scherzo by Peter Bogdanoff and Joseph Horowitz

This program is supported in part by the National Endowment for the Humanities as part of the “Music Unwound” national symphonic consortium.

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BREVARD MUSIC CENTER | OVERTURE

The arrival of Antonín Dvořák in September 1892 as Director of New York City’s National Conservatory of Music represented a triumph of persistence on the part of Jeannette Thurber, the conservatory’s visionary founder. Not only did so celebrated a European composer confer an indispensable imprimatur on the fledgling school; Dvořák, Thurber knew, was an instinctive democrat, a butcher’s son, a cultural nationalist. Dvořák had hardly set foot in Manhattan before learning, and not only from Thurber, that (as he wrote to friends in Prague) “the Americans expect great things of me and the main thing is, so they say, to show them to the promised land and kingdom of a new and independent art, in short, to create a national music. If the small Czech nation can have such musicians, they say, why could not they, too, when their country and people is so immense?” And Dvořák – overwhelmed by new excitement and attention, by the scale and pace of American life, by the caliber of American orchestras – more than took the bait. “It is certainly both a great and a splendid task for me and I hope that with God’s help I shall accomplish it.

There is more than enough material here and plenty of talent.”

By talent, Dvořák meant American composers and instrumentalists, including his own pupils, some of whom he found “very promising.”

By material, he meant American sights and sounds, American roots: “another spirit, other thoughts, another coloring...something Indian.”

There were no indigenous people in Bohemia; like other Europeans, Dvořák was fascinated by the Native American (and had already read Longfellow’s The Song of Hiawatha in Czech). And there were no blacks in Hapsburg lands; in New York, he had for the first time heard such “Negro melodies” as “Deep River” and “Swing Low, Sweet Chariot” – in which he detected, as he famously told the New York Herald in May 1893, the necessary foundation for “the future music of this country.”

In short: with his rustic roots and egalitarian temperament, Dvořák was precisely the kind of cultural nationalist to inspire Americans. He proved inquisitive and empathetic, as eager to learn as to teach. His aspirations for American music resonated with the hopes of Thurber and other New Yorkers impatient for the emergence of a musical idiom as recognizably “American” as Dvořák was Bohemian, or Tchaikovsky Russian, or Beethoven German.

The climactic moment in Dvořák’s American career came on December 16, 1893 – the premiere of his New World Symphony by the New York Philharmonic. Whether this music sounded “American” instantly ignited fierce debate. At stake were delicate issues of national identity – in particular, whether the African-Americans and Native Americans from whose music Dvořák drew inspiration could be considered representative or emblematic “Americans” in the first place. In New York, a city of immigrants, Dvořák’s method was taken to heart. In Boston, he was denounced as a “negrophile” and his music was termed “barbaric.”

Dvořák himself told the New York press that the symphony’s middle movements were inspired by The Song of Hiawatha. And it was well-known that plantation song – the music we now call “spirituals” – was another major influence on the symphony’s tunes and the imagery they engendered. It speaks volumes that the Largo of the New World Symphony, steeped in plantation song, was turned into an ersatz spiritual, “Goin’ Home,” by Dvořák’s student William Arms Fisher. The same music, the same movement, while not a narrative, is pregnant with Hiawatha, with the death of Minnehaha, with a West of the imagination (Dvořák had yet to journey there) conveyed by smooth textures and spread chords, by uncluttered, unadorned musical space. Willa Cather heard in the

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Largo “the immeasurable yearning of all flat lands.” W.J. Henderson, reviewing the premiere for the New York Times, perfectly captured the polyvalence of “an idealized slave song made to fit the impressive quiet of night on the prairie. When the star of empire took its way over those mighty Western plains blood and sweat and agony and bleaching human bones marked its course. Something of this awful buried sorrow of the prairie must have forced itself upon Dr. Dvořák’s mind.”

With its incessant tom-tom and exotic drone, the “primitive” five-note compass of its skittish tune, its whirling and hopping build-up, the Scherzo of the New World Symphony depicts the Dance of Pau-Puk Keewis at Hiawatha’s wedding. In the symphony’s finale, a stentorian “Indian” theme launches a fleet, savage chase. With its Indian threnody, the coda – a dead-march, a cry of pain, a loud last chord fading to silence – seals one of the symphony’s meanings: it is, all of it, an elegy for a vanishing race.

In the decades following Dvořák’s death in 1904, the American controversy over the New World Symphony dissipated. The work generally became known as the testament of a homesick European; its possible Americanisms were considered superficial, trite, or purely conjectural. The critical tide began to turn in the 1990s thanks to the American music historian Michael Beckerman, who undertook unprecedented research into possible programmatic correlations between Longfellow’s Song of Hiawatha and Dvořák’s symphony – and wound up with a radically fresh reading that circled back to what New York’s music critics had to say in 1893. As my own research, at that time, focused on American classical music in the late Gilded Age – the period of Dvořák’s American sojourn — I keenly appreciated the plausibility of it all. Turn-of-the-century Americans were caught in a vortex of immigration, industrialization, and urbanization. Issues of national identity acquired an acute urgency.

Dvořák said that the Largo drew inspiration from the death of Minnehaha in Longfellow’s poem. As Beckerman has persuasively argued, this passage can only be the mournful processional with pizzicato double basses – which you will find aligned with Frederick Remington’s rendering of the dying Minnehaha, and with Longfellow’s verses describing the fatal winter famine. Dvořák also mentioned Hiawatha’s “homeward journey” – his trek with Minnehaha following their wedding – in conjunction with this movement. Peter Bogdanoff and I, following Mike’s exegesis, have situated this music (originally marked “Andante” – a walking tempo) at the close of the Largo. In addition to Remington, the painters here represented include Catlin, Church, John James Audubon, Karl Bodmer, Sanford Robinson Gifford, and Thomas Moran. For the explosive Scherzo, we see Remington’s rendering of Pau-Puk Keewis’s dance, and also paintings by Catlin and Peter Rindisbacher.

Beckerman and I are true believers for whom Dvořák figures vitally in late nineteenth century American culture; and we all hear in Dvořák an “American style” transcending the superficial exoticism of a Rimsky-Korsakov in Italy or a Glinka in Spain. We have many times preached in public forums – most memorably, perhaps, at an international Dvořák conference in Prague. As the Czechs in attendance seemed shocked into silence, it remained for the British and Germans to rebuke us as glib New World maniacs.

- Joseph Horowitz

SUNDAY, JULY 31 SUNDAY, JULY 31 3:00 PM WHITTINGTON-PFOHL AUDITORIUM SOLOISTS OF TOMORROW Brevard Music Center Orchestra Ken Lam, conductor

Official piano of the Brevard Music Center

Jan and Beattie Wood Concerto Concert Winners of the 2016 Jan and Beattie Wood Concerto Competition take the stage as featured soloists with the Brevard Music Center Orchestra.

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MONDAY, AUGUST 1 7:30 PM PORTER CENTER AT BREVARD COLLEGE BMC ARTIST FACULTY IV MOZART (1756-1791)

Serenade for Winds in E flat major, K. 375 Allegro maestoso Menuetto Adagio Menuetto Finale. Allegro Eric Ohlsson and Elizabeth Hebert*, oboes Steve Cohen and Danny Mui*, clarinets William Ludwig and Rachel Frederiksen*, bassoons Gabrielle Finck and Joseph Cradler*, horns

INTERMISSION

RÓZSA (1907-1995)

Piano Quintet in F minor, Op. 2 Allegro non troppo, ma appassionato Molto adagio Allegro capriccioso Vivace Jonathan Carney, violin Jay Christy, violin Maggie Snyder, viola Susannah Chapman, cello Min Kwon, piano

* BMC student

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MONDAY, AUGUST 1 WOLFGANG AMADEUS MOZART (1756-1791) Serenade for Winds in E flat major, K. 375

Premiered on October 15, 1781, in Vienna.

In 1781 Mozart decided to try something that nobody had been able to do successfully: make a living as a freelance composer.

In order to get his music heard, Mozart had to be proactive and creative. Having learned that the Emperor’s musical advisor, Johann Kilian Strack, would be at a gathering at the home of court painter Joseph Heckel, Mozart saw an opening. He explains, “the main reason for writing [the wind serenade] was to let Herr von Strack hear something of mine, and so I put a little extra care into it; as a result it was much applauded.”

Stylistically, Mozart was able to strike the right balance between “simple” music and a more lofty chamber style. Clearly, opera was on his mind (he was finishing The Abduction from the Seraglio), as can be seen most obviously in the central Adagio. Unfortunately for Mozart, Emperor Joseph II’s musical taste was not refined enough to appreciate the work, as he was more interested in lighter fare.

The newly relocated composer had much more luck with his fellow musicians, however, they liked his newest work so much that they decided to serenade him a month later: At eleven o’clock last night I was serenaded by two clarinets, two horns and two bassoons playing my own music. . . . These musicians had the front gate opened for them, and when they had formed in the courtyard, they gave me, just as I was about to undress for bed, the most delightful surprise in the world with the opening E-flat chord.

MIKLÓS RÓZSA (1907-1995) Piano Quintet in F minor, Op. 2

While Rózsa is mostly known for his nearly 100 film scores (he won Academy Awards for Spellbound, A Double Life, and Ben Hur), the Hungarian-born composer continued a successful career as composer of concert music as well. The Piano Quintet was actually a composition assignment by his teacher, Hermann Grabner, at the Leipzig Conservatory. The piece was so enthusiastically received by his fellow students and the faculty, that the well-established musician Karl Straube made an appointment for Rózsa to meet with the publisher Breitkopf & Härtel, which was a first for a conservatory student. Rózsa vividly remembered the meeting: I went along to Breitkopf & Härtel with my heart beating as if it was about to explode and presented myself to Herr Biebrich. He told me that Professor Straube had talked to the head of the firm, Dr. Hellmuth von Hase of the Härtel family, about my work, and they decided to publish it. Here was I, a young man of twenty-one, talking to the important representatives of the greatest and probably the oldest publishing house in Germany. Biebrich told me that a contract for the first two pieces had already been drawn up. My hand shook as I signed the contract.

Rózsa received 250 marks for the Quintet, peanuts compared to what he would receive as as staff composer for MGM studios. Yet, as his reminiscence continues, “the satisfaction of having an income from music was the greatest joy I have ever experienced.”

It is not difficult to see why this work received such an extraordinary reception, as it offered a fresh voice that was original at a time when young composers were still grappling with more academic approaches. Having grown up in Budapest where Bartók and Dohnányi had established a Hungarian style, Rózsa had brought some of these ideas with him to Leipzig, which helped him forge his own path, which was based as much on Hungarian peasant music as it was on academic rules.

-Siegwart Reichwald

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BREVARD MUSIC CENTER | OVERTURE

WEDNESDAY, AUGUST 3 7:30 PM PORTER CENTER AT BREVARD COLLEGE BREVARD CAMERATA Ken Lam, conductor Steve Cohen, clarinet TIPPETT (1905-1998)

ADAMS (1947-)

Little Music Prelude Fugue Air Finale Gnarly Buttons The Perilous Shore Hoedown (Mad Cow) Put Your Loving Arms Around Me Mr. Cohen, clarinet

INTERMISSION

HAYDN (1732-1809)

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Symphony No. 88 in G major Adagio. Allegro Largo Menuetto. Allegretto Finale. Allegro con spirit

WEDNESDAY, AUGUST 3 MICHAEL TIPPETT (1905-1998) Little Music

Premiered on November 9, 1946, in London under the direction of Reginald Jacques.

Commissioned toward the end of World War II for the tenth anniversary of the Jacques String Orchestra, Tippett’s Little Music played a not so little role in the composer’s life. Facing his second prosecution and potential further imprisonment as a conscientious objector, Tippett needed to show that he was doing something worthwhile for the greater good. The commission came at the right time.

The ten-minute work consists of four movements that harken back to the Baroque era. The Prelude and Fugue as well as the Air and Finale form pairs. The short but intense Prelude sets a tone more severe than might be expected for such a short work with the title Little Music. The Fugue then begins to relax the tension with beautiful legato lines against typical Baroque motoric drive. The Air is a set of free variations above a ground bass. Its expressive, contrapuntal nature (several independent lines of music) justifies the Prelude’s severe tone. The Finale, basically another fugue, is the culmination of the whole work, as the clouds are finally lifting.

JOHN ADAMS (1947-) Gnarly Buttons

Premiered on October 19, 1996, in London under the direction of the composer with Michael Collins on the clarinet.

John Adams on Gnarly Buttons (excerpted from his website): The clarinet was my first instrument. I learned it from my father, who played it in small swing bands in New England during the Depression era. Benny Goodman was a role model, and several of his recordings – in particular the 1938 Carnegie Hall jazz concert and a Mozart album with the Boston Symphony Orchestra – were played so often in the house that they almost became part of the furniture.

During my high school years I played the instrument alongside him in a small community orchestra that gave concerts before an audience of mental patients at the New Hampshire State Hospital. But strangely enough, I never composed for the instrument until I was almost fifty. By that time my father had died, and the set of instruments I had played as a boy had traveled back and forth across the country from me to my father (who played them until he fell victim to Alzheimer’s disease) and ultimately back to me.

I. “The Perilous Shore”: a trope on a Protestant shape-note hymn found in a 19th century volume, The Footsteps of Jesus, the first lines of which are: O Lord steer me from that Perilous Shore Ease my soul through tempest’s roar.

Satan’s leering help me firmly turn away Hurl me singing into that tremulous day!

II. “Hoedown (Mad Cow)”: normally associated with horses, this version of the traditional Western hoedown addresses the fault lines of international commerce from a distinctly American perspective.

III. “Put Your Loving Arms Around Me”: a simple song, quiet and tender up front, gnarled and crabbed at the end.

FRANZ JOSEPH HAYDN (1732-1809) Symphony No. 88 in G major Premiered in Paris in 1787.

This symphony has a very unusual backstory. Dedicated (amongst other works) to a violinist in his orchestra, Johann Tost, this work appeared in print without Haydn’s approval. In order to clear up this matter Haynd wrote to his publisher, “I was told that you purchased my very newest 6 quartets and 2 new Symphonies. . . .I would like to know if this is true or not...” As it turns out, Tost had sold even more works of Haydn’s works, including some that were not even composed by the master. Despite the fact that Haydn never received payment for these works, Tost somehow worked things out with the composer, as Haydn’s dedication of his Op. 64 String Quartets to Tost attests. By that time Tost had changed professions from musician to merchant — a dubious choice, given his murky past.

This symphony is the textbook example (literally) of a typical Haydn symphony: from mono-thematic sonata form (the same theme used in contrasting keys in the opening movement), an imaginative themeand-variations second movement, and a quick minuet to an exciting (sonata) rondo movement, this symphony has all the ingredients that make for a true Haydnesque listening experience.

-Siegwart Reichwald

“Gnarly” means knotty, twisted or covered with gnarls… your basic village elder’s walking stick. In American school kid parlance it takes on additional connotations of something to be admired: “awesome,” “neat,” “fresh,” etc. etc. The “buttons” are probably lingering in my mind from Gertrude Stein’s “Tender Buttons,” but my evoking them here also acknowledges our lives at the end of the 20th century as being largely given over to pressing buttons of one sort or another. NB; clarinets have rings and keys, not buttons.

The three movements are each based on a “forgery” or imagined musical model. In this spirit we may believe the genuine articles of Gnarly Buttons to be:

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BREVARD MUSIC CENTER | OVERTURE

THURSDAY, AUGUST 4 7:30 PM PORTER CENTER AT BREVARD COLLEGE SOME ENCHANTED EVENING: THE MUSIC OF RODGERS & HAMMERSTEIN Janiec Opera Company of the Brevard Music Center Some Enchanted Evening is a celebration of the songs of Rodgers & Hammerstein that have become an integral part of our lives.

We sing them in the shower, we dance to them in ballrooms, we hear them on the radio and in clubs and, yes, in elevators and supermarkets too. We still thrill to them on the live stage in their respective shows, and we teach them to our children. This stunning collection of compositions places the performers in a theatrical setting-first ‘backstage,’ where the songs are sung as personal interplay, and then ‘onstage.’ While offering the performers an opportunity to explore the songs within their own styles and sensibilities, it offers the audience a glorious parade of genuine hits.

Ladies:

Rachel Anthony Brianna Bragg Caroline Dunigan Allyson Goff Jennie Judd Sara Law Camille Sherman Laurie Ann Taylor

Gentlemen:

Brandon Bell Steele Fitzwater Drew O’Shanick Guillaume Poudrier Orin Strunk Adam Wells Tyler Wolowicz

Piano:

Jonathan Heaney Michael Gaertner

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FRIDAY, AUGUST 5 FRIDAY, AUGUST 5 7:30 PM WHITTINGTON-PFOHL AUDITORIUM LOCKHART CONDUCTS SIBELIUS Brevard Concert Orchestra Keith Lockhart, conductor Ina Zdorovetchi, harp TORKE (1961-)

GINASTERA (1916-1983)

Bright Blue Music

Harp Concerto, Op. 25 Allegro giusto Molto moderato Liberamente capriccioso. Vivace Ms. Zdorovetchi, harp

INTERMISSION

SIBELIUS (1865-1957)

Symphony No. 2 in D major, Op. 43 Allegretto Tempo andante ma rubato Vivacissimo Allegro moderato

– BMC Alumnus

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MICHAEL TORKE (1961-) Bright Blue Music

Premiered on November 23, 1985, by the New York Youth Symphony under the direction of David Alan Miller.

Torke has a history with synesthesia, a neurological phenomenon that causes certain people to associate sounds with colors. He decided to share his experiences with a series of compositions that explore different colors. Bright Blue Music is the second of five works that express “his” color spectrum musically.

The composer has provided the following notes: Inspired by Wittgenstein’s ideas that meaning is not in words themselves but in the grammar of words used, I conceived of a parallel in musical terms: harmonies in themselves do not contain any meaning, rather, musical meaning results only in the way harmonies are used. Harmonic language is then, in a sense, inconsequential. If the choice of harmony is arbitrary, why not then use tonic and dominant chords—the simplest, most direct, and—for me—the most pleasurable? Once this decision was made and put in the back of my mind, an unexpected freedom of expression followed.

With the simplest means, my musical emotions and impulses were free to guide me. The feeling of working was exuberant; I would leave my outdoor studio, and the trees and bushes seemed to dance, and the sky seemed bright blue.

That bright blue color contributed towards the piece’s title, but in conjunction with another personal association. The key of the piece, D major (from which there is no true modulation), has been the color for me since I was five years old.

ALBERTO GINASTERA (1916-1983) Harp Concerto, Op. 25

Premiered on February 16, 1965, by the Philadelphia Orchestra under the direction of Eugene Ormandy with Nicandor Zabaleta as soloist.

Writing for the harp is difficult. Unless you are willing to learn how the harp works, it’s impossible. And that’s just the technical aspects of notation, pedaling, etc. Writing a concerto for it presents a whole host of additional challenges. Besides the obvious issue of volume, composers will have to negotiate the stereotypes of “harp music.”

Maybe it’s no surprise then, that it took Ginastera nine years to compose his concerto and another three to revise it. He explains, “I could hardly dream that it was going to be the most difficult work I have ever written and that it would take several years to see the light.”

By the time the work was finished, harpist Edna Phillips, who had commissioned the work, had retired, leaving the premiere to Spanish harp virtuoso Nicandot Zabaleta.

The wait was definitely worth it, for Ginastera’s Harp Concerto is not primarily a Harp Concerto. Rather, it is a masterful concerto, written in the Argentine’s typical gauchesco-inspired style, which

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happens to feature the harp as soloist. At the same time, Ginastera writes idiomatically for the instrument, playing to its strength, while also expanding the harp’s sound vocabulary with unusual use of the pedals, harmonics, and playing with both fingernails and palms.

The concerto opens in typical Ginastera fashion, featuring stylized gaucho characteristics. The hauntingly beautiful and mysterious second movement leads to an extended harp solo at the beginning of the last movement, which races to a climatic end.

JEAN SIBELIUS (1865-1957) Symphony No. 2 in D major, Op. 43

Premiered on March 8, 1902, in Helsinki under the direction of the composer.

Conductor Robert Kajanus viewed the Second Symphony as a nationalistic work, stating that, “the Andante strikes one as the most broken-hearted protest against all the injustice that threatens at the present time to deprive the sun of its light and our flowers of their scent.” Ever since Finlandia (1899) Sibelius was inextricably linked to the Finnish nationalist movement, so a nationalist reading seems sensible. Things are more complicated, however, since Sibelius did not offer any kind of program, and a look at the evolution of the work tells a completely different story. He had actually written much of the work far away from Finland — in sunny Italy. A diary entry alongside a theme of the second movement reads, “Don Juan. I was sitting in the dark in my castle when a stranger entered. I asked who he could be again and again — but there was no answer. I tried to make him laugh but he remained silent. At last the stranger began to sing — the Don Juan knew who it was. It was death.” The Don Juan he refers to is Mozart’s title character from Don Giovanni. Another source of inspiration for his symphony was Dante’s Divine Comedy.

It would be a mistake, however, to listen for Don Juan, Dante, or even Finnish nationalism in this symphony. While the composer might have been inspired by Don Juan and Dante, and while its outward expression might have given rise to nationalistic feeling to Finnish audiences, the work is self-contained and does not need programmatic clues for its enjoyment. Sibelius wanted his symphonies to have “profound logic that creates an inner connection between all the motives,” which are “pieces of a mosaic for heaven’s floor” to be put together. And so this Second Symphony, the composer’s bold attempt to move the symphony into the 20th century, assembles itself, beginning with a first movement that seems fragmented at first. Both inner movements continue the assemblage of a narrative accentuated by turmoil and strife. Everything comes together in the slowly unfolding, majestic finale, revealing the completed mosaic in all its grandeur.

-Siegwart Reichwald

“My Second Symphony is a confession of the soul.” - Jean Sibelius

SATURDAY, AUGUST 6 SATURDAY, AUGUST 6 10:30 AM STRAUS AUDITORIUM BREVARD SYMPHONIC WINDS Kraig Alan Williams, conductor Gwendolyn Dease, percussion

BATES (1977-)

“Sideman” for Solo Percussion and Winds Gwendolyn Dease, percussion

BARNES (1949-)

Symphony No. 3, Op. 89, ‘The Tragic’

– BMC Alumnus

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SATURDAY, AUGUST 6 7:30 PM WHITTINGTON-PFOHL AUDITORIUM THE FIREBIRD SUITE Brevard Sinfonia Ken Lam, conductor Min Kwon, piano

Official piano of the Brevard Music Center

LUTOSŁAWSKI (1913-1994)

RACHMANINOFF (1873-1943)

Symphonic Variations

Rhapsody on a Theme of Paganini, Op. 43 Ms. Kwon, piano

INTERMISSION

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STRAVINSKY (1882-1971)

Divertimento from The Fairy’s Kiss

STRAVINSKY (1882-1971)

The Firebird Suite (1911)

Sinfonia Danses Suisses Scherzo (Au Moulin) Pas de deux

Introduction. Kashchei’s Enchanted Garden. Dance of the Firebird Supplication of the Firebird The Princesses’ Game with Apples The Princesses’ Khorovod (Rondo, round dance) Infernal dance of all Kashchei’s Subjects

SATURDAY, AUGUST 6 WITOLD LUTOSŁAWSKI (1913-1994) Symphonic Variations

Premiered initially in March 1939, on Polish radio; the live premiere took place on June 17, 1939, in Kraków under the direction of Grzegorz Fitelberg.

“For me, your work is simply ugly.” (Witold Maliszewski) Nothing like a little encouragement by your former teacher—especially if this was your first composition straight out of school! Fortunately, the conductor of the premiere thought differently: Listen, this is a real master. You have to be born a musician to write this way. His scores are a pleasure to hold in one’s hand: it’s not just notes, it’s music!

It would be nice if we could say now, “...and the rest is history.”

Unfortunately for Lutosławski, WW II postponed his career. After fighting in the war, being taken prisoner (and escaping eight days later), and then living under a repressive government, he was not able to present himself to the public as a modernist composer again until the 1960s. His Symphonic Variations became a promise of modernism (at that time represented by Schoenberg and Stravinsky) — a promise he was only able to fulfill over twenty years later. And the rest is history...

SERGEI RACHMANINOFF (1873-1943) Rhapsody on a Theme of Paganini, Op. 43

Premiered on November 7, 1934, in Baltimore by the Philadelphia Orchestra under the direction of Leopold Stokowski with the composer as soloist.

This “piano concerto” was one of Rachmaninoff’s most successful works right from the get-go. By the time he composed the Rhapsody, Rachmaninoff could look back on a career of unparalleled success as pianist, composer, and conductor. In his final work for piano and orchestra, Rachmaninoff decided on a different approach that celebrated pianistic virtuosity in a more obvious fashion. The Rhapsody contains 24 variations on the Caprice No. 24 theme by the famous virtuoso violinist Nicolò Paganini. Robert Schumann, Johannes Brahms, and Franz Liszt had all composed works based on that theme; Witold Lutoslawski and Boris Blacher added to that repertory after Rachmaninoff. The Rhapsody can conveniently be divided into three parts (fast-slow-fast) like a typical piano concerto: Variations 1 to 11 in A minor, Variations 12-18 in other keys, Variations 19-24 back in A minor. As he had done in previous compositions, Rachmaninoff incorporated the Dies irae plainchant from the Requiem Mass, which is the most obvious sign that this work is more than just flashy virtuosity: it is an artistic statement of a composer who also happened to be one of the greatest performers of his generation.

IGOR STRAVINSKY (1882-1971) Divertimento from The Fairy’s Kiss

Premiered on November 4, 1934, in Paris under the direction of the composer.

composing ballet scores. The Fairy’s Kiss is more than a tribute to the Tchaikovsky’s legacy. Stravinsky explains, In 1928 Ida Rubinstein commissioned me to compose a full-length ballet. The 35th anniversary of Tchaikovsky’s death was 1928 — and the actual day was observed in Paris’ Russian churches — and I therefore conceived my compatriotic homage as an anniversary piece. I chose Andersen’s The Snow Maiden because it suggested an allegory of Tchaikovsky himself. The fairy’s kiss on the heel of the child is also the muse marking Tchaikovsky at his birth — though the muse did not claim him at his wedding, as she did the young man in the ballet, but at the height of his powers. My only precept in selecting the music was that none of the pieces should have been orchestrated by Tchaikovsky — i.e., my selection would have to come from piano music and songs. I was already familiar with about half of the music I was to use; the other pieces were discoveries.

The result is a fascinating amalgamation of Tchaikovsky’s melodic genius robed in Stravinsky’s elegant neoclassical garb.

IGOR STRAVINSKY (1882-1971) The Firebird Suite (1911)

The suite was premiered on October 23, 1910, in St. Petersburg under the direction of Alexander Siloti.

Liadov was initially commissioned to write the ballet music for The Firebird, but for unknown reasons, he never even got started on the piece, and the commission was withdrawn and offered to the then unknown Stravinsky. The ballet became a sensation, the young Russian composer became a celebrity, and the rest is history.

Stravinsky, a great admirer of Liadov’s music, later suggested that Liadov “could never have written a long and noisy ballet like The Firebird.” Instead, Liadov wrote the impressionistic The Enchanted Lake a year later, underscoring Stravinsky’s suspicions. Stravinsky also said that “[Liadov] was more relieved than offended, I suspect, when I accepted the commission.”

The original ballet, first performed in 1910 in Paris with tremendous success, is a fifty-minute long story from Russian folklore about the miraculous Firebird’s rescue of princesses from the claws of the evil, ogre-like Kashchei the Immortal. Stravinsky created three different concert versions of the ballet. The 1911 suite extracts only five movements from the ballet. In some of the early printings, descriptive movement titles were omitted — presumably to discourage the listener from trying to follow the program. Unlike the later version, however, the first suite keeps the larger and more colorful orchestration of the ballet score.

-Siegwart Reichwald

Bill Murray plays a jazzy version of Rachmaninov's Rhapsody in Groundhog Day.

Stravinsky owes much of his early success to Tchaikovsky. Without the 19th-century composer’s ground-breaking ballet scores, Stravinsky simply wouldn’t have had the same opportunities

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SUNDAY, AUGUST 7 3:00 PM

LEAD SPONSOR

WHITTINGTON-PFOHL AUDITORIUM SEASON FINALE: BEETHOVEN 9 Brevard Music Center Orchestra Keith Lockhart, conductor Sydney Mancasola, soprano Michèle Bogdanowicz, alto Keith Jameson, tenor Reginald Smith, Jr., bass ALDRIDGE (1954-)

VAUGHAN WILLIAMS (1872-1958)

Brevard Music Center Festival Chorus Robert Moody and David Gresham, chorus masters

Janus Overture: for a new beginning

Serenade to Music

August Bair, baritone Brandon Bell, bass-baritone Melanie Burbules, mezzo-soprano Matthew Fleisher, bass-baritone Myles Garver, tenor Kevin Gino, tenor Rudy Giron, countertenor Jennie Moser, soprano

Mackenzie Phillips, mezzo-soprano Matthew Queen, baritone Evelyn Saavedra, soprano Christina Scanlan, mezzo-soprano Frederick Schlick, tenor Alexander Sheerin, tenor Elisa Sunshine, soprano Asleif Willmer, soprano

INTERMISSION BEETHOVEN (1770-1827)

– BMC Alumnus

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Symphony No. 9 in D minor, Op. 125 Allegro ma non troppo, un poco maestoso Scherzo. Molto vivace. Presto Adagio molto e cantabile Finale. Allegro molto assai (Alla marcia). Andante maestoso. Allegro energico, sempre ben marcato Ms. Mancasola, soprano Ms. Bogdanowicz, alto Mr. Jameson, tenor Mr. Smith, Jr., bass

SUNDAY, AUGUST 7 ROBERT ALDRIDGE (1954-) Janus Overture: for a new beginning

"JANUS OVERTURE: for a new beginning," was commissioned by the Brevard Music Center for Keith Lockhart and the BMCO, on the occasion of his inaugural concert as Artistic Director, on June 27, 2008.

Janus is the Roman God representing beginnings, the guardian of entrances and open doorways. Deference was paid to Janus at the most important beginnings in the life of an individual. This seemed to me a fitting musical way to honor Maestro Lockhart at the beginning of this most exciting adventure as Brevard’s new Artistic Director.

The overture is celebratory and joyous, with a brief and reflective middle section (Janus in fact has two heads, one looking forward to the future and one looking back to the past). Thus, in the overture, the Roman God celebrates a new beginning, briefly turns back to look at the past, and then moves forward into an ecstatic future. Its musical material is comprised of the very simplest ‘beginning’ motive I could imagine — an ascending, five-finger scale, from which every successive theme is derived. Janus Overture is published by CF Peters Corporation.

Beethoven’s Ninth Symphony. Nothing could better express the unbridled joy and elation felt everywhere that winter. That’s what Beethoven’s Ninth Symphony is really all about, and that 1989 Christmas Day performance might forever be remembered as the most “perfect” performance of this timeless masterpiece.

-Siegwart Reichwald

As a gesture of respect, the premiere of Beethoven’s 9th Symphony was codirected by the almost completely deaf composer who received five standing ovation throughout the performance.

- Robert Aldridge

RALPH VAUGHAN WILLIAMS (1872-1958) Serenade to Music

Premiered on October 5, 1938, in London under the direction of Sir Henry Wood.

Dedicated to Sir Henry Wood in celebration of his 50th anniversary as conductor, this piece is about the deep joy and beauty found in music. Appropriately, Vaughan Williams chose Shakespeare’s poetic discussion about the music of the spheres from Act V of The Merchant of Venice. Vaughan Williams composed the solo parts for sixteen eminent British singers, making the event all the more special.

LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 9 in D minor, Op. 125

Premiered on May 7, 1824, in Vienna under the direction of Michael Umlauf.

Beethoven’s last symphony is one of the most iconic and most discussed works in the history of music. It has become the cornerstone of the Romantic movement. From Schumann and Berlioz to Liszt, Brahms, and Mahler — they all refer back to this symphony as their starting point. What is it about this symphony that gave it its elevated status? Is it the expansion of the symphonic genre beyond the confines of absolute music? His successful quest to elevate music into the realm of philosophy? His ability to synthesize the transcendent quality of Romantic music with specific meaning (expressed in words)? The answer is yes to all of the above — and so much more.

Fast forward to Christmas Day 1989. Just 45 days after the fall of the Berlin Wall, the symbol of political and cultural division since World War II, Leonard Bernstein wanted to celebrate this historic moment with musicians from East Germany, West Germany, France, Russia, England, and the US. The obvious choice for the occasion:

TEXTS AND TRANSLATIONS VAUGHAN WILLIAMS Serenade to Music

How sweet the moonlight sleeps upon this bank!

Here will we sit and let the sounds of music Creep in our ears: soft stillness and the night Become the touches of sweet harmony.

Look how the floor of heaven Is thick inlaid with patines of bright gold: There’s not the smallest orb that thou behold’st But in his motion like an angel sings, Still quiring to the young-eyed cherubins; Such harmony is in immortal souls; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it.

Come, ho! and wake Diana with a hymn!

With sweetest touches pierce your mistress’ ear, And draw her home with music.

I am never merry when I hear sweet music.

The reason is, your spirits are attentive – The man that hath no music in himself, Nor is not mov’d with concord of sweet sounds, Is fit for treasons, stratagems and spoils; The motions of his spirit are dull as night And his affections dark as Erebus: Let no such man be trusted. Music! hark!

It is your music of the house.

Methinks it sounds much sweeter than by day.

Silence bestows that virtue on it How many things by season season’d are To their right praise and true perfection!

Peace, ho! the moon sleeps with Endymion And would not be awak’d. Soft stillness and the night Become the touches of sweet harmony.

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BEETHOVEN Symphony No. 9

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O Freunde, nicht diese Töne!

Sondern laßt uns angenehmere anstimmen, und freudenvollere.

Oh friends, not these sounds!

Let us instead strike up more pleasing and more joyful ones!

Freude!

Freude!

Joy! Joy!

Freude, schöner Götterfunken Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum!

Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder, Wo dein sanfter Flügel weilt.

Joy, beautiful spark of divinity, Daughter from Elysium, We enter, burning with fervour, heavenly being, your sanctuary!

Your magic brings together what fashion has sternly divided.

All men shall become brothers, wherever your gentle wings hover.

Wem der große Wurf gelungen, Eines Freundes Freund zu sein; Wer ein holdes Weib errungen, Mische seinen Jubel ein!

Ja, wer auch nur eine Seele Sein nennt auf dem Erdenrund!

Und wer's nie gekonnt, der stehle Weinend sich aus diesem Bund!

Whoever has been lucky enough to become a friend to a friend, Whoever has found a beloved wife, let him join our songs of praise!

Yes, and anyone who can call one soul his own on this earth!

Any who cannot, let them slink away from this gathering in tears!

Freude trinken alle Wesen An den Brüsten der Natur; Alle Guten, alle Bösen Folgen ihrer Rosenspur.

Küsse gab sie uns und Reben, Einen Freund, geprüft im Tod; Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott.

Every creature drinks in joy at nature's breast; Good and Bad alike follow her trail of roses.

She gives us kisses and wine, a true friend, even in death; Even the worm was given desire, and the cherub stands before God.

Froh, wie seine Sonnen fliegen Durch des Himmels prächt'gen Plan, Laufet, Brüder, eure Bahn, Freudig, wie ein Held zum Siegen.

Gladly, just as His suns hurtle through the glorious universe, So you, brothers, should run your course, joyfully, like a conquering hero.

Seid umschlungen, Millionen!

Diesen Kuß der ganzen Welt!

Brüder, über'm Sternenzelt Muß ein lieber Vater wohnen.

Ihr stürzt nieder, Millionen?

Ahnest du den Schöpfer, Welt?

Such' ihn über'm Sternenzelt! Über Sternen muß er wohnen.

Be embraced, you millions!

This kiss is for the whole world!

Brothers, above the canopy of stars must dwell a loving father.

Do you bow down before Him, you millions?

Do you sense your Creator, o world?

Seek Him above the canopy of stars!

He must dwell beyond the stars.

SOLOISTS AND CONDUCTORS

SOLOISTS & CONDUCTORS JOANN FALLETTA, BMC Principal Guest Conductor JoAnn Falletta is internationally celebrated as a vibrant ambassador for music, an inspiring artistic leader, and a champion of American symphonic music. An effervescent and exuberant figure on the podium, she has been praised by The Washington Post as having “Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein.”

Acclaimed by The New York Times as “one of the finest conductors of her generation”, she serves as the Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center, and music advisor to the Hawaii Symphony.

Ms. Falletta is invited to guest conduct many of the world’s finest symphony orchestras. Recent guest conducting highlights include debuts in Belgrade, Gothenburg, Lima, Bogotá, Helsingborg, Orchestra of St. Luke’s, a European tour with the Stuttgart Orchestra, return engagements with the Warsaw, Detroit, Phoenix, and Krakow Symphony Orchestras and a 13 city US tour with the Irish Chamber Orchestra with James Galway. The Buffalo Philharmonic Orchestra’s 2015-16 Season celebrated the 75th anniversary of Kleinhans Music Hall, with major guest artists such as Lang Lang, Chris Botti and Andre Watts, and works showcasing the hall’s exquisite acoustics.

Ms. Falletta’s growing discography, which currently includes over 90 titles, consists of recordings with the Buffalo Philharmonic, Czech National Symphony, English Chamber Orchestra, Lithuanian National Symphony London Symphony, Long Beach Symphony, Netherlands Radio Orchestra, New Zealand Symphony, Philadelphia Philharmonia, Prague Philharmonic, Royal Scottish National Orchestra, Ulster Orchestra, Virginia Symphony and the Women’s Philharmonic. Her recording with the Buffalo Philharmonic and soprano, Hila Plitmann of Corigliano’s Mr. Tambourine Man received two Grammy Awards in 2009. Grammy nominated discs include her recordings with the Buffalo Philharmonic of Tyberg’s Symphony No. 3, Corigliano’s Red Violin, Schubert’s Death and the Maiden, Strauss’s Rosenkavalier, and Dohnanyi’s Variations on a Nursery Song. In her role as Principal conductor of the Ulster Orchestra from 2011-2014, Ms. Falletta recorded 6 CDs for the Naxos returning the orchestra to its renowned recording history.

In addition to her current posts with the Buffalo Philharmonic, the Virginia Symphony, Brevard Music Center and Hawaii Symphony, Ms. Falletta has held the positions of principal conductor of the Ulster Orchestra, principal guest conductor of the Phoenix Symphony, music director of the Long Beach Symphony Orchestra, associate conductor of the Milwaukee Symphony Orchestra, and music director of the Denver Chamber Orchestra.

Ms. Falletta, elected in 2016 to the American Academy of Arts and Sciences, received her undergraduate degree from the Mannes College of Music in New York and her master’s and doctorate degrees from The Juilliard School.

KEN LAM, BMC Resident Conductor Ken Lam is Music Director of the Charleston Symphony Orchestra, Associate Professor at Montclair State University in New Jersey, and Artistic Director of Hong Kong Voices.

In 2011 Mr. Lam won the Memphis Symphony Orchestra International Conducting Competition and was a featured conductor in the League of American Orchestra’s 2009 Bruno Walter National Conductors Preview with the Nashville Symphony. He made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008 as one of four conductors selected

by Leonard Slatkin. In recent seasons he has led performances with the symphony orchestras of Cincinnati and Cincinnati Pops, Baltimore, Detroit, Memphis, Illinois, and Meridian, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, Guiyang Symphony Orchestra and the Taipei Symphony Orchestra.

In opera, he has led critically acclaimed productions at Spoleto Festival USA, Lincoln Center Festival, and at the Luminato Festival in Canada and has directed numerous productions of the Janiec Opera Company at Brevard.

Ken Lam studied conducting with Gustav Meier and Markand Thakar at Peabody Conservatory, David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen, and Leonard Slatkin at the National Conducting Institute. Previous conducting positions include Associate Conductor for Education of the Baltimore Symphony Orchestra and Assistant Conductor of Cincinnati Symphony Orchestra. He read economics and law at St. John’s College, Cambridge University, and previously spent ten years as an attorney specializing in international finance.

Mr. Lam was the recipient of the 2015 Johns Hopkins University Global Achievement Award.

DR. KRAIG ALAN WILLIAMS, Director, Brevard Symphonic Winds Dr. Kraig Alan Williams is currently the Director of Bands, Associate Professor of Music, and Director of the Wind Studies Program at the Mason Gross School of the Arts, Rutgers University. His duties include the artistic guidance of the Grammy-nominated Rutgers Wind Ensemble and administration of all aspects of a large, dynamic, and comprehensive university band program. Other responsibilities include teaching graduate and undergraduate conducting and the mentoring of Master’s and Doctoral students in Wind Studies.

Maintaining an active schedule as a guest conductor, clinician and lecturer, Williams has appeared in those capacities in more than 15 states and with such prominent ensembles as the Dallas Wind Symphony and The United States Air Force Band. Williams has conducted performances in Graz, Budapest, Malta, Marktoberdorf, and Prague. He has performed in Carnegie Hall, conducted live radio broadcasts on NPR and has recorded for Mark Records, Albany Records, and ADK in Prague, Czech Republic.

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Prior to arriving at Rutgers, Williams served as the Director of Bands at University of Memphis (2003-2011); conductor of the Duke University Wind Symphony and director of the Duke in Vienna program (1997-2000); director of bands and chamber ensembles at California State University, Los Angeles (1993-1996); assistant conductor of Southern California Inland Empire Symphony and Los Angeles Solo Repertoire Orchestra in Burbank, and music director of the Lake Elsinore Civic Light Opera (1990-1993).

Williams received his doctorate from The University of Texas at Austin, where he studied with Jerry F. Junkin. He received a Master’s of Music degree in performance from California State University, Northridge. Williams is a member of CBDNA, TMEA, and is a sponsor and honorary member of the Memphis chapters of Kappa Kappa Psi and Tau Beta Sigma.

Williams joined the conducting faculty at the Brevard Music Center in 2001 and was named Director of Band Activities in 2008. He has regularly achieved critical acclaim for his work with the Symphonic Band and Chamber Winds.

NIGEL ARMSTRONG, violin Nigel Armstrong is emerging as a dynamic and creative artist both within and beyond the realm of classical music. From his musical beginnings as a member of "The Little Fiddlers" in Sonoma, CA to collaborations with tango musicians in Argentina he's enjoyed using the violin in a versatile manner throughout his life. As soloist he's performed with orchestras such as the Dusseldorf Symphony, the Los Angeles Chamber Orchestra, the St. Petersburg Philharmonic, Youth Orchestra of the Americas, and the Boston Pops, and with conductors including Sir Neville Marriner and Carlos Miguel Prieto. As a chamber musician his concerts have taken him across the US and abroad - highlights have included opportunities to share the stage with the Tokyo String Quartet and pianist Jonathan Biss. A graduate of the Colburn School and the Curtis Institute of Music, Nigel's teachers have included Arnold Steinhardt, Robert Lipsett, Zaven Melikian, and Donald Weilerstein, among others. He also feels fortunate to have lived with and learned from the Plum Village community founded by Buddhist monk Thich Nhat Hanh, where he recently spent a year working on their organic farm and taking part in their daily life.

APOLLO'S FIRE Named for the classical god of music and the sun, Apollo’s Fire was founded in 1992 by the award-winning young harpsichordist and conductor, Jeannette Sorrell. Sorrell envisioned an ensemble dedicated to the baroque ideal that music should evoke the various Affekts or passions in the listeners. Apollo’s Fire is a collection of creative artists who share Sorrell’s passion for drama and rhetoric.

Hailed as “one of the pre-eminent period-instrument ensembles” (THE INDEPENDENT, London), Apollo’s Fire made its London debut in 2010 in a sold-out concert at Wigmore Hall, with a BBC broadcast. European performances include sold-out concerts at the BBC Proms in London (with live broadcasts across Europe), the Aldeburgh Festival (UK), Madrid’s Royal Theatre,

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Bordeaux’s Grand Théàtre de l’Opéra, and major venues in Lisbon, Metz (France), and Bregenz (Austria), as well as concerts on the Birmingham International Series (UK) and the Tuscan Landscapes Festival (Italy).

North American tour engagements include the Tanglewood Festival, the Aspen Music Festival, the Boston Early Music Festival series, the Library of Congress, the Tropical Baroque Festival in Miami, the Ojai International Festival in California, and major venues in Toronto, Los Angeles, and San Francisco.

The ensemble has performed two major US tours of the Monteverdi Vespers (2010 and 2014) and a 9-concert tour of the Brandenburg Concertos in 2013.

At home in Cleveland, Apollo’s Fire enjoys sold-out performances at its subscription series, which has drawn national attention for creative programming. Apollo’s Fire has released 21 commercial CDs, and currently records for the British label AVIE. Since the ensemble’s introduction into the European CD market in 2010, the recordings have won rave reviews in the London press: “a swaggering version, brilliantly played” (THE TIMES) and “the Midwest’s best-kept musical secret is finally reaching British ears” (THE INDEPENDENT). Five of the ensemble’s CD releases have become bestsellers on the classical BILLBOARD chart: the Monteverdi Vespers, Bach’s Brandenburg Concertos & Harpsichord Concertos, and Jeannette Sorrell’s three crossover programs - Come to the River – An Early American Gathering; Sacrum Mysterium- A Celtic Christmas Vespers; and Sugarloaf Mountain – An Appalachian Gathering.

MATTHIAS BAMERT, conductor Matthias Bamert’s distinguished career started at the Cleveland Orchestra where he was Resident Conductor alongside the then Music Director Lorin Maazel. Since then he has held Music Director positions with the Malaysian Philharmonic Orchestra, the Swiss Radio Orchestra, London Mozart Players, Principal Guest Conductor of the Royal Scottish National Orchestra, the New Zealand Symphony Orchestra, and Associate Guest Conductor of the Royal Philharmonic Orchestra in London.

Music Director of the London Mozart Players for seven years, he has masterminded a hugely successful series of recordings of works by “Contemporaries of Mozart” which has already exceeded 75 symphonies. In 1999, the orchestra’s 50th anniversary year, he conducted them at the BBC Proms, in Vienna and at the Lucerne Festival, and returned with them to Japan in January 2000.

He has worked frequently in the concert hall and studio with such orchestras as the Philharmonia, the London Philharmonic and the BBC Symphony Orchestra, has appeared regularly at the London Proms, and often appears with orchestras outside London such as the BBC Philharmonic and the City of Birmingham Symphony Orchestra. Outside of the UK he has regularly appeared with the great orchestras of the world including the Cleveland Orchestra, the Pittsburgh Symphony, the Los Angeles Philharmonic, the Orchestre symphonique de Montreal, the Leningrad Philharmonic, the Sydney Symphony, and the NHK Symphony Orchestra Tokyo among many others.

SOLOISTS AND CONDUCTORS

SOLOISTS & CONDUCTORS 2015/2016 season highlights included appearances with the Israel Symphony Orchestra, Gunma Philharmonic Orchestra, Sapporo Symphony Orchestra, Ensemble Kanazawa, Osaka Philharmonic Orchestra, Daejeon Philharmonic Orchestra, and the Phoenix Symphony Orchestra.

A prolific recording artist, Bamert has made over 80 discs, many of which have won international prizes. His recordings include 24 discs of Mozart’s contemporaries with the London Mozart Players, Sir Hubert Parry (the complete Symphonies) and Frank Martin (5 discs) with the London Philharmonic, the symphonies of Roberto Gerhard with the BBC Symphony, Dutch composers with the Residentie Orchestra, and the Stokowski transcriptions, Korngold and Dohnanyi with the BBC Philharmonic.

INON BARNATAN, piano Pianist Inon Barnatan has been named as the New York Philharmonic’s first artist in association, a major three-season appointment highlighted by multiple concerto and chamber collaborations with the orchestra. The Avery Fisher Career Grant recipient has performed recitals at Carnegie Hall, Washington’s Kennedy Center, Wigmore Hall and the Concertgebouw, among others. He is a member of the Chamber Music Society of Lincoln Center and frequently performs as a recital partner of cellist Alisa Weilerstein.

Barnatan has performed with many of the world’s leading orchestras, including the Los Angeles Philharmonic; the symphony orchestras of Atlanta, Dallas, Cleveland, Philadelphia and San Francisco; the Academy of St. Martin-in-the-Fields; Deutsche Symphonie Orchester Berlin; National Arts Centre Orchestra; and the Orchestre de la Suisse Romande. Born in Tel Aviv in 1979, Inon Barnatan started piano at the age of 3 and made his orchestral debut at 11. He has studied with Professor Victor Derevianko, himself a pupil of Russian master Heinrich Neuhaus; Maria Curcio, a student of the legendary Artur Schnabel; Christopher Elton at London’s Royal Academy of Music; and Leon Fleisher.

MASON BATES, composer/electronica Recently named the second most-performed living composer, Mason Bates currently serves as the first composer-in-residence of the Kennedy Center for the Performing Arts. His music fuses innovative orchestral writing, imaginative narrative forms, the harmonies of jazz and the rhythms of techno, and it has been the first symphonic music to receive widespread acceptance for its unique integration of electronic sounds.

Leading conductors such as Riccardo Muti, Michael Tilson Thomas, and Leonard Slatkin have championed his diverse catalogue. He has become a visible advocate for bringing new music to new spaces, whether through institutional partnerships such as his residency with the Chicago Symphony Orchestra, or through his club/classical project Mercury Soul, which has transformed spaces ranging from commercial clubs to Frank Gehry-designed concert halls into exciting, hybrid musical events drawing over a thousand people. In awarding Bates the Heinz Medal, Teresa Heinz remarked that “his music has moved the orchestra into the digital age and dissolved the boundaries of classical music.”

Bates’ activities as a DJ have highly informed not only his compositional approach, but his distinctive curating projects.

As part of his multi-year residency, he will work with the Kennedy Center’s broad range of artistic constituents, from performances with the National Symphony to appearances with Jason Moran on Kennedy Center Jazz, often integrating electronica artists into the Center’s unique spaces. He is launching a newmusic series, KC Jukebox, that will feature the immersive production and eclectic programming for which his curating projects have become known.

As part of the San Francisco Symphony’s Beethoven & Bates Festival, three of his largest works — Alternative Energy, Liquid Interface, and The B-Sides — will be released later this season.

A forthcoming CD by the Boston Modern Orchestra Project will complement this disc with some of his most-performed works, from Mothership to Rusty Air in Carolina. Currently he is composing an opera on the topic of Steve Jobs to be premiered at Santa Fe Opera in 2017.

MICHÈLE BOGDANOWICZ, alto Canadian Michèle Bogdanowicz has taken an important place among the outstanding mezzo-sopranos of her generation. A Fellow at Ravinia’s Steans Institute for Young Artists, she was chosen to present the world premiere of songs Facing Forward, Looking Back by American composer Jake Heggie and as a member of the prestigious Merola Program of the San Francisco Opera, she had a resounding success as Susanna in Le Nozze di Figaro. She made an important debut as Béatrice in Berlioz’ Béatrice et Bénédict with the Orquesta Sinfónica de Minería in Mexico City, presented a world premiere of songs composed for her by Canadian composer Norbert Palej at Gallery 345, followed by a recording produced by the Canadian Art Song Project. Also last season, she appeared with the Pax Christi Chorale in Bach’s Christmas Oratorio as well as with the Bach Elgar Choir in Messiah. She was featured in the Recitals at Rosedale series, presenting a world premiere of songs composed by Elizabeth Raum and she sang La mère in Charpentier’s Louise with Opera in Concert. Other recent and upcoming projects include Beethoven’s Symphony No. 9 for the Niagara Symphony, Alisa in Lucia di Lammermoor for Pacific Opera Victoria and Rossini’s Petite Messe Solennelle for the Bach Elgar Choir.

Her activities on the concert stage include a recital at the National Arts Centre in Ottawa broadcast by CBC’s Radio Two, an appearance with the Ottawa Choral Society in Notes from America, and an all-Debussy program for the Aldeburgh Connection and Russian songs for the Off Centre Music Salon.

She was named a winner in the New Discovery Auditions and was also a Regional Finalist in the Metropolitan Opera National Council Auditions.

As a member of the Canadian Opera Company’s Ensemble Studio, she sang Mercedes in Carmen and other COC roles include New Ofglen in Ruders’ The Handmaid’s Tale, Hansel in Hansel and Gretel, Nancy in Albert Herring, and Papagena in The Magic Flute. Ms. Bogdanowicz holds an honors Bachelor of Music degree, and a Diploma in Operatic Performance from the University of Toronto.

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NICOLE CABELL, soprano Winner of the BBC Cardiff Singer of the World Competition in 2005, Nicole Cabell is now one of the most sought-after lyric sopranos in the world.

This season Ms. Cabell debuts at Grand Théâtre de Genève in the title role of Alcina, and returns to the Royal Opera House, Covent Garden, as Violetta (La traviata), Cincinnati Opera for her role debut as Rosalinde (Die Fledermaus), Lyric Opera of Chicago as Hanna (Die lustige Witwe) and Atlanta Opera as Juliette (Roméo et Juliette). Especially adept in French repertoire, Ms. Cabell has sung Leïla (Les pêcheurs de perles) for Santa Fe Opera and Juliette for Palm Beach and Cincinnati Operas. She has recently toured with the Royal Philharmonic Orchestra performing Poulenc’s Gloria under Charles Dutoit, as well as wit the Orchestre National de France singing Poulenc’s Stabat Mater under Jean-Claude Casadesus.

Last season she appeared with the London Symphony Orchestra singing Debussy’s La damoiselle élue.

Full lyric roles are equally prominent and Ms. Cabell recently made an acclaimed role and company debut as Mimì (La bohème) with Opéra national de Paris, and her company debut as Giulietta (I capuleti e I Montecchi) with San Francisco Opera.

She has also appeared as Adina (L’elisir d’amore) at both the Gran Teatro del Liceu and the New National Theatre, Tokyo.

Showcasing her pre-eminence in the music of Mozart, Cabell has sung Contessa Almaviva (Le nozze di Figaro) in Montreal, Pamina (Die Zauberflöte) at the Lyric Opera of Chicago, and Donna Elvira (Don Giovanni) in Tokyo.

Ms. Cabell’s concert highlights include Barber’s Knoxville, Summer of 1915 with both Sinfónica de Galicia and the BBC Concert Orchestra, and Elgar’s The Apostles with the BBC Symphony Orchestra under Sir Andrew Davis. Ms. Cabell’s debut album for Decca - Soprano - was named Editor’s Choice

by Gramophone Magazine and has received widespread critical acclaim, winning the 2007 Georg Solti Orphée d’Or from the Académie du Disque Lyrique and an Echo Klassik Award. Other recording projects include the title role in Donizetti’s Imelda de’ Lambertazzi for Opera Rara.

STEVE COHEN, clarinet Active as both a soloist and chamber performer throughout the U.S. and around the world, BMC faculty member, Steve Cohen, is the former principal clarinetist with the New Orleans Symphony, later known as the Louisiana Philharmonic. Cohen joined the New Orleans Symphony in 1975 and remained as principal clarinet with its successor, the Louisiana Philharmonic, through May 2004.

He was featured as concerto soloist with that orchestra many times and has also been featured as concerto soloist at the Brevard Music Center, where he has played and continues to play principal clarinet each summer since 1979. In the summer of 2010, he was featured as soloist on the Copland Clarinet Concerto with Keith Lockhart and the Brevard Music Center Orchestra. He has toured in the U.S. as principal clarinet with the Texas Opera Theater and throughout Europe as principal clarinet with the Seoul Philharmonic Orchestra. He has performed and

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presented master classes in Beijing, China, throughout Taiwan, and in Portugal.

Professor Cohen was guest artist and master class clinician with the Seoul Philharmonic Clarinet Festival and, on many occasions, the Oklahoma Clarinet Symposium. He has performed at ICA clarinet conventions and the Bay Chamber Concerts in Rockport, Maine. Since moving to Chicago in 2005, he has performed with the Chicago Symphony, the Chicago Lyric Opera, as principal clarinet with the Music of the Baroque Orchestra, and has performed in chamber music groups throughout the Chicago area, including the Chicago Chamber Musicians.

In the summers of 2006-2008, he was on the faculty of the Aria International Summer Institute. He has participated as guest faculty at the Indiana University clarinet workshops, taught as guest faculty at the Oberlin Conservatory and the University of Southern California. Professor Cohen is a former faculty member of the Cincinnati College-Conservatory of Music and the Louisiana State University. He is an artist/clinician for Buffet clarinets and a Legere reed artist. He was a host of the ICA 2001 convention in New Orleans and has written many articles for the Clarinet magazine.

KEVIN DEAS, bass-baritone Kevin Deas has gained international renown as one of America’s leading bass-baritones.

He is perhaps most acclaimed for his signature portrayal of the title role in Porgy and Bess, having performed it with the New York Philharmonic, Philadelphia Orchestra, National Symphony, St. Paul Chamber Orchestra, Pacific Symphony, and the symphonies of Atlanta, Baltimore, Calgary, Columbus, Dallas, Detroit, Florida, Hartford, Houston, Milwaukee, Minnesota, Montreal, San Diego, San Francisco, Seattle, Utah, and Vancouver, and at the Ravinia, Vail, and Saratoga festivals.

Kevin Deas’ other engagements during the 2014-15 season included Beethoven’s Symphony No. 9 with the Bach Festival Society of Winter Park and the Pacific, Phoenix, and Richmond Symphonies; Haydn’s Lord Nelson Mass, the Duruflé Requiem, and a concert of Bach Cantatas with the National Philharmonic; Messiah with Pacific MusicWorks and the Alabama Symphony; Frank Martin’s Golgotha with the New Amsterdam Singers; the Brahms Requiem with Vox Ama Deus; Mozart Requiem with the Baltimore Choral Arts Society; and Elgar’s The Apostles with the Bucks County Choral Society.

A strong proponent of contemporary music, Kevin Deas was heard at Italy’s Spoleto Festival in a new production of Menotti’s Amahl and the Night Visitors and has also performed the world premieres of Derek Bermel’s The Good Life with the Pittsburgh Symphony and Hannibal Lokumbe’s Dear Mrs. Parks with the Detroit Symphony. His twenty-year collaboration with the late jazz legend Dave Brubeck has taken him to Salzburg, Vienna and Moscow in To Hope!, and he performed Brubeck’s Gates of Justice in a gala performance in New York during the 1995-96 season.

Kevin Deas has recorded Wagner’s Die Meistersinger for Decca/ London with the Chicago Symphony under the late Sir Georg Solti and Varèse’s Ecuatorial with the ASKO Ensemble under the baton of Riccardo Chailly. Other releases include Bach’s Mass

SOLOISTS AND CONDUCTORS

SOLOISTS & CONDUCTORS in B-minor and Handel’s Acis and Galatea on Vox Classics; Dave Brubeck’s To Hope! on the Telarc label; Haydn’s Die Schöpfung with the Virginia Symphony and Boston Baroque for Linn Records; and “Dvorak in America” (Naxos), featuring Mr. Deas performing the world premiere recording of Dvorak’s “Hiawatha Melodrama” and Dvorak’s arrangement of “Goin’ Home” with the PostClassical Ensemble.

ROBERTO DÍAZ, viola A violist of international reputation, Roberto Díaz is president and CEO of the Curtis Institute of Music, following in the footsteps of renowned soloist/directors, such as Josef Hofmann, Efrem Zimbalist, and Rudolf Serkin. As a teacher of viola at Curtis and former principal viola of the Philadelphia Orchestra, he has already had a significant impact on American musical life, and continues to do so in his dual roles as performer and educator.

An active soloist, Mr. Díaz collaborates with leading conductors of our time in prestigious venues around the world. He also works directly with important 20th- and 21st-century composers, including Krzysztof Penderecki, Edison Denisov, Ricardo Lorenz and Roberto Sierra, all of whom have written concertos for him.

During the 2014/2015 season, he premiered Jennifer Higdon’s Viola Concerto at the Library of Congress with the Curtis Chamber Orchestra under Robert Spano.

A frequent recitalist and chamber musician, Mr. Díaz has performed with major string quartets and pianists in chamber music series and festivals worldwide. He has also toured Europe, Asia, and the Americas as a member of the Díaz Trio with violinist Andrés Cárdenes and cellist Andrés Díaz.

Prior to his decade-long tenure as principal viola of the Philadelphia Orchestra, Roberto Díaz served as principal viola of the National Symphony under Mstislav Rostropovich, was a member of the Boston Symphony under Seiji Ozawa, and a member of the Minnesota Orchestra under Sir Neville Marriner. He holds a bachelor’s degree from the New England Conservatory of Music, and a diploma from the Curtis Institute of Music, where his teacher was Joseph de Pasquale, his predecessor at the Philadelphia Orchestra.

Mr. Díaz’s recordings on the Naxos label include the complete works for viola and piano by Henri Vieuxtemps, a Grammynominated disc of viola transcriptions by William Primrose, and the Brahms sonatas with Jeremy Denk. Other recordings include the Jacob Druckman Viola Concerto with the Philadelphia Orchestra and Wolfgang Sawallisch (New World Records); the Walton Viola Concerto with the New Haven Symphony and William Boughton (Nimbus); and the Viola Concerto by Peter Lieberson with the Odense Symphony Orchestra and Scott Yoo (Bridge Records).

DAVID EFFRON, conductor Distinguished symphony and opera conductor, David Effron has, over a fortyyear career, conducted major symphony and opera companies throughout the world. As a member of the conducting staff of the New

York City Opera from 1964 to 1982, he accumulated an operatic repertoire that exceeds 100 operas.

Former Music Director of the Brevard Music Center, Maestro Effron recently retired as Professor of Conducting at the Indiana University School of Music after eighteen years in that position. He previously held this same position at the Eastman School of Music for twenty years where he was Music Director of the Eastman Philharmonia. In these positions, Mr. Effron has trained hundreds of instrumentalists now in professional orchestras worldwide in addition to scores of professionally active conductors. Other positions he has held include Music Director of the Heidelberg Summer Festival, Principal Conductor of the Curtis Institute of Music in Philadelphia, Artistic Director and Principal Conductor of the Central City Opera Festival, and Music Director of the Youngstown Symphony.

Maestro Effron has been a guest conductor for many leading North American ensembles, including the Aspen Music Festival, Chautauqua Music Festival, Bach Aria Group, orchestras of Pittsburgh, Cincinnati, Denver, Buffalo, Rochester, New Mexico, and the National Ballet of Washington. As an opera conductor, he has appeared on the podium of the San Francisco Opera, New York City Opera, Tulsa Opera, Greater Buffalo Opera, and Opera Columbus.

Maestro Effron has made many recordings including a 1987 disc on the Pantheon label featuring Benita Valente and the Eastman Philharmonia, which won a German Critics Prize; an RCA recording of John Corigliano’s Pied Piper Fantasy with flutist James Galway designated by Ovation Magazine as one of 3 top contemporary classical records in 1988; the 1987 Grammy-award winning recording of Aaron Copland’s Lincoln Portrait; and a disc of songs by Mahler and Berlioz with orchestra featuring the late mezzo-soprano, Jan DeGaetani.

In addition to his work as a conductor, Mr. Effron has continued his interest in piano performance, and, in the past accompanied such notable artists as George London, Sherrill Milnes, and Benita Valente.

He is married to artist Arlene Effron, and is the father of two children.

JOSEPH HOROWITZ, producer Dvořák in America Festival Joseph Horowitz has long been a pioneer in the thematic, interdisciplinary classical music programming, beginning with his tenure as artistic advisor for the annual Schubertiade at New York’s 92nd Street Y. As executive director of the Brooklyn Philharmonic Orchestra, he received national attention for “the Russian Stravinsky,” Dvořák and America,” “American Transcendentalists,” “Flamenco,” and other festivals that explored the folk roots of concert works and the quest for national identity through the arts. Now an artistic adviser to various American orchestras, he has created more than three dozen interdisciplinary music festivals since 1985. He is also the founding artistic director of Washington, D.C.’s pathbreaking chamber orchestra, PostClasscial Ensemble, in which capacity he has produced two DVDs for Naxos that feature classical documentary films with newly recorded soundtracks. He is also the award-winning author of eight books that address the institutional history of classical

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music in the United States. Both Classical Music in America: A History (2005) and Artists in Exile (2008) were named best books of the year by The Economist.

INTERNATIONAL CONTEMPORARY ENSEMBLE (ICE) The International Contemporary Ensemble (ICE), described by the New York Times as “one of the most accomplished and adventurous groups in new music,” is dedicated to reshaping the way music is created and experienced. With a modular makeup of 35 leading instrumentalists, performing in forces ranging from solos to large ensembles, ICE functions as performer, presenter, and educator, advancing the music of our time by developing innovative new works and new strategies for audience engagement. ICE redefines concert music as it brings together new work and new listeners in the 21st century.

Since its founding in 2001, ICE has premiered over 500 compositions — the majority of these new works by emerging composers — in venues spanning from alternative spaces to concert halls around the world. The ensemble has received the American Music Center’s Trailblazer Award for its contributions to the field, the ASCAP/Chamber Music America Award for Adventurous Programming, and named Musical America Worldwide’s Ensemble of the Year in 2013. From 2008 to 2013 ICE was Ensemble-in-Residence at the Museum of Contemporary Art Chicago. ICE musicians serve as Artistsin-Residence at the Mostly Mozart Festival of Lincoln Center, curating and performing chamber music programs that juxtapose new and old music. In 2014 ICE began a partnership with the Illinois Humanities Council, the Hideout in Chicago, and the Abrons Art Center in New York to support the OpenICE initiative.

In 2011, with leading support from The Andrew W. Mellon Foundation, ICE created the ICElab program to place teams of ICE musicians in close collaboration with emerging composers to develop works that push the boundaries of musical exploration. ICElab projects have been featured in more than one hundred performances from 2011 to 2014, and are documented online through ICE’s blog, and DigitICE, its online library of performance videos.

In 2015, ICE launched its EntICE education initiative. EntICE brings together leading composers with youth ensembles in new works to be performed side-by-side with ICE. ICE musicians will take young people — and their schools, families and communities — through the entire collaborative process of bringing premiere pieces to life.

KEITH JAMESON, tenor Keith Jameson, tenor, a native of South Carolina, opens the current season performing the role of Basilio in Le nozze di Figaro with Lyric Opera of Chicago, a role he also sings this winter with Houston Grand Opera. Additionally with HGO, he sings the role of the Gamekeeper in Rusalka. Mr. Jameson creates the role of Yab in the world premiere of Mark Adamo’s Becoming Santa Claus with the Dallas Opera, and closes the season singing Goro in Madama Butterfly with Los Angeles Opera.

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He made his Carnegie Hall debut in 2004 as tenor soloist in Beethoven’s Mass in C and Schubert’s Mass in G with MidAmerica Productions, and returned in 2005 to sing the tenor soloist in Mozart’s Coronation Mass. He was the tenor soloist in Handel’s Messiah with Boston Baroque (2004, 2005, 2008, 2010, and 2011) and the Phoenix Symphony (1999 and 2000), and in Bach’s B-minor Mass with the Berkshire Bach Society at Ozawa Hall at Tanglewood in 2004. He was tenor soloist in Mozart’s Requiem and Coronation Mass with the Greenville Chorale in South Carolina. He has also sung with the Carmel Bach Festival as a Virginia Best Adams Voice Fellow, the Brevard Music Center, Opera Theatre of Rochester, NY, Currents in Richmond, VA, and the Youngstown Symphony Orchestra, OH. He was a 1999 award recipient of the prestigious Sullivan Foundation, and a winner of the Anna MacKay Scholarship from The Santa Fe Opera. He received his Bachelor of Music in Vocal Performance from Furman University, and his Master of Music in Conducting and his Doctorate of Musical Arts in Vocal Performance and Literature, both from the Eastman School of Music.

He is also the Founder and Director of the Greenwood Music Festival in Greenwood, SC, which had its inaugural season January 12-14, 2007. There he sang Michael in a staged production of the musical I Do! I Do! The weekend music festival features a staged production of an opera or musical, chamber music concerts, recitals, classic films, and a sacred music concert and/or cabaret evenings, in addition to commissioned artwork from a local artist.

DAVID KIM, violin Violinist David Kim was named concertmaster of The Philadelphia Orchestra in 1999. Born in Carbondale, Illinois, in 1963, he started playing the violin at the age of three, began studies with the famed pedagogue Dorothy DeLay at the age of eight, and later received his bachelor’s and master’s degrees from The Juilliard School.

Highlights of Mr. Kim’s 2015-16 season included teaching/ performance residencies at Oberlin College, Bob Jones University, and the Boston Conservatory; continued appearances as concertmaster of the All-Star Orchestra on PBS stations across the United States and online at the Kahn Academy; recitals, speaking engagements, and appearances with orchestras across the United States; performances of the Brahms Double Concerto with Philadelphia Orchestra Principal Cello Hai-Ye Ni and the Orchestra under the baton of Donald Runnicles; and the launching of the first annual David Kim Orchestral Institute of Cairn University in Philadelphia.

Mr. Kim appears as soloist with The Philadelphia Orchestra each season as well as with numerous orchestras around the world.

He also appears internationally at such festivals as Grand Teton, Brevard, MasterWorks (US), and Pacific (Japan).

Mr. Kim has been awarded honorary doctorates from Eastern University in suburban Philadelphia, the University of Rhode Island, and Dickinson College. His instruments are a J.B. Guadagnini from Milan, ca. 1757, on loan from The Philadelphia Orchestra, and a Michael Angelo Bergonzi from Cremona, ca.

1754. Mr. Kim resides in a Philadelphia suburb with his wife, Jane, and daughters, Natalie and Maggie. He is an avid runner, golfer, and outdoorsman.

SOLOISTS AND CONDUCTORS

SOLOISTS & CONDUCTORS MIN KWON, piano Min Kwon received her BM at Curtis Institute of Music and her MM and DMA at The Juilliard School. Her post-doctoral studies have taken her to the University of Mozarteum in Salzburg, Austria. A Steinway Artist, Kwon is a soloist, chamber musician, and teacher. Her professional engagements have taken her to 62 countries and to all 50 states in the U.S. She has performed in venues such as Carnegie Hall, Avery Fisher Hall and Alice Tully Hall at Lincoln Center, the United Nations in New York, Orchestra Hall in Chicago, the Academy of Music in Philadelphia, Seoul Arts Center in Korea, Börsensäle in Vienna, and Klementinum in Prague. She has performed in the festivals of Aspen, Ravinia, Cape & Islands, Caramoor, Colmar (France), Salzburg and Altenburg (Austria), Kuhmo (Finland), Interlaken (Switzerland), Freiburg (Germany), and Prague (Czech Republic).

Performance highlights include critically acclaimed, sold-out recitals at Carnegie’s Weill Recital Hall and at London and Sydney's Steinway Hall, Singapore›s National University; as well as appearances in Australia, Curacao, Czech Republic, Estonia, Italy, Malaysia, and Norway. Kwon has given over 200 recitals, workshops, and master classes throughout the United States under the auspices of CAMI Community Concerts. She has recorded for BMG/RCA Red Seal and MSR Classics. She is regularly invited to teach by major institutions and festivals around the world, among them the Royal College of Music in London; the Shanghai Conservatory and the Beijing Central Conservatory in China; the Yong Siew Toh Conservatory in Singapore; the Academy of Fine Arts and National University in Hong Kong; Vladimir Feltsman’s Summerfest in New Paltz, New York; the AMEROPA International Festival in Prague; the Positano International Festival in Italy; and the Altenburg Music Akademie and MozartFest in Austria. The grand prize winner of Korea’s KBS Emerging Artists Award in 1995, Kwon was also the recipient of The Juilliard School’s Gina Bachauer International Piano Awards, the school’s highest award given to a pianist. She has garnered more than two dozen top prizes in national and international competitions in the United States, Italy, Scotland, and Spain.

SYDNEY MANCASOLA, soprano A Grand Finals winner of the 2013 Metropolitan Opera National Council Auditions and a graduate of the Academy of Vocal Arts in Philadelphia, soprano Sydney Mancasola has been praised by the New York Times for her “lovely lyric soprano and radiant high notes.” The 2015 – 2016 season will mark Ms. Mancasola’s European debut at the Komische Oper Berlin as the three heroines in Les Contes d’Hoffmann, Cleopatra in Giulio Cesare, Pamina in the Barrie Kosky production of Die Zauberflöte, and Servilia in a concert performance of Clemenza di Tito. She will also reprise the title role in Massenet’s Manon in a return to Des Moines Metro Opera, conducted by David Neely. Concert work includes her debut with the San Francisco Symphony in Handel’s Messiah, conducted

by Ragnar Bohlin.

The 2014 – 2015 season saw Ms. Mancasola’s company debut with Palm Beach Opera as Marie in La fille du régiment and role debut as Leïla in Les pêcheurs de perles with Florida Grand Opera.

Ms. Mancasola also returned to Opera Theatre of St Louis as Lisette in Puccini’s La Rondine, of which the St Louis Post-Dispatch said “her singing and acting were both first-rate.” Concert work included Barber’s Knoxville: Summer of 1915 with the Sun Valley Symphony, as well as Handel’s Messiah with the Baltimore Symphony Orchestra.

Honors and awards include Top Prize Winner of the Gerda Lissner Foundation Competition, 2nd Prize and Audience Favorite at the Houston Grand Opera Eleanor McCollum Competition, and 1st Prize in the Loren L. Zachary National Vocal Competition. Ms. Mancasola is an alumna of the Santa Fe Opera Apprentice Program, where she received the Judith Raskin Memorial Award for Singers, as well as the Gerdine Young Artist program at Opera Theatre of Saint Louis and the Brevard Music Center.

Ms. Mancasola began her musical training as a classical violinist in her home state of California and went on to study voice at the Oberlin Conservatory of Music, where she completed her Bachelor of Music degree in 2011 and was the recipient of the Margot Bos Standler Scholarship.

ROBERT MCDUFFIE, violin Grammy-nominated violinist Robert McDuffie enjoys a dynamic and multi-faceted career.

While appearing as soloist with the world’s foremost orchestras, he can also be found sharing the stage with Gregg Allman and Chuck Leavell in “Midnight Rider,” with actress/ playwright Anna Deavere Smith in Martin Luther King’s “Letter from Birmingham Jail,” or playing Bach for Memphis Jook dancer Li’l Buck. Philip Glass dedicated his Second Violin Concerto, The American Four Seasons, to Mr. McDuffie.

Robert McDuffie has appeared as soloist with most of the major orchestras of the world, including the New York and Los Angeles Philharmonics; the Chicago, San Francisco, National, Atlanta, Houston, Dallas, and Toronto Symphonies; the Philadelphia and Cleveland Orchestras; the Leipzig Gewandhaus Orchestra, the Düsseldorf Symphony, the Frankfurt Radio Orchestra, the Hamburg Symphony, Bruckner Orchestra Linz, Santa Cecilia Orchestra of Rome, Venice Baroque Orchestra, Orquesta Sinfónica Nacional de Mexico, Orquesta Sinfónica de Mineria; and all of the major orchestras of Australia.

Mr. McDuffie gave the world premiere of Philip Glass’ Violin Concerto No. 2, The American Four Seasons, with the Toronto Symphony. He then completed a thirty-city US tour with the Venice Baroque Orchestra, pairing the Glass Four Seasons with the Vivaldi Four Seasons. Robert McDuffie recorded The American Four Seasons with the London Philharmonic and Marin Alsop on Philip Glass› Orange Mountain Music label. His acclaimed Telarc and EMI recordings include the violin concertos of Mendelssohn, Bruch, Adams, Glass, Barber, Rózsa, Bernstein, William Schuman, and Viennese violin favorites.

As founder of the Rome Chamber Music Festival, Robert McDuffie has been awarded the prestigious Premio Simpatia by the Mayor of Rome in recognition of his contribution to the city›s cultural life. He served for ten years on the board of directors of the Harlem School of the Arts in New York City where he was chairman of the artistic and education committee. Mr. McDuffie holds the Mansfield and Genelle Jennings Distinguished

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University Professor Chair at Mercer University in his native city of Macon, Georgia, where he is also the founder of the Robert McDuffie Center for Strings.

ROBERT MOODY, conductor Robert Moody has been Music Director of the Winston-Salem Symphony since 2005, Artistic Director of Arizona Musicfest since 2007, Music Director of the Portland Symphony Orchestra since 2008, and will become Principal Conductor of the Memphis Symphony beginning in the 2016-17 season.

Mr. Moody’s 2015-2016 season included debuts with the Vienna Chamber Orchestra and Columbus Symphony, as well as return engagements with the Memphis and Pacific Symphonies, and the Oklahoma City Philharmonic. Other recent guest conducting appearances include the Chicago Symphony at Ravinia, and the Los Angeles Philharmonic at the Hollywood Bowl, in addition to the symphonies of Toronto, Houston, Indianapolis, Detroit, Seattle, Ft. Worth, San Antonio, Buffalo, Louisville, and, in Europe, the Slovenian Philharmonic. Summer festival appearances include Santa Fe Opera, Spoleto Festival USA, Brevard Music Center, Eastern Music Festival, PortOpera, and the Oregon Bach Festival.

Equally at home in the opera pit, Moody began his career as apprentice conductor for the Landestheater Opera in Linz, Austria. He has gone on to conduct at the opera companies of Santa Fe, Rochester, Hilton Head, and the Brevard Music Center. He also assisted on a production of Verdi’s Otello at the Metropolitan Opera, conducted by Valery Gergiev, and debuted with the Washington National Opera and North Carolina Opera in 2014.

Maestro Moody has accompanied many of the world’s greatest performing artists, including Yo-Yo Ma, Itzhak Perlman, Renee Fleming, Denyce Graves, Andre Watts, Nadja Salerno-Sonnenberg, Midori, Time for Three and Chris Thile.

His work can be heard on several commercially released compact disc recordings. He collaborated with the Canadian Brass for their “Bach” and “Legends” CDs; he is also the conductor for the CD “4th World,” highlighting the music of Native American recording artist R. Carlos Nakai (available on the Canyon Record label); and in 2010, the Winston-Salem Symphony released their performance (live from 2009) of Beethoven’s Symphony No. 9. A DVD of Beethoven Symphony No. 9 with Arizona Musicfest was released in 2012.

JAYCE OGREN, conductor With mounting success in both symphonic and operatic repertoire, Jayce Ogren is building a reputation as one of the finest young conductors to emerge from the United States in recent seasons.

He began the 2015/2016 season leading Rossini’s La Cenerentola at the Music Academy of the West before heading to Paris to conduct the Ensemble Intercontemporain in a program that included music of Stockhausen, Jodlowski, Nono, and Andrew Norman. He lead subscription weeks with the Colorado, Edmonton and Victoria

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Symphony orchestras, and Philadelphia’s Orchestra 2001; Bernstein’s West Side Story with film for the Pittsburgh Symphony and the Dallas Symphony; and the world premiere of Jack Perla’s Shalimar the Clown for the Opera Theatre of St. Louis.

Highlights of recent seasons included acclaimed performances of the Strauss Burleske with the National Arts Centre Orchestra and Emanuel Ax; Basil Twist’s Rite of Spring with the Orchestra of St. Luke’s at Lincoln Center’s White Light Festival; the New York Philharmonic in their CONTACT! Series of contemporary music; and the recording Rufus Wainright’s opera Prima Donna with the BBC Symphony for release on Deutsche Grammophon. He has also led new productions of Benjamin Britten’s The Turn of the Screw and Rossini’s Mosè in Egitto with the New York City Opera, where he was Music Director, as well as the American premiere of Rufus Wainwright’s opera Prima Donna, Mozart’s The Magic Flute and Bernstein’s A Quiet Place, for which he won extensive critical acclaim. He also made his Canadian Opera debut in Stravinsky’s The Nightingale & Other Short Fables.

A native of Washington State, Ogren received his bachelor’s degree in composition from St. Olaf College, his master’s degree in conducting from the New England Conservatory, and a postgraduate diploma in orchestral conducting at the Royal College of Music in Stockholm as a Fulbright scholar. He was appointed by Franz Welser-Möst as Assistant Conductor of the Cleveland Orchestra and Music Director of the Cleveland Youth Orchestra, and has led the Cleveland Orchestra in regular season subscription concerts and at The Blossom Festival.

Ogren makes his home in Brooklyn, New York.

EDUARDO RIOS, violin Senior Division First Place Laureate of the 2015 Annual Sphinx Competition presented by the DTE Energy Foundation, violinist Eduardo Rios performs as part of the Sphinx Soloist Program sponsored by the GM Foundation.

Born and raised in Lima, Peru, Mr. Rios enjoys performing as soloist, chamber musician, and orchestra concertmaster. Since his solo debut at age fourteen with the National Symphony Orchestra of Peru, Mr. Rios has traveled around the globe performing in a variety of settings. Recent highlights include his Houston Symphony debut and Royce Hall debut performing the Mendelssohn Violin Concerto, as well as a performance of Saint-Saens Violin Concerto No. 3 with the Colburn Orchestra, Carlos Kalmar conducting. Upcoming performances include his Nashville Symphony debut performing the Vieuxtemps Violin Concerto No. 5.

Mr. Rios is currently a Bachelor of Music candidate at the Colburn School Conservatory of Music in Los Angeles, where he studies with Robert Lipsett. He is concertmaster of the Young Artists Symphony Orchestra and co-concertmaster of the Colburn Orchestra. Previously, he held the position of concertmaster for the American Youth Symphony from 2013–2015.

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SOLOISTS & CONDUCTORS Mr. Rios first came to the United States at age fifteen under the auspices of the cultural exchange program, Traveling Notes. For the next several years, Mr. Rios continued his musical studies in Peru at the National Conservatory and served as concertmaster of the National Youth Orchestra for four years. During this time, Mr. Rios returned to the US to attend the Interlochen Center for the Arts Summer Camp, and participated in tours and festivals around the globe including the 2011 Youth Orchestra of America tour of Mexico. In 2013, Mr. Rios was a scholarship student at the Aspen Music Festival and School and participated in the Festival Musica de Santa Catarina in Brazil. Later that year Mr. Rios attended the New York String Orchestra Seminar and performed two concerts at Carnegie Hall under the direction of Jamie Laredo.

SHANGHAI QUARTET Renowned for its passionate musicality, impressive technique and multicultural innovations, the Shanghai Quartet has become one of the world’s foremost chamber ensembles. Its elegant style melds the delicacy of Eastern music with the emotional breadth of Western repertoire, allowing it to traverse musical genres including traditional Chinese folk music, masterpieces of Western music, and cutting-edge contemporary works.

Formed at the Shanghai Conservatory in 1983, the quartet has worked with the world’s most distinguished artists and regularly tours the major music centers of Europe, North America, and Asia. Recent festival performances range from the International Music Festivals of Seoul and Beijing to the Festival Pablo Casals in France, Beethoven Festival in Poland, Yerevan Festival in Armenia and Cartagena International Music Festival in Colombia, as well as numerous concerts in all regions of North America. The Quartet has appeared at Carnegie Hall in chamber performances and with orchestra. In 2006 they gave the premiere of Takuma Itoh’s Concerto for Quartet and Orchestra at Carnegie Hall. Among innumerable collaborations with noted artists, they have performed with the Tokyo, Juilliard and Guarneri Quartets, cellists Yo-Yo Ma and Lynn Harrell, pianists Menahem Pressler, Yuja Wang, Peter Serkin and Jean-Yves Thibaudet, pipa virtuosa Wu Man, and the male vocal ensemble Chanticleer.

The Quartet has a long history of championing new music and juxtaposing traditions of Eastern and Western music. The Quartet’s 30th Anniversary season brought five new commissions; Bullycide, for piano, string quartet and bass by David Del Tredici; Fantasie, a piano quintet by Australian composer Carl Vine; a concerto for string quartet and symphony orchestra by Jeajoon Ryu; Verge Quartet by Lei Liang and Scherzo by Robert Aldridge, commissioned by Yu Long and the Beijing Music Festival. Other important commissions and premieres include works by Bright Sheng, Lowell Lieberman, Sebastian Currier, Marc Neikrug, and Zhou Long.

The Shanghai Quartet currently serves as Quartet-in-Residence at the John J. Cali School of Music, Montclair State University (NJ), Ensemble-in-Residence with the Shanghai Symphony Orchestra, and visiting guest professors of the Shanghai Conservatory and the Central Conservatory in Beijing. They are proudly sponsored

by Thomastik-Infeld Strings.

REGINALD SMITH, JR., bass A Grand Finals winner of the 2015 Metropolitan Opera National Council Auditions and a recent graduate of the Houston Grand Opera Studio, baritone Reginald Smith, Jr. has been praised by the New York Times as “a passionate performer” and by Opera News for his “powerful and attractive voice.” The 20152016 season will see Mr. Smith’s company debut with Toledo Opera as Sharpless in Madama Butterfly, the Columbus Symphony Orchestra as bass soloist in Beethoven’s Symphony No. 9, the Indianapolis Chamber Orchestra as a guest soloist, the Nashville Symphony as bass soloist in Handel’s Messiah, and he will return to Houston Symphony for their Very Merry Pops Concert.

Engagements for the 2014- 2015 included Bonzo in Madame Butterfly with Cincinnati Opera and Houston Grand Opera, Speaker in Magic Flute with Houston Grand Opera, and Conte Almaviva in Le nozze di Figaro with the Wolf Trap Opera. In concert, he performed in Beethoven’s Symphony No. 9 with Johnson City Symphony Orchestra, in the holiday pops concert with Atlanta Symphony Orchestra, and in Berlioz’s Romeo and Juliet with the Boise Philharmonic.

Operatic highlights include Die Fledermaus (Falke), La Traviata (Germont), Gounod’s Roméo et Juliette (Capulet/Le Duc), Porgy and Bess (Jake/Lawyer Frazier), The Pirates of Penzance (The Pirate King), and Rigoletto (Marullo). The concert stage has Mr. Smith in performances of Brahms’ Ein Deutches Requiem, Mozart’s Requiem and Coronation Mass, Britten’s Rejoice in the Lamb, the Fauré and Duruflé Requiem, Schubert’s Mass in G, Schoenberg’s Ode to Napoleon Bonaparte, and Handel’s Messiah.

He is an alumnus of the Seagle Music Colony, the Janiec Opera Company at the Brevard Music Center, the Lyric Opera Studio of Weimar, the Gerdine Young Artist program at Opera Theatre of St. Louis, and of the Filene Young Artist Program at Wolf Trap Opera.

He is Atlanta, GA native is a product of DeKalb School of the Arts, and is proud alumnus of the University of Kentucky where he earned a Bachelors of Music degree in Vocal Performance and a Bachelor’s of Music degree in Choral Music Education (K-12).

CONRAD TAO, piano Conrad Tao has appeared worldwide as a pianist and composer, and has been dubbed a musician of “probing intellect and open-hearted vision” by the New York Times, a “thoughtful and mature composer” by NPR, and “ferociously talented” by TimeOut New York. In June of 2011, the White House Commission on Presidential Scholars and the Department of Education named Tao a Presidential Scholar in the Arts, and the National Foundation for Advancement in the Arts awarded him a YoungArts gold medal in music. Later that year, Tao was also named a Gilmore Young Artist. In May of 2012, he was awarded the prestigious Avery Fisher Career Grant.

During the 2015-16 season, Tao performed with the Philadelphia Chamber Orchestra, Pittsburgh Symphony Orchestra, Cincinnati Symphony, Dallas Symphony Orchestra, Buffalo Philharmonic, Pacific Symphony, Brazilian Symphony, and Calgary Philharmonic,

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among others; he also performed recitals in Europe and throughout the United States with repertoire ranging from Bach to Frederic Rzewski to Rachmaninoff to Julia Wolfe.

In June of 2013, Tao kicked off the inaugural UNPLAY Festival at the POWERHOUSE ARENA in Brooklyn. The festival, designated a “critics’ pick” by TimeOut New York and hailed by the New York Times for its “clever organization” and “endlessly engaging” performances, featured Conrad with guest artists performing a wide variety of new works. Across three nights encompassing electroacoustic music, performance art, youth ensembles, and much more, UNPLAY explored the fleeting ephemera of the Internet, the possibility of a 21st-century canon, and music’s role in social activism and critique.

Tao’s career as composer has garnered eight consecutive ASCAP Morton Gould Young Composer Awards and the Carlos Surinach Prize from BMI. In the 2013-14 season, while serving as the Dallas Symphony Orchestra’s artist-in-residence, Tao premiered his orchestral composition, The world is very different now. Commissioned in observance of the 50th anniversary of the assassination of President John F. Kennedy, the work was described by the New York Times as “shapely and powerful.” In 2016, Tao closes his residency in Dallas with a new work for the orchestra, Alice.

Tao was born in Urbana, Illinois, in 1994. He has studied piano with Emilio del Rosario in Chicago and Yoheved Kaplinsky in New York, and composition with Christopher Theofanidis.

JEAN-YVES THIBAUDET, piano Jean-Yves Thibaudet has the rare ability to combine poetic musical sensibilities with dazzling technical prowess. His talent for coaxing subtle and surprising colors and textures from even old favorites led The New York Times to exclaim “…every note he fashions is a pearl…the joy, brilliance and musicality of his performance could not be missed.” Thibaudet, who has performed around the world for more than 30 years and recorded more than 50 albums, has a depth and natural charisma that has made him one of today’s most sought-after soloists.

EMMANUEL TJEKNAVORIAN, violin Born in Vienna in 1995 into a family of musicians, Emmanuel Tjeknavorian is an Austrian violinist. He began to play the violin at age 5, and at age 7, he played his first public concert. Two years later, a recital resulted in his being awarded a scholarship from the Vladimir Spivakov-Foundation. This scholarship led to concert appearances at the Tchaikovsky Concert Hall in Moscow and the Great Hall of the Moscow Conservatory.

Tjeknavorian has studied with Petros Haykazyan, Artashes Mkrtchyan, and Arkady Winokurow. In February 2011, he became a pupil of Gerhard Schulz, former member of the Alban Berg Quartet, at the University of Music and Performing Arts in Vienna. In June 2014, Tjeknavorian graduated from the Sacred Heart Gymnasium in Vienna. He has won several prizes, including the International Johannes Brahms Competition.

In 2012, Tjeknavorian represented Austria in the Eurovision Young Musicians competition. In 2012/13, he won the Musica Juventutis competition at the Vienna Konzerthaus, first prize in the Stefanie Hohl Violin Competition, and first prize in the Fifth Szymon Goldberg Award competition.

In September 2014, Tjeknavorian was the first Austrian in the history of the Fritz Kreisler Competition to make it to the final round, where he won third place. In November 2014, he received the Casinos Austria Rising Star Award. In December 2015, he placed second in the International Jean Sibelius Violin Competition.

CHARLES VERNON, trombone

After a summer residency at the Menuhin Festival Gstaad and appearances at Lincoln Center’s Mostly Mozart Festival, Tanglewood Music Festival, Saratoga Springs Performing Arts Center, and the Hollywood Bowl, Jean-Yves Thibaudet tackled three artist-in-residencies in 2015-16 — at the Royal Concertgebouw Orchestra, the Seattle Symphony, and the Colburn School of Music, where he is in the midst of a residency, the first of its kind, with passion for education and fostering the next generation of musicians, teaching master classes and performing with students.

Charlie Vernon began his orchestral career as bass trombonist with the Baltimore Symphony, starting in September 1971. In 1980 he went to the San Francisco Symphony for one season.

He was then chosen by Riccardo Muti to play bass trombone with the Philadelphia Orchestra, where he played for five years until moving to the Chicago Symphony Orchestra in 1986.

Jean-Yves Thibaudet has been nominated for two Grammy Awards and won the Schallplattenpreis, the Diapason d’Or, the Choc du Monde de la Musique, a Gramophone Award, two Echo awards, and the Edison Prize.

A native of Asheville, North Carolina, Charlie attended Brevard College and Georgia State University, where he studied with Bill Hill as well as Gail Wilson, professor of trombone at Arizona State University. His mentor/teachers were Arnold Jacobs and Edward Kleinhammer, both former tuba and bass trombone of the Chicago Symphony.

Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at age seven. At twelve, he entered the Paris

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Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. At age fifteen, he won the Premier Prix du Conservatoire and, three years later, the Young Concert Artists Auditions in New York City. Among his numerous honors are the Premio Pegasus from the Spoleto Festival in Italy and the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. The Hollywood Bowl inducted him into its Hall of Fame in 2010. Previously a Chevalier of the Ordre des Arts et des Lettres, Thibaudet was promoted to the title of Officier by the French Minister of Culture in 2012.

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Mr. Vernon has been on the faculties of Catholic University, Brevard Music Center, Philadelphia College of Performing Arts, Roosevelt University, the Curtis Institute, and Northwestern University.

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SOLOISTS & CONDUCTORS Currently he teaches trombone at DePaul University. Charlie has many solo and teaching appearances throughout the world.

In April 1991 he gave the world premiere of Ellen Taaffe Zwilich’s Concerto for Bass Trombone with the CSO under Daniel Barenboim, which was commissioned by the Orchestra for its centennial. In September 2006, he and the CSO premiered Chick a’ Bone Checkout, a new concerto for the alto, tenor and bass trombones and orchestra, written by trombonist and composer Christian Lindberg.

Charlie and his wife, Alison, have several commissioned song cycles for soprano, trombone and piano written by the American composer Eric Ewazen and performed for many European and U.S. audiences.

He has two sons - Mark, who is studying Journalism at Mizzou, and Gary, who is at New Trier High School.

As a part-time athlete, Charlie is an avid swimmer and a member of the Evanston Masters Swim Team. He comments, “As time passes, I realize that I must keep doing it, so that I can KEEP doing it!”

JOYCE YANG, piano Pianist Joyce Yang came to international attention in 2005 when she won silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she also took home the awards for Best Performance of Chamber Music and of a New Work. A Steinway artist, in 2010 Yang received an Avery Fisher Career Grant.

Yang has performed with the New York Philharmonic, Philadelphia Orchestra, Los Angeles Philharmonic, BBC Philharmonic, and the Chicago, Houston, Pittsburgh, San Francisco, and Sydney Symphony Orchestras, among many others, working with such distinguished conductors as James Conlon, Edo de Waart, Lorin Maazel, Peter Oundjian, David Robertson, Leonard Slatkin, Bramwell Tovey, and Jaap van Zweden. She has appeared in recital at New York’s Lincoln Center and Metropolitan Museum, Washington’s Kennedy Center, Chicago’s Symphony Hall, and Zurich’s Tonhalle.

In 2015/16, Yang embarked on a steady stream of debuts, returns, and chamber music concerts. She reunited with the New York Philharmonic under Tovey for a five-date engagement of Falla’s Nights in the Gardens of Spain, and made her New Jersey Symphony debut with Rachmaninoff’s Concerto No. 3 in an evening celebrating the orchestra’s season finale and Music Director Jacque Lacombe’s last concert with the orchestra. She also performed and recorded the world premiere of Michael Torke’s Piano Concerto, a piece created expressly for her and commissioned by the Albany Symphony.

INA ZDOROVETCHI, harp Hailed as “hypnotizing”, Ina Zdorovetchi has established a reputation as one of the leading harpists of her generation, having performed as soloist with orchestras in Europe, North America, and the Middle East, as recitalist in Carnegie Hall, Jordan Hall, World Harp Congress, American Harp Society National Conference, and as recording artist for SONY, Naxos, Albany Records, WGBH Radio-Boston, Israeli Broadcasting Authority, and Moldova National TV. Ms. Zdorovetchi is the recipient of a number of awards, including Second Prize (Ist Prize not awarded), Chamber Music Prize and Propes Prize at the 17th International Harp Contest in Israel, First Prize at the Bucharest International Competition, Second Prize at the Paris International Harp Competition, “Outstanding Achievement in Chamber Music” Award from the Fischoff National Competition, “Henry Cabot Award for extraordinary commitment of talent” from the Boston Symphony Orchestra Players Committee, and other honors.

Currently, Ms. Zdorovetchi is the principal harpist with Boston Lyric Opera, Boston Pops Esplanade Orchestra, Opera Boston, and Boston Modern Orchestra Project, and is also on the faculty at Boston Conservatory, Wellesley College and New England Conservatory Pre-College. Other teaching engagements include invitations to Brevard, Vianden and Saarburg International Festivals, masterclasses at Indiana University (South Bend), Chapman University (CA), American Harp Society Chapters in Washington (DC), Syracuse (NY), Los Angeles (CA), and the Bolivar Youth Orchestra of Venezuela. In addition,she is the founder and artistic director of the Boston Harp Festival, an elected member of Pi Kappa Lambda - The National Music Honor Society, and past-president of the American Harp Society Boston Chapter.

Ms. Zdorovetchi holds degrees from New England Conservatory (Performance Diploma), Boston University (Master of Music), The Boston Conservatory (Bachelor of Music, Summa Cum Laude) and is an alumna of the Tanglewood Music Center (2003 and 2004). Prior to moving to the US, she studied at Bucharest Academy of Music (Romania), and “C. Porumbescu” Lyceum of Music in her native Chisinau, Moldova, completing a double major in piano and harp. She studied under the tutelage of harpists Ann Hobson Pilot, Cynthia Price-Glynn, Ion Ivan-Roncea, and Ana Mahonina, and was mentored for 10 years by the great piano professor Larisa Jar.

Born in Seoul, Korea, in 1986, Yang received her first piano lesson from her aunt at age four. In 1997 she moved to the United States to begin studies at the pre-college division of The Juilliard School. After winning the Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Third Piano Concerto with that orchestra at just twelve years old. Yang appears in the film In the Heart of Music, a documentary about the 2005 Cliburn Competition. She lives in New York City.

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2016 GUEST ARTIST DAVID DANIELS, countertenor This Season at BMC: A Midsummer Night’s Dream (Oberon) BMC Alumnus David Daniels is known for his superlative artistry, magnetic stage presence and a voice of singular warmth and surpassing beauty, which have helped him redefine his voice category for the modern public.

Highly sought after for the works of Handel, Monteverdi, Gluck, Mozart and Britten, American countertenor David Daniels has been featured on the great operatic stages of the world to overwhelming critical acclaim. He made history as the first countertenor to give a solo recital in the main auditorium of Carnegie Hall. The Chicago Tribune has called Daniels “today’s gold standard among countertenors”, Gramophone magazine acknowledged his contribution to recorded excellence as well as his expansion of the repertoire for his voice type by naming him one of the “Top Ten Trailblazers” in classical music today. Mr. Daniels is Professor of Music at the University of Michigan.

2016 JANIEC OPERA CAST (LISTED ALPHABETICALLY) RACHEL ANTHONY, soprano This Season at BMC: The Magic Flute (Papagena) Rachel Anthony just completed the first year of her MM in Vocal Performance at UNCG. She graduated summa cum laude from Brevard College in 2015, where she received her BA in Vocal Performance and Photography. Most recently, Ms. Anthony performed the role of Laetitia in UNCG Opera Theatre’s production of Menotti’s The Old Maid and the Thief and Suor Constance in Poulenc’s Dialogues of the Carmelites. Ms. Anthony studies under the tutelage of Dr. Carla LeFevre.

AUGUST BAIR, baritone This Season at BMC: Falling Angel (Detective Deimos) The Magic Flute (2nd Priest) Lyric baritone August Bair was born and raised in Atlanta, Georgia. He has studied voice and opera for 11 years. He studied voice at Bard College, where he graduated in the spring of 2016. Mr. Bair will be attending graduate school in the fall, to pursue a Masters degree in voice.

He is very excited and thankful to be a part of the Brevard community this summer!

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BRANDON BELL, bass-baritone This Season at BMC: Falling Angel (Toots Sweet) A Midsummer Night’s Dream (Bottom) Brandon Bell, from Suffolk, Virginia, appeared as a Studio Artist at Wolf Trap Opera in 2015, performing roles such as the English Ambassador in The Ghosts of Versailles and L’imperial Commissario in Madama Butterfly.

Mr. Bell has also been seen as Leporello in Don Giovanni, Mr. Kofner in The Consul, Melisso in Alcina, and Pistola in Falstaff.

Mr. Bell is currently a graduate student at the University of Tennessee-Knoxville.

BRIANNA BRAGG, mezzo-soprano This Season at BMC: The Magic Flute (3rd Spirit) A Midsummer Night’s Dream (Moth) Mezzo-soprano, Brianna Bragg, is debuting at Brevard this summer. She will be beginning her fourth year at The University of Cincinnati: College-Conservatory of Music in the fall. Ms. Bragg’s most recent roles include Ruggiero in Handel’s Alcina and Anna Kennedy in Donizetti’s Maria Stuarda with Opera d’Arte at CCM.

MELANIE BURBULES, mezzo-soprano This Season at BMC: Falling Angel (Margaret Krusmark) A 2016 Master of Music graduate of the University of Tennessee Knoxville, Ms. Burbules performed roles such as The Secretary (The Consul), Dritte Dame (Die Zauberflöte), and the title role in the world premiere performance of Medea by Larry Delinger. She has also performed with the Harrower Opera Workshop as Annina (Der Rosenkavalier) and Marcellina (Le nozze di Figaro), and with Knoxville Opera in the choruses of Mefistofele and Carmen and as an outreach soloist.

CAROLINE DUNIGAN, soprano This Season at BMC: A Midsummer Night’s Dream (Helena) Caroline Dunigan is a current master’s student in the Vocal Arts Program at the Bard College Conservatory of Music, directed by soprano Dawn Upshaw. She is a student of Lorraine Nubar. Most recently, Ms. Dunigan appeared as Pamina in Mozart’s Die Zauberflöte at the Fisher Center for the Performing Arts and in “Star Wars: The Opera” with the Albany Symphony Orchestra and conductor David Alan Miller. She received her bachelor’s degree from the Manhattan School of Music.

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STEELE FITZWATER, bass-baritone This Season at BMC: Falling Angel (Louis Cypher) The Magic Flute (2nd Armored Man) A Midsummer Night’s Dream (Snug) Steele Fitzwater is a sophomore Vocal Performance and German double major studying at Miami University of Ohio. With Miami University Opera, Steele has appeared as Don Alphonso in Mozart’s Così fan tutte and as Frank Maurrant in Weill’s Street Scene, as well as in numerous concert works. An alumnus of the Opera Roanoke young apprentice artist program, Mr. Steele has sung in many operas during his career, including international performances in Salzburg, Austria with the Franco American Vocal Academy.

MATTHEW FLEISHER, bass-baritone This Season at BMC: The Magic Flute (Sarastro) A Midsummer Night’s Dream (Theseus) Matthew Fleisher currently attends the University of Michigan School of Music, Theatre & Dance, where he is pursuing a Bachelor of Musical Arts in Vocal Performance, with Stephen West. He has performed operatic scenes as Don Alfonso (Così fan tutte), Dr. Bartolo (Le nozze di Figaro), and appeared in Jake Heggie’s Dead Man Walking. Mr. Fleisher is making his main stage operatic debut with the Janiec Opera Company and could not be more thankful for this wonderful opportunity.

MYLES GARVER, tenor This Season at BMC: Falling Angel (Johnny Favorite) The Magic Flute (Monostatos) Performing at Brevard (2015), Mobile Opera, Pensacola Opera, University of South Alabama Opera, and Asheville Lyric Opera, his past roles include Henrik in A Little Night Music, Frederic in Pirates of Penzance, Miner/Chester Arthur/Mayor in The Ballad of Baby Doe, Borsa in Rigoletto, Jenik in The Bartered Bride, Fabrizio in Light in the Piazza, and Belmonte in Die Entführung aus dem Serail. Myles Garver attended the University of South Alabama ‘16, and will attend LSU for graduate studies this fall.

KEVIN GINO, tenor This Season at BMC: The Magic Flute (Tamino) Kevin Gino, 24, is excited to be joining the Janiec Opera Company as Tamino in Die Zauberflöte. His recent credits include Don Ottavio in Don Giovanni and Don Jose in La tragédie de Carmen, as well as tenor soloist in Beethoven’s 9th Symphony with The Peninsula Symphony, and the Music Academy of the Wes. Mr. Gino holds degrees from Chapman University and San Francisco Conservatory, where he studied with Dr. Peter Atherton and Cesar Ulloa.

RUDY GIRON, Countertenor This Season at BMC: A Midsummer Night’s Dream (Puck) Rudy Giron is a native of Houston, TX. His full operatic roles include the Refugee in Jonathan Dove’s Flight (Boston Conservatory), and Dr. Blind (Pepperdine University), and Iphis in the world premiere of Hurley’s The Body Politic. Partial roles include Rinaldo (Boston Conservatory), Giasone (Baroque Opera Workshop), and Sesto and Akhenaten (Heidelberg Summer Music Program). He earned his BA in Music and Theatre from Pepperdine University and is currently pursuing his MM in Opera Performance at the Boston Conservatory.

ALLYSON GOFF, mezzo-soprano This Season at BMC: The Magic Flute (3rd Lady) Allyson Goff is a returning JOC artist who sang Margaret Krusemark in Falling Angel last year at Brevard. Her most recent roles include: Mother Jeanne (Dialogues of the Carmelites), Aunt Sue (Slow Dusk), Hansel (Hansel and Gretel), and La Badessa (Suor Angelica). Allyson is a first place recipient of NC Federation of Music Club’s Biennial Student/Collegiate Award for Woman’s Voice and is currently pursuing her undergraduate degree at UNCG under the tutelage of Ms. Clara O’Brien.

JENNIFER JUDD, soprano This Season at BMC: The Magic Flute (2nd Spirit) A Midsummer Night’s Dream (Mustardseed) Jennie Judd is a soprano from Williamsport, PA. She is a senior at the Wheaton College Conservatory of Music where she is currently pursuing her Bachelor of Music Degree in Vocal Performance. Ms. Judd is a 2013 graduate of the Sight & Sound Theatre Conservatory in Lancaster, PA, where she performed in the productions of NOAH and Miracle of Christmas. Recently, Jennie played the role of Madame Herz in Mozart’s Impressario, and Lucy in Menotti’s The Telephone.

SARA LAW, soprano This Season at BMC: The Magic Flute (1st Spirit) A Midsummer Night’s Dream (Cobweb) Sara Lucille Law, soprano, is a recent graduate of the New England Conservatory where she studied with Carole Haber. During her time at New England Conservatory, she sang the roles of Miss Wordsworth in Albert Herring, Barbarina in Le nozze di Figaro, and L’Aurora in Cavalli’s L’Egisto. Ms. Law was also featured as the soprano soloist in Britten’s A Ceremony of Carols. In fall of 2014 she received 3rd place in the university division of NATS in Boston.

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JENNIE MOSER, soprano This Season at BMC: The Magic Flute (1st Lady) Jennie Moser, soprano, is a native of Brevard, NC. She recently completed her undergraduate study at Northwestern University where her roles included Amy March (Little Women), Barbarina (Le nozze di Figaro), and Mrs. Hayes (Susannah). Last summer, Ms. Moser attended the Aspen Music Festival and School as a member of the Aspen Opera Theater Center. This fall, Ms. Moser will begin her graduate studies at Indiana University.

ANDREW O’SHANICK, bass-baritone This Season at BMC: The Magic Flute (Speaker) A Midsummer Night’s Dream (Peter Quince) Andrew O’Shanick, is a recent graduate of the Boston Conservatory and made his Boston theater debut this season as Mr. Lindquist in the Huntington Theatre Company’s A Little Night Music. He has performed in numerous productions with the Conservatory, including La Traviata, Flight, Iphigénie en Tauride, The Rake’s Progress, and L’italiana in Algeri. O’Shanick has performed with the Charlottesville Symphony, MetroWest Opera, Brevard Music Center, and the Chautauqua Institute, among others.

MACKENZIE PHILLIPS, mezzo-soprano This Season at BMC: A Midsummer Night’s Dream (Hippolyta) Mackenzie Phillips is currently pursuing her Doctorate in Musical Arts at the University of Kansas, studying with Joyce Castle. Last summer at Brevard, she performed the role of Mama McCourt in The Ballad of Baby Doe. She has performed a number of notable roles, most recently Eva in Comedy on the Bridge and Zita in Gianni Schicchi. In the last year, Ms. Phillips has also joined the chorus at the Lyric Opera of Kansas City.

GUILLAUME POUDRIER, Countertenor Guillaume Poudrier, countertenor, is a junior studying vocal performance at Carnegie Mellon University. Recently performed roles include the main role of “Owen” in the world premier of the opera For The Time Being in a collaboration with Carnegie Mellon and Pittsburgh Opera, Endimione (La Calisto), Tolomeo (Giulio Cesare), Polinesso (Ariodante), Sorceress (Dido and Aeneas), and Prince Orlofsky (Die Fledermaus) with the Chautauqua Institution, Mittelsächsisches Theater, Undercroft Opera, Carnegie Mellon and the Opera Theater of Pittsburgh.

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MATTHEW QUEEN, baritone This Season at BMC: Falling Angel (Harry Angel) A Midsummer Night’s Dream (Starveling) Matthew Queen, received his master’s degree from the University of Memphis in Voice Performance (opera), and is happy to be in Brevard for his second summer. Mr. Queen has recently performed the Doctor in La Traviata and Kromow in The Merry Widow with Pensacola Opera.

He has also performed in HMS Pinafore and Dead Man Walking with Shreveport Opera.

EVELYN SAAVEDRA, soprano This Season at BMC: Falling Angel (Epiphany Proudfoot) Evelyn Saavedra has a Masters in Music from the Eastman School of Music, where she was also the first prize winner of the 2015 Friends of Eastman Opera Competition. She recently appeared as Susanna in Le Nozze di Figaro, the Governess in The Turn of the Screw, Agrippina in Agrippina, and Rose in Street Scene. Ms. Saavedra has participated in Master classes with Renée Fleming, Stephanie Blythe, Sherrill Milnes, Helen Donath, Thomas Muraco, and Mira Zakai among others.

CHRISTINA SCANLAN, mezzo-soprano This Season at BMC: The Magic Flute (2nd Lady) Christina Scanlan returns to Brevard this summer for her second season with the Janiec Opera Company. Ms. Scanlan received her Bachelor’s from the University of Texas (Austin) in 2015. She is currently a member of the Houston Grand Opera chorus and was seen this season in their productions of Eugene Onegin and Rodgers and Hammerstein’s Carousel. Ms. Scanlan will begin her Master’s in Vocal Performance at the University of Houston this fall.

FREDERICK SCHLICK, tenor This Season at BMC: Falling Angel (Ethan Krusemark) A Midsummer Night’s Dream (Lysander) Frederick Schlick recently earned a MM in Opera from The Boston Conservatory studying under Victor Jannett. He has had the opportunity to be a part of every operatic production during his time at Boston Conservatory. His most recent roles include the title role as Tom Rakewell in The Rake’s Progress, Bill in Johnathan Dove’s Flight, Gastone/Alfredo cover in Verdi’s La Traviata, and Don Basilio in Mozart’s Le nozze di Figaro.

OPERA CAST

ALEXANDER SHEERIN, tenor This Season at BMC: The Magic Flute (1st Priest) A Midsummer Night’s Dream (Flute) Tenor Alexander Sheerin is currently pursuing his master’s degree at the Moores Opera Center (Houston) with Melanie Sonnenberg, where he performed the roles of Prunier (La Rondine) and Guillot (Manon). He graduated from New England Conservatory where he was seen as Albert Herring and Don Basilio. Last summer at Brevard, Mr. Sheerin was seen in the Ballad of Baby Doe. Other roles include Monostatos and Tamino (Cover) in Die Zauberflöte, and scenes as Ferrando (Così fan tutte) and Nemorino (L’Elisir D’Amore).

CAMILLE SHERMAN, mezzo-soprano This Season at BMC: A Midsummer Night’s Dream (Hermia) Bay Area native Camille Sherman just completed her first year of graduate training at The San Francisco Conservatory under the tutelage of Catherine Cook, where she performed the role of Fanny Price in the West Coast premiere of Jonathan Dove’s Mansfield Park. Last Summer Ms. Sherman attended the OperaWorks summer program, having earned her bachelor’s degree at The Boston Conservatory. She was a recent winner at the Holt Memorial Scholarship Competition.

ORIN STRUNK, tenor This Season at BMC: Falling Angel (Dr. Fowler) The Magic Flute (1st Armored Man) A Midsummer Night’s Dream (Snout) Tenor Orin Strunk recently graduated from Westminster Choir College with a master’s degree in vocal performance. Mr. Strunk currently studies voice with Laura Brooks Rice. He previously studied with Lorraine Nubar while attending Juilliard’s Pre-College Voice Program. Recently, Mr. Strunk performed in the chorus as part of Opera Philadelphia’s productions of Higdon’s Cold Mountain, Strauss’s Capriccio and Donizetti’s L’elisir d’Amore.

ELISA SUNSHINE, soprano This Season at BMC: The Magic Flute (Queen of the Night) A recent graduate of the New England Conservatory, Elisa Sunshine accidentally fell in love with opera upon discovering her body’s refusal to obey the laws of Broadwaystyle dancing, and she has not looked back since. This fall, Ms. Sunshine will be involved in the premiere of Scott Wheeler’s opera Naga with Beth Morrison Projects in Boston. Favorite roles include Queen of the Night, Konstanze (Die Entführung), Poppea (Agrippina), Lucia di Lammermoor, and Rosalinda (Die Fledermaus).

LAURIE ANN TAYLOR, soprano This Season at BMC: The Magic Flute (Pamina) Laurie Ann Taylor is a master’s student at the University of Michigan studying with David Daniels. She completed her BA in music at Emory University, where she studied with Bradley Howard. Most recently, she sang Fiordiligi in Michigan Opera Theater’s production of Così fan tutte. In past seasons, Ms. Taylor has performed with Houston Grand Opera’s Young Artist Vocal Academy, the Castleton Festival, Harrower Opera Workshop, CCM Opera Workshop, and the Amalfi Coast Music Festival.

ADAM WELLS, baritone This Season at BMC: Falling Angel (Young Soldier) A Midsummer Night’s Dream (Demetrius) A native of Clemson, South Carolina, Adam Wells is delighted to join the Janiec Opera Company for his second season. Wells is a 2016 graduate of the Oberlin College and Conservatory and a 2013 YoungArts winner in Voice. Previous roles include Tarquinius and Mr. Gedge in Britten’s The Rape of Lucretia and Albert Herring with Oberlin Opera Theater, as well as Young Soldier and Detective Deimos in the previous JOC season’s workshop of Falling Angel.

ASLEIF WILLMER, soprano This Season at BMC: A Midsummer Night’s Dream (Tytania) Asleif Willmer, soprano, is a DMA student in vocal performance at Arizona State University studying under Carole FitzPatrick.

Her favorite roles include “Adele” in Die Fledermaus and “Adina” in L’elisir d’amore.

This is Ms. Willmer’s second year with the Janiec Opera Company, where she sang the role of Baby Doe in The Ballad of Baby Doe, last summer.

TYLER WOLOWICZ, baritone This Season at BMC: The Magic Flute (Papageno) Praised for his “rich and effortless baritone” [Boston Musical Intelligencer], Tyler Wolowicz was previously seen as Sid in Brevard’s 2014 production of Albert Herring. Mr. Wolowicz has also performed with Chautauqua Opera, Boston Conservatory Opera, NEMPAC Opera, MetroWest Opera, Boston Opera Collaborative, and the Boston Youth Symphony Orchestra. He recently completed his graduate studies at the Boston Conservatory while studying under Rebecca Folsom.

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OPERA DESIGNERS

BREVARD MUSIC CENTER | OVERTURE BOBBY BRADLEY (PRODUCTION DESIGNER SETS, LIGHTS, PROJECTIONS) This Season at BMC: Falling Angel

Bobby is a multi-disciplinary theatrical designer working in theatre, TV, entertainment and fashion. Favorite jobs include: US Open Opening Ceremonies ’12-‘13 (Project ManagerProjection), 2012 Olympics 100 Days out Celebration in Times Square (Project Manager), Twelfth Night (LD - LIU Brooklyn), Edward Sharpe and the Magnetic Zeros ‘12 Tour (Associate LD), Jaguar E-Type 50th Anniversary (Production Designer - NYC), Calvin Klein (Associate LD - NYC Fashion Week ’14-‘15), and Sports Illustrated Swimsuit Magazine 2012 Premiere (Production Designer - Las Vegas). Bobby has a BFA in Theatrical Design from Baylor University and is a member of the United Scenic Artists Local 829. He is currently living and volunteering part time with his wife and pug at a wildlife conservation facility in Namibia.

DANIELLE SCHULTZ (SCENIC DESIGNER) This Season at BMC: The Magic Flute

Danielle Schultz has previously designed the following for the Janiec Opera Company: Cosi Fan Tutti, Albert Herring, Sweeney Todd: The Demon Barber of Fleet Street, The Merry Widow, Peter Brook’s Carmen, and HMS Pinafore (Scenic Design), as well as La Bohème, Barber of Seville, and La Traviata (Props Master). Other credits include: Red Fern Theatre Company (Props Master) - All Through the Night, +30NYC, and We in Silence Hear a Whisper. Danielle has an MFA in Scenic Design from SUNY Purchase.

BETHANIE WAMPOL WATSON (SCENIC DESIGNER)

This Season at BMC: A Midsummer Night's Dream Bethanie Wampol is a scenic designer and educator whose recent design credits include Red Velvet (Shakespeare Theatre New Jersey, upcoming), Macbeth, Twelfth Night and A Midsummer Night’s Dream (Philadelphia Shakespeare Theatre), The Way We Get By, Tick, Tick Boom! and Marry Harry (American Theatre Group), Grease! Damn Yankees, and the Sound of Music (Phoenix Productions), Hounds of War (Wee Man Productions), and A Year with Frog and Toad (Mile Square Theatre). She has also designed for Williamstown Theatre Festival (Massachusetts), Brevard Music Center (North Carolina), and Stagedoor Manor (New York). Bethanie teaches art and theatre in West Orange, NJ. She has an MFA from Rutgers University, and a BA from Troy University.

Utah Festival Opera, Todi Music Fest (Portsmouth, VA), Opera Roanoke, Shreveport Opera, Guerilla Opera (Boston, MA), Crested Butte Music Festival, and DiCapo Opera (NYC). Tláloc has a BFA in Performance Production from Cornish College of the Arts, and an MFA in Design from NYU/Tisch. Tláloc was the 2002 Allen Lee Hughes Lighting Fellow at Arena Stage in Washington, DC.

AARON CHVATAL (COSTUME DESIGNER)

This Season at BMC: Falling Angel, The Magic Flute & A Midsummer Night's Dream Aaron is thrilled to be joining the Brevard design team for the first time. Based in Minneapolis, MN, he designs for opera, theatre, and dance. Opera design credits include: Don Pasquale, Gianni Schicchi, Suor Angelica, Hansel and Gretel, La Voix Humane, and Bon Appétit for Opera on the James where he has also been Costume Coordinator for Carmen, The Marriage of Figaro, La Bohème, and Little Women. Other opera design credits include Peter Brook’s La tragédie de Carmen (UMKC Opera Conservatory), Gianni Schicchi and The Telephone (Washburn Opera Studio). He holds an MFA in Costume Design and Technology from the University of Missouri - Kansas City.

GLENN AVERY BREED (RESIDENT COSTUME CONSULTANT)

This Season at BMC: Falling Angel, The Magic Flute & A Midsummer Night's Dream Glenn is happy to be returning to Brevard Music Center for his 9th season as Resident Costume Consultant, having designed The Ballad of Baby Doe, Così fan tutte, Rigoletto, Sweeney Todd, Don Giovanni, Albert Herring, Falstaff, Tragedy of Carmen, The Merry Widow, La Bohème, H.M.S. Pinafore, Barber of Seville, La Traviata, Three Penny Opera, Elixir of Love, The Magic Flute, The Mikado, Little Women, Pirates, Die Fledermaus, The Marriage of Figaro, Tales of Hoffman, Hello Dolly and Gianni Schicchi. He holds an MFA in Costume Design and Technology from The University of Cincinnati College-Conservatory of Music (CCM) and a BA from St. Edward’s University in Austin, Texas.

He currently serves as Associate Professor of Costume Design and Technology at the University of West Florida in Pensacola, FL, as well as the resident Costume Designer for Pensacola Opera, and owns and operates Wardrobe Witchery Opera and Theatrical Costume Rentals.

SONDRA NOTTINGHAM (WIG AND MAKE-UP DESIGNER)

This Season at BMC: Falling Angel, The Magic Flute & A Midsummer Night's Dream

TLÁLOC LÓPEZ-WATERMANN (LIGHTING DESIGNER)

This Season at BMC: The Magic Flute, A Midsummer Night's Dream Tláloc is very happy to be returning to Brevard this summer after designing Sweeney Todd, Falstaff, and The Ballad of Baby Doe for the Janiec Opera Company in years past. He is the founder of a lighting and projections design company called Light Conversations LLC. He designs lighting, projections, and scenery for theatre and opera companies around the country. His lighting designs have been seen at Opera Grand Rapids, FreeFall Theatre, Theatrezone, North Carolina Opera, Toledo Opera,

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With over 20 years in the beauty industry, Sondra excels in all mediums of makeup artistry. She is a member of NY 798 Film Union working on feature films with such celebrities as Quentin Tarantino, Allison Janney, Keith Carradine, Tom Sizemore, and Danny Trejo. In addition, she has toured with Paul McCartney and Taylor Swift. Sondra is based in Nashville, TN and is resident Wig & Makeup Designer for the Nashville Opera since 2001. Her work has been seen at over 25 opera companies throughout the US and Canada including Lake George and Shreveport Operas, Michigan Opera Theatre, Florentine Opera, and Opera Ontario.

OPERA ARTISTIC STAFF PRODUCTION STAFF

Dean Anthony, Director of Opera Jerome Shannon, Conductor and Vocal Coach Andrew Wentzel, Voice Instructor Karen Roethlisberger Verm, Head Vocal Coach and Pianist Susanne Marsee, Guest Lecturer Eileen Downey, Chorus Master, Pianist & Vocal Coach Jeffrey Buchman, Stage Director Jessica Harika, Assistant Director Arielle Basile, Janiec Opera Company Administrator Keturah Stickann, Dance Instructor Michael Gaertner, Staff Pianist Jonathan Heaney, Staff Pianist

Andrea Boccanfuso, Director of Production Rebecca Armstrong, Associate Production Manager Jerry Pedroza, Assistant Production Manager, Production Stage Manager of Orchestra Bobby Bradley, Production Designer (Sets, Lights, Projections): Falling Angel Danielle Schultz, Scenic Designer: Magic Flute Bethanie Wampol Watson, Scenic Designer: A Midsummer Night’s Dream Aaron Chvatal, Costume Designer Glenn Avery Breed (Wardrobe Witchery), Resident Costume Consultant Sondra Nottingham, Wig & Makeup Designer Tláloc López-Watermann, Lighting Designer: The Magic Flute & A Midsummer Night’s Dream Brady Hislop, Projection Engineer: Falling Angel Logan Taylor, Assistant Lighting Designer & Festival LD Collin Huse, Technical Director Laura Kate Gonyea, Special Events and Development Coordinator/ House Management Liaison Mary Cate Mangum, Company Manager Zach McRae, Purchasing Agent Denise Castro, Production Assistant/ Marketing Liaison Kyle Jackola, Production Assistant Pre/post-Season Courtney Banks, Production Assistant Apprentice Emmet Jaeger, Production Assistant Apprentice Daniel Schwab, House Manager Kat Alee Pierce, House Management Apprentice Laura Kirk, Stage Manager of Orchestra Jeffrey T. Padgett, Stage Manager of Orchestra Brandon Helton, Assistant Stage Manager of Orchestra Cat Hickerson, Assistant Stage Manager of Orchestra Daniel Ethridge, Stage Crew Apprentice Olivia Hancock, Stage Crew Apprentice Morgan Mims, Stage Crew Apprentice

Michael Werder, Stage Crew Apprentice Bethany Windham, Stage Crew Apprentice Austin Gerrald, Stage Crew Apprentice Danielle Ranno, Production Stage Manager of Opera Brittan Benedict, Assistant Stage Management Apprentice Sara Staven, Assistant Stage Management Apprentice Becky Erlitz, Costume First Hand Ivy Karlsgodt, Costume Cutter/ Draper Courtney Rigdon, Wardrobe Supervisor/Stitcher Katherine Swanson, Costume Apprentice Brock Viering, Costume/ Wigs & Makeup Apprentice Arianna Payson, Wig and Makeup Supervisor Hallie E. Moore, Wig and Makeup Apprentice Justin Mosher, Associate Technical Director/ TD for Midsummer Garrett Rhodes, Master Carpenter Jake Neighbors, Shop Foreman/ Assets Manager Karen MacKillop, Carpenter Brandon R Smith, Staff Welder Michael Brown, Carpentry Apprentice Alexander Farley, Carpentry Apprentice Anthony Cacchione, Carpentry/Lighting Apprentice Drew Maciula, Porter Center, Scott Concert Hall Stage Supervisor/ Overhire Carpenter Liz Whalen, Props Master Teila Vochatzer, Props Artisan Anna Stine, Scenic Charge Savannah Callais, Scenic Artist Kheni Wells, Scenic/ Props Apprentice Patrick Michael Mahoney, Master Electrician Amanda Heskett, Electrics Apprentice Joshua Poulton, Electrics Apprentice Dalton Johnson, Sound Engineer A-1 & Department Head Isaac Jones, Sound Engineer A-1, Orchestra and Special Events Kaique De Souza, Sound/ Electrics Apprentice

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STUDENT ROSTER

BREVARD MUSIC CENTER | OVERTURE

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VIOLIN

Ryann Aery - East Amherst, NY Samuel Araujo - Hattiesburg, MS Alem Ballard - Philadelphia, PA Sarah Berger - Denver, CO John Bian - Shoreview, MN Anna Bishop - Richmond, VA Sandra Bouissou - Palo Alto, CA Margaret Caballero - Pittsburgh, PA Maxwell Chambers - Berwyn, PA Catherine Cook - Kennesaw, GA Pedro Oseias Da Silva Tallahassee, FL Anna Dean - Hattiesburg, MS Ryan Detwiler - Westlake, OH Makeda Diggs - Belchertown, MA Caleb Doucette - Nazareth, PA Joanna Dzik West Sacramento, CA Christina Eastman - Long Beach, CA Daniel Geisel - Springboro, OH William Gibb Oak Park Heights, MN Isabella Gorman Charlottesville, VA Caya Greenspan-Layman Weed, CA Casey Gregory - McPherson, KS Sarah Gudbaur - Pittsburgh, PA Alexandria Harrington Plant City, FL Sarah Heuermann - St. Louis, MO Anna Horzen - Orlando, FL Heather Hunter - Lexington, SC Jerrica Jenkins - Columbia, SC Madison Jones - Lexington, KY Jesse Kaiser - Chapin, SC Saikat Karmakar - East Lansing, MI Maggie Kasinger - Springfield, TN Noah Kelly - Boston, MA Grace Kenny - Lewisburg, PA Daniel Kim - Mequon, WI Sarah Lee - Ellensburg, WA Lauren Lew - Brentwood, TN Patrick Lin - Tallahassee, FL Emmeline MacMillan - Seminole, FL Colleen Mahoney - Williamsport, PA Samantha McClendon Marietta, GA Myles McKnight - Fletcher, NC Lily Mell - Philadelphia, PA Michaela Murray - Tempe, AZ Kay Nakazawa - Asheville, NC Stephanie Oh - Honolulu, HI Chelsea Pierce - Missoula, MT Karl Pless - Charleston, SC Reonel Rafols - Bradenton, FL Samir Robinson - Philadelphia, PA Elizabeth Scarnati - Flagstaff, AZ Brian Schmidt - Fredericksburg, VA Julia Sellman - Savannah, GA Hayden Shaner - Tempe, AZ Elizabeth Smith - Monroe, GA Kendra Sobania - Little Falls, MN Nathan Sonnenfeld - Scarsdale, NY Hannah Sorrells - Weaverville, NC Jacob Todd - Newburgh, IN Rebecca Tozzie Palm Beach Gardens, FL Robin Tozzie Palm Beach Gardens, FL Kisa Uradomo - Kula, HI John Uzodinma - Madison, MS Ruoheng Wang - Denton, TX

Overture

Elliott Weeks - Charleston, SC Kalyani Weiss - Scottsdale, AZ Qian Yang - Hong Kong

VIOLA

Sean Askin - Marietta, GA Alexis Ayala - McAllen, TX Kelly Bartek - Austin, TX Erik Binkhuysen - Sammamish, WA Ariana Blevins - Charleston, SC Elizabeth Boyce - Gregory, MI Neelee Brauner - Las Vegas, NV John Cooper - Duluth, GA David Doucette - Port Chester, NY Rachel Fishback - Marietta, GA Amanda Hamilton Johns Creek, GA Wesley Hamilton - Augusta, GA Austin Han - Ogden, UT Susan Howard - Houston, TX Peihong Ji - Beijing, China Alicia Keener - Oak Ridge, TN Amy Liu - Marietta, GA Darryl Manley - Jacksonville, FL Ryan McDonald - Griffin, GA Rayford McDowell - Columbia, SC Rachel Mossburg - Fort Wayne, IN James Oh - Chapel Hill, NC Leilani Rogers - Mesa, AZ Hunter Sanchez - Wichita Falls, TX Jordan Stuckey - Charleston, SC Sara Truncali - Pleasant Valley, NY Serena Votapek - Naples, FL Tracie Walker - Grand Prairie, TX Michelle White - Tallahassee, FL

CELLO

Emily Azzarito - New Canaan, CT Juliette Blais - Chattanooga, TN Ethan Blake Colorado Springs, CO Mattie Brister - Georgetown, TX Joseph Brown Powder Springs, GA Clarisa Colton - Atlanta, GA Brent Davis - Great Falls, VA Julia Dixon - Austin, TX Andrew Englehardt - Mount Pleasant, SC Monica Grady - Asheville, NC Jocelyn Hartley - Nashville, TN Matthew Henegan - Maplewood, NJ Daniel Hoppe - Lexington, KY Mary Horst - Atlanta, GA Amjed Jabarin - Fort Wayne, IN Jerram John - Lexington, KY Malik Johnson - Milwaukee, WI Roland Kahn - Chevy Chase, MD Rajan Kapoor - New York, NY Garrison Keller - Mequon, WI Samuel Konkol - Maitland, FL Paul Lee - Portland, OR Timothy Leonard New Providence, NJ Katherine McCarthy Annapolis, MD William Meyer - Lafayette, CA Dan Oliver - Parker, CO Megan Pham - Spring, TX Lydia Pless - Charleston, SC Emily Quigley - Kaysville, UT

Christopher Santos Poughkeepsie, NY Pono Santos - Sammamish, WA Ben Sharp – Greensboro, NC Brianna Tagliaferro - Plainsboro, NJ Brianna Tam - Greenwich, CT William Taylor - Tallhassee, FL Ian Wasserman - Whitefish Bay, WI Abigayle Witt - Louisville, KY Lisa Yasui - Boca Raton, FL Paul Zmick - Katy, TX

DOUBLE BASS

Bryan Bailey - Prairie Village, KS Judson Baines - Wake Forest, NC John Bunck - Jacksonville, NC Peter Casseday - Jacksonville, FL Ben Cordell - Bloomington, IN Taylor Dawkins - Oklahoma City, OK Samuel Dugo - Ashburn, VA Gabriel English - Acworth, GA Patrick Fowler - Potomac, MD Jack Henning - Cincinnati, OH Adam Maloney - Carrboro, NC James McMillan - Charlotte, NC Zachary Merkovsky - Dumont, NJ Max Mulpagano - Carmel, IN Evan Musgrave Ormond Beach, FL Bergen Pohl - Saugatuck, MI Alex Schwarz - Mt. Pleasant, SC Erin Ventura - Bloomington, IN Dillon Wilson - Daytona Beach, FL

FLUTE

Melissa Cheng - New Hyde Park, NY Dominic Dagostino - Katy, TX Allison DeFrancesco - Arlington Heights, IL Emily Elmore - Bradenton, FL Eliza Fisher - Akron, OH Felicity Fulton - Lorena, TX Nicholas Goodwin - Middleton, MA Allison Jayroe - San Antonio, TX Joanna Lau - Roslyn Heights, NY Gabriel Mende-Fridkis Hopewell, NJ Samuel Primack - Lodi, CA Madeleine Stern - Greenwich, CT

OBOE

Gillian Bobnak - Ardmore, PA Siobhan Ciulla - Tallahassee, FL Mekhi Gladden - Atlanta, GA Elizabeth Hebert - Magnolia, TX Jessica Key - Aiken, SC Emily Kirven - Atlanta, GA Casey Knowlton - Tallahassee, FL Alexa Kroll - Allison Park, PA Alexandra Lynch Mechanicsburg, PA Amelia Merriman - Sharpsburg, GA Jamie Sanidad - Bellevue, WA Margaret Williams - Fairview, NC Nathaniel Wolff - Decatur, GA

CLARINET

Sarah Crowell Dripping Springs, TX Sam Frenduto - Rougemont, NC Amer Hasan - Tinley Park, IL Christopher Juhn - Columbia, SC

Samantha Locraft - Potomac, MD John Milakovich - Columbia, SC Danny Mui - Macomb, MI Hugh Pauwels - Austin, TX Christopher Rueda - Mason, OH Erica Smith - Jamestown, RI Tyler Webster - Austin, TX Jennifer Weiss - Pine Brook, NJ

BASSOON

Conor Bell – Bloomington, IN Christopher Chung Johns Creek, GA Cassie Ferrer - Charlottesville, VA Rachel Frederiksen - New Braunfels, TX Marissa Honig Mount Pleasant, SC Eleni Katz - Iowa City, IA Ethan Lippert - Ashford, CT Caroline Miller - Fort Collins, CO Nathan Morris - Watkinsville, GA Julianne Mulvey - Reading, MA Samuel Rhoton - Salem, OR Ian Schneiderman Mercer Island, WA Dotan Yarden - Philadelphia, PA

SAXOPHONE

Richard Brasseale - Madison, AL Benjamin Conte - Cumming, GA Jaser Doja - Cumming, GA Andrew Lammly - Glenmont, NY Noah Miller - Cumming, GA Brandon Nowakowski - Ludlow, MA Dylan Ward - Harrisburg, NC

FRENCH HORN

Christina Ackerman - Fulshear, TX Nick Auer - Brighton, MA Matthew Baldridge San Antonio, TX Brooke Boehmer - Pittsburgh, PA Joseph Cradler - Fairfax, VA Hannah Culbreth – Newnan, GA Julia Dombek - Charleston, WV Corinne Farley - Fort Collins, CO Tyler Gillespie - Greer, SC Hajime Goto - San Diego, CA Melvin Jackson - Madison, WI Miya Paserba Cranberry Township, PA William Sands - Sewickley, PA Molly Shannon - Cumming, GA Thomas Vienna - Dyer, IN Caroline Villacis - Cabot, AR Maya Waller - Wexford, PA Sheng-Mu Wang - Taoyuan City, Taiwan Jacob Wiggins - Spring, TX

TRUMPET

Daniel Haddock - Decatur, AL Gillian Huff - Lawrenceville, GA Justin Humphrey - Cedar Park, TX Mason Krusch - Summerfield, NC Nathan Little - Argyle, TX Reynolds Martin - Lexington, KY Hailey Menkhus - Margate, FL Cortney Runyan - Brunswick, GA Madison Sinan - Cranberry Township, PA Samuel Thurston - Natick, MA

Bethany Vaughan - Houston, TX Tamara Vaughn - High Springs, FL

TROMBONE

Myles Blakemore - Euless, TX Austin Canon - Sarasota, FL Julia Dennis Cambridge Springs, PA Matthew Herrmann – Katy, TX Katie Kearney - Decatur, GA Noah Sloan - Asheville, NC

BASS TROMBONE

Garett Byrne - Denham Springs, LA Derek Mitchell - Miami, FL

TUBA

Stephen Adcock - Greenbrier, TN Preston Light - Kingsport, TN Errol Rhoden, III - Fayetteville, GA

PERCUSSION

Chandler Brown - Lugoff, SC Aidan Carey - North Attleboro, MA Christine Comer - Suffolk, VA Jonathan Fourrier Cesson-Sévigné, France Sijia Huang - Philadelphia, PA Olivia Jones - Charlotte, NC William Kan Broadview Heights, OH Bryce Leafman - Newbury Park, CA James Leonard - West Chester, OH Yu Chien Lin - Irvine, CA Noah Mallett - Big Rapids, MI Cheuk Hin Keith Ng - Hong kong

HARP

Samantha Bittle - Bel Air, MD Hannah Lee - Lexington, MA Emily Stone - Brentwood, TN Celia van den Bogert Cleveland Heights, OH Anna Wiegandt - Rochester, NY

PIANO

Abraham Alinea - Parlin, NJ Hector Aponte - Carolina, Puerto Rico Nathan Ash-Milby - Maplewood, NJ Yana Avedyan - Fitchburg, WI Catharine Baek - Willoughby, OH Carl Bolleia Township Of Washington, NJ Matthew Buie - Charlotte, NC Lucas Cain - Greensboro, NC Siyi Chen - New Brunswick, NJ Mijung Cho - New Brunswick, NJ Jay Choi - Garden Grove, CA Yun Kyung Choo - New York, NY Adam Coleman - Palos Verdes Estates, CA Karen Copeland - Jupiter, FL Lior David - Northampton, MA Jesus Diaz - El Paso, TX Robert Errico - Weddington, NC Katie Fernstrom - Canfield, OH Kristen Flanagan - East Longmeadow, MA Rachel Fogle - Cameron, SC Linnea Gaetjens - Tullahoma, TN Rachel Garrison Winston Salem, NC

Emma Gierszal Mount Pleasant, SC Samuel Glicklich - Los Angeles, CA Nathan Godin - Charlotte, NC David Green - Winston Salem, NC Shulin Guo - New York, NY Joseph Hart - Salem, VA Sarah Hay - Charlotte, NC Silas Hsu - Ballwin, MO Bingyu Hu - Oberlin, OH Morgan Hunkele - Concord, NC Henry Hutchinson - Chantilly, VA Moriah Kam - Morganville, NJ Fiona Kent - Charleston, SC Hyunseok Kim - Goyang-Si, Republic of Korea Ahran Kim - Fort Lee, NJ Joanne Kim - Sterling Heights, MI Geoffrey Kocks - Grand Blanc, MI Sabrina Koseki - Houston, TX Melvina Kuoshu - Greer, SC Ji Sung Lee - Incheon, Republic of Korea Rafael Jungsoo Lee - Moscow, Russian Federation Sara Lee - Seoul, Republic of Korea Jasmine Lin - Savannah, GA Elizabeth Lindqwister - Peoria, IL Delana Lorance - Slidell, LA James Lorusso - Acton, MA Kelsey Ma - San Jose, CA Kevin Madison - Sicklerville, NJ Stone Martin - Hartsville, SC Brian McCann - Freehold, NJ Colin McDearman - Jackson, MS Lydia Melnikov - Evanston, IL Lydia Michel - East Helena, MT Jae Hee Min - New York, NY Rishi Mirchandani - Pittsburgh, PA Gabriel Newsham - Saint Louis, MO Tiffany Ours - Brunswick, GA Stephanie Pestana Grand rapids, MI Sydney Porth - Saint Matthews, SC Hannah Powell - Laurens, SC Audrey Puschinsky - High Point, NC Julián Quall - Chicago, IL Olivia Richardson - Little Rock, AR Georgianna Rickard Lake Placid, NY Nathan Ryland - Richardson, TX Yuji Sato - Boxborough, MA Jonathan Scofield - Columbiana, AL Yehong Shi - Beijing, China Charles Siegler - West Nyack, NY Alexander Simakas - Sewickley, PA Joseph Stiefel - Victor, IA Flora Sun - Cupertino, CA Samuel Tam - Houston, TX Julia Van Patter - Matthews, NC Nathan Vondergeest - Clinton, SC Kerfoot Walker - Tyler, TX I-Wen Wang - Tainan, Taiwan Jacob Wang - Apex, NC Stefan Weiler Hagenbach, Germany Alexander Woods - Philadelphia, PA Christopher Wright Myrtle Beach, SC Bronson Wu - Chandler, AZ Shanshan Xie - Columbus, GA Kenneth Xu - Chapel Hill, NC Ying Xu - Clemson, SC Laura Zhang - Marietta, GA

Mimi Zhang - Alexandria, VA Yihao Zhou - Beijing, China Lylybell Zhou - Wellington, FL

COLLABORATIVE PIANO

Xin Chang - Austin, TX Ting-Tzu Chiu - Taoyuan City, Taiwan Hanna Chung - Austin, TX Ricardo Da Silva Pozenatto Boca Raton, FL Kayoko Miyazawa - Cleveland, OH

COMPOSITION

Katherine Benson Jonesborough, TN Evan Caplinger - San Diego, CA Nicole DeMaio - Toms River, NJ Zachary Green - Madison, WI Cem Guven - Istanbul, Turkey Hannah Lipton Croton-on-Hudson, NY Elbert Liu - Laguna Niguel, CA Haoyue Luo - Beijing, China Robert Rankin - Apex, NC Kevin Su - Boyds, MD Jeffray Tsai - Waltham, MA Max Vinetz - Solana Beach, CA Sarah Wald - Chicago, IL

OPERA

Rachel Anthony - Greensboro, NC August Bair - Atlanta, GA Brandon Bell - Suffolk, VA Brianna Bragg - Waterville, OH Melanie Burbules - Naperville, IL Caroline Dunigan - Great Falls, VA Fonzie Fitzwater - Dawson, WV Matthew Fleisher Gwynedd Valley, PA Myles Garver - Mobile, AL Kevin Gino - Chino Hills, CA Rudy Giron - Houston, TX Allyson Goff - Greensboro, NC Jennifer Judd - Williamsport, PA Sara Law - Boston, MA Jennie Moser - Pisgah Forest, NC Andrew O'Shanick - Midlothian, VA Mackenzie Phillips - Auburn, IA Guillaume Poudrier - Auburn, IN Matthew Queen - Calhoun, GA Evelyn Saavedra - Miami, FL Christina Scanlan - Libertyville, IL Frederick Schlick - Reading, PA Alexander Sheerin - Centerport, NY Camille Sherman - Petaluma, CA Orin Strunk - Boyertown, PA Elisa Sunshine - Boston, MA Laurie Taylor - Carrollton, GA Adam Wells - Clemson, SC Asleif Willmer - Tucson, AZ Tyler Wolowicz - Brighton, MA

Lydia Gompper - Falls Church, VA Maryann Hayden - Round Hill, VA Julia Hearn - Skaneateles, NY Naomi Henn - Greer, SC Penelope Hough - Potomac, MD Leah Israel - Cape Elizabeth, ME Claire Iverson - Baltimore, MD Grace Lawton - Wilmington, NC Katherine Ledbetter High Point, NC Coleman Loftin - Marietta, GA Adam Marcelo - Weston, MA Benjamin Martin - Bexley, OH Samantha Melin - Wilmington, NC Christopher Michalak Simpsonville, SC Madelin Morales - Fairfield, NJ Isabella Nataro - Charlottesville, VA Jon Olivier - Olney, MD Thomas O'Neill - Abingdon, VA Halle Petrie - Nashville, TN Natalie Schlesinger - Matthews, NC Mary Vince - Pearl River, LA SarahBeth Wheeler - Bradenton, FL Hannah Youmans State College, PA

OUR STUDENTS: Total Enrolled: 447 College: 244 High School: 203 States represented: 42 Countries represented: 12

HIGH SCHOOL VOICE

Sarah Aaldering - Los Gatos, CA Ernest Atkinson Pawleys Island, SC Merissa Beddows - Yonkers, NY Diana Bodie - Hendersonville, NC Michael Butler - Bowie, MD Rayna Campbell - Belleville, IL Sara Cox - Atlanta, GA William Foster - Houston, TX Johanna Geremia - Shrewsbury, MA

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BREVARD MUSIC CENTER

DISTINGUISHED SERVICE AWARD Jamie Hafner

For more than 40 years, Jamie Hafner has proudly served the Brevard Music Center as a performer, faculty member, and administrator. His passion has inspired countless students throughout his distinguished career, including current BMC Artistic Director Keith Lockhart, who played in his band and wind ensemble in 1975. Jamie Hafner is Director Emeritus of Education at the Brevard Music Center and Director Emeritus of Bands at The University of Toledo. Hafner served as president of the Mid-American Conference Band Directors Association and has degrees from the University of Cincinnati College-Conservatory of Music. He has been an Honorary Fellow in Conducting at the University of Wisconsin and the University of Michigan. As a tubist, Hafner has performed with the United States Military Band at West Point, the Savannah Symphony, the Toledo Symphony, The University of Toledo Faculty Brass Quintet, and the Brevard Music Center Orchestra. He has served as Director of Bands at Brevard College and is currently director of the Blue Ridge Symphonic Brass.

DISTINGUISHED SERVICE AWARD Cannon Charitable Interests In memory of Frank Davis

The Cannon Charitable Interests were created to continue the philanthropy of Charles A. Cannon.

Today the Cannon Charitable Interests advance his values in the areas of healthcare, higher education, human services and community support. Frank Davis joined The Cannon Foundation, an entity of The Cannon Charitable Interests, in late 1998 and became its Executive Director in 2000. Under his leadership, the Foundation continued to expand its grant making across the state of North Carolina, including our region. Brevard Music Center has been awarded grants totaling more than $900,000 from the Cannon Charitable Interests through both The Cannon Foundation and the Mariam & Robert Hayes Charitable Trust. Grants made during Frank’s tenure supported a variety of projects across BMC's campus including infrastructure and critical renovations at Whittington-Pfohl Auditorium as part of our current Challenge Among Friends effort.

DISTINGUISHED ALUMNI AWARD Mason Bates, BMC Alumnus, 1993

Brevard Music Center honors an exceptional composer as the recipient of this year’s Distinguished Alumni Award.

Recently recognized as the second most-performed living composer, Mason Bates currently serves as the first composer-in-residence of the Kennedy Center for the Performing Arts. His music fuses innovative orchestral writing, imaginative narrative forms, the harmonies of jazz and the rhythms of techno, and it has been the first symphonic music to receive widespread acceptance for its unique integration of electronic sounds. Leading conductors such as Riccardo Muti, Michael Tilson Thomas, and Leonard Slatkin have championed his diverse catalogue. He has become a visible advocate for bringing new music to new spaces, whether through institutional partnerships such as his residency with the Chicago Symphony Orchestra, or through his club/classical project Mercury Soul, which has transformed spaces ranging from commercial clubs to Frank Gehry-designed concert halls into exciting, hybrid musical events drawing over a thousand people.

In awarding Bates the Heinz Medal, Teresa Heinz remarked that “his music has moved the orchestra into the digital age and dissolved the boundaries of classical music.”

Bates’ activities as a DJ have highly informed not only his compositional approach, but his distinctive curating projects.

As part of his multi-year residency, he will work with the Kennedy Center’s broad range of artistic constituents, from performances with the National Symphony to appearances with Jason Moran on Kennedy Center Jazz, often integrating electronica artists into the Center’s unique spaces. He is launching a new-music series, KC Jukebox, that will feature the immersive production and eclectic programming for which his curating projects have become known.

This season marks the release of much of his music on CD. As part of the San Francisco Symphony’s Beethoven & Bates Festival, the SFS will release three of his largest works, Alternative Energy, Liquid Interface, and The B-Sides. A forthcoming CD by the Boston Modern Orchestra Project will complement this with some of his most-performed works, from Mothership to Rusty Air Carolina. Also this season, the San Francisco Symphony will premiere Auditorium, which will incorporate the sounds of ancient instruments into the orchestral palette.

His music’s dramatic realization of narrative forms has recently attracted the attention of artists in dramatic forms, such as famed film director Gus Van Sant, and he is composing an opera on the topic of Steve Jobs to be premiered at Santa Fe Opera in 2017.

Continuing performances of his music have demonstrated that electronic sounds can be a welcome addition to the orchestral palette with minimal logistics. While Bates often performs the electronica onstage, his music is regularly performed without him by orchestras across the globe. masonbates.com

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BREVARD MUSIC CENTER ASSOCIATION

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The Brevard Music Center Association (BMCA) is a volunteer organization devoted to supporting the Music Center through fundraising and supplemental staff services. Since 1979, BMCA volunteers have donated their time, talent, and resources in support of the talented young musicians who attend the Music Center each summer. Working behind the scenes in a wide variety of responsibilities, as well as during concerts and at special events, BMCA’s 200+ members support BMC wherever they’re needed, applying themselves with energy and commitment to the Brevard Music Center.

Volunteer activities are not limited to the summer music festival season. In fact, some of our committees, such as Facilities, Beautification, and Special Events, are active year-round. To learn more about BMCA, or to volunteer, call 828-862-2124.

A volunteer will be happy to help you!

These generous volunteers provide countless hours to assist BMC with a multitude of important tasks.

Sam Alden Janis Allen Jocelyn Allison Jill Anderson Celia Ansley Ann Arnold Bill Arnold Sharon Bach Jack Baldrige Marilyn Baldrige Lynn Barnett Dennis Bartt Paul Bennett Beth Best Chuck Blunt Gail Blunt Beryl Bradley Elda Brown Barbara Burkhart Carl Burkhart Jeanne Byrne Tom Byrne Bev Callen Jim Callen Marilyn Carlson Carol Carrano Dan Carter Jane Carter Toni Casciato Jane Chandler Lucille Chaveas Peter Chaveas Ken Chepenik Leslie Chepenik Jack Christfield Mary Scott Christfield JoAnn Clemmer Ron Clemmer Bob Cole Karen Cole Penny Colman-Crandal David Crandal Jane Credle Hope Cushman Lucia Delchamps Elaine Deppe Bonnie Duffner Duff Duffner

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Carol Dugger Joan Duke Bud Duncan Christine Eastus Deborah Edmonds Bettie Edwards Van Edwards Nancy Elliott Nancy Ester Anthony Fast Susan Felice Lorraine Fink Kris Fulmer Kathy Garofalo Mike Geremia Shirley Geremia Anita Goldschmidt Pat Gorgone Vince Gorgone Sally Gould Lois Grabowski Ann Grant Joyce Greame Wanda Gregory Allen Haas John Hadacek Kris Hadacek Roberta Hallinen Geri Hambley Joe Hamrick Vicky Harding Bill Harger Alan Harms Janet Harms John Harrington Sandy Harrington Anne Harris John Harris Karen Henegar Gillian Hillman Sherry Hine Judith Hodges Greg Hunter Jeanne Hunter Paula Hunter Evey Huntington Lynda Hysong Molly Jenkins

Morris Jenkins Bonnie Jensen Sara Jerome Bill Johnson Kevin Jones Connie Keeney Julia Kennerly Patrick Kennerly Bob Keyes Trisha Keyes Doug Knapp Dottie Kosiba Leo Kosiba Wendy Kotowski Treese Lawlis Laura Ledford Jim LeGere Martha LeGere Fred Lidsky Sue Lidsky Bill Lovejoy Joan Manfre Penny Mann Ruth Marcus Sandy Marcus Mark Marvell DeLane McAlister Mike McCarthy Jane McKeown Robert McKeown Harriette McLain Mike McLain Lee McMinn Carol Miller Marie Miller Martha Miller Kathleen Milligan Robert Milligan Bonnie Mills Jeff Mills Bill Moore Marion Moore Anne Munch Joel Munch Phylis Nesbitt Fran Newby James Newman Jennifer Newman

Mary Northover Jim Null Sue Null Fran Opresko Greg Opresko Ronnie Peterman Chet Pletzke Linda Pletzke Linda Randall Bill Raspa Donna Raspa Kate Reinke Tom Reinke Katinka Remus Rod Remus Kay Reynolds Charlie Rhodes Jane Rhodes Jim Robards Bill Robertson Michel Robertson Jim Robinson Patrice Robinson Michael Rosenthal Nancy Rosenthal Jim Roubion Penny Roubion Joy Ryder Bennie Santistevan Christine Schmidt Bob Schmitt Bill Seibert Phyllis Seibert Dorothy Semans Marshall Seymour Lou Shelley Mike Shelley Murphy Smith Rich Smith Tom Snow Nancy Sperling George Stanton Pat Stanton Barb Steadman Carolyn Steele Ginny Steiger Wanda Stephan Maureen Sterinsky

Mike Sterinsky Ann Strother Lynne Sullivan Susan Sunflower Carole Taylor Frank Taylor Chet Terry Bob Tharpe Linda Thompson Ron Thompson Linda Threatte Deb Tibbetts George Tibbetts Aleta Tisdale Keitha Todd Joan Toepfer Sandy Tooman Susan Toscani Georgiana Ungaro Carolyn Van Ness Linda Vandeweghe Ellie Vibert Twighla Voglesong Harriet Walls Emily Walthall David Warinner Harry Weinhofer Margo Williamson Joyse Witheridge Jude Wolf Greta Wolfe Jean Woods Barbara Wright Martha Wright Paul Yount Penny Yount Deborah Yunker Don Ziegler Susan Zucchelli-Sorenson

BMCA BOARD

BMCA Executive Committee President 1st Vice President 2nd Vice President Secretary Board Advisor Past President Committee Chairs Archives Beautification Concessions Facilities Harmony Gifts Hospitality Mailings & Deliveries Membership Newsletter Special Events Ushers Volunteer Office Welcome Center / Raffle

Penny Roubion Michel Robertson Ginny Steiger Wanda Gregory Elaine Deppe Linda Thompson Chet Pletzke & George Stanton Linda Thompson & Barbara Burkhart Sandy Toscani & Kris Fulmer Bob Schmitt & Harry Weinhofer Ginny Steiger & Penny Mann John Harrington & Joyce Greame Wanda Gregory & Linda Thompson Elaine Deppe & Karen Cole Michael Robertson Penny Roubion (interim) Sandy Tooman & Jeanne Byrne Linda Thompson Joel Munch & Linda Randall

L to R front row: Michel Robertson, Linda Thompson, Ginny Steiger, Penny Roubion, Elaine Deppe L to R back row: Kris Fulmer, Barbara Burkhart, Susan Toscani, Penny Mann, Karen Cole, Sandy Tooman, George Stanton

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NAMED AND ENDOWED CONCERTS

NAMED & ENDOWED CONCERTS The following are ongoing named and endowed performances that are supported by continuing donations, a dedicated endowment, or in recognition of a momentous contribution.

THE MAGIC FLUTE - JULY 14 AND JULY 16 Presented with support from

THE ZIMMERLI FAMILY OPERA ENDOWMENT The Zimmerli Family Opera Endowment was established in 2008 through a generous donation by Kurt and Nelly Zimmerli of Spartanburg, SC. This season, the performance of Mozart's The Magic Flute is made possible in part by the Zimmerli Family Opera Endowment. The Brevard Music Center would like to express its sincere appreciation to the Zimmerli family for creating this lasting endowment, one that will provide educational opportunities and resources for exceptional young musicians for many years to come.

PENDERGRAST FAMILY PATRIOTIC POPS - JULY 4

Center has a long relationship with the National Federation of Music Clubs, and has established an ex-officio position to the BMC board for the Vice President in charge of the Southeast Region of NFMC. Elaine Knight fills that position today.

This year’s Hinda Honigman Memorial Concert on Saturday, July 23, features conductor Jayce Ogren and trombonist Charles Vernon – both BMC alumni -- with the Brevard Sinfonia in a program including Ravel’s “choreographic symphony”, Daphnis and Chloé, Vaughan Williams’s Symphony No. 3 (Pastoral) and Lindberg’s Chick’a’Bone Checkout.

BMC PIANO COMPETITION - AUGUST 2 Sponsored by THE ZIMMERLI FOUNDATION

The Pendergrast Family Patriotic Pops concert was named in honor of a magnanimous gift to BMC’s endowment fund

by Dr. William Pendergrast and his late wife Martha. The couple’s contribution to the Music Center also included the establishment of four family-named faculty chairs, as well as a chair honoring Henry Janiec, Artistic Director Emeritus. The Pendergrast children and grandchildren have been students at BMC. The annual Patriotic Pops concert celebrates America’s Independence Day with a rousing USO-themed show and the 1812 Overture with live cannon in the grand finale. Brevard Symphonic Winds and the Brevard Community Band are showcased in this joyous Independence Day concert.

BMC’s annual piano competition is sponsored by The Zimmerli Foundation. BMC trustee emeritus Kurt Zimmerli and his wife, Nelly, have been supportive of the organization over many years - building facilities, establishing endowments, and making generous contributions. The piano competition is open to all full-session pianists. Students compete with a solo program of their choice, lasting 30 to 40 minutes in length, containing repertoire chosen from at least three style periods. Finalists compete publicly, and the winners are announced at the end of the public concert.

Five cash prizes are awarded along with full scholarships to Brevard for the following summer.

JAN AND BEATTIE WOOD CONCERTO COMPETITION - JULY 17 & JULY 31

GINA BACHAUER ARTIST: CONRAD TAO SAINT-SAËNS PIANO CONCERTO - JULY 22

In 2001, second generation BMC trustee Beattie Wood and his wife, Jan, were recognized for their continued support of the Music Center with the naming of the annual concerto competition and concert. The competition is open to all fullsession instrumental students and is a highlight of the student experience. The Jan and Beattie Wood Concerto Competition finals will be held on Sunday, July 17, at 7:00 pm. Winners will receive scholarships to the 2017 Institute and Festival, as well as the opportunity to perform with the Brevard Music Center Orchestra on Sunday, July 31, as part of the annual Soloists of Tomorrow concert.

HINDA HONIGMAN MEMORIAL CONCERT DAPHNIS AND CHLOÉ - JULY 23 Each summer, the Music Center presents a concert in memory of Hinda Honigman who served as president of The National Federation of Music Clubs (NFMC) from 1967 to 1971 and as a BMC trustee from 1966 to 1985. The National Federation of Music Clubs (NFMC) is an organization dedicated to music education and the promotion of creative and performing arts in the United States. The Brevard Music

For over 30 years, the Brevard Music Center has annually featured one guest artist in a concert given in memory of Gina Bachauer, a celebrated pianist who appeared frequently at the Music Center. Bachauer understood the importance of nurturing young talent and often gave generously of her time to students. In 1980, a memorial fund was established through the generosity of Mr. and Mrs. Carlo Renzulli, longtime friends of Bachauer. The fund enables the Music Center to invite an internationally renowned pianists, such as Conrad Tao, to Brevard each year as the Gina Bachauer Artist.

A pianist and composer of worldwide stature, Conrad Tao has been recognized for his “probing intellect and open-hearted vision” (New York Times). He will perform Saint-Saëns’s Piano Concerto No. 2 with the Brevard Music Center Orchestra, led by former BMC Artistic Director David Effron.

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GIVING OPPORTUNITIES

BREVARD MUSIC CENTER The Brevard Music Center is grateful for the continued financial support of individuals, foundations, and organizations that believe in inspiring and encouraging young people through music. About half the revenue needed to operate a successful institute comes from charitable donations from patrons, alumni, and friends.

ANNUAL FUND

The Brevard Music Center Annual Fund is the financial heartbeat of the organization. This Annual Fund provides vital support to every aspect of the Music Center. These gifts address important daily expenses such as faculty salaries, music and instrument rental, facility enhancements, and other expenses associated with keeping BMC healthy both now and in the future.

SCHOLARSHIP PROGRAM

Scholarship support is BMC’s single-greatest need. Currently, approximately $1.2 million is awarded each year to students based on merit and/or demonstrated financial need. Gifts to BMC’s scholarship program help ensure that these young musicians have the opportunity for study at the highest levels of professional development.

THE MAESTRO SOCIETY

Members of the Music Center’s Maestro Society give a contribution of $2,500 or more annually to support our daily life, and make a significant investment in our student education programs. During the summer festival, benefits include invitations to special events, complimentary preferred auditorium level parking, season-long access to The Maestro Society Lounge for entertaining on performance days, and more.

PLANNED GIVING

When you include the Music Center in your estate plans you are investing in future generations of serious musicians.

A planned gift can take many forms, including a bequest in a will, charitable gift annuity, charitable remainder trust, charitable lead trust, life insurance, and retirement/IRA gift. Each form of planned giving has unique benefits. As you explore your long-term charitable and financial goals, our Development staff is available to discuss a variety of planned giving options that might be beneficial for both you and the Music Center.

ENDOWMENT

Endowment funds are invested and only the earnings from these investments are expended towards scholarships and other important initiatives. Each year a portion of these earnings are reinvested, ensuring that the fund retains its buying power over time. Endowment gifts strengthen the long-term financial security that is required to ensure high quality educational programs and artistic performances year after year.

SPONSORSHIPS

Becoming a sponsor is one of many ways individuals and businesses can support the Brevard Music Center. The Brevard Music Center offers a wide variety of partnership opportunities. Sponsorships are available for performances, special events, products and services, new artistic initiatives, and more. Sponsors are included in BMC marketing collateral and other media, gain access to a highly desirable demographic group, gain opportunities to entertain clients in BMC’s casually elegant environment, and much more.

OPERATIONAL NEEDS Student Scholarships Room and Board Faculty Salaries Guest Artists and Master Teachers Artistic Leadership Opera Productions Deans and Resident Advisors Facilities and Maintenance Student Recruitment

Staff Salaries Health Services Piano and Large Instrument Rental Music Rental and Purchase Marketing and Advertising Publications and Program Book

(828) 862-2121 • DEVELOPMENT@BREVARDMUSIC.ORG • BREVARDMUSIC.ORG

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“White Squirrel Radio” Listen Live anytime to the greatest hits of the ‘60s, ‘70s and ‘80s.

Q102 is your source for all things happening in Transylvania County!

102.1FM 1240AM or online at www.wsqlradio.com

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ANNUAL FUND CONTRIBUTORS

ANNUAL FUND CONTRIBUTORS Brevard Music Center is grateful to our generous supporters. The friends listed below have given contributions to our Annual Fund that provide a full third of the financial support needed to educate our students this season. We thank all of the individuals, foundations, businesses, and other organizations who help make the Brevard Music Center available to so many gifted and dedicated students. A list of commitments of $10,000 or more to our current Challenge Among Friends initiative can be found on page 19.

The following represents gifts received from May 1, 2015 through April 30, 2016.

FOUNDER'S CIRCLE ($100,000+) Jacquelyn and Bruce Rogow The Estate of Elwood P. Safron CHAIRMAN'S CIRCLE ($25,000+) Betsy and Thomas Bolton The Cannon Foundation The Chattooga Club Yvonne and Charles Goldsmith Falls L. Harris Mariam and Robert Hayes Charitable Trust North Carolina Arts Council National Endowment for the Humanities William J. Pendergrast Emily and Bill Searcy Charitable Trust Elisha and Jeffrey Zander ARTISTIC DIRECTOR'S CIRCLE ($15,000+) Kristine and John Candler Estate of Elizabeth Conger Conrad and Scherer Attorneys at Law T. Kenneth Cribb, Jr. Sandy and Bernard Fox Nancy Hicks Barbara and John Lawless Diane M.T. North, Ph.D. Laureen and Douglas Ombres The Payne Fund Platt Architecture, PA Carole and Arthur Schreiber Wells Fargo Ruth Zehfuss and family PRESIDENT'S CIRCLE ($10,000+) Anonymous (2) Jane and Ed Bavaria Joan and Bruce Berryhill Carlene S. Jerome Jerome and Summey Insurance Patti and Phillip Jerome Linda and Warren Johnson Mr. and Mrs. G. William Lohr, Jr. Ruby Morgan and Douglas MacDonald National Endowment for the Arts Mary and Charles D. Owen, Jr. Inez and Bob Parsell RBC Wealth Management Lynn and Andy Reeves Valeria and James Robertson Skyland Automotive Nancy Crow Trentini Joella Utley Patricia R. Webb Dr. and Mrs. Charles Weiss

COMPOSER'S CIRCLE ($5,000+) Maurine Bagwell Sally and Doug Bailey Betsy O. Barefoot and John Gardner Sandra and John W. Barnett, Jr. The Beattie Foundation Emily and Doug Booth Claudia and Henry Colvin Martha and Walter Coursey Eugenia and Robert Dowdeswell Mimi and Peter Elder Ruth Falck Shirley Smith and Stuart Fendler Carl and Sally Gable The Ann and Gordon Getty Foundation Helen Gift The GE Foundation William R. Hackney III Anita and Joseph Hara Martha R. Ingram The Fritz & Lavinia Jensen Foundation Katie Loeb-Schwab and Mark Schwab E. T. McLean Moore-Blanchard Funerals & Cremations, and Cathleen Blanchard SharonAnn and Robert Philip John and Linda Sarpy Fund Alice A. Smyth Stephen Sosin and James Pegolotti Martha Washington Straus and Harry H. Straus Foundation Harriet and Ken Walls Anita and Harold Watsky Sybil and James Wells Bill and Betsy White Bruce F. White Bob and Elaine Wilkerson Jan and Beattie Wood VIRTUOSO ($2,500+) B.T. and Sallie Alexander Ione M. Allen Music Scholarship William T. Alpert Paula and David Bonner The Dan Cameron Family Foundation Gerri and Marshall Casse George and Nancy Cecil Charles Loridans Foundation, Inc. Pat and Charlie Clogston Wesley and Gayle Colby Marc Dambax Else Drusts Duke Energy Foundation Sugie and Nate Einstein Margo Evans

Dr. J. Murray and Jerusha Barnum Fadial Libby and Guy Freeman Martie and Michael Garner Dr. and Mrs. Ken Graff Dwight L. Guy John and Sandy Harrington Doug and Sue Henderson Bill and Jean Holmes George W. Howell Lynn and Donald Hupe Ann Ives Whitfield Jack Paulette Johnson Alice Keith Pfohl Knowles Robert S. Lawrence and Sue Rossman Cheryl and Philip Leone Emiley and Keith Lockhart Susan Martin and Chris Floyd Dr. and Mrs. John Matheson Gerry and Beth Mayo Mary Ann and Robert McGarry Mary Lou and Mac McJunkin Billie and Roy Messer Joseph Mihelick and Jerilyn Schaller Margaret and Augustus Napier Mr. and Mrs. Jonathan Nelson, for Congregation Beth Jacob Lynne and Will Nelson Jennifer and James Newman Ladene and Russell Newton Reed and Jack Parker Helen and Walt Peery Martha and Robert Pierce Mr. and Mrs. Erwin Prietz Kenneth O. Privat Mr. and Mrs. Michael J. Rapier Joel Reynolds, in honor of Ken Lam Michelle and Robby Russell Eleanor and Bert Schweigaard-Olsen Marshall L. Seymour Linda and Ron Thompson Hugh Tucker and Paul Thomas Anne and John Vance Mahmoud Vali and Nan Weizenbaum Anne Wallace and Bill Nichols Carol and Harry Weinhofer Mark Weinstein and Susanne Marsee Jaynie and Stanley Whitcomb James and Mynnette Wilson Joan Yarbrough Mr. and Mrs. Jesse Colin Young Jill Zimerman Dr. Noel and Roxanne Zusmer PRINCIPAL ($1,000+) Katherine and Blan Aldridge Luanne Allgood Anonymous Jerry Argall John and Linda Austin

Elizabeth and Bruce Baker Elizabeth Bates and Roy Penchansky Jan and George Bauer Audrey and Robert Bayer Susan and Michael Becker Bed & Breakfast on Tiffany Hill Beverly-Hanks & Associates Annette Blum and James May Merritt S. Bond Candy and Malcolm Burgess Susan Harrington Butts and Tim Butts Dan and Jane Carter Bena and George Cates Jane and William Chandler Lucille and Peter Chaveas Faye and Gil Coan, Jr. Ann and Carl Croft Gwin and Robert Dalton Jane Davidowski Floride Smith Dean Charitable Trust Norma Fraser and R. Bradford Devine Mitzi and Raymond Doumar Richard W. Dowdeswell Jan and Mary Dryselius Wes and Sandra Eastman Betty and Robert Edge Carver Farrar Tom and Susan Felice Raquel and Raymond Ferrero First Citizens Bank - Brevard Vivian R. Frederick Kristine Fulmer Elaine and George Goosmann P. A. Gray Donna Reyburn and Michael Griffith Ronald Gurtler Donna and Charles Haines William Hickman IBM Corporation Kathy and Jesse Jones Liz and Gene Kendall Shirley and Richard Knight Claire and Richard N. Knowles Marietta and Walter Lacyk Rebecca and Arthur Lebowitz Harriet and Chris Lewis Florentine Liegerot and Charles Gerard Judy and Jim Lipham Marilyn and Newton Lockhart John S. McKean Robert and Jane McKeown Peggy McKibbin + Susan and Chris Mehiel Linda Melrose Carolyn C. Mills North Carolina Network of Grantmakers Mr. Keith Osborn Dr. and Mrs. Gregory O'Shanick Dr. John O'Shea and Ms. Clare Mont-Claire O’Shea

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ANNUAL FUND CONTRIBUTORS

BREVARD MUSIC CENTER Perry N. Rudnick Endowment of the Community Foundation of Henderson County Pfizer Foundation Pisgah Forest Rotary Club Mary and Sadler Poe Linda Randall and Lee McMinn Regina Ray Manuel Reyes-Otalora and Elisabeth Illg-Reyes VJ and Jim Richey Lindsay Robertson Susan and John Ruhl Janie and Robert Sargent Dorothy Semans Nancy and Richard Senneff Marjorie D. Severance Holly Shulman and John Stagg Sigma Alpha Iota Philanthropies, Inc. Travis Smith Susan and Herbert Spaugh Shay and Connell Stafford Anne J. Stoutamire Deborah and George Tibbetts Dolores Treece Christine Tryba-Cofrin Diana and Andrew Watson Cecily and Robert Wells Stephen Wiener Diana G. Wortham ENSEMBLE MEMBER ($750+) Mary and Craig Adams Frank Byrd Ann and Steven Cohen Bob and Karen Cole Duke Energy Calvin and B.J. Edwards Christine Glaser Dr. and Mrs. James A. Granger Bill and Geri Hambley Katharine Jones Paul Komar and Terri Goodall-Komar Carolyn R. Lawton Judge and Mrs. Robert L. Lobrano Retha and Ross Lynch Margaret T. MacCary William McDonald and Jean Hubbard Roberta and Jeff McKeever Mountain Side Homebuilders, LLC Veronica and Eugene Peterman Christina and Dung Phan Anca Pop, MD David F. and Maxine Rock Aleen Steinberg SOLOIST ($500+) Rachel and Elijah Alper Mr. and Mrs. Allain C. Andry Cattie and Michael Andry Anonymous Bank of America Matching Gift Program Joan Berk Kerry and Kevin Betts Joan and Buck Blessing Margaret W. Boggs Mr. and Mrs. Curt Bradbury Doris Anne Bradley Donna and Larry Bradner Judy and Gary Breissinger Peg and Dan Bresnahan Leslie and Chip Brown Nancy and Donald Buebendorf

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Susan and Jorge Cano Paulette and Joseph Cantey Oliver Cantey Marilyn K. Carlson Carolyn and Bernard Caserta Terry and Donald Cayo Russell N. Chappell Leslie and Kenneth Chepenik Jerry and Gloria Clouse The Coca-Cola Company Matching Gifts Program Mrs Gilbert H. (Anne) Collings Connestee Falls Realty Crushed Leaf Studio Hope W. Cushman Rory Dalton Preston Grimes Davitt and Dennis M. Davitt Danita and Glenn Dickman Edith M. Dunn Lyn and Bill Edmonds Beverly Edgell Lorraine Fink Eleanor & James Barnhardt Foundation Kate and Chuck Gass Carol and Allan Gerson Sally and Jack Gould Richard and Janet Grey Mr. and Mrs. Douglas Grijalva Carole and Don Guffey Sharen and Jamie Hafner Harris Ace Hardware Bette C. Hester Carl S. Hoveland Gayle and Ronald Hoverson Mr. and Mrs. Joseph C. Hunter Marge and Herbert Jarvis Elizabeth B. Johns William and Sally Johnson Kay and Alvin Keith Susan and Douglas Kish Julia Krebs and Roger Hux Karen and Philip Leabo Sharon and Mark Lemelman Elaine and Jon Levine Harry W. Lochner Rebecca and Lawrence Lohr Suzanne and Norman Macoy Main Street Ltd. Jeanne and Brent Majors Lorraine Marina Linda and William Mashburn Mast General Store, Inc. Pat and Martin McConnell Sue and David Miller National Federation of Music Clubs Southeastern Region Roman L. Patrick, MD Patricia and Kevin Pernicano Kirsten and John Peterson Patricia and James Petillo Dilshad and Jason Posnock Tina Raimondi and Dan Satterwhite Karen and Ted Ramsaur Patrick Reily Christopher Rex Deborah Richter and Carol Wilson Karen Rosenbaum and Clay Edwards Penny and Jim Roubion Brian Rundle Virginia and H. L. Rush Gloria and James Sanders Mrs. Shirley H. Sarlin Mary S. Sauerteig Beverly and Walter Seinsheimer St. Philips Episcopal Church

State Farm Insurance Steelcase Foundation Louise M. Stelling Mary Jane and John Swanson Karen and Chuck Tessier Elly and Marvin Truebenbach United Community Bank Ruth Waugaman Ms. Ruth Anne Weisenauer Susan and Ora Wells RenĂŠ Wilson Mary and Roy York ORCHESTRA MEMBER ($300+) Robert Andrews Anonymous Ms. Yvonne Arbuckle Sue and Harold Aronberg Mrs. Mary Lou Barnes Dennis Bartt Lois E. Baumann Kathleen Bellizio Dr. Judi Berson-Levinson and Steven Z. Levinson Mr. and Mrs. Boyd C. Black David Brooks Dr. Donald Bryan and Dr. Laurette Bryan Ronald Bryson Barbara and Carl Burkhart Linda and Charles Butz Barbara and Larry Catuzzi Edith V. Cecil Penny and David Crandal Thomas S. Darnall Elaine Turner Deppe Elizabeth Eagle Bettie and Van Edwards Carol and Sid Elliott Jeanette and George Erdman ExxonMobil Foundation Elke and George Fetterolf First Citizens Bank - Brevard Valerie and Brian Fitzgerald Elaine Freeman Judith and George Frey Mr. James E. Gallagher, Jr. Kathleen and Lawrence Garofalo Nancy and Gary Gilchrist Laurence Glazener Norman Glick Shani Gordan Ms. Laura Gossage and Mr. Keith Dragt Fred and Nancy Granros Lou Ann and Hal Hansen Mr. and Mrs. Joe Harrison Mimi and Hugh Haston Mr. John K. Helbling Vicki and John Held Rena and Stephen Hoffman Judy and Paul Hummer Jean Hurlburt Kay Jollay Lynn and David Joyce Pamela and Jay Kaplan Nancy and Alexander Kasten Dorothy L. Knowles Michael D. Kuhne Ms. Laura A. Ledford Jim and Martha LeGere Mr. and Mrs. J. Thomas Lewis Irene and Richard Lindgren Jackie and Don Linn Joseph P. Logan Bill Lovejoy Rita and John Lowndes

Ruthanne M. Lucius Pennny L. Mann Lorraine Marina Nanette and Irving Maurer Bette and James Maxwell Harry and Sande McCauley Pat and Fred McGarrahan Harriet McMaster Virginia and Henning Meyn Marcia Millar William S. Mitchell Gary Morgan Ellen and Jimmie Morrison Don and Rhae Mozley Mu Phi Epsilon Foundation Peggy and Robert Neal The Neumann Law Firm Sonja Nielsen Suzanne and James Null Lynne and Tom Penn Kathy and Dave Perrett David N. Pfohl Martha and Roddey Player Chester and Linda Pletzke Nancy and Bascom Plummer Richard and Victoria Polchow Virginia Ramsey Isabel Richardson Lucy and Bob Rodes Linda and Ken Sierra Jamie and Rick Skinner Carol and James Smeaton Chuck Smith Murray S. South Lisa Springer Virginia Steiger Chuck and Kathy Strong Mary Ann and John Tiano Susan and James Toms Susan Toscani Dr. Jean Trochet and Mrs. Janet Trochet Dorothy and William Trotter Barbara W. Turner Georgiana and James Ungaro Bonnie and Michael Vandegrift Mary Ellen Long Way Amber L. Webb Beverly and Keith Wells Richie Wilkinson and John Bologni Ed and Mary Lou Wilson Duke and Ann Woodhull Ms. Barbara Worrell CURTAIN RAISER ($125+) Mr. and Mrs. Tom Adams Mrs. Richard K. Albyn Aliant Energy Lisa and Grover Anderson Mr. Daniel Angerstein Anonymous (2) Dan and Eleanor Armstrong Daisy Arrington James Austelle Pat Austin Stephen Baker Gerry and Jan Barbour Charlotte Barry Mr. Daniel Benavent Don Bliss Joan and David Bloom Dr. B. Barbara Boerner Ms. Barbara Bolt and Ms. Karen Clarke Mary Bostick and Loren Huber Carolyn and Edward Brann Jean and Charles Brendle

ANNUAL FUND CONTRIBUTORS

ANNUAL FUND CONTRIBUTORS Angelia D. Broom and Mark E. Morris Nancy Brown Steve and Linda Brown Becky and Jim Bruening Elke and Charles Burden Leonard Capodice and Richard Sunshine Cantey Carpenter Carol and John Carrano Nancy Moore Carson Lisa and Gary Casey Mrs. Susan M. Causey Jill and Larry Chapman Mary Scott and Jack Christfield Karen Clarke JoAnn and Ronald Clemmer Chloe and William Coger Susan and Edwin Collins Rose and Harry Corbin Jon and Beth Couch Linda Coye Elizabeth and Frank Creech Richard and Pat Crull Kathryn and James Curl Mr. Alan Cutter and Ms. Joyce Davis Henrietta and Alvin Cuttler Mary R. Davidson Sandra and Ronald Davis Jill and Richard Deane Susan Demchak Frank Dennis Magruder Dent Wesley Dickman Rick Dowdeswell Duke Energy Foundation Mr. James Eckert Elizabeth and Robert Edgerton Jean and Richard Fallis Nancy and Ronald Fellman Jon Ferguson John H. Field Howard and Carol Fisher Dennis Fotinos Vanessa Garris Gaylord and Katherine Gasque Martha Gerschefski Anita Goldschmidt Ann Grant and Carolyn Van Ness Mr. and Mrs. B. Kelly Graves Wanda and Jack Gregory Barbara and Rudy Griffin Dawn and Heinz Grohs Bernard Groseclose Harriet Hamilton Lillie Mae Hanson Lynn S. Harding Patricia Hawkins and Fred Petersen Emerson W. Head Peter and Sandi Heckman

Debra and Edward Heimerdinger Lee A. Helms Thomas B. Higerd Mr. Steven Hindin Judith M. Hodge Katherine and Carey Horne Nancy Houha Pat and John Howard Mary and John Howard Mary Bostick and Loren Huber Lois Hunley Dr. Evelyn Spache Huntington Mr. Paul Ingraham Thorunn and David Ivey Stephen Jackson Lucia and Edgar Jaycocks Molly and Morris Jenkins Becky Johnson Sandy and Dorcas Jones Bruce Julien Gerda Moore Kahn Leslie and Jerome Keir William J. Kellam Sandra and Bruce Kirkman Richard Kleinmann and Nancy Foltz Susan G. Klopp Susanna and Douglas Knapp Mr. Les Knight Mr. and Mrs. William Knochel Mr. and Mrs. E. William Kobernusz Lin and Ken Kolb Donald Koppenhaver Dottie and Leo Kosiba Marilyn and Howard Krone Ms. Jane Kuczynski Dr. Albert Kunze John Lakian and Diane Lamm John R. Lauritsen Mariano F. LaVia Garland Lee Page and Mark Lemel Tom Levis Elizabeth Rivers Lewine Dr. and Mrs. Robert B. Litton Rita and Alan Lollar Elaine Long and James Phillips Linda and Timothy Looney Mr. John C. Luzena Mr. Ross Magoulas Edie Maney Mr. and Ms. A. Manfre Jane and Preston Manning Nancy and George Martin Marlene and Edward Martin Mary Alice and Jack McBrayer Carol and Hugh McCollum Dr. John and Sylvia McEachin Peggy and Jack McGoldrick Carol and Samuel McKnight

James H. McMillan and Carol H. Kaufman Carol and Ronald Medinger Mr. Thomas Melin Tim and Sharon Mendelsohn Mr. Alan Mercaldo Eleanor and Alan Mercer Marie and Raymond Miller Sue Miller Edna Ruth and Vernon Miller Kathleen and Robert Milligan Marion and William Moore Sara Helen Moore Marion and Bill Moore Nancy and Scott Morgan Anne and Joel Munch Richard D. Murphy Willetta Murphy Ms. Janice Nairn John Narkunas Neil Nelson Martha R. Ohaus Tom and Carole Oosting Marie G. Park Ann and Jackson Parkhurst Davalu Parrish Mr. Ira Pearce and Dr. Mary B. Pearce Mary Ellen and Jeff Pendergrast Margaret Perley Deborah Perzak Patricia Hawkins and Fred Petersen Patricia and John Pittari Nita and Frank Porter Sheila and Melvin Prager Gratia and David Pratt Mr. and Ms. Dan P. Reason Margery Reason Ms. Sylvia Refenes Rose Wimsatt-Reilly and Peter Reilly Mr. and Mrs. Oscar Reiner, Jr. Mark Rice Nancy Richards James L. Robards Elizabeth and Richard Rodney Peter Rosenthal Donna M. Ross Elizabeth D. Ross Richard Dale Murphy and Jean W. Ross Lorraine Rourke David Rowan Mary-Julia C. Royall Carolyn Rundle Joan and Daniel Rutenberg Richard and Joy Ryder Jeannette and Robert Schmitt Lucius and David Schweikert Rabbi Howard and Eileen Shapiro Ms. Donna Shealy

Lou and Michael Shelley Sandra Sheridan Mary Lou and Stan Shoemaker Lori C. Shook Parke H. Sickler Doris and Fred Singer Mary and Kent Smith Karen Spacek Sperry Van Ness Betty and Maurice Sponcler Jerry and Bronwen Starnes Ms. Carolyn Steele Mrs. Wanda Stephan Wendy and Alan Stephens Donna and Charles Stohr Deborah Stone Isabel L. Studley Barbara Swidler Lois and Jerry Tannenbaum Richard Tate Carole and Frank Taylor Technologies Edge, Inc. The Duke Endowment Trustees and Staff Jim and Nancy Thompson Kevin Thurston Roger Hill Timpson Peter Trapp Carolyn Van Ness and Ann Grant Harriett and John Vanderschaaf Linda Vandeweghe Helen and Harold Voris George Wagner and Dan Hellyer Joseph Walc Richard and Lucee Wallace Judith and William Watson Mary and Don Wauchope Rosemary and Ian Wedderspoon Phyllia Wenkstern Bernice and Richard Wheeler Terry White and Stephen Dickens Robert J. Wilder Christopher Williams Leslie and Ronald Wingard Debby and Bill Wolcott Greta M. Wolfe Diane and Aubrey Woodard Frances Worthy Mr. Bobby Yount Ruthie Zaleon Joseph W. Zdenek Richard Zingre and Denise Sawyer

“James Christian Pfohl was a particular pal of mine and gave me opportunities to perform when not many others had any idea of what a Beverly Sills was…there was a camaraderie about singing and working there. We may change; it doesn’t.

And that in essence is Brevard — a never-ending wonder of music-making.”

– Beverly Sills, BMC Guest Artist, 1956 2016 Summer Institute & Festival

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ENCORE SOCIETY

YOUR LEGACY... OUR FUTURE: JOIN ENCORE SOCIETY TODAY! BREVARD MUSIC CENTER STANDS STRONG TODAY!

80 years after our founding, BMC is stronger because of the thousands of patrons, parents, faculty, contributors, volunteers, alumni, and others – just like you – who support our students each year with charitable gifts to our Annual Fund.

In addition to that ongoing partnership, what allows us to preserve the excellence of the Music Center's programs, help maintain, restore, and construct facilities, provide necessary scholarship to students, and establish a financial safety net for our long term security, is the forethought of those who also choose to ensure our future by remembering us in their estate plans.

By establishing a planned gift today, the students who benefit from your generosity can personally give you thanks every day.

There are many ways to give a planned gift. They come in all sizes and many different forms. We are happy to work with you and your financial advisors to explore the possibilities that exist to suit your specific interests and charitable objectives.

The result can have tremendous tax benefits to you and your family, while helping the students at the Music Center in a very meaningful way. Just call us at (828) 862-2121 and speak with Dave Perrett, Director of Development.

ENCORE SOCIETY

If you have already included the Music Center in your plans, please let us know so that we may thank you and invite you to join our friends below in our Encore Society.

The Encore Society proudly recognizes and thanks these individuals who have expressed their commitment to helping ensure our future by remembering the Brevard Music Center in their estate plans.

Ann Anderson Consuelo and Joseph+ Arbena Harriet and William Ball George S. Betsill Judy and Dennis Berman Mildred Blaha+ Dr. B. Barbara Boerner William G. Boggs, Jr.+ Emily and Doug Booth John S. Candler Mrs. Gilbert H. Collings, Jr. Mrs. Edwin P. Collins Elizabeth Conger+ Mary C. Conner+ Dicksie Cribb T. Kenneth Cribb, Jr. Richard Cushman+ Gwin and Robert Dalton Marjorie Darken+ Sara Rebecca Davenport Frederick B. Dent Robert Didiego

Eugenia and Robert Dowdeswell Dr. J. Murray and Jerusha Barnum Fadial John N. Gardner Laurence Glazener Hildegard H. Greitzke Gail and William Hagler Viva and George Handler Copey Hanes+ Mary Adelaide Hester+ Vivian S. Hoeppner Jean and William+ Hough Edith Howson Dorothy King Debbie Klingender and John Allen Alice Keith Pfohl Knowles Marietta and Walter Lacyk Mrs. John G. Landrum, Jr. Rita E. Landrum Bette and Clifford+ Lathrop Barbara and John Lawless

Ann and Morton Lazarus Marilyn and Newton Lockhart Donna Lohr Carolin and Gabriel+ Lowy Robin and Robert Margeson Marcia Millar The Rev. Dr. Joe D. Mills+ Sara Helen Moore Ruby Morgan and Douglas MacDonald Frances J. Munk Phyllis and Douglas+ Nesbitt Ladene and Russell Newton Dr. William J. Pendergrast SharonAnn and Robert Philip Anca Pop, M.D. Lindsay Robertson Valeria and James Robertson Janie and Robert Sargent Mary Sauerteig Carole and Arthur Schreiber Eleanor and Bert Schweigaard-Olsen

Doris and James Scoville Nancy and Richard Senneff Marshall L. Seymour Kirk J. Smith Isabel L. Studley Mr. and Mrs. Carl Sykes Mr. and Mrs. Robert Tharpe Nancy Trentini Joella Utley Irene and Tonny Van Der Leeden Stephanie Eller Vaughn J. Mason Wallace, Jr.+ Kate and Mitchell Watson Patricia R. Webb Betsy and Bill White Delmar Williams Lynn P. Williams Jan and Beattie Wood Joan Yarbrough Nelly and Kurt Zimmerli + Deceased

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LIFETIME GIVING SOCIETY

BREVARD MUSIC CENTER The Lifetime Giving Society honors the following individuals and organizations making cumulative contributions of $100,000 * or more to further the educational and cultural programs of the Brevard Music Center. Their gifts have had a lasting impact on all facets of the Music Center’s mission: underwriting major guest artists, renovating and building facilities, and supporting scores of projects and programs, all while making BMC accessible to countless numbers of students and patrons. The Brevard Music Center expresses its heartfelt gratitude to the enormous generosity of these supporters.

$1,000,000 +

Brevard Music Center Association J. Mason Wallace, Jr. Irrevocable Trust North Carolina Arts Council The Estate of Elwood P. Safron Betty A. Scott + Mrs. J. Douglas Sykes, Jr. +

$750,000 +

Dr. William J. Pendergrast, Sr. Josie Renzulli + Jacquelyn and Bruce Rogow Joella Utley Jan and Beattie Wood

$500,000 +

The Estate of William G. Boggs Emily and Doug Booth The Estate of William and Nannelle Burt Mrs. William I. Burt * Nannelle P. Burt Charitable Remainder Trust John S. Candler The Cannon Foundation Frederick B. Dent Barbara + and Elwood + Safron Mrs. Emily Searcy +

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Emily and Bill Searcy Charitable Trust Surdna Foundation Nelly and Kurt Zimmerli

The Rauch Foundation Charles E. Schooley + Lynn P. Williams

$250,000 +

Ione M. Allen Music Scholarship Martha Andrews + Mr. and Mrs. W.D. Bain, Jr. The Barnet Foundation Trust Margery + and Charles + Barnum Nancy Glass and John Belmont George S. Betsill Joseph Blake + The Chattooga Club Mary C. Conner Revocable Trust Eugenia and Robert Dowdeswell Duke Energy Foundation Mimi and Peter Elder The Estate of Patricia K. Gibson First Citizens Bank - Brevard AJ Fletcher Foundation Marilyn and Larry Fogdall Betsy O. Barefoot and John N. Gardner The Estate of Helen C. Hanes Tracy and Tom Hannah Mary Adelaide Hester Nancy Hicks Intercollegiate Studies Institute

The Champion Hills Community Citizens Telephone Company T. Kenneth Cribb, Jr. Estate of Richard H. Cushman Mary Helen and James Dalton Gwin and Robert Dalton Esther H. Dobbins + Dr. J. Murray and Jerusha Barnum Fadial The Estate of Mrs. Billie W. Gontrum Gail and William Hagler Falls L. Harris Mariam and Robert Hayes Charitable Trust Robert N. Hill III + Vivian S. Hoeppner The Janirve Foundation Barbara and John Lawless Ruby Morgan and Douglas MacDonald Frances J. Munk SharonAnn and Robert Philip

$100,000 +

Anne Irwin Carlene Jerome Don M. Jenkins + Ewing M. Kauffman Foundation Mr. and Mrs. William G. Lohr, Jr. Audrey Love Charitable Foundation The Estate of Ruth H. Meinecke The Payne Fund Valeria and James Robertson The Estate of Mary K. Scott Mrs. A. Robert Soehner + The Estate of Marjorie Smiley South Carolina Federation of Music Clubs Spartanburg County Foundation Dorothy Richard Starling Foundation Lynda and Carl Sykes Loretha and Paul + Thiele Nancy Crow Trentini Kate and Mitchell Watson Patricia R. Webb Betsy and Bill White The Zimmerli Foundation, Inc *as of April 30, 2016 + Deceased

GIFTS IN HONOR AND MEMORY

GIFTS IN HONOR & MEMORY Gifts were made in honor or memory of the following individuals from May 1, 2015 through April 30, 2016.

GIFTS IN HONOR In Honor of Matthias Bamert Carole and Arthur Schreiber In Honor of Bruce and Joan Berryhill Bena and George Cates Murray South In Honor of Karmyn Tyler Cobb, Miss Louisiana 1995 Jon Ferguson In Honor of Martha Coursey Mary Ellen and Jeff Pendergrast In Honor of Bill DiefhoffFoothills Chorale Mary Davidson In Honor of Dr. J. Murray and Jerusha Barnum Fadial Martha and Roddey Player In Honor of Katie Fellman Ronald Fellman In Honor of Falls Harris Sugie and Nate Einstein In Honor of Sam and Jennifer Houston Debra and Brad Ives In Honor of Ken Lam Joel Reynolds In Honor of Andrew G. O'Shanick Dr. and Mrs. Gregory O'Shanick In Honor of Inez and Robert Parsell Virginia and H. L. Rush In Honor of Irene Rigby Mary Davidson In Honor of Jacquelyn and Bruce Rogow Jerry and Gloria Clouse In Honor of Carole and Arthur Schreiber Shirley and Richard Knight

In Honor of Jill Zimmerman Dr. Judi Berson-Levinson and Steven Z. Levinson

GIFTS IN MEMORY In Memory of Elizabeth Conger Patricia Duquemin Janice Nairn Kathleen Toews In Memory of William E. Conger Patricia Duquemin In Memory of Frank Davis Eleanor & James Barnhardt Foundation Jane Belo Joseph Boggs The Cannon Foundation William Connolly Cumberland County Foundation, Inc. Grace Davis The Duke Endowment Trustees and Staff Girl Scouts, Hornets' Nest Council Greensboro College Susan Jenkins Keeley Asset Management Corp.

Tom Lambeth Lenoir Memorial Hospital Meera Markanda Karen Martin Marnie and William Martin Susan McConnell Staff of The Mint Museum Jeanie Moore James Morton Mary Mountcastle Kenneth Murray North Carolina Network of Grantmakers Kathy and Dave Perrett Robert Quick Missy Rankin Sharon and Alex Rankin Technologies Edge, Inc. Carole and Arthur Schreiber Sperry Van Ness Wells Fargo Private Bank

In Memory of Dr. W. Edmond Farrar Miriam Baum Anita Etheridge Carol and Richard Martin Mary Lou and Stan Shoemaker In Memory of Clara Gift Helen Gift In Memory of Virginia Gift Helen Gift In Memory of W. Edgar Gift Helen Gift In Memory of Morris Jaffe Jean Hubbard In Memory of Henry Janiec Stanley Baker Linda Bilanchone Rosa Cann Marjorie Cannon MacFarlane Cates Frederick Dent Dr. J. Murray and Jerusha Barnum Fadial Timothy Farmer Roger Habisreutinger Nancy Hicks Celia Jelley Alexander Johnson Spencer King Peter Moore The Music Club of Spartanburg In Memory of Doug Nesbitt Phyllis Nesbitt In Memory of Evan Armstrong North Diane M.T. North, Ph.D. In Memory of W. Stewart Peery Dr. J. Murray and Jerusha Barnum Fadial In Memory of Gypsy Satterwhite Robert Armstrong Peter Blau Joe Bremer Joyce Carpenter Wayne Faas Vanessa Garris

Alicemay Glover Jean Harvey Martha Hill Elizabeth Holder Linda Kane Dorothy Knowles Donald Koppenhaver Kathleen Laine David McDonald Kimberly Preish Ms. Sylvia Refenes Mary Sartoris Tina Raimondi and Dan Satterwhite Terry Scholl Kathleen Walsh Christine Wilkinson Gregory Zack In Memory of Ida Sawyer June King Peggy and Eric Moore Denise and Paul Sawyer Eleanor Silman Richard Zingre and Denise Sawyer In Memory of Don I. Scott Lynn and Bill Edmonds In Memory of Allan Stephens Jill and Larry Chapman Margaret Esarove Grace Roy Sandra Sheridan In Memory of Carol Tate Kendall Alley Kelly Dixon Ann Evans Ben Norwood In Memory of Anne Taylor Nancy Hicks In Memory of David Thorne Helen Gift In Memory of Harriet Thorne Helen Gift In Memory of Wilda Williams Annie and Steve Cohen In Memory of Bill Zehfuss Ruth Zehfuss and the Zehfuss Family

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BREVARD MUSIC CENTER ENDOWMENT

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The Brevard Music Center gratefully acknowledges these friends who have established endowment funds that help ensure the long term financial security of our mission, and student education and scholarship programs.

A named endowment fund can be established with a commitment of $25,000, and additional contributions can be made at any time and in any amount. The Music Center can assist you to find the area of need that best fits your philanthropic interests.

To learn more about how you can establish a legacy of support to benefit future generations of students, please contact Dave Perrett, Director of Development, (828) 862-2121 or development@brevardmusic.org.

William H. Alexander Scholarship Fund Mary Stewart Allan Memorial Scholarship Fund Hoyt and Susan Andres Scholarship Fund Martha West Andrews Memorial Scholarship Fund Arbena Family Scholarship Fund Gina Bachauer Artist Fund Valerie Barnet Scholarship Fund Capt. Charles N. and Mrs. Marguerite G. Barnum Scholarship Fund Robert Barr Memorial Scholarship Fund Martha G. Wooten and Phoebe N. Barstow Memorial Scholarship Fund George W. Blaha Memorial Scholarship Fund Ted Blanchard Memorial Scholarship Fund William G. Boggs, Jr. Landscape Fund Mr. and Mrs. Thomas C. Bolton Scholarship Fund Emily D. Booth Scholarship Fund Bill and Rebecca Boswell Scholarship Fund Dr. and Mrs. J. Kirven Brantley Scholarship Fund Brevard Music Center Alumni Association Scholarship Fund Brevard Music Center Association Scholarship Fund Brevard Music Center General Operations Endowment Fund Brevard Music Center Memorial Scholarship Fund Brevard Music Center Staff Scholarship Fund Brown-Dilworth Scholarship Fund Johnsie Burnham Memorial Scholarship Fund Burt Alumni House Maintenance Fund William I. Burt Memorial Scholarship Fund Candler Era Recognition Fund John and Linda Candler Scholarship Fund James and Stuart Cannon Scholarship Fund Carrier Memorial Scholarship Fund Regina Compton Fund Marie B. Connell Memorial Scholarship Fund Mary Conner Memorial Scholarship Fund Martha Pendergrast Coursey Flute Chair Janet E. Cushman Memorial Scholarship Fund

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Richard and Hope Cushman Scholarship Fund Mary Helen and James Dalton Fund Gwin and Robert Dalton Fund Jane Darnall Memorial Scholarship Fund Sarah Darnall Memorial Scholarship Fund Lee G. Davy Living Trust Floride Smith Dean Scholarship Fund Dent Operating Fund Mildred H. Dent Memorial Scholarship Fund Glenn Dicterow Visting Concertmaster Chair Michael DiGirolamo Scholarship Fund Robert W. and Esther H. Dobbins Scholarship Fund Temple Wood Dowdeswell Memorial Scholarship Fund Frances M. Drummond Memorial Scholarship Fund David Effron Principal Conductor Chair Frances Falvey Music Fund Marcus Francke Memorial Scholarship Fund General Operations Endowment Fund Winifred Bush Gibson Memorial Scholarship Fund The Thomas and Billie W. Gontrum Scholarship Fund Henry F. and Bailey R. Gould Memorial Scholarship Fund Helen C. Hanes Scholarship Fund Tom and Tracy Hannah Operating Fund Tom and Tracy Hannah Scholarship Fund James M. Harris Memorial Scholarship Fund Adelaide Canfield Hester Memorial Scholarship Fund Margy Hicks Opera Scholarship Fund Adelaide Van Wey Hill Memorial Scholarship Fund Cecil and Elizabeth Hill Scholarship Fund Dorothy Everett Hill Memorial Scholarship Fund Robert N. Hill Scholarship Fund Walter and Vivian Hoeppner Scholarship Fund Hoeppner-Scott Studio Maintenance Fund Hinda and Maurice Honigman Memorial Scholarship Fund Hinda Honigman NFMC Young Artists Fund Howse-Diemer Choreographer's Fund

Gilbert and Frances Hunter Scholarship Fund Mark R. Hunting Memorial Scholarship Fund Roger Hyde Memorial Scholarship Fund Janiec Family Fund Henry Janiec Chair Frithjoff Jensen Memorial Scholarship Fund Jerry Hart Jerome Memorial Scholarship Fund Louise Hughes Alexander Kane Memorial Scholarship Fund Keil/Willis Scholarship Fund The John Allen and Deb Klingender Professional Development Endowment Fund for Students Willis and Jacquelyn Kuhn Memorial Scholarship Fund Walter and Marietta Lacyk Scholarship Fund John G. Landrum, Jr. Memorial Scholarship Fund Jennie Aiken Laurens Memorial Scholarship Fund Elizabeth Crudup Lee Memorial Scholarship Fund Keith and Emiley Lockhart Scholarship Fund Lowy High School Flute Scholarship Fund John Richards McCrae Opera Fund John Richards McCrae Memorial Scholarship Fund Sadie R. McCrae Memorial Scholarship Fund Duane and Peggy McKibbin Scholarship Fund Ruth H. Meinecke Operating Fund Eleanora W. Meloun Operating Fund David Meyers Brass Studio Fund David W. Meyers Memorial Scholarship Fund Vera S. Milner Memorial Scholarship Fund Anne Griffin Moore Memorial Scholarship Fund Mu Phi Epsilon Composer-in-Residence Fund Frances and Alfred Munk Building Maitenance Fund North Carolina Scholarship Fund Dr. Charles and Nell Aiken Newland Fund Ladene Herring and Russell Emrich Newton, Jr. Scholarship Fund Betty Ann Page Memorial Scholarship Fund

ENDOWMENT

Harry Palmer Scholarship Fund Pendergrast Concertmaster's Chair Pendergrast Family Fund Pendergrast Horn Chair Martha Aiken Pendergrast Scholarship Endowment W. Jefferson Pendergrast, Jr. Percussion Chair Walter Linwood Pendergrast Double Bass Chair James Christian Pfohl Memorial Scholarship Fund Mary Ada Poole Student Activities Fund Lewis and Marion Powell Memorial Scholarship Fund Rabinoff Memorial Scholarship Fund Elizabeth M. Randolph Scholarship Fund Ruggiero Ricci Artist Chair Ruth Treiber Rauch Voice Study Program Sylvia Richter Scholarship Fund Dr. Julius and Barbara M. Sader Scholarship Fund Elwood and Barbara Safron Scholarship Fund John and Mary Sauerteig Scholarship Fund Mary Nell Saunders Memorial Scholarship Fund

Frederic A. and Stine J. Schaffmeyer Scholarship Fund Scott Musical Theatre Fund Mary K. Scott Memorial Fund Richard and Betty Scott Scholarship Fund Searcy Pavilion Maintenance Fund Emily B. Searcy Operations Support Fund Emily B. Searcy Scholarship Fund Francis and Marjorie Smiley Scholarship Fund Rose Thomas Smith Scholarship Fund Robert and Louise Soehner Scholarship Fund James Pegolotti and Stephen Sosin Scholarship Fund Marta Spoel Memorial Scholarship Fund Sykes Faculty Residence Fund Sykes Family Preservation Fund J.D. and Naomi Sykes Memorial Scholarship Fund Paul C. Thomas Memorial Scholarship Fund Elaine C. and Robert T. Thompson Scholarship Fund Eva McDonald Timmons Memorial Scholarship Fund Elizabeth Clarke Tindal Scholarship Fund Nancy Crow Trentini Scholarship Fund

Joe R. Utley Trumpet Chair Joe and Joella Utley Scholarship Fund Therese van der Heyden Memorial Scholarship Fund Fiori Vollrath-Smith Fund J. Mason Wallace General Operations Fund Harriet Hutchinson and Kenneth Wallace Walls Fund Lucille Parish Ward Opera Chair Caroline M. Warnell Memorial Scholarship Fund Nat F. White Music Scholarship Fund Wilkinson Family Faculty Fund L. Neil and Sue S. Williams Scholarship Fund Wood Family Concerto Competition Fund Wood Memorial Fund M. Beattie and Jan Wood Fund Eileen Wylie Memorial Scholarship Fund Yarbrough Master Teacher Fund Catherine Abbott Yon Memorial Scholarship Fund Zimmerli Family Opera Presentation Fund Zimmerli Piano Competition Fund Zimmerli Scholarship Endowment

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ADVERTISERS INDEX

ADVERTISERS INDEX 35 Degrees North Landscape Services ............ 172 Altavista Wealth Management ................................21 Ardenwoods ................................................................16 Asheville Citizen-Times .......................................... 177 Asheville School ........................................................... 2 Asheville Symphony Orchestra ...............................33 Bach Festival Society of Winter Park .................168 Bed & Breakfast on Tiffany Hill ...............................25 Berkshire Hathaway ...............................................180 Biltmore .....................................................................194 Bold Life .................................................................... 176 Brevard College .........................................................21 Broad Street Wines...................................................16 Brumit Restaurant Group/Arby's ............................21 Capital at Play .............................................................33 Carnegie Mellon University ......................................28 Case Brothers of Spartanburg. ........................... 191 Cleveland Institute of Music ....................................20 College Walk Retirement Community ................ BC Connestee Falls Realty .............................................16 Dixon Hughes Goodman LLP ................................41 Domokur Architects ...................................................24 Dugan's Pub................................................................29 Dungan Law Firm .................................................... 192 Fisher Realty................................................................32 Flat Rock Playhouse ..............................................168 Florida State University-School of Music .......... 172 Food Matters Market .............................................. 183 Furman University.......................................................39 Givens Highland Farms ............................................40 Grove Arcade........................................................... 143 Hampton Inn ............................................................. 182 Hawg Wild Bar-B-Que .......................................... 163 Heart of Brevard ...................................................... 178

Hendersonville Symphony .......................................39 Hendersonville Times-News ................................. 172 Highlands-Cashiers Chamber Music ................. 185 Hobnob Restaurant ................................................180 Indiana University Jacobs School of Music ....... 142 Jerome and Summey Insurance Agency ...........184 John Heinitsh, Real Estate Broker....................... 185 Key Falls Inn ............................................................. 145 Kiwi Gelato ............................................................... 145 Lamont School of Music........................................ 175 Longy School of Music of Bard College ...........144 Lynn University Conservatory of Music .............. 147 Main Street Ltd ........................................................144 Marco Trattoria .........................................................144 Mason Gross School of the Arts, Rutgers University ...................................................146 Mayberry's - Just Good Food ...............................146 Mission Health .........................................................149 Moore-Blanchard Funerals & Cremations ......... 151 Mountain Xpress ..................................................... 151 New Leaf Garden Market ...................................... 187 Northwestern University ........................................150 Oskar Blues Brewery .............................................150 Our State Magazine ............................................... 155 Pad Thai .................................................................... 185 Pavillon Treatment Center .....................................154 Peabody Conservatory of The Johns Hopkins University ..................................................156 Piedmont Opera ......................................................156 Platt Architecture, PA .............................................186 Professional Videography by Henry Felt ............156 RBC Wealth Management ................................... 195 Rocky's Soda Shop ................................................ 170 Rodney Strong Vineyards .....................................189

Skyland Automotive ................................................188 Sora Japanese Restaurant & Sushi Bar ............ 151 St. Patrick's Anglican Church ..............................154 Steinway & Sons .....................................................190 Stetson University School of Music ....................159 Steve Arnaudin Architect ......................................154 Steve Owen ............................................................. 179 The Biltmore Beacon..............................................158 The Boston Conservatory ..................................... 176 The Falls Landing .......................................................29 The Haen Gallery ......................................................... 9 The Laurel Magazine of Highlands ......................158 The Laurel of Asheville ................................................ 7 The Neumann Law Firm ......................................... 173 The New School ......................................................160 The Square Root Restaurant................................180 The Sunset Motel ....................................................168 The University of Georgia, Hodgson School of Music....................................................... 153 theophilus ....................................................................17 Transylvania Times .....................................................12 University of South Carolina Symphony Orchestra .................................................................. 193 University of Tennessee School of Music .......... 161 Walnut Hill School for the Arts ...............................41 Ward and Smith, P.A. ............................................. 163 WCQS ......................................................................164 WDAV ........................................................................ 181 Wells Fargo .................................................................29 WHKP .......................................................................158 WSQL ....................................................................... 163 WTZQ ....................................................................... 176

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