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2019 OVERTURE MAGAZINE Keith Lockhart Artistic Director


WITH EACH VISIT, AN OPPORTUNITY TO BE INSPIRED.

38 BILTMORE AVE DOWNTOWN ASHEVILLE 828.251.0202

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Letter from the President ........................................................................................... 4 About Keith Lockhart .................................................................................................. 5 Patron Information ....................................................................................................... 6 Board of Trustees ........................................................................................................ 8 Brevard Music Center Staff ....................................................................................... 9 Sponsors and Hearing System .............................................................................. 10 2019 Prelude .............................................................................................................. 12 A Challenge Among Friends.................................................................................... 13 The Parker Concert Hall............................................................................................ 14 Diversity/Community Matters................................................................................... 18 Fanfare for Aaron Copland ...................................................................................... 22 Aaron Copland’s America ........................................................................................ 26 The Copland Festival.................................................................................................. 27 2019 Performance Schedule .................................................................................. 32 Ensembles ....................................................................................................................33 Performance Programs .............................................................................................. 37 Faculty Conductors ................................................................................................. 121 Artist Faculty ............................................................................................................. 122 Opera Artistic Staff................................................................................................... 136 Opera Cast ............................................................................................................... 140 Opera Designers ..................................................................................................... 144 Opera Artistic and Production Staff .................................................................... 145 Student Roster ......................................................................................................... 146 Distinguished Service and BMC Alumni Awards ............................................. 155 Brevard Music Center Association ...................................................................... 160 Brevard Music Center Association Board ......................................................... 161 Giving Opportunities................................................................................................ 166 Annual Fund Contributors .......................................................................................173 Lifetime Giving Society ............................................................................................177 Encore Planned Giving Society .............................................................................179 Gifts in Honor and Memory ................................................................................... 183 Brevard Music Center Endowment .................................................................... 188 2019 Overture Advertisers Index ..........................................................................197

2019 OVERTURE MAGAZINE

INSIDE OVERTURE

Keith Lockhart Artistic Director

OVERTURE MAGAZINE Editor Associate Editor Creative Design Advertising

Cally Jamis Vennare Dilshad Posnock Laura Beck Market Connections

SEASON SPONSORS Jacquelyn and Bruce Rogow

MEDIA SPONSORS

The Biltmore Beacon

TRAN TI SYLV M ANIA E S 2019 Summer Institute & Festival

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LETTER FROM THE PRESIDENT

“So long as the human spirit thrives on this planet, music in some living form will accompany and sustain it and give it expressive meaning.” —AARON COPLAND important piece of new construction on BMC’s campus in over 50 years (since 1964’s Whittington-Pfohl Auditorium). We remain ever grateful to Drs. Joanne and Tom Parker, our lead sponsors, for their generosity and active philanthropy. Opening June 2020, the Parker Concert Hall represents a true “game changer” for the Music Center. For decades, our piano students—now 20% of our entire student population of 500—were unable to perform adequately on our campus. As Brevard Music Center’s first-ever year round performance venue, the 400-seat Parker Concert Hall will not only serve as the new home for BMC piano, jazz, classical guitar, and chamber music programming, but will also provide a welcoming space for community gatherings, company retreats, weddings, graduations, and a wide array of special events. Please see pages 14-15 for more details.

A warm Brevard welcome to each and every one of you! It’s that time once again to sit back, relax, and be prepared to experience our best season yet. From our exuberant All Tchaikovsky opening night with violinist Chee-Yun to the impassioned season finale of Mahler 2—and every performance in between—there is truly something for everyone. The Brevard Music Center, one of the premier summer festivals and institutes in the country, has once again set the stage for an inspiring summer of music. This season we will be highlighting a multi-faceted Aaron Copland Festival, three fully-staged operas (featuring Susannah, my personal favorite), brilliant chamber performances by our esteemed faculty and guest artists like The Shanghai Quartet, Raiders of the Lost Ark in Concert (the blockbuster film with live orchestra!), and the rousing July 4th Patriotic Pops, as well as symphonic masterpieces by Dvořák, Beethoven, Shostakovich, Mendelssohn, Brahms, Debussy, Ravel, and many more. Legendary non-classical artists also take center stage in 2019 including David Sanborn, The Temptations & The Four Tops, Michael Feinstein, Lyle Lovett and his Large Band, and Béla Fleck. Excellence in programming, artists, and educational opportunities for the next generation of emerging musicians takes tremendous planning and forethought. That is why we are so fortunate to have a world-class artistic leader like Keith Lockhart. It has been my immense pleasure and privilege to work with Keith, whose passion for creating a community of musicians who ensure that classical music will not just endure but thrive is exhilarating to watch both on and off the stage. If you haven’t already done so, I encourage you to walk along the promenade overlooking Milner Lake to catch your first glimpse of the Parker Concert Hall—a $6 million project that is the most

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Without exception, each project that we undertake at Brevard Music Center leads us back to our mission of teaching gifted young musicians to prepare and perform great musical works at a high artistic level. This institute and this festival have proudly nurtured musicians who have changed the world through their creativity, their artistry, and their dedication to making a difference in all facets of their life. Thank you for sharing in their transformational journey with us and for supporting our continued efforts for excellence in all we endeavor to achieve on their behalf. Warmest regards always,

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

KEITH LOCKHART, ARTISTIC DIRECTOR David Effron Principal Conductor Chair In 2007, Keith Lockhart succeeded David Effron as Artistic Director of the Brevard Music Center Summer Institute and Festival. Lockhart’s appointment solidified an already special relationship with BMC; having attended as a teenager for two summers (1974, 1975), Lockhart was first featured as a guest conductor in 1996 and had since returned numerous times. He continues to serve as the Conductor of The Boston Pops Orchestra, and is newly appointed Chief Guest Conductor of the BBC Concert Orchestra in London, having served for the last eight years as its Principal Conductor. 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. In the opera pit, Maestro Lockhart has conducted productions with the Atlanta Opera, Washington Opera, Boston Lyric Opera, and Utah Opera. Recent highlights included debut appearances with the Czech Philharmonic, the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, the Vienna Radio Symphony, and the Hong Kong Philharmonic. The 20172018 season saw Lockhart make his French debut with the Orchestre Nationale de Lille, and his Norwegian debut with the Stavanger Symphony Orchestra, as well as return engagements in Japan and the Czech Republic. He also recently completed a recording of the Bernstein Serenade with violinist Anne Akiko Meyers and the London Symphony Orchestra.

LEADERSHIP

In February 1995, Lockhart was named the 20th conductor of the Boston Pops Orchestra, succeeding John Williams and Arthur Fiedler. Now in his 24th season, he has conducted over 1900 concerts and made 79 television shows, including 38 new programs for PBS’s Evening at Pops, and the annual July Fourth spectacular, broadcast nationally for many years. 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. He has led the orchestra on four overseas tours of Japan and Korea, and 43 national tours in the US, reaching 18 states and more than 150 cities (including performances at Carnegie Hall, Radio City Music Hall, and sports arenas across the country) and extending to 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 six self-produced recordings: 2017’s Lights, Camera…Music! Six Decades of John Williams, A Boston Pops Christmas—Live from Symphony Hall, Sleigh Ride, America, Oscar & Tony, and The Red Sox Album. Keith Lockhart and the Boston Pops Orchestra have also 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. Highlights of his tenure as the seventh Principal Conductor of the BBC Concert Orchestra (2010-2017) include critically acclaimed North American tours (2010/2011 and 2012/2013, and 2014/2015), 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, brought them to Europe on tour for the first time in two decades, and directed multiple appearances at the 2002 Olympic Winter Games. 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. Under his baton, the Utah Symphony released its first recording in two decades, Symphonic Dances, in April 2006, garnered an Emmy award for a “Salute to Symphony” regional broadcast, and performed in a national PBS broadcast of Vaughn Williams’ oratorio Hodie. Keith Lockhart served as Music Director of the Cincinnati Chamber Orchestra for seven years, completing his tenure in 1999. During his leadership, the orchestra doubled its number of performances, released recordings, and developed a reputation for innovative and accessible programming. Maestro Lockhart also served as Associate Conductor of both the Cincinnati Symphony Orchestra and the Cincinnati Pops Orchestra from 1990 to 1995. Born in Poughkeepsie, NY, Maestro Lockhart began his musical studies on piano at the age of 7, and holds degrees from Furman University and Carnegie Mellon University, and also holds honorary doctorates from the Boston Conservatory, Boston University, Northeastern University, Furman University, and Carnegie Mellon University, among others. He was the 2006 recipient of the Bob Hope Patriot Award from the Congressional Medal of Honor Society, and was a recipient of the 2017 Commonwealth Award, Massachusetts highest cultural honor. More information is available at KeithLockhart.com.

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BOX OFFICE HOURS & INFO Whittington-Pfohl Auditorium (Brevard Music Center Campus)

June 21 – August 4 Monday – Wednesday: 10 am to 5 pm Thursday – Saturday: 10 am through Intermission Sunday: Noon through Intermission Beyond August 4 The BMC Box Office will be open on a limited schedule. Online ticketing will remain available 7 days a week, 24 hours a day.

Porter Center

(Brevard College Campus)

June 6 - August 1 Open on performance days only, 2 hours prior to the start of a performance through intermission. Phone: (828) 862-2105 Email: boxoffice@brevardmusic.org Website: brevardmusic.org Exchanges are available up to 24 hours before the exchanged event. Refunds are not available. There is a $2 per ticket fee to exchange tickets; this fee is waived for BMC subscribers. Late Arrivals & Seating Latecomers will be asked to wait until an appropriate break in the performance before being seated.

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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. Important Note: there are no ticket discounts for children and students on any BMC Presents performances.

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. Lawn Etiquette We invite all ticket holders 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 WPA 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 WPA, 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 Opening Night, Season Finale and BMC Presents concerts.


Browse through the extensive list of summer events and view event details for information about venues and times. Click BUY to view a real-time seat map showing available seats, select a location, choose your price type, and “Add to Order.” From here, you can either “Continue Shopping” or you can “Continue” [to checkout] and purchase your tickets using our secure checkout system. *If you need assistance with your account, please contact the box office at (828) 862-2105.

Ticketing Alert: With the increase in third party ticket resale websites posing as BMC, we want to reassure you, our valued patrons, that Brevard Music Center in no way supports this activity. When obtaining tickets for any BMC event, be sure to purchase them only from our official ticketing site at brevardmusic.org/tickets. Purchasing BMC tickets directly from us will assure the best ticket price and customer service. Brevard Music Center reserves the right to refuse ticket sales to any suspected third party reseller accounts.

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Group Sales By purchasing 10 or more tickets to any single Brevard Music Center performance, enjoy up to 25% off single ticket prices, access to the best seating available at the time of your purchase, personalized customer service and assistance with your group event, and flexible payment options. Call (828) 862-2131 or email groups@brevardmusic.org today!

PATRON INFORMATION

ONLINE TICKET SALES

LOGIN to our new ticketing site* online at brevardmusic.org/tickets. If you still have login credentials from 2018 and have not yet used our new ticketing system, please contact the box office at (828) 862-2105 for a new login.

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BMC CONCESSIONS

For detailed WPA and Porter Center seat maps, visit brevardmusic.org/seating. Bring your own picnic…or enjoy BMC’s delicious selection of casual fare and snacks while experiencing a performance at Whittington-Pfohl Auditorium (WPA). A full assortment of beverages is available for your enjoyment including wine by the glass, local craft beer and hard cider, soft drinks, bottled water, and coffee. Refreshing desserts, including crowd favorite Kiwi Gelato and fresh baked cookies, are offered as a delightful finish to your BMC experience. WPA concessions–located at the main concession building on the lawn and the white-tented areas on the WPA plaza– open one hour prior to each performance. Concessions at the Porter Center (Brevard College) A selection of wine, beer, soft drinks, coffee, and cookies 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 Dining: The following local restaurants support Brevard Music Center: Dugan’s Pub ......................................................(828) 862-6527 Hawg Wild BBQ................................................(828) 877-4404 Marco Trattoria ..................................................(828) 883-4841 Pad Thai ..............................................................(828) 883-9299 The Pavilion at Key Falls...................................(828) 384-0823 Pisgah Fish Camp..............................................(828) 877-3129 Rocky’s Soda Shop ..........................................(828) 877-5375 Quixote.................................................................(828) 966-4554 The Restaurant at The Greystone Inn...........(828) 966-4700 Sora Japanese Restaurant...............................(828) 883-9808 The Square Root Restaurant .........................(828) 884-6171 Accommodations: Bed & Breakfast on Tiffany Hill.......................(828) 290-6080 Hampton Inn of Brevard...................................(828) 883-4800 Key Falls Inn........................................................(828) 884-7559 The Bromfield Inn...............................................(828) 577-0916 The Greystone Inn.............................................(828) 966-4700 The Sunset Motel...............................................(828) 884-9106

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WELCOME FROM THE BOARD On behalf of the BMC Board of Trustees, it is my pleasure to welcome you back to Brevard Music Center for our 2019 Institute and Festival! Once again we are proud to have in our midst scores of determined and talented high school and collegeage students who are dedicated to honing their craft as they learn from an excellent and renown faculty. While it seems unlikely, many of us in the audience are convinced that the talent level of our students rises each year, a testament to the Music Center’s reputation as a premier organization. A keen and intentional mix of engaging repertoire, top-tier faculty, and pre-eminent guest artists allow us to recruit the most ambitious students from across the country and around the world! BMC exists to provide a life-transforming experience for hundreds of eager student participants each year. As such, it is incumbent upon my colleagues on the Board and the staff of the Music Center to challenge ourselves to strengthen our educational and artistic excellence, raise our reputation to the highest level of instruction and performance possible, and ensure that our physical assets meet these ideals. Much has taken place on our 180-acre campus during the past five years to help ensure that our facilities match the potential and achievements of our student performers. A Challenge Among Friends, a fundraising effort to address critical and long-needed improvements, has made possible these and other enhancements: the acoustic shell at Whittington-Pfohl Auditorium that debuted in 2016 and greatly improves the experience of both students and our audience; two new student housing facilities–Encore and La Casa di Trentini; a re-tooled Straus Auditorium, and the William R. Hackney III Student Practice Facility, bolstering the inventory of student instruction and practice rooms. Buoyed by this success and with an eye to the future, we broke ground in fall 2018 on a new concert hall that will host its first performances in June 2020! This year-round 400-seat performance space will serve as the new home for our piano, jazz, classical guitar, and chamber music programming, as well as a hub for community events and outreach. Parker Concert Hall will be the only venue of its kind in the region, and will help reinforce BMC’s presence as a vital and integral part of our community’s cultural fabric: we are energized by the possibilities! We remain enormously grateful to friends like you who steadfastly believe in the educational mission of BMC and, more importantly, have experienced first-hand the outstanding performances of our students. Once again, on behalf of the Board of Trustees, staff, and the entire Brevard Music Center family, thank you for your enduring support and ongoing investment in our students and the music they create! Here’s to an exhilarating 2019 season!

2019 BOARD OF TRUSTEES

T. Kenneth Cribb, Jr. Chairman, Board of Trustees

Doug Bailey Belleair, FL

Charles Goldsmith Brevard, NC

Robby Russell Arden, NC

Betsy O. Barefoot Pisgah Forest, NC

Bill Hackney Marietta, GA

Arthur Schreiber Brevard, NC

Bruce Berryhill Cashiers, NC

Falls Harris Greenville, SC

Thomas C. Bolton Asheville, NC

Sue Henderson Winston-Salem, NC

Ginny Steiger Penrose, NC Ex officio

John S. Candler Brevard, NC

Phillip Jerome Pisgah Forest, NC

Marcia Chaplin Vienna, VA Ex officio

Katie Loeb-Schwab Marco Island, FL

Martha Coursey Atlanta, GA

Mary G. MacQueen Owen Asheville, NC

T. Kenneth Cribb, Jr. Spartanburg, SC

Ruby Morgan Greenville, SC

Preston Davitt Asheville, NC

Doug Ombres Tequesta, FL

Jerusha Fadial Charlotte, NC

Helen Peery Charlotte, NC

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Trustee Emeriti Doug Booth Charlotte, NC Wilbur Boswell III Hendersonville, NC John S. Candler Brevard, NC

Linda Thompson Pisgah Forest, NC

Dicksie Cribb • Spartanburg, SC

Joella Utley Spartanburg, SC

Mary Helen Dalton • Atlanta, GA

Mark Weinstein Brevard, NC Ex officio

Robert Dalton, Jr. • Charlotte, NC

Charles Weiss Palm Coast, FL M. Beattie Wood Atlanta, GA

Frederick Dent Spartanburg, SC

Kurt Zimmerli Spartanburg, SC Life Trustees Karl Straus • Asheville, NC Officers T. Kenneth Cribb, Jr., Chair Martha Coursey, Vice Chair Arthur Schreiber, Treasurer Linda Thompson, Secretary

Robert H. Dowdeswell Flatrock, NC

Mark Weinstein, President Ex officio

Mitchell Watson West Palm Beach, FL

• Deceased

William White, Jr. • Charlotte, NC


BOARD & STAFF

2019 STAFF Mark Weinstein, President and CEO Keith Lockhart, Artistic Director Instruction and Performance

Jason Posnock Director of Artistic Planning & Educational Programs Dorothy Knowles Director of Admissions Andrew W. Parker Artistic Administrator Jessie O’Hara Artistic Operations Assistant* Angela Park Artistic Liaison* Amanda Southern Artistic Liaison* Christian Aldridge Orchestra Personnel Manager* Alexander Lane Assistant Orchestra Personnel Manager* Mark Fugina Head Librarian* Renee Pflughaupt Associate Head Librarian* Tracy Bass Assistant Librarian* Emily Finlan Assistant Librarian* Julia Karstens Assistant Librarian* Ronte’ Hardy Student Services Manager* Steven Chen Student Services Assistant* Michael Schweppe Supervisor of Recording* Robert Rydel Associate Director of Recording* Peng Huang Audio Engineering Intern* Isabella Fuerter Audio Engineering Intern* Scott Li Audio Engineering Intern* John Foy Chief Piano Technician* Steven Sykes Piano Technician*

Student Life

Cale Self Leigh Dixon Jacob Powers Thomas Rodman Amanda Talley

Production

Andrea Boccanfuso Matthew Queen Justin Mosher Teila Vochatzer Joshua Goldstein Garrett Rhodes

Development

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

Director of Production Assistant Production Manager* Assistant Production Manager* Purchasing Agent* House Manager* Technical Director*

Dave Perrett Director of Development Palma Cohen Manager, Annual Giving Sara Jerome Manager, Special Events & Partnerships Kalen Lawson Donor Services Coordinator Aimee Smallwood Major Gifts Officer Rebekah Miller Car Raffle Coordinator* David Griffith Special Events Intern* Angela Hale Special Events Intern* Molly Svizeny Special Events Intern*

Marketing and Box Office

Cally Jamis Vennare Director of Marketing & Communications Virginia Carter Manager, Box Office & Ticketing Mary Allison Lathem Marketing & Communications Coordinator* Sami Topping Box Office Supervisor* Maria Vizcarra Box Office Supervisor* Jessica Casey Box Office Cashier* Katie Davis Box Office Cashier* Sydney Windham Box Office Cashier*

Information Technology Sean Manning

Director of Technology

Administration and Campus Operations

Keith Arbogast Director of Finance & Campus Operations Ashley Gilleland Operations Coordinator Anthony Gabriele Accounting Manager Paula McKeller Office Services Associate Jared DeMarais Business Administrative Intern, IT* Natalee Highman Business Administrative Intern, Operations* Nathan Kawa Facilities Manager Steve Dunston Maintenance Randy Foster Maintenance Mark Walker Maintenance Blue Mountain Medicine Health Services EverGreen Housekeeping Professional Services Man Maid Housekeeping Cleaning Service Brevard College Catering Services Shelley VanBuren Food Service General Manager*

* Seasonal Staff

OUR MISSION: The Brevard Music Center, a summer institute and festival, teaches gifted young musicians to prepare and perform great musical works at a high artistic level.

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BREVARD MUSIC CENTER Gratefully Acknowledges its 2019 Sponsors and Partners*

Jacquelyn and Bruce Rogow Season Sponsors

LEAD SPONSORS Audi Asheville Season Finale: Mahler 2

Pendergrast Family Patriotic Pops

Hampton Inn - Brevard BMC Presents Series

The Zimmerli Family Opera Endowment Roméo et Juliette

The Jerome Family Dvořák Symphony No. 5 The Harold W. McGraw, Jr. Family Foundation, Inc. WQXR Young Artists Showcase

The Zimmerli Foundation BMC Piano Competition Finals

SEASON PARTNERS 35 Degrees North Official Landscape Services

BMC Presents: An Evening with Lyle Lovett and his Large Band

Bed & Breakfast on Tiffany Hill Official Bed and Breakfast

BMC Presents: Michael Feinstein

of Asheville Bold Rock Hard Cider Official Hard Cider

Nancy Crow Trentini Die Fledermaus

Broad Street Wines Special Event Sponsor

Community Outreach Sponsor

Hampton Inn - Brevard Official Hotel and Lead Sponsor, BMC Presents Series

SUSTAINING SPONSORS Nancy B. Hicks, in honor of Ross Magoulas & Dean Anthony Die Fledermaus Loyal Friends of Brevard Music Center Opening Night: All Tchaikovsky

Johnson Building Supply Official Building Supply Provider New Leaf Garden Market

Official Plant and Garden Provider BMC Presents: The Temptations and The Four Tops

Oskar Blues Brewery Official Beer

Opening Night: All Tchaikovsky Steinway & Sons Official Piano

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Blue Mountain Medicine

COMMUNITY PARTNERS Brevard Ballet Carolina Mountain Land Conservancy Centro Comunitario Hispano Americano Charlie’s Angels Animal Rescue The Cindy Platt Boys and Girls Club Dupont State Recreational Forest Free Rein Friends of Silvermont Goodwill Industries of Northwest North Carolina Hunger Coalition of Transylvania County Meals on Wheels of Brevard, NC Mountain Neighbors Network Mountain Sun Community School Muddy Sneakers North Carolina Guardian Ad Litem Pisgah Center for Wildlife Education Rise and Shine SAFE of Transylvania County Sharing House Smart Start of Transylvania County The Haven of Transylvania County Transylvania Animal Alliance Group, TAAG Transylvania County Arts Council Trout Unlimited, Pisgah Chapter United Way of Transylvania County Veterans History Museum of the Carolinas *Sponsors as of May 15, 2019

BREVARD MUSIC CENTER SPONSORSHIP OPPORTUNITIES A Brevard Music Center corporate sponsorship provides targeted opportunities to build and enhance your corporate brand, host your top clientele at a performance or gala, and establish invaluable visibility among BMC’s 40,000 summer music festival attendees. All sponsorships are individually designed and tailored to meet your unique business and marketing goals. Opportunities include but are not limited to sponsorship of the Brevard Music Center: Institute, Summer Music Festival (including season long, series, or individual performance recognition), special events, marketing collateral, and much more! Allow us to help you identify and select the best sponsorship fit for your company. For more information, please contact BMC at development@brevardmusic.org or call (828) 862-2121.

WE ARE LOOPED!

Induction Loop Hearing System at Brevard Music Center In our ongoing efforts to ensure an optimal experience for all Brevard Music Center summer festival patrons, including our hearing impaired guests, BMC installed a state-of-the art induction loop hearing system at Whittington-Pfohl Auditorium in 2018. BMC’s system was installed by the experts at Musician’s Workshop (musiciansworkshop.com). A hearing loop is a wire that circles a room and is connected to a sound system. The loop transmits the sound electromagnetically. The signal is then picked up by a tiny receiver in the hearing aid called a telecoil, or T-Coil. To use a hearing loop, simply flip on the T-Switch or change to the T-Coil program in your hearing aid or cochlear implant. This activates the coil and no additional receiver is needed. Your hearing aids or implants are now able to become wireless headsets for all sound that is traveling through the sound system. You hear speech more clearly than you ever imagined! For those individuals who do not possess a T-Coil in their hearing aids, Brevard Music Center also has personal body pack receivers available in the Box Office. Brevard College is also “looped”—an induction loop hearing system is now installed at Brevard College’s Porter Center and Ingram Auditorium and is accessible at all BMC opera and chamber performances. The Loop System at Whittington-Pfohl Auditorium was made possible by a bequest from The Estate of Lois Maxine Gibbs, James Kimzey, executor.

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SPONSORS AND HEARING SYSTEM

ADDITIONAL SUPPORT PROVIDED BY


2019 PRELUDE — A NIGHT AT THE MOVIES! Brevard Music Center’s annual Prelude Gala is an evening of dining, dancing, and auctions that supports our Student Scholarship Fund. 2019 Prelude—A Night at the Movies!—took place on Saturday, June 15, and we gratefully acknowledge the evening’s sponsors, auction item contributors, and volunteer leadership who ensured the event’s success.

Prelude Host Committee

Encore ($10,000)

CO-CHAIRS Cathleen T. Blanchard and Mary Owen

Bravo ($5,000)

AUCTION CONTRIBUTORS

COMMITTEE Michael Andry Susan Harrington Butts Kristine Candler Martha Coursey Preston Davitt Yvonne and Charlie Goldsmith Sue Henderson Patti Jerome Betty Gayle Laughlin Katie Loeb-Schwab Susanne Marsee Ruby Morgan Helen Peery Parker Platt Rusty Saylor Karen Tessier Linda Thompson Roba Whiteley

Audie Bayer The Bed & Breakfast on Tiffany Hill Bellagio Dr. Ruffin Benton Biltmore Lamp and Shade Brevard College Catering Brevard Music Center Broad Street Wines The Bromfield Inn Brookings Anglers Brooks Brothers Chestnut Corner Kitchen Martha Coursey and Coursey Graves Winery Jo Crebbin Photography D.D. Bullwinkel’s Ann DerGara John and Patsy Dupre Empire Distributing

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Falls Harris Felix and Betty Gayle Laughlin Bob Morris and Boone Smith WNC Magazine

Yvonne and Charles Goldsmith

B.P. Solutions Bob and Inez Parsell Platt Architecture, P.A. RBC Wealth Management of Asheville

Cadenza ($3,000) Cathleen T. Blanchard Kristine and John Candler Capital At Play Michael Griffith and Donna Reyburn Paul Komar and Teri Goodall-Komar Sue and Doug Henderson Mary and Charlie Owen Liz and Rusty Saylor Jaynie and Stanley Whitcomb

Overture ($600) Judy and Allain Andry Dr. and Mrs. Bruce Berryhill T. Kenneth Cribb, Jr. George D’Angelo and Laura St. Clair Todd and Nancy Fredin Albert and Margareta Koch Lawrence and Becky Lohr Ruby Morgan James and Jennifer Newman Sue and Jim O’Neal Drs. Tom and Joanne Parker Michelle and Robby Russell Hugh N. Tucker and Paul E. Thomas *Sponsors as of April 30, 2019

Intermezzo ($1,200) Catty and Michael Andry Audrey and Robert Bayer Susan Harrington Butts and Timothy Butts

Estate Jewelry Ltd. The Falls Landing – Brevard, NC Fig Bistro Robin Fishman The Flat Rock Playhouse Julia Fosson Gardener’s Cottage Globe Treks Tours Yvonne and Charlie Goldsmith Hess Winery Hunter and Coggins Clothing Co. KillerBeesHoney.com Felix Laughlin Shellie Lewis Florentine Liegerot Keith Lockhart and the Boston Pops Orchestra Lucy Anne Mantiques

Marco Trattoria Monkee’s Mountain Song Productions Mud Dabbers Pottery New Orleans Drink and Learn Cocktail Tours New Orleans Culinary History Tour New Orleans Museum of Art Northampton Wines & Wine Café Omni Royal Orleans Hotel O.P. Taylor’s The Peace Center of Greenville, SC Dilshad and Jason Posnock RBC Wealth Management of Asheville, NC Rocky’s Soda Shop and Grill Karen Rosenbaum Robert and Janie Sargent

Steep Canyon Rangers West First Wood-Fired Dick Whiteley Beth Womble As of April 30, 2019 Special thanks to: Bold Rock Hard Cider BP Solutions Brevard Music Center Association Brevard Music Center Production Staff Broad Street Wines Marco Trattoria Darron Meares/Meares and Associates Oskar Blues Brewery


PRELUDE & A CHALLENGE AMONG FRIENDS

A CHALLENGE AMONG FRIENDS Ensuring the Future of our Campus and the Excellence of our Programs The Music Center’s Challenge Among Friends—an effort launched in fall 2014 to secure funding for critical and necessary campus improvements, as well as the Parker Concert Hall–now totals more than $7.7 million in commitments. More than 200 Music Center friends, patrons, supporters, BMCA volunteers, alumni, faculty, current and former Trustees, staff, private foundations, and government sources have participated to date in this campaign to support improvements that raise the level of our facilities to match the talent on our stages. In Phase I, A Challenge Among Friends has made possible, among other enhancements, an acoustic shell at Whittington-Pfohl Auditorium that greatly improves the educational experience of our student musicians, two new student housing facilities, a refurbished Straus Auditorium, and a new student practice facility, adding significantly to the inventory of student instruction and practice rooms. Having completed this essential work through the success of the first phase of our Challenge Among Friends initiative allows us to move forward and provide top-quality facilities that match the legacy of excellence Brevard Music Center has earned over more than 80 years.

The next phase of our Challenge Among Friends effort is to secure a total of $6 million for Parker Concert Hall: a longdesired goal of an on-campus performance venue to serve as the home of our student piano, chamber music, classical guitar, and jazz institute programs, as well as a year-round resource for arts education and community engagement and enrichment. To support our mission to teach gifted young musicians to prepare and perform great musical works at a high artistic level, Parker Concert Hall will help simulate the professional environments that our students can expect as they pursue high levels of instruction or careers as performing artists. Generous Music Center friends have pledged more than $2.2 million in multi-year commitments to date in support of Parker Concert Hall. Please consider joining those below who are investing in the ambition and drive of our students and helping ensure that our campus, programs, and mission, and the future of classical music, are secure. To learn how you can help, please contact Dave Perrett in the Music Center’s Development Office at (828) 862-2121 or dperrett@brevardmusic.org.

We are grateful to these friends and all who have contributed to “A Challenge Among Friends,” providing support for Whittington-Pfohl Auditorium, student and faculty housing, practice facilities, the Parker Concert Hall, and other key improvements $1,000,000+ Anonymous

$500,000+

Malcolm and Patricia Brown The Family of Martha A. and William J. Pendergrast, Sr. *

$250,000 +

The Cannon Foundation William R. Hackney III Gail L. and William S. Hagler Foundation Dr. Ruby N. Morgan and Dr. Douglas MacDonald * Nancy Crow Trentini Bill and Betsy White

$100,000+

Sally and Doug Bailey Betsy and Tom Bolton * Emily and Doug Booth Claudia and Henry Colvin * T. Kenneth Cribb, Jr. * The Estate of Lois Maxine Gibbs Yvonne and Charlie Goldsmith Dr. Falls L. Harris Martha Rivers Ingram * Laurie and Douglas Ombres Bob and Inez Parsell * Linda and John Sarpy * Carole and Arthur Schreiber Dr. Charles and Teena Ellen Weiss

$50,000+

Dr. and Mrs. Bruce Berryhill City of Brevard John and Kristine Candler Dan and Jane Carter

Binky Curwen Eugenia and Robert Dowdeswell Chuck and Edie Dunn * A.S. Fendler Family Foundation Sandy and Bernie Fox Helen C. Gift Mariam and Robert Hayes Charitable Trust Vivian S. Hoeppner John and Barbara Lawless Katie Loeb-Schwab and Mark Schwab Frank and Donna Patton Donna Reyburn and Michael Griffith * Brian Robinson Bert and Eleanor Schmidt Schweigaard-Olsen Carol and Jim Smeaton * Patricia R. Webb

$25,000+

Anonymous Nancy C. Albyn Kristen and William Alpert Arcadia Foundation Sandra and John W. Barnett, Jr. Danny and Kim Bottoms Brevard Music Center Administrative Staff Martha and Walter Coursey Frederick Dent Jean and Bill Holmes George W. Howell, Jr. Harriet Hutchinson and Kenneth Wallace Walls Carlene S. Jerome Patti and Phillip Jerome Johnson Building Supply Nancy Y. and Philip E. Leinbach Emiley and Keith Lockhart

Jack and Debera Millstein Neil and Rosalie Morris Helen and Walt Peery Dr. James T. and Valeria B. Robertson Mike and Melba Tracy Transylvania County Joe R. and Joella F. Utley Foundation

$20,000+

The Glass Foundation Susan and Doug Kish Chris and Harriet Lewis Moore-Blanchard Funerals & Cremations, and Cathleen Blanchard Alice Smyth Sybil and James O. Wells Neil Williams Family

$10,000+

Anonymous Bruce D. Chadbourne Lucille and Peter Chaveas Mary and Jan Dryselius Dr. and Mrs. William J. Fogle III Sue and Doug Henderson Rosemary and Rick Johnston Joel Reynolds, In Honor of Minnie Kent Biggs – “We Are Eighty” Michelle and Robby Russell Marshall L. Seymour Mark Weinstein and Susanne Marsee

$5,000+

Anonymous Dr. J. Murray and Jerusha Barnum Fadial Nancy Hicks Gerda Moore Kahn Retha and Ross Lynch Reed and Jack Parker

Mary Ellen and Jeff Pendergrast June and Edwin Salvesen Linda and Ron Thompson Gayle and Dennis Winchester

$1,000+

Charisma and Keith Arbogast Susan Barber Andrea Boccanfuso Susan Harrington Butts and Timothy Butts Bena and George Cates Ann and Steve Cohen Kathy and George Dambach Kate and Chuck Gass Debra and Allen Haas Bill and Geri Hambley Sandy and John Harrington Sandi and Peter Heckman Nancy and Joe Hunter Elaine Knight Betty and Roger Lamberton Mr. and Mrs. G. William Lohr, Jr. Harry and Sande McCauley Janice Murray Erwin and Barbara Prietz Vivian and Ron Rogers Penny and Jim Roubion Betty and Maurice Sponcler Martha Washington Straus and Harry H. Straus Foundation Jim and Caroline Sullivan Beverley and James Whitten Jan and Beattie Wood * Recognizes contributions to A Challenge Among Friends Phase I and Parker Concert Hall

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THE PARKER CONCERT HALL

THE PARKER CONCERT HALL Coming in 2020: BMC’s New Lakeside Performance and Multi-Purpose Event Space

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ext summer Brevard Music Center proudly unveils a breathtaking new lakeside structure—its first major construction project in more than 50 years. Overlooking scenic Lake Milner and designed by Platt Architecture PA, the $6 million Parker Concert Hall will become BMC’s first ever year-round performance venue and the first multi-purpose event space built since 1964’s Whittington-Pfohl Auditorium. Opening in June 2020, the hall will serve as the summer home of BMC’s growing piano, chamber, classical guitar, and jazz programming. Featuring excellent acoustics and a seating capacity of 400, the hall’s retractable modular system from Belgium will allow for ultimate flexibility in floor plan design as well as transform the hall into an accommodating multi-purpose space for performances, community gatherings, business retreats, and a wide variety of special events and celebrations. “The joy of seeing aspiring musicians, in the company of other like-minded youth, became an inspiration to us,” said Drs. Tom and Joanne Parker, lead sponsors of the Parker Concert Hall. The concept of a building that would meet student needs represented a melding of the Parkers’ strong belief in active philanthropy (a bi-directional process of mutually shared ideas and common interests) with the overall strategy and mission of BMC. “The Brevard Music Center— with its mission, vision, and values—seemed the perfect place to express those interests. The national standing of BMC within summer musical festivals for youth is quite remarkable.

This new hall anchors its position, even enhancing it, and provides an even greater attraction for national and international students to attend.” The new Parker Concert Hall will serve as a dramatic, natural setting for year-round performances and events that not only enrich the lives of our residents but also drive dollars to local businesses in our community. “With this inspiring addition to its 181-acre campus, Brevard Music Center reinforces its presence as a vital and integral part of our community’s cultural fabric and its international reputation as a soughtafter designation for artistic excellence in education and programming,” said Brevard Mayor Jimmy Harris at the April 2019 groundbreaking ceremony. “Brevard Music Center’s new concert hall will be a tremendous asset to Transylvania County as both a performance space and community-builder,” added County Commissioner Mike Hawkins. “I applaud the Music Center for its vision and for its ongoing dedication to providing yet another welcoming space to local non-profits and organizations who share a mutual commitment to making Brevard a better place to live and work.” To see a video of the Parker Concert Hall, please visit bit.ly/BMCParkerConcertHallVideo. To learn how you can help support this effort, please contact Dave Perrett in the development office at (828) 862-2121 or dperrett@ brevardmusic.org.

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Supporting The Arts For 40 Years

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feel the compassion of whole-person care.

It’s time to feel your best. Physically. Mentally. Spiritually. To be centered. And supported. To feel the power of a world-class health care network coming together to help you take control of your health. It’s time to feel whole.

New Family Medicine Practice Location Now Open in Brevard and Accepting New Patients

Sven Jonsson, MD, MS AdventHealth Medical Group Family Medicine at Brevard Dr. Jonsson has a special interest in nutrition and chronic disease care. His goal is to provide whole-person care - mind, body and spirit - to every patient, every time.

To schedule an appointment call 855-774-LIFE (5433). Formerly Park Ridge Health

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DIVERSITY MATTERS The BMC Opportunity Scholarship A heightened commitment to diversity yields even more transformative experiences for deserving students

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ow more than ever before, the classical music industry is convening thought leaders to address the dearth of musicians from nontraditional backgrounds in orchestras, music schools, summer festivals, and on concert stages across the country and around the world. As one of the country’s premier summer institutes and festivals, Brevard Music Center has demonstrated its organizational commitment to diversity by partnering with esteemed peer groups—including the Sphinx Organization, the Primavera Fund of Philadelphia, Youth Orchestra of Los Angeles, Kidznotes (Raleigh), Atlanta Symphony Talent Development Program, and many others—to provide opportunities to students from traditionally underserved populations. These relationships not only pave the way for students to attend Brevard, but also provide the essential scholarship support needed to fulfill their musical dreams and aspirations. In 2019 Brevard Music Center deepened its commitment to a more diverse student body by creating a supplemental scholarship program to assist historically underrepresented populations in the field of classical music. The BMC Opportunity Scholarship, open primarily to students of Black and Latinx descent, is specifically designed to help these aspiring musicians overcome financial barriers that may limit the achievement of their full potential. In its inaugural season, Opportunity Scholarships were awarded to more than 30 deserving students. These scholarships were in addition to our normal and extensive scholarships based on merit and financial need. The BMC Opportunity Scholarship is supported in its first year by a generous grant from Wells Fargo Private Bank, and will be used to attract matching funds from other contributors in order to have a greater and lasting impact. The Music Center’s Opportunity Scholarship is in keeping with Wells Fargo’s funding priorities

BMC jazz students gain performance experience at the popular Jazz @ Brevard concert. Photo: Chuck Gilmore

to develop strategic relationships with nonprofits and other organizations to create innovative, sustainable solutions, and we are grateful for this significant investment. This exciting and meaningful work will most certainly further BMC’s mission and positively influence the vitality and vibrancy of our field and add to the quality of our applicant pool. Most importantly, countless numbers of gifted and deserving students from diverse and nontraditional backgrounds will benefit from the transformative experience of a summer at Brevard Music Center.

Violinist Annelle Gregory, 1st place winner of the 2017 Sphinx Competition, takes the WPA stage at BMC’s July 22, 2018 performance of Franz Waxman’s Carmen Fantasy. Photo: John Allen

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DIVERSITY/COMMUNITY MATTERS

Bass-baritone Kevin Deas and BMC faculty member Deloise Lima enjoy a post-performance photo op with the staff and students of Rise & Shine and The Cindy Platt Boys and Girls Club. Photo: Bob Speight

COMMUNITY MATTERS BMC Community Partnerships Supporting the causes and people that unite our region and create a better life for all

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usic has always had the power to change lives. To build bridges toward greater understanding and dialogue. To provide a peaceful respite from life’s challenges. To unite communities around a common purpose and passion. Brevard Music Center is proud of its deep and enduring commitment to supporting the needs of our everchanging local community and diverse populations here in Transylvania County. Whether its providing a space for community gatherings and dialogue, showcasing a local non-profit organization that supports an underserved population, showcasing artists and programming that inspire thoughtful dialogue, or providing tickets for a major fundraiser, we understand the importance of nurturing a dynamic and reciprocal relationship with our community. Bravo to the community partners who work together with the Music Center to enrich the lives of local residents and, in doing so, the vitality and sustainability of our region.

Brevard Ballet Carolina Mountain Land Conservancy Centro Comunitario Hispano Americano Charlie’s Angels Animal Rescue The Cindy Platt Boys and Girls Club Dupont State Recreational Forest Free Rein Friends of Silvermont Goodwill Industries of Northwest North Carolina Hunger Coalition of Transylvania County Meals on Wheels of Brevard, NC Mountain Neighbors Network Mountain Sun Community School Muddy Sneakers North Carolina Guardian Ad Litem Pisgah Center for Wildlife Education Rise and Shine SAFE of Transylvania County Sharing House Smart Start of Transylvania County The Haven of Transylvania County Transylvania Animal Alliance Group, TAAG Transylvania County Arts Council Trout Unlimited, Pisgah Chapter United Way of Transylvania County Veterans History Museum of the Carolinas

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FANFARE FOR

AARON COPLAND

Aaron Copland left an indelible mark on the music of the 20th century with evocative works for film, opera, piano, symphony, and chamber music that captured the American spirit and captivated the public’s imagination. This year Brevard Music Center celebrates his legacy in our annual “festival within a festival,” encompassing Copland’s remarkable artistry and career. Artistic Director Keith Lockhart provides further context on the “Dean of American Composers” and his central role in American music history in this interview with Director of Marketing & Communications, Cally Jamis Vennare. Aaron Copland relaxing by wooden wall. (Music Division, Library of Congress)

Q:

Cally Jamis Vennare: Why is Aaron Copland considered to be the “Dean of American Composers?”

Keith Lockhart: We are a very young country from the perspective of culture, and the music of Aaron Copland is fundamental to our understanding of the entirety of American music. Copland was the central figure connecting all branches of the American musical tree—starting from the late 1890s to present day. Throughout his life, which spanned almost the entirety of the 20th century, and because he constantly changed his influences and use of materials, the music industry and general public looked to Aaron Copland to define America’s musical landscape. Although we typically think of Copland for his beautiful tunes and soaring western landscapes in works like Billy the Kid, Rodeo, Fanfare for the Common Man, and Appalachian Spring, our audiences may be surprised to learn that Copland began his career as an enfant terrible—an “angry young man” composer of the avant-garde. Later, and throughout the rest of his life, he also embraced jazz as an important American musical influence in works like his Piano Concerto and his Clarinet Concerto.

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Q:

CJV: The Copland Clarinet Concerto is one of your personal favorites. Tell us why?

KL: The Copland Clarinet Concerto is indeed my favorite clarinet concerto! The piece was written for Benny Goodman between 1947-1949. This coming together of two American musical heroes… the King of Swing and the Dean of serious American classical composers…produced a wonderful and lasting addition to the repertoire. In fact I just recorded it with a French clarinetist and British orchestra—a testament to its enduring and international appeal.

Q:

CJV: What drew Copland to multiple musical influences and materials?

KL: Copland took his leadership position and his sense of trying to define an American voice very seriously. It was more than just a natural wanderlust in his mind; it was a conscious exploration of the different strands that make up America. And it was complicated. When assimilating American musical cultural and influences—


Q:

CJV: How did Copland transition into film and ballet compositions, which in turn led to one of the most productive periods in his career?

KL: In the late 1930s, Copland started writing for the movies. He headed to Hollywood for several years to establish a reputation, but was consistently rebuffed due to his lack of film experience. His persistence and strong desire to write in this medium are what prompted his acceptance of a commission to score the music for The City, produced in 1939 for the New York World’s Fair. One of his goals for that project, beyond outlining the landscape of an idealized American city, was to gain film experience. And so he did. Copland followed The City with multiple Hollywood film scores, including Of Mice and Men and Our Town. During the late 1930s Copland serendipitously met Lincoln Kirstein, one of the original founders of the American Ballet and a co-founder (in partnership with George Balanchine) of the New York City Ballet. Believing that ballet should be more than a diversion for the privileged, Kirstein formed Ballet Caravan to present ballet on specifically American themes to national audiences of all means. He commissioned Copland to score his libretto for the Caravan’s performance of Billy the Kid, with choreography by Eugene Loring. This experience is what I believe prompted his work in the 1940s, Copland’s greatest period of output and musical populism. It was the dawn of the period in which he produced most of the music we think of as quintessential Copland: the ballets Rodeo (1942) and Appalachian Spring (1944), as well as his Third Symphony (1944-1946) which incorporates materials from his Fanfare of the Common Man (1942) and, in my personal opinion, remains the great American symphony. Copland’s music is inspiring because it mirrors the ideals of American life…the myths we all have in our heads. Appalachian Spring is not about “spring,” or even necessarily about Appalachia…it is about the pioneer spirit—finding your own land, your life partner, and your place in society. What excites me about this summer’s “festival within a festival” is that we can link these pieces, which occupy a five-year period in the middle of Copland’s life, to the rest of his compositional development. Copland composed continually from 1920 to early 1970s, but infrequently in the last years of his life. Instead he focused on conducting his own works and fulfilling his responsibilities as the “Dean of American Composers,” which he took very seriously. Sadly, his output was also shortened by battles with dementia in his last years.

Q:

CJV: Please share your thoughts about Copland and his relationship with Mexico, which will be featured in our summer festival programming on July 13.

KL: During his time in Europe, Copland developed what would be a lifelong friendship with the founder of the Symphony Orchestra of Mexico and “Dean of Mexican Composers,” Carlos Chávez. In 1932, at Chávez’s continued urging, Copland traveled to Mexico. During his visit, he was exposed to the famous dance hall that was the center for Mexican folk and popular dance, El Salón México. Copland would later say, “In some inexplicable way, while milling about in those crowded halls, I had felt a live contact with the Mexican people—that electric sense one gets sometimes in far-off places, of suddenly knowing the essence of a people— their humanity, their shyness, their dignity and unique charm. I remember quite well that it was at such a moment I conceived the idea of composing a piece about Mexico and naming it El Salón México.” El Salón México is joyous, exciting, and rhythmically vibrant. It’s one of the most “alive” pieces I know. Copland’s assimilation stylistically is so complete in this piece, which I was thrilled to record with the Boston Pops in 2000 for our Grammy-nominated The Latin Album. I can’t wait for our audiences to hear it during BMC’s Copland in Mexico concert. During his time in Mexico, Copland also met Chávez’s assistant, the young and fiery composer Silvestre Revueltas. While Chávez’s embodied the establishment in Mexican music, Revueltas represented the populists who believed that Mexican music should be devoid of Western European influences. As a result, Revueltas’s work is less tightly constructed but very full of raw energy. Sensemayá, for example, is often referred to as the “Latin Rite of Spring” and has a primitive, pagan feel to it. All three composers remained close, but in 1934 the bond between the two Mexican composers was forever broken when Chávez lost a government commission to Revueltas for the Redes film score. It is important to add that, personal relationships aside, there was a much larger sense of creating relationships among the Americas and about finding distinctive New World voices. This period in music was about the conflict between the academic music of the day, the necessity of study in Europe in the early 20th century, and the need to break out and establish something that was not European-derivative. It was a period that united these composers in each other’s work and fed each artist’s creativity.

Q:

CJV: What do you hope our audiences remember after experiencing our Copland Festival?

KL: I hope that they leave with a greater appreciation of Copland’s tremendous impact on the trajectory of American music beyond what was, until that time, primarily derivative of European models. And I hope they gain a greater understanding of our cultural voice—one that is based on many strains from many cultures all over the world—and the desire of artists to reflect their own culture. More than any other composer, Copland and his work are emblematic of 20th century American music.

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Q & A WITH KEITH LOCKHART

assimilating a country that is based on assimilation—you don’t have a common root across the American landscape. But composers in general during this period (with Copland perhaps leading the way) were thinking about what their role was in society. They were not only thinking about what they could write, but what they should write. Copland was famously politically and socially involved throughout his lifetime. He flirted with communism, not in a political sense but in a social sense. He believed that music could level the playing field and should be created for all Americans, not just those who could afford the ticket price. As a result, there was a very real and sincere populist streak in his music.


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AARON COPLAND’S AMERICA by Joseph Horowitz

Aaron Copland in his teens. (Music Division, Library of Congress)

In the proper scheme of things musical, creators outrank recreators. But no interwar American classical composer was as famous or glamorous as Serge Koussevitzky, Leopold Stokowski, or Arturo Toscanini. When Howard Taubman of the New York Times boasted that “even the glowing warmth of the Vienna Philharmonic’s preHitler glory did not surpass or match” Koussevitzky’s Boston Symphony, Stokowski’s Philadelphia Orchestra, or Toscanini’s New York Philharmonic,” the subtext was that America’s composers loomed small.

Virgil Thomson, ever the provocateur, called upon his fellow composers to arise and seize control. “Only professional solidarity can clear up the obscurantism, take over the musical direction of massive distribution. The doctors have done it. So can we.” To the musical public at large, however, the plainspoken voice of reasoned dissent belonged to Aaron Copland–who also happened to be America’s best-known classical composer. Born in Brooklyn in 1900, Copland early studied with Rubin Goldmark, a former Dvořák student. To refine his gift, he did not go to Germany after the fashion of his forebears. The temper of the times dictated France, where he became the first of many Americans to discover in Nadia Boulanger a mentor of genius. Like Dvořák in New York, Boulanger in Fontainebleau believed American music was poised to take off. Like Dvořák, she supported interest in the American vernacular. In fact, ragtime was in vogue in Paris. Through Boulanger, Copland met Koussevitzky, who subsequently led the Copland charge in the United States. In 1930 Copland produced a bracing wake-up call, a new American sound: the 11-minute Piano Variations. Its angular rhythms and dissonant tonal shards vibrated with the intensity and nervous energy of Copland’s New York. Versus the warm American roots exhumed by Dvořák, and the familiar Germanic models he applied, it was skyscraper music of steel and concrete. No previous American had achieved such concise freshness of style. This was a sampling of what was meant, in praise or blame, as “modern music.” And Copland was a conscious modernist, aligned with writers and painters insistent upon the new. Audiences, especially in America, insisted upon the old. If orchestras and music businessmen shied away from modern music, their objections were not necessarily commercial or philistine. Most modernists responded with indifference or consternation. Copland adapted and mediated. The hardships of the Depression– the millions unemployed—were a potent catalyst for sympathetic intervention. The art of the thirties and forties was softened

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by conscience and compassion. Folk culture, political causes, and national identity were frequent motifs of such painters, photographers, and writers as Ben Shahn, Walker Evans, and Carl Sandburg. Copland wrote of “the job of the forties”: “The radio and phonograph have given us listeners whose sheer numbers in themselves create a special problem,” one whose solution was “to find a musical style which satisfies both us and them.” The “most exciting challenge of our day,” he wrote, was that “the new musical audiences will have to have music that they can comprehend.” The austerity of Copland’s modernist idiom lent itself to a communicative simplicity. He called for a vigorous and unpretentious American style, “plain and bare.” Vacancy and loneliness become memorable prairie tropes in the 1938 ballet Billy the Kid. Here, Copland’s 1930s hunger for a usable American past and his quest for a bigger American musical public led him to cowboy tunes and to the stage. The ballets Rodeo, with its Hoe-Down, and Appalachian Spring, with its culminating Shaker hymn, came next, in 1942 and 1944. Copland’s extensive catalogue of film music also fits this picture of the composer–his sense of utility, his common touch. Of course he wanted nothing to do with the musical styles of Erich Korngold and Max Steiner: their Romantic upholstery and Wagnerian leitmotifs. Scoring a pair of Lewis Milestone films adapting books by John Steinbeck (whom Copland admired), he adroitly applied his spare sonic landscapes to Of Mice and Men (1939) and The Red Pony (1948). Like Copland’s Western ballets, this music influenced the tough and spacious soundworlds of Hollywood Westerns to come. For Sam Wood’s film version of Thornton Wilder’s Our Town, he bent his simplicities of tune and texture toward a homespun warmth. For The Heiress (1948), William Wyler’s adaptation of Henry James’s Washington Square, he furnished a scathing and unsentimental score–whose integrity was violated by maudlin interpolations by another hand. Ultimately, Copland was too dissident for Hollywood, both aesthetically and politically. Meanwhile, for the concert stage, he produced wartime patriotic fare as wholesome as the Piano Variations and Piano Sonata had been lean: Lincoln Portrait, Fanfare for the Common Man, and– incorporating the latter–the Third Symphony. The “populist” Copland–especially Billy the Kid, Rodeo, Appalachian Spring, Lincoln Portrait, and also El Salon Mexico (1936), with its dissection and colorful recombination of dance hall tunes–achieved an enduring popularity among American classical music listeners. The Copland sound–its clean modern lines and tasty colloquial decorations–became an indelible American sound. Meanwhile, Copland supported new American music in ways other than composing it. In France, he had experienced what it felt like when composers rallied together and intellectuals made common cause; he had experienced a world of high culture integral to the culture at large. He wanted something similar for America. He quickly emerged as a spokesman for the American composers of his generation. His public persona was equable, affirmative, and civilized, yet capable of firmness. He inspired trust. He still does. This essay is adapted from Joseph Horowitz’s “Classical Music in America: A History” (2005).


THE COPLAND FESTIVAL Erick Hawkins in the first production of Appalachian Spring, 1944. In the background, left to right: the four Followers, Martha Graham, May O’Donnell. (Music Division, Library of Congress)

AN EXPLORATION OF THE AARON COPLAND FESTIVAL Brevard Music Center, Summer 2019 JULY

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CHAMBER MUSIC OF AARON COPLAND BMC opens its 2019 Copland Festival with a selection of Aaron Copland’s small but powerful chamber music output, including the Duo for Flute and Piano, the Piano Quartet, and more. See pages 68-69 for details.

COPLAND AND MEXICO Cultural historian Joseph Horowitz curates a program focusing on the relationship between Aaron Copland and the dynamic Mexican composer Silvestre Revueltas. A screening of the emotionally searing film Redes is accompanied by a live performance of the original Revueltas score. See pages 78-79 for details.

COPLAND AND THE COLD WAR

JULY

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A COPLAND CELEBRATION Artistic Director Keith Lockhart celebrates Aaron Copland with three of his best-known works for orchestra–Appalachian Spring, the Third Symphony, and the Clarinet Concerto featuring BMC artist faculty member Steve Cohen. See pages 86-87 for details.

COPLAND’S AMERICA We close our Copland Festival as we welcome back Joseph Horowitz to present a program juxtaposing two powerful American landscapes–the Western expanse and the city. Through his music Copland is able to clearly evoke both urban energy and prairie grandeur, as he breathes life into the great metropolis and the grizzled cowboy. See pages 90-91 for details.

Aaron Copland’s life spanned nearly the entire 20th century–he experienced it all. Here we examine Copland’s musical and social responses to the political landscape facing America’s artists in the period following WWII. See pages 83-84 for details.

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2019 Summer Institute & Festival

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Makes a Perfect Pairing

828.883.2101 30 South Broad Street, Brevard

Boutique Wines • Beers • Cigars • Gifts

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www.BroadStreetWines.com


2019 Summer Institute & Festival

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2019 MONDAY

TUESDAY

WEDNESDAY

JUNE 24

JUNE 25

JUNE 26

THURSDAY

FRIDAY

SATURDAY

SUNDAY

JUNE 20

JUNE 21

JUNE 22

JUNE 23

Opera’s Greatest Hits

Opening Night: All Tchaikovsky

BMC Presents: The Temptations & The Four Tops

Church Windows

7:30pm PC

7:30pm WPA

7:30pm WPA

3:00pm WPA

JUNE 27

JUNE 28

JUNE 29

JUNE 30

Susannah

Student Piano Recital Mozart Piano Quartet No. 2

BMC Presents: Michael Feinstein

Brahms F Minor Piano Quintet

Susannah

Shostakovich 11

Elgar Cello Concerto

Jan and Beattie Wood Concerto Competition Finals

7:30pm IA

7:30pm WPA

7:30pm IA

7:30pm PC

7:30pm WPA

7:30pm WPA

7:00pm WPA

JULY 1

JULY 2

JULY 3

JULY 4

JULY 5

JULY 6

JULY 7

2:00pm PC

12:30pm SH*

Student Piano Recital

C

12:30pm SH*

The Shanghai Quartet

WQXR Young Artists Showcase

7:30pm PC

JULY 8

Program of Song 4:30pm SH*

The Shanghai Quartet

Pendergrast Family Patriotic Pops

Beethoven “Emperor” Concerto

Dvořák Symphony No. 5

Saint-Saëns Organ Symphony

7:30pm PC

7:30pm PC

2:00pm WPA

7:30pm WPA

7:30pm WPA

3:00pm WPA

JULY 9

JULY 10

JULY 11

JULY 13

JULY 14

Student Piano Recital 12:30pm SH*

Student Classical Guitar Recital

BMC @ TCL 12:30pm TCL*

JULY 12

New Music

12:30pm SH*

Just Brass

Tchaikovsky Souvenir de Florence

Roméo et Juliette

7:30pm IA

7:30pm WPA

7:30pm WPA

7:30pm PC

JULY 15

JULY 16

JULY 17

JULY 18

C

12:30pm SH*

Roméo et Juliette

Piccolo Opera

2:00pm PC

Mendelssohn “Italian” Symphony

Copland and Mexico

4:30pm SA*

Chamber Music of Aaron Copland

C

C

7:30pm WPA

7:30pm WPA

JULY 19

JULY 20

C

JULY 21

Student Piano Recital

BMC @ TCL 12:30pm TCL*

Carnival of the Animals

BMC Presents: Harpeth Rising

Copland and the Cold War

Brevard Symphonic Winds

A Copland Celebration

Raiders of the Lost Ark in Concert

Copland’s America

7:30pm PC

7:30pm PC

7:30pm PC

7:30pm SA

7:30pm WPA

8:30pm WPA

3:00pm WPA

JULY 22

JULY 23

JULY 24

JULY 25

JULY 26

JULY 27

JULY 28

Die Fledermaus

Soloists of Tomorrow

12:30pm SH

BMC @ TCL 12:30pm TCL*

New Music 12:30pm SH*

Student Piano Recital

Program of Song

12:30pm SH*

Mendelssohn Piano Trio No. 1

U.S. Army Brass Quintet

Schumann Piano Quartet

Die Fledermaus

7:30pm IA

7:30pm SA*

7:30pm IA

JULY 29

JULY 30

JULY 31

BMC @ TCL

Student Piano Recital

12:30pm TCL*

The Soldier’s Tale

BMC Piano Competition Finals

Serenade forStrings

7:30pm PC

7:00pm PC

7:30pm PC

BOX OFFICE Phone: (828) 862-2105 Web: brevardmusic.org Email: boxoffice@brevardmusic.org

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

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12:30pm SH* Dvořák

3:00pm WPA

Supersonic Percussion

Brahms 4

7:30pm PC

7:30pm WPA

7:30pm WPA

7:30pm WPA

AUGUST 1

AUGUST 2

AUGUST 3

AUGUST 4

Firebird

Season Finale: Mahler 2

7:30pm WPA

3:00pm WPA

Student Classical Guitar Recital

Piccolo Opera

Broadway in Brevard

Rachmaninoff Symphony No. 2

12:30pm SH* 7:30pm PC

Downtown Brevard TCL Transylvania County Library

C = Copland Festival

2:00pm PC

Debussy and Ravel

Brevard College Campus IA Ingram Auditorium PC Porter Center

*Free Event

4:30pm SH*

New Music

12:30pm SH* 4:30pm SA* 7:30 WPA

PRE/POST SEASON SPECIAL PERFORMANCES • • • • •

An Evening of Classical Guitar - June 6 An Evening with Jazz Legend David Sanborn - June 7 Jazz @ Brevard - June 13 Lyle Lovett and His Large Band - August 8 Béla Fleck’s Blue Ridge Banjo Concert - August 17

Artists, programs, and prices are subject to change.


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 concluding with a performance of Stravinsky’s exciting Firebird Suite with Maestro Ken Lam. Brevard Concert Orchestra The Brevard Concert Orchestra features Brevard Music Center’s talented high school students. The BCO will present three concerts this season, including a performance of Rachmaninoff’s Second Symphony with Maestro Lockhart on August 2. 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 three concerts over 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, 2019).

VIOLIN Nathan Cole*++ David Coucheron*++ Juliette Kang*++ Jan Mráček*++ Charles Mutter*++ Dr. and Mrs. William J. Pendergrast Concertmaster Chair Benjamin Sung*+ Caroline Chin* Jay Christy* Karen Strittmatter Galvin* Margaret Karp* Jason Posnock* Tina Raimondi* Wendy Rawls* Corinne Stillwell* Byron Tauchi* Alem Ballard Anna Black Clara Brown Jorie Butler-Geyer Elliott Cihlar Lucy Collins Catherine Cook Monica Corliss Michael Eller Samuel Ferguson Jonathan Frelix Erin Gardiner Preston Griffith Morgen Heissenbuettel Madelynn Huff Christopher Jasiewicz Ashtin Johnson Ian Jones Madison Jones Clara Kachanes Lindsay Keck Nathaniel Kim Kristine Ka Wai Kwok Alexa Lang Darrian Lee Kana Luzmoor Catherine MacGregor Emmeline MacMillan Michael Mawle Tekla Mendez Madeline Miller Allison Parks Thomas Roggio

Miranda Rojas Leah Rosales Eva Shvartcer Olivia Skaja Helen Smit Edward Steinbaum Natalie Sterba Katherine Taylor Shannon Taylor Joseph Tornquist Rebecca Tozzie Lauren Williams VIOLA Scott Rawls*+ Erika Eckert* Jennifer Snyder Kozoroz* Maggie Snyder* Juliet White-Smith* Gia Angelo Armando Atanda Ariana Blevins Kara Charles Sahng-Wan Choi Jaden Frye Evan Guttormson Amanda Hamilton Wesley Hamilton Brittany Hoff Jordan Holloway Joy Hsieh Bryan Johnson Brooke Mickelson Ashley Overby Lucy Prichard Hunter Sanchez Nathaniel Sattler Benjamin Silberman Savannah York CELLO Jonathan Spitz*+ Susannah Chapman* Benjamin Karp* Alistair MacRae* Brian Snow* Kathryn DeLaMare Nicole Holman Todd Humphrey Olivia Katz Hannah MacLeod Cameron MacMillan

Daniel Oliver Sophie Paul Kiri Pitts Russell Rivas Pono Santos Russell Scaife Anthony Schnell Arabella Schwerin Amelia Smerz Sophie Stubbs Eliott Wells Michael Zieglar Paul Zmick DOUBLE BASS Craig Brown*+ Walter Linwood Pendergrast Double Bass Chair Kevin Casseday* George Speed* Taiga Benito Nicholas Burton Peter Casseday Eleanor Dunlap Nathan Graham Ian Grems John Hunter Peter Kim Nicole Mann James McMillan Jonathon Piccolo Noah Steele David Weiss FLUTE Amy Porter*+ Martha Pendergrast Coursey Flute Chair Dilshad Posnock* Natalie Gregg Katherine Grischow David Jimenez Kaitlin Jones Emily Nazario Aaron Rib Samantha Tartamella

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PERFORMANCE SCHEDULE / ENSEMBLES

ENSEMBLES


BMCO Roster Continued OBOE Eric Ohlsson*+ Emily Brebach* Izumi Amemiya Brittany Bonner Cheyanna Duran Mengying Han Trevor Mansell Jacob Shapiro Nathaniel Wolff CLARINET Steve Cohen*+ Jonathan Cohen* Daniel Gilbert* John Antisz Jackson Brown Ivan Ferguson Taylor Overholt Carly Siegel Kenton Venskus Samantha Winkler BASSOON William Ludwig*+ Sue Barber* Rick Barrantes Georgia Clement Ryan Goodwin Emma Kirby John Robken Harrison Storm Madeleine Tung

SAXOPHONE Joseph Lulloff*+ Henning Schrรถder*+ Blake Adams Matthew Dardick Tae Ho Hwang Michael Kralick Jacob Mahran Leo Schlaifer FRENCH HORN Elizabeth Freimuth*+ Stefan de Leval Jezierski*+ Jeff Garza*+ Hazel Dean Davis* Robert Rydel* Abigail Davidson Kiersten Gustafson Liam Hanna Rachelle Huffman Brianne Ihasz Daniel Infranco Thomas Ossi Sarah Palmer Eden Stargardt Fiona Stout TRUMPET Neal Berntsen*+ Robert Sullivan*+ Joe R. Utley Trumpet Chair Mark Schubert* Michael Chen

Charles Gately John Johnson Justin Kohan David Peebles

Zunhao He Jacob Hord James Leonard Yonatan Rozin

TROMBONE David Jackson*+ Matthew Ethier Melissa Hagstedt Justin Stobart

HARP Allegra Lilly*+ Michelle Gott*+ Benjamin Albertson Jenna Allen

BASS TROMBONE Dan Satterwhite*+ Christopher Colby

KEYBOARD Jihye Chang*+ Michael Chertock*+ Deloise Lima *+ Chen-Fang Hsu Faith Ellen Lam Skyler Miller Thomas Ryskamp Zixiao Ye

TUBA Aubrey Foard*+ Derek Fenstermacher*+ Bethany Wiese*+ Chris Torrisi Evan Zegiel TIMPANI Charles Ross*+ William Jefferson Pendergrast, Jr. Percussion Chair

++Concertmaster +Principal *Artist Faculty

PERCUSSION Gwendolyn Dease *+ David Fishlock*+ David Dong Michael Giunta

BREVARD SINFONIA

The following student ensemble list is alphabetical and accurate as of May 15, 2019. The personnel for each concert vary depending on the requirements of the repertoire. VIOLIN Alem Ballard Anna Black Clara Brown Jorie Butler-Geyer Elliott Cihlar Lucy Collins Catherine Cook Monica Corliss Michael Eller Samuel Ferguson Jonathan Frelix Erin Gardiner Preston Griffith Morgen Heissenbuettel Madelynn Huff Christopher Jasiewicz Ashtin Johnson Ian Jones Madison Jones

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Clara Kachanes Lindsay Keck Nathaniel Kim Kristine Ka Wai Kwok Alexa Lang Darrian Lee Kana Luzmoor Catherine MacGregor Emmeline MacMillan Michael Mawle Tekla Mendez Madeline Miller Allison Parks Thomas Roggio Miranda Rojas Leah Rosales Eva Shvartcer Olivia Skaja Helen Smit Edward Steinbaum

Natalie Sterba Katherine Taylor Shannon Taylor Joseph Tornquist Rebecca Tozzie Lauren Williams VIOLA Gia Angelo Armando Atanda Ariana Blevins Kara Charles Sahng-Wan Choi Jaden Frye Evan Guttormson Amanda Hamilton Wesley Hamilton Brittany Hoff Jordan Holloway Joy Hsieh

Bryan Johnson Brooke Mickelson Ashley Overby Lucy Prichard Hunter Sanchez Nathaniel Sattler Benjamin Silberman Savannah York CELLO Kathryn DeLaMare Nicole Holman Todd Humphrey Olivia Katz Hannah MacLeod Cameron MacMillan Daniel Oliver Sophie Paul Kiri Pitts Russell Rivas


Pono Santos Russell Scaife Anthony Schnell Arabella Schwerin Amelia Smerz Sophie Stubbs Eliott Wells Michael Zieglar Paul Zmick DOUBLE BASS Taiga Benito Nicholas Burton Peter Casseday Eleanor Dunlap Nathan Graham Ian Grems John Hunter Peter Kim Nicole Mann James McMillan Jonathon Piccolo Noah Steele Noah Strevell David Weiss FLUTE Natalie Gregg Katherine Grischow David Jimenez

Kaitlin Jones Emily Nazario Aaron Rib Samantha Tartamella OBOE Izumi Amemiya Brittany Bonner Cheyanna Duran Mengying Han Trevor Mansell Jacob Shapiro Nathaniel Wolff

Harrison Storm Madeleine Tung

ENSEMBLES

Brevard Sinfonia Roster Continued TROMBONE Matthew Ethier Melissa Hagstedt Justin Stobart

SAXOPHONE Blake Adams Matthew Dardick Tae Ho Hwang Michael Kralick Jacob Mahran Leo Schlaifer

BASS TROMBONE Christopher Colby

CLARINET John Antisz Jackson Brown Ivan Ferguson Taylor Overholt Carly Siegel Kenton Venskus Samantha Winkler

FRENCH HORN Abigail Davidson Kiersten Gustafson Liam Hanna Rachelle Huffman Brianne Ihasz Daniel Infranco Thomas Ossi Sarah Palmer Eden Stargardt Fiona Stout

BASSOON Rick Barrantes Georgia Clement Ryan Goodwin Emma Kirby John Robken

TRUMPET Michael Chen Charles Gately John Johnson Justin Kohan David Peebles

TUBA Chris Torrisi Evan Zegiel TIMPANI & PERCUSSION David Dong Michael Giunta Zunhao He Jacob Hord James Leonard Yonatan Rozin HARP Benjamin Albertson Jenna Allen KEYBOARD Chen-Fang Hsu Faith Ellen Lam Skyler Miller Thomas Ryskamp Zixiao Ye

BREVARD CONCERT ORCHESTRA/BREVARD SYMPHONIC WINDS

The following student ensemble list is alphabetical and accurate as of May 15, 2019. The personnel for each concert vary depending on the requirements of the repertoire. VIOLIN Noah Arcenas Ian Babler-Madrid Alaina Barnett Elisabeth Bloom Caroline Cornell Glen Dizon Claudia Dorian Josianne Eteme Elias Fredericks Laura Harrington Emma Harrison Victoria Hemachandra Martha-Grace Jackson Gabriel Jallo Hyejun Kang Olena Kaspersky Daniel Lee Sarah Lee Anastasia Letkemann Roland Mason Keenan Peet Delaney Rayens

Blake Richardson Avery Riel Olivia Velanova Hope Welsh George Willis Ava Wipff Kathryn Wyly VIOLA Sophia Aiello Madeline Bohler Adam Brotnitsky Skyler Bugg Ailani Frasier Madeline Guyer Syon Lee Hanna Manning Luvyana Marquez Jeffrey Mcarthur Joshua Singletary

CELLO Ethan Clay Ilana Hilley Hailey Kang Elizabeth Mathiesen Christopher Mattingly Lindsay McKenna Joshua Myers Rafael Rock Caleb Singletary Pakin Tantasook Michael Tynes Jonathan Walton Carlton Williams DOUBLE BASS Jacob Cherry Joseph Escobar Aiden Johnson Lucas Kornegay Jacob Meazle Chase Rowe Elizabeth Young

FLUTE Sophia Brinkman Yuxin Dong Hyungjoo Han Jiwon Jung Rachel Lee Cheryl Zhang OBOE Robert Burleson Maxwell Canipe Olivia Oakland Ojochilemi Okoka Amanda Rearden Peyton Redmyer

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Brevard Concert Orchestra / Brevard Symphonic Winds Roster Continued CLARINET Lucas Alexander Simon Bakos Iris Brenowitz Alexandria Carrillo Samantha Kopec Teng Tu BASSOON Nathan Bond Isibeal Measells Luke Pancoast Chloe Robbins Brody Sanner Zachary VonCannon

Matthew Dardick Tae Ho Hwang Michael Kralick Jacob Mahran Leo Schlaifer FRENCH HORN George Andrews Jasmine Chen Garrett Harrison Riley Martinez Aiden McCoy Theresa Reagan Peter Sarsfield Kurt Steelman Jacob Zemans-Ronthal

SAXOPHONE Blake Adams Spencer Cox

TRUMPET Taylor Hubbard David Ortiz Ethan Revere William Rich George Steffey Miles Hilger Von Unwerth TROMBONE Gavin Kelley William Mudgett Aron Tapalla BASS TROMBONE Ryan Carter TUBA Nathanael Seman Aysia Walton

TIMPANI AND PERCUSSION Judah Barak Adam Finkelstein Hannah Robins Julian Saint Denis Lucas Wall Sarah Whitaker HARP Sophie Kim KEYBOARD Chen-Fang Hsu Faith Ellen Lam Skyler Miller Thomas Ryskamp Zixiao Ye

JAZZ @ BREVARD

The following artist faculty and students comprise the Jazz@Brevard ensemble. Artist faculty are listed first, followed by students in alphabetical order. The roster of students is accurate as of May 15, 2019. ALTO SAXOPHONE Sharel Cassity* Gregory Tardy* Alexander Guillory Eric Law Tahj Mason Jasai Mckinney Emre Tekmen Matthew Wall Ernest Wang Jason Zhu TENOR SAXOPHONE Kyle Bramson Joseph Dowdy Joseph Foglia Derek Janoff Adam Lord Jacob Newsome Shota Renwick Ruben Romeo Jonah Sutinen Aaron West Aaron Yu

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TRUMPET Brandon Lee* Anthony Stanco* Sam Butler Ben Carroll Andrew Esch Zachary Finnegan Eric Gonzales Robert McCormac Ethan Spevere Paul Stancampiano Luca Stine Dylan Vessel TROMBONE Michael Dease* Director Gina Benalcazar* Michael Abbo Matt De Leon Mike DeSousa Christian Fematt Joshua Guenther Jon-Grayson Kerr Hugh Lindsay Samuel Macaraeg Kevin Martinez Pablo Muller Andrew Peal Jesus Portillo Jr.

Jackson Spellman Adam Thomas Jack Timmins BASS Marlene Rosenberg* Ben Chase Marian Mallard Clayton Moore Fernando Rodriquez VOCALS Lenora Helm* Ariel Pocock* Jawan Davidson Stephanie Fisher Emma Gonzales Sean Smith GUITAR Randy Napoleon* Joshua Achiron Zakaria Antifit Keelan Bozman Karleigh Dills Anthony Oro Andrew Schrader Robert Zea

PIANO/ORGAN Jim Alfredson* Luther Alison* Jalen Baker Luca Colonna Margherita Fava Ingrid Forsyth Jonah Trudeau DRUMS Gwendolyn Dease* Associate Director Ulysses Owens, Jr.* Jeff Sipe* Joseph Dattilo Griffin Edwards Maxwell Filipiak Harrison Gesser Gabriel Glover Rashaad Greene William Gu Travis Hunter Olivia Jones Lee Kolarik Tyler Monroe Walker Whitley


PRE-SEASON AT BMC

AN EVENING OF CLASSICAL GUITAR

Thursday, June 6 at 7:30 PM Porter Center at Brevard College Classical guitarist Adam Holzman takes center stage alongside the lyrical playing and remarkable technique of Steve Kostelnik and Andrew Zohn, two of the finest guitarists of their generation.

- B R EVAR D JAZ Z @

SO

LD

AN EVENING WITH JAZZ LEGEND DAVID SANBORN

OU

T

Friday, June 7 at 7:30 PM Porter Center at Brevard College

In his six-decade career, saxophonist David Sanborn has won six GRAMMY Awards and collaborated with James Taylor, David Bowie, The Rolling Stones, Paul Simon, Stevie Wonder and other iconic artists.

JAZZ @ BREVARD

Thursday, June 13 at 7:30 PM Porter Center at Brevard College Swing to the jazz sounds of BMC’s all-star faculty and students in an evening to celebrate the culmination of Brevard’s Jazz Institute.

Michael Dease, director

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JUNE

20

THURSDAY JUNE 20, 7:30PM OPERA

PORTER CENTER AT BREVARD COLLEGE

ABOUT THE CONDUCTOR MICHAEL SAKIR, conductor Michael Sakir serves as Music Director of Opera Memphis and Principal Guest Conductor of the Opera Company of Middlebury. Recent guest conducting engagements include Des Moines Metro Opera, Shreveport Opera, Eugene Opera, Opera Orlando, Intermountain Opera Bozeman, Northwestern University, American Opera Projects, Opera in the Ozarks, and Opera North. (see page 136 for complete biography)

TONIGHT’S PROGRAM

OPERA’S GREATEST HITS Janiec Opera Company of the Brevard Music Center Brevard Festival Orchestra Michael Sakir, conductor

STRAUSS, JR (1825-1899) “What a joy to be here!” - Act II Chorus, Die Fledermaus PUCCINI (1858-1924) “Si può? Chi è la?” - Act I Quintet, La bohème Rodolfo: Achilles Leonidas Bezanis Marcello: Matthew Huckaba Schaunard: Joseph O’Shea Colline: Errol Shaw Benoit: Craig Smith “Addio dolce svegliare alla mattina!” - Act III Quartet, La bohème Mimi: Emily Margevich Musetta: Anja Pustaver Rodolfo: Ian DeSmit Marcello: Derek Stull VERDI (1813-1901) “Non m’inganno” - Act I Trio, Il trovatore Leonora: Tori Franklin Manrico: Ethan Garner Count di Luna: Robert Fridlender MOZART (1756-1791) “Alla bella Despinetta” - Act II Sextet, Così fan tutte Fiordiligi: Emily Margevich Dorabella: Hannah Carroll Despina: Anja Pustaver Ferrando: Marcus Jefferson Guglielmo: Matthew Huckaba Alfonso: Samuel Rachmuth BIZET (1838-1875) “O fond du temple saint” - Act I Duet, Les pêcheurs de perles Nadir: Victor Knight DiNitto Zurga: Joseph Sandler

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GOUNOD (1818-1893) “Alerte! Alerte!” - Act IV Trio, Faust Marguerite: Adina Triolo Faust: Ethan Garner Mephisto: Andrew Boisvert

PUCCINI “Io so che alle sue pene” - Act III Trio, Madama Butterfly Suzuki: Maggie Elisabeth Smith Pinkerton: Ethan Garner Sharpless: Matthew Huckaba

OFFENBACH (1819-1880) “Hélas! Mon coeur s’égare encore” - Act II Sextet, Les contes d’Hoffmann Hoffmann: Ian DeSmit Giulietta: Nicole Rizzo Nicklausse: Leah Rivka Israel Dapertutto: Ari Bell Schlemil: Joseph O’Shea Pitichinaccio: Gregory Sliskovich Chorus

OFFENBACH “Ta mère” - Act III Trio, Les contes d’Hoffmann Antonia: Andrea Tulipana Mother: Dominique Santiago Miracle: Errol Shaw

-INTERMISSIONVERDI “Un dì, se ben rammentomi” - Act IV Quartet, Rigoletto Gilda: Vivian Yau Maddalena: Jaime Sharp Duke: Victor Knight DiNitto Rigoletto: Robert Fridlender MOZART “Der Arme kann von Strafe sagen” - Act I Quintet, Die Zauberflöte Tamino: Marcus Jefferson Papageno: Joseph Sandler 1st Lady: Tori Franklin 2nd Lady: Jaime Sharp 3rd Lady: Leah Rivka Israel

OPERA

“Riconosci in questo amplesso” - Act III Sextet, Le nozze di Figaro Susanna: Megan Maloney Marcellina: Dominique Santiago Figaro: Craig Smith Count: Derek Stull Bartolo: Ari Bell Curzio: Gregory Sliskovich

JUNE 20

ROSSINI (1792-1868) “Don Basilio! Cosa veggo!” - Act II Quintet, Il Barbiere di Siviglia Rosina: Grace Reberg Almaviva: Marcus Jefferson Figaro: Matthew Huckaba Bartolo: Craig Smith Basilio: Samuel Rachmuth

DONIZETTI (1797-1848) “Tran, tran, tran” - Act I Trio, L’elisir d’amore Adina: Alea Vernon Nemorino: Gregory Sliskovich Belcore: Joseph O’Shea DELIBES (1836-1891) “Viens, Mallika” - Act I Duet, Lakmé Lakmé: Emma Marhefka Mallika: Grace Reberg DONIZETTI “Chi mi frena in tal momento?” - Act II Sextet, Lucia di Lammermoor Lucia: Alea Vernon Alisa: Leah Rivka Israel Edgardo: Achilles Leonidas Bezanis Arturo: Gregory Sliskovich Enrico: Robert Fridlender Raimondo: Andrew Boisvert Chorus

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JUNE

21

FRIDAY JUNE 21, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

OPENING NIGHT: ALL TCHAIKOVSKY Brevard Music Center Orchestra JoAnn Falletta, conductor Chee-Yun, violin TCHAIKOVSKY (1840-1893) Selections from Swan Lake Scène Valse

TCHAIKOVSKY Violin Concerto in D major, Op. 35 Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo Chee-Yun, violin

-INTERMISSIONTCHAIKOVSKY Symphony No. 5 in E minor, Op. 64 Andante. Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso. Allegro vivace MADE POSSIBLE BY: Loyal Friends of Brevard Music Center, Sustaining Sponsor Sustaining Sponsor

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ABOUT THE ARTISTS JOANN FALLETTA, conductor BMC Principal Guest Conductor Grammy-winning conductor JoAnn Falletta serves as Music Director of the Buffalo Philharmonic and Virginia Symphony Orchestras and is Principal Guest Conductor of the Brevard Music Center. Hailed for 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”, she is a leading force for the music of our time. Ms. Falletta has conducted over a hundred orchestras in North America, and many prominent orchestras in Europe, Asia, South America, and Africa. In 2019-20 she will guest conduct orchestras in Ireland, Sweden, Germany, and across the U.S. Upon her appointment as Music Director of the Buffalo Philharmonic, Falletta became the first woman to lead a major American ensemble. She has since been credited with bringing the Philharmonic to a new level of national and international prominence. Under her direction, the orchestra has become one of the leading recording orchestras for Naxos, been honored with numerous ASCAP awards, including the top award for Adventurous Programming, and made four tours of Florida, their first international tour in 30 years, and two appearances at Carnegie Hall. With a discography of over 115 titles, JoAnn is a leading recording artist for Naxos. In 2019, JoAnn won her first individual Grammy Award in the category of Best Classical Compendium for Spiritualist, her fifth world premiere recording of music of Kenneth Fuchs and the London Symphony. Her Naxos recording of John Corigliano’s Mr. Tambourine Man: Seven Poems of Bob Dylan received two Grammys in 2008. Falletta’s other recent releases on Naxos include music of Respighi, Wagner and Kodaly, each with the BPO, and Franz Schreker with the Berlin Radio Symphony Orchestra. In the past year, the BPO also released Built for Buffalo 2 featuring three world premieres and Treasures of Poland, and the VSO released a world premiere recording of Michael Daugherty’s Night Owl. Falletta is a member of the esteemed American Academy of Arts and Sciences, has served as a Member of the National Council on the Arts and is the recipient of many of the most prestigious conducting awards. She has introduced over 500 works by American composers, including well over 100 world premieres. In March 2019, JoAnn was named Performance Today’s 2019 Classical Woman of The Year. 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 and The Women’s Philharmonic. She received her undergraduate degree from the Mannes School of Music, and her master’s and doctorate degrees from The Juilliard School.

CHEE-YUN, violin Violinist Chee-Yun’s flawless technique, dazzling tone, and compelling artistry have enraptured audiences on five continents. Charming, charismatic, and deeply passionate about her art, Chee-Yun continues to carve a unique place for herself in the ever-evolving world of classical music. Winner of the Young Concert Artists International Auditions and a recipient of the Avery Fisher Career Grant, Chee-Yun has performed with many of the world’s foremost orchestras and conductors.


Her most recent recording, Serenata Notturno, released by Decca/Korea, is an album of light classics that went platinum within six months of its release. In addition to her active performance and recording schedule, Chee-Yun is a dedicated and enthusiastic educator. Her past faculty positions have included serving as the resident Starling Soloist and Adjunct Professor of Violin at the University of Cincinnati CollegeConservatory of Music and as Visiting Professor of Music (Violin) at the Indiana University School of Music. From 2007 to 2017, she served as Artist-in-Residence and Professor of Violin at Southern Methodist University in Dallas. Chee-Yun plays a violin made by Francesco Ruggieri in 1669. It is rumored to have been buried with a previous owner for 200 years and has been profiled by the Washington Post.

ABOUT THE MUSIC PYOTR IL’YCH TCHAIKOVSKY (1840-1893) Selections from Swan Lake – Scène and Valse Tchaikovsky’s star was on the rise when he was asked to compose music for a ballet—something normally reserved for specialists rather than “common composers.” The score was eagerly awaited, and expectations were high. Yet, the premiere and subsequent performances during the composer’s lifetime disappointed. Swan Lake failed for a variety of reasons. Neither dancers nor choreographers were prepared to handle Tchaikovsky’s dramatic score that eventually helped revolutionize the ballet. And the story itself left most audiences cool. Fortunately, the seeming failure of Swan Lake did not detract Tchaikovsky from composing Sleeping Beauty and The Nutcracker. Not until after the composer’s death was Swan Lake recognized as one of the great ballet scores. The commission asked for “a fantastic subject from knightly times.” Presumably, he remembered his own “home production” of Swan Lake in 1871 at his sister’s estate, composed and staged for his sister’s children, his brother Modest, and two wooden toy swans. In this fairy-tale, Prince Siegfried falls in love with a princess who had been turnedinto a swan by an evil sorcerer. While their true love eventually is able to break the spell, the story ends in tragedy. Tonight’s selection showcases the ballet’s unforgettable tunes, rhythmic vitality, and colorful orchestration that made it one of the greatest ballet scores of the 19th century. TCHAIKOVSKY Violin Concerto in D major, Op. 35 “The violin is no longer played; it is tugged about, torn, beaten black and blue.” These were music critic Eduard Hanslick’s words in response to the work’s premiere. If initial hostile reactions to masterworks were in inverse relationship to a

With only a chamber orchestra as the backdrop, the violin is front-and-center throughout the whole work. The first movement, after tossing aside its opening theme, presents two lyrical themes, which are developed both soloistically and by parts of the orchestra in a chamber-like fashion. Orchestral outbursts create a sense of drama. The second movement might be one of Tchaikovsky’s most inspired compositions. He literally completed the Canzonetta (Little Song) in one day, replacing the original second movement, which the composer found “too slight.” As the songful second movement explodes into the closing rondo movement, Tchaikovsky turns the soloist loose with virtuosic fireworks that abound with Russian tunes and a fiddler’s abandon. TCHAIKOVSKY Symphony No. 5 in E minor, Op. 64 This symphony poses a dilemma: Tchaikovsky did not offer any kind of program. In fact, he made sure that there would be no utterances of anything programmatic. After providing a detailed program for the fourth symphony and writing an overtly programmatic work with his Manfred Symphony, Tchaikovsky wanted to offer a work of absolute music. Of course, musicologists can never take no for an answer, and after some digging, they found Tchaikovsky’s enigmatic notes about his Fifth Symphony: Intr[oduction]. Complete resignation before Fate—or, what is the same thing, the inscrutable designs of Providence. Allegro. 1. Murmurs of doubt, laments, reproaches against . . . XXX. 2. Shall I cast myself in the embraces of faith??? A wonderful program, if only it can be carried out. Since we don’t know what the XXX stands for, we naturally like to speculate—is he referring to homosexuality, gambling addiction, or [insert any biographical clues]? The problem is, we are still left hanging, desperately wanting to solve the puzzle of this symphony. In the process, we overlook the freshness and richness of this absolutely riveting work. Maybe we should take our cue from Brahms who made a special effort to hear the work in Hamburg—shortly after its Russian premiere. Over lunch the next day the two composers discussed the piece—and there is no mention of Brahms wanting to know the secret key to the work. It is actually very easy to follow the narrative of this symphony. Tchaikovsky is known for his great melodies, and so it comes as no surprise that he uses a motto theme (introduced at the beginning by the clarinet in E minor) to not only unify the work but to transform it in each movement according to the changing events—until it finally appears in radiant E major at the end of the last movement, ushering a joyous ending. - Siegwart Reichwald

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composer’s genius, Tchaikovsky would be the Einstein of classical music. For both his First Piano Concerto and Violin Concerto the composer had to endure unspeakable abuse. While Tchaikovsky defiantly reacted to his friend Anton Rubinstein’s rambling against the Piano Concerto, the absurdly negative reactions to the Violin Concerto both by the initial dedicatee, violinist Leopold Auer, and the audience at the premiere hit the composer hard. In fact, it is said that Tchaikovsky could recite Hanslick’s rant for the rest of his life. At the heart of the criticism was not only the seemingly unplayable, coarse solo part but also the populist Russian flair of the whole work. Of course, these two elements are what have made this work one of the most highly regarded concertos ever composed.

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She has appeared with the San Francisco, Toronto, Pittsburgh, Dallas, Atlanta, and National symphony orchestras, as well as with the Saint Paul and Los Angeles Chamber Orchestras. As a recitalist, Chee-Yun has performed in many major U.S. cities, including New York, Chicago, Washington, Los Angeles, San Francisco, and Atlanta. In 2016, Chee-Yun performed as a guest artist for the Secretary General at the United Nations in celebration of Korea’s National Foundation Day and the 25th anniversary of South Korea joining the UN. In 1993, Chee-Yun performed at the White House for President Bill Clinton and guests at an event honoring recipients of the National Medal of the Arts.


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SATURDAY JUNE 22, 7:30PM BMC PRESENTS

WHITTINGTON-PFOHL AUDITORIUM

BMC PRESENTS: THE TEMPTATIONS AND THE FOUR TOPS

THE TEMPTATIONS

THE TEMPTATIONS For more than fifty years, The Temptations have prospered, propelling popular music with a series of smash hits, and sold-out performances throughout the world. The history of The Temptations is the history of contemporary American pop. An essential component of the original Motown machine, that amazing engine invented by Berry Gordy, The Temps began their musical life in Detroit in the early sixties. It wasn’t until 1964 however, that the Smokey Robinson written-and-produced “The Way You Do the things You Do” turned them into stars. An avalanche of hits followed, many of which…“My Girl,” for instance…attained immortality. “It’s Growing,” “Since I Lost My Baby;,” “Get Ready,” “Ain’t Too Proud to Beg,” “Beauty Is only Skin Deep,” “I Wish It Would Rain”…the hits kept coming. The classic lineup was Otis Williams, Melvin Franklin, Paul Williams, Eddie Kendricks and David Ruffin. Beyond the fabulous singing, The Temps became known for smooth stepping and flawless presentations. The Temptations Walk became a staple of American style. Flair, flash and class. Millions of fans saw their Temptations as cultural heroes. When the sixties and seventies turned political, The Temps got serious. They changed their tone, dress and music. Producer Norman Whitfield led the way. His Temptations hits, many featuring Dennis Edwards who had replaced David Ruffin, burned with intensity. “Runaway Child” “Cloud Nine,” “I Can’t Get Next to You,” “Papa Was a Rolling Stone”, and “Psychedelic Shack” still smolder. Other stellar singers...Richard Street, Ali-Ollie Woodson, Theo Peoples…joined and adding their luster to the groups’ growing fame. No matter the change in personnel, The Temptations remained true to The Temptations tradition. They survived the whims of fashion, whether disco or techno, and stuck to their guns. The Temptations current lineup includes Otis Williams, Ron Tyson, Terry Weeks, Larry Braggs, and Willie Greene Jr.

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“The more we change,” says veteran Ron Tyson, “the more we stay true to ourselves. We’re about singing straight-up soul. It’s a style that will live on forever.”


BMC PRESENTS

JUNE 22 THE FOUR TOPS

THE FOUR TOPS The quartet, originally called the Four Aims, made their first single for Chess in 1956, and spent seven years on the road and in nightclubs, singing pop, blues, Broadway, but mostly jazz—four-part harmony jazz. When Motown’s Berry Gordy Jr. found out they had hustled a national “Tonight Show” appearance, he signed them without an audition to be the marquee act for the company’s Workshop Jazz label. That proved short-lived, and Stubbs’ powerhouse baritone lead and the exquisite harmonies of Fakir, Benson, and Payton started making one smash after another with the writing-producing trio Holland-Dozier-Holland. Their first Motown hit, “Baby I Need Your Loving” in 1964, made them stars and their sixties track record on the label is indispensable to any retrospective of the decade. Their songs, soulful and bittersweet, were across-the-board successes. “I Can’t Help Myself (Sugar Pie, Honey Bunch),” a no. 1 R&B and Pop smash in 1965, is one of Motown’s longest-running chart toppers; it was quickly followed by a longtime favorite, “It’s The Same Old Song” (no. 2 R&B/no. 5 pop). Their commercial peak was highlighted by a romantic trilogy: the

no. 1 “Reach Out I’ll Be There,” “Standing In The Shadows Of Love” (no. 2 R&B/no. 6 pop) and “Bernadette” (no. 3 R&B/no. 4 pop). The group was also extraordinarily popular in the U.K. In 1990, with 24 Top 40 pop hits to their credit, the Four Tops were inducted into the Rock & Roll Hall Of Fame. Though they would no longer have hits on record, the group continued to be a hit in concert, touring incessantly, a towering testament to the enduring legacy of the Motown Sound they helped shape and define. For Rolling Stone’s 2004 article “The Immortals – The Greatest Artists Of All Time,” Smokey Robinson remembered: “They were the best in my neighborhood in Detroit when I was growing up (and) the Four Tops will always be one of the biggest and the best groups ever. Their music is forever.”

The Temptations and Four Tops have not skimped on sonic firepower… The Motown legends put on a revue full of soul and spirit. – The Guardian

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SUNDAY JUNE 23, 3:00PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

CHURCH WINDOWS Brevard Sinfonia JoAnn Falletta, conductor Amy Porter, flute HINDEMITH (1895-1963) Symphonic Metamorphosis on Themes by Carl Maria von Weber

DAUGHERTY (1954-) Trail of Tears for Flute and Orchestra Where the Wind Blew Free Incantation Sun Dance Ms. Porter, flute

-INTERMISSIONRESPIGHI (1879-1936) Church Windows The Flight into Egypt St. Michael the Archangel The Matins of St. Clare St. Gregory the Great

ABOUT THE ARTISTS JOANN FALLETTA, conductor 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. She serves as Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra and Principal Guest Conductor of the Brevard Music Center. Ms. Falletta has guest conducted over a hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America and Africa. (see page 40 for complete biography)

AMY PORTER, flute Featured in the March 2018 edition of New on NAXOS for her recording of Michael Daugherty’s flute concerto Trail of Tears with the Albany Symphony Orchestra, flutist Amy Porter has been praised by critics for her exceptional musical talent and passion for scholarship. Formerly a member of the Atlanta Symphony Orchestra, Ms. Porter is Principal Flute of the Brevard Music Center, where she performs as soloist, chamber musician, and orchestral player. She has been a featured soloist with the American Composers Orchestra at Carnegie Hall’s Zankel Hall, and with the Atlanta, Houston, Omaha, Delaware, Albany, Flint, Billings, Battle Creek, Arkansas, and Elgin symphony orchestras. Highlights of her 2019-20 season include performances with the Indianapolis Chamber Orchestra and on tour with Florida orchestras in Vero Beach and Brevard. A champion of contemporary music, Ms. Porter has given premieres of works by Michael Daugherty, Ellen Taaffe Zwilich, Joel Puckett, Christopher Caliendo, Katherine Hoover, and Frank Ticheli, among others. As a member of Trio Virado with violist Juan-Miguel Hernandez and guitarist João Luiz, she recorded Mangabeira, a CD featuring works by Piazzolla, Brouwer, Hand, Assad, and Luiz. Her latest CD, Ballade, features the late works of Philippe Gaubert. Also newly released is THE GAUBERT CYCLE: The Complete Works for Flute and Piano by Philippe Gaubert, a DVD and movie download with guests Tim Carey and Penelope Fischer. The printed edition, Philippe Gaubert Treasures for Flute and Piano, is published by Carl Fischer. Ms. Porter is Professor of Flute at the University of Michigan, where in 2006 she became the first performing artist to be awarded the university’s Henry Russel Award for distinguished scholarship and conspicuous ability as a teacher. Born in Wilmington, Delaware, Ms. Porter graduated from The Juilliard School and pursued further studies at the Mozarteum Academy in Salzburg. She plays a 14K white gold flute with rose gold engraved keys made for her by the Wm. S. Haynes Co.

ABOUT THE MUSIC PAUL HINDEMITH (1897-1957) Symphonic Metamorphosis on Themes by Carl Maria von Weber Premiered on January 20, 1944 in New York under the direction of Artur Rodziński Weber’s themes are not the only thing that underwent a metamorphosis—as the title suggests. Indeed, one could argue that this composition is as much or more about Hindemith’s own metamorphosis

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Carl Maria von Weber (1786-1826) had been a catalyst of German Romanticism, influencing the next generation of German composers. Hindemith and his wife would play piano duets, including a collection of Weber’s music for four-hands. Hindemith initially was asked to arrange some of Weber’s music for ballet. He quickly discarded the idea, however, and began to conceptualize the work symphonically. Because Hindemith used pieces from his Weber collection, the pieces are somewhat random and obscure. For the first movement, Hindemith chose a tune from the fourth of Eight Pieces, Op. 60. The material for the second movement is derived from Weber’s incidental music to Schiller’s adaptation of Turandot, while the retains the substance of Weber’s Op. 10, No. 2 (Six Pieces for Two Pianos)—including the ABA structure. The last movement returns to the Opus 60 material of the first movement. Hindemith does a masterful job of incorporating Weber’s material seamlessly into this own style. At the same time, Hindemith wrote for the American orchestra sound with a strong emphasis on virtuosity, thereby completing his own metamorphosis into an “American” composer with a strong German accent. MICHAEL DAUGHERTY (1954-) Trail of Tears for Flute and Orchestra Premiered on March 26, 2010 in Omaha under the direction of Thomas Wilkins and with Amy Porter as soloist. Over the last 25 years, Michael Daugherty has become an important American voice in concert halls around the country and beyond. Winner of six GRAMMY awards, Daugherty has been hailed by The Times (London) as “a master icon maker” with a “Maverick imagination, fearless structural sense, and meticulous ear.” His diverse education includes studies with Pierre Boulez (Paris) and György Ligeti (Hamburg), and collaborations with jazz arranger Gil Evans. As a senior member of the composition department of the University of Michigan, Daugherty has helped shape the next generation of young American composers. Below are the composer’s notes for Trail of Tears: One of the tragedies of human history is the forced removal of peoples from their homeland for political, economic, racial, religious, or cultural reasons. In America, the forced removal of all Native Americans living east of the Mississippi River began with the passage of President Andrew Jackson’s Indian Removal Act of 1830. In 1838, 15,000 Cherokee men, women, and children were forcibly taken from their homes by the U.S. Army and placed in stockades and camps in Tennessee. From November 1838 to March 1839, the Cherokee, with scant clothing and many without shoes, were forced to make an 800-mile march for relocation in Oklahoma during the bitter cold of winter. Suffering from exposure, disease, and starvation, nearly 4,000 Cherokee died during the five-month march known as the “Trail of Tears.”

- Michael Daugherty OTTORINO RESPIGHI (1879-1936) Church Windows Premiered on February 27, 1927 in Boston under the direction of Serge Koussevitsky Respighi’s music is known for its descriptive powers and historicizing style. When the composer moved to Rome in 1913 to teach composition, the ancient city’s sights and sounds enthralled him. In response, Respighi wrote Fountains of Rome (1915), which is almost cinematic in nature, depicting some of Rome’s most popular attractions. Over the course of his career, the composer would publish two sequels, Pines of Rome (192324) and Roman Festivals (1928). Church Windows is a completely different type of program music. Unlike the Roman trilogy, in Church Windows the music was composed first and then the program was added. During the years 1919-1921, Respighi composed Three Preludes on Gregorian Melodies. In it the composer explores modal material to express a general mood of meditation. In 1925, he orchestrated these pieces and added a fourth movement. Unsure what to call these pieces, he asked his friend, the literature professor Claudio Guastalia for help. Here is what Guastalia heard in Respighi’s work: 1. The Flight into Egypt. The little caravan proceeds through the desert in a starry night, bearing the Treasure of the World. 2. St. Michael the Archangel. And a great battle was made in the heavens; Michael and his angels fought with the dragon and his angels. But these did not prevail, and there was no more place for them in Heaven. 3. The Matins of St. Clare. But Jesus Christ her bridegroom, not wishing to leave her thus disconsolate, had her miraculously transported by angels to the church of St. Francis, to be at the service of Matins. 4. St. Gregory the Great. Behold the Pontiff!...Bless the Lord... Sing the hymn to God. Alleluia! - Siegwart Reichwald

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My flute concerto is a musical journey into how the human spirit discovers ways to deal with upheaval, adversity and adapting to a new environment. The first two movements of the concerto are played without pause. The first movement reflects on meaningful memories of things past, inspired by a quotation from the Native American leader Geronimo (1829–1909): “I was born on the prairies where the wind blew free and there was nothing to break the light of the sun.” The end of the first movement becomes a death march, marked “Trail of Tears,” and concludes with a turbulent instrumental coda. The reflective second movement, entitled “incantation,” meditates on the passing of loved ones and the hope for a better life in the world beyond. The third and final movement, “sun dance,” evokes the most spectacular and important religious dance ceremony of the Plains Indians of 19th-century North America. Banned on Indian reservations for a century by the U.S. government, the dance is practiced again today. I have composed my own fiery musical dance to suggest how reconnecting with rituals of the past might create a path to a new and brighter future.

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from refugee to celebrated composer and teacher. As so many German musicians, Hindemith had become a persona non grata under the Nazi regime. Leaving behind a successful career wrecked by Nazi censorship, Hindemith arrived in the U.S. depressed and virtually unknown. His reluctant emigration and subsequent depression caused the composer and teacher to come to terms with his German past in order to find a future as a U.S. composer. The Symphonic Metamorphosis encapsulates his dramatic transformation.


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MONDAY JUNE 24, 7:30PM CHAMBER

INGRAM AUDITORIUM AT BREVARD COLLEGE

BMC ARTIST FACULTY: MOZART PIANO QUARTET NO. 2 RAVEL (1875-1937)

Introduction and Allegro Dilshad Posnock, flute Daniel Gilbert, clarinet Michelle Gott, harp Byron Tauchi, violin Margie Karp, violin Juliet White-Smith, viola Benjamin Karp, cello

FAURÉ (1845-1924)

Cello Sonata No. 2 in G minor, Op. 117 Allegro Andante Finale: Allegro vivo Alistair MacRae, cello Donna Lee, piano

-INTERMISSIONMOZART (1756-1791)

Piano Quartet No. 2 in E flat major, K. 493 Allegro Larghetto Allegretto Jay Christy, violin Maggie Snyder, viola Susannah Chapman, cello Craig Nies, piano 46 BrevardMusic.org

ABOUT THE MUSIC MAURICE RAVEL (1875-1937) Introduction and Allegro Premiered on February 22, 1907 in Paris by the chamber group Cercle Musical. It’s the battle of the harps! More precisely, the battle between the two preeminent French harp makers: Pleyel and Érard. Both companies were pushing their newly designed chromatic harps, which allowed the instrument to be able to accommodate the more complex musical language in turnof-the-century France. In 1904 Pleyel commissioned Debussy a work that would feature the amazing possibilities of their chromatic harp. His Danse sacré and danse profane was hugely successful, so Érard followed suit and asked Ravel for piece showcasing their newest invention. Unfortunately or fortunately, Ravel was set to go on an extended vacation in Germany, Holland, and Belgium on a yacht. Short on time before his dream vacation, the composer had “a week of continuous work and three sleepless nights.” Ravel’s “rushed” compositional process actually made for an inspired work, fresh and imaginative. It was the perfect answer to Debussy’s Danse sacré and danse profane. Having now truly earned his vacation, Ravel hurried to the harbor—only to see the sailboat take off without him. Even worse, Ravel had lost his score along the way. After moments of panic and frustration, Ravel’s score was found and returned to him, and a frazzled composer was able to meet up with the rest of the crew at the next harbor.

GABRIEL FAURÉ (1845-1924) Cello Sonata No. 2 in G minor, Op. 117 Premiered on May 13, 1922 at the Sociéte Nationale de Musique in Paris by cellist Gérard Hekking and pianist Alfred Cortot. In October 1920 Fauré retired from a long and tiring career as head of the Paris Conservatoire. Finally, he had all the time in the world to focus on composing. His newfound freedom was disturbed by a state commission for a ceremonial work, marking the 100th anniversary of the death of Napoleon. As is so often the case with occasional works, they are quickly forgotten. So Fauré decided to make the Elegy the central movement of his Second Cello Sonata, anchoring the neo-classically conceived three-movement work. The outer movements contrast the poignant Elegy with fleetfooted an opening movement and an exuberant finale. Fellow composer and music critic Vincent d’Indy congratulated Fauré on the first fruits of his retirement in letter, “I want to tell you that I’m still under the spell of your beautiful Cello Sonata.... The Andante is a masterpiece of sensitivity and expression, and I love the finale, so perky and delightful.... How lucky you are to stay young like that!”

WOLFGANG AMADEUS MOZART (1756-1791) Piano Quartet No. 2 in E flat major, K. 493 Chamber music was good business in the 1780s. The bestsellers were string quartets and piano trios. As the decade went on, the string quartets by Haydn and Mozart were quickly becoming less “popular” and more challenging—both technically and artistically—while the piano trios continued to make good money. Always looking for the next big thing, Mozart’s publisher Franz Anton Hoffmeister decided to try something new: a piano quartet. Hoffmeister contracted three piano quartets from Mozart in the hope to create a new market. Unfortunately for Hoffmeister, Mozart took the piano quartet in the direction of his string quartets rather than piano trios— music for the connoisseur. While Mozart was working on his second piano quartet (K. 493), the first one (K. 478) was collecting dust. So Hoffmeister made the shrewd decision to pull the plug—despite having already engraved the violin part. Mozart was released from his contract and published the work a couple of years later by Artaria. While it never became a bestseller, Hoffmeister and Mozart had “invented” a new genre that would find eager imitators in the nineteenth century by composers like Mendelssohn, Schumann, and Brahms—to name just a few.

- Siegwart Reichwald


TUESDAY JUNE 25, 7:30PM BMC PRESENTS

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BMC PRESENTS

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WHITTINGTON-PFOHL AUDITORIUM

CHAMBER

Brevard Festival Orchestra Ken Lam, conductor Michael Feinstein, special guest artist

MICHAEL FEINSTEIN

M

ichael Feinstein has built a dazzling career over the last three decades bringing the music of the Great American songbook to the world. From recordings that have earned him five Grammy Award nominations to his Emmy nominated PBS-TV specials, his acclaimed NPR series and concerts spanning the globe–in addition to his appearances at iconic venues such as The White House, Buckingham Palace, Hollywood Bowl, Carnegie Hall, and Sydney Opera House–his work as an educator and archivist define Feinstein as one of the most important musical forces of our time.

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BMC PRESENTS: MICHAEL FEINSTEIN

In 2007, he founded the Great American Songbook Foundation, dedicated to celebrating the art form and preserving it through educational programs, master classes, and the annual High School Songbook Academy. This summer intensive open to students from across the country has produced graduates who have gone on to record acclaimed albums and appear on television programs such as NBC’s “America’s Got Talent.” Michael serves on the Library of Congress’ National Recording Preservation Board, an organization dedicated to ensuring the survival, conservation and increased public availability of America’s sound recording heritage. His Emmy Award-nominated TV special Michael Feinstein–The Sinatra Legacy, which was taped live at the Palladium in Carmel, IN, aired across the country in 2011. The PBS series “Michael Feinstein’s American Songbook,” the recipient of the ASCAP Deems-Taylor Television Broadcast Award, was broadcast for three seasons and is available on DVD. His most recent primetime PBS-TV Special, “New Year’s Eve at The Rainbow Room”–written and directed by “Desperate Housewives” creator Marc Cherry–aired in 2014. For his nationally syndicated public radio program “Song Travels,” Michael interviews and performs alongside of music luminaries such as Bette Midler, Neil Sedaka, Liza Minnelli, Rickie Lee Jones, David Hyde Pierce and more.

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Michael was born and raised in Columbus, Ohio, where he started playing piano by ear as a 5-year-old. After graduating from high school, he moved to Los Angeles when he was 20. The widow of legendary concert pianist-actor Oscar Levant introduced him to Ira Gershwin in July 1977. Feinstein became Gershwin’s assistant for six years, which earned him access to numerous unpublished Gershwin songs, many of which he has since performed and recorded. Through his live performances, recordings, film and television appearances, and his songwriting (in collaboration with Alan and Marilyn Bergman, Lindy Robbins, Bob Merrill and Marshall Barer), Feinstein is an all-star force in American music.

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WEDNESDAY JUNE 26, 7:30PM CHAMBER

INGRAM AUDITORIUM AT BREVARD COLLEGE

BMC ARTIST FACULTY: BRAHMS F MINOR PIANO QUINTET MOZART (1756-1791)

Flute Quartet No. 4 in A major, K. 298 Andantino Menuetto. Trio Rondeau: Allegretto grazioso Dilshad Posnock, flute Jason Posnock, violin Jennifer Snyder Kozoroz, viola Brian Snow, cello

BEETHOVEN (1770-1827)

Octet for Winds in E flat major, Op. 103 Allegro Andante Menuetto Presto Eric Ohlsson & Emily Brebach, oboes Steve Cohen & Daniel Gilbert, clarinets William Ludwig & Susan Barber, bassoons Jeff Garza & Robert Rydel, French horns

-INTERMISSIONBRAHMS (1833-1897)

Piano Quintet in F minor, Op. 34 Allegro non troppo Andante, un poco adagio Scherzo: Allegro Finale: Poco sostenuto Juliette Kang & Karen Galvin, violins Scott Rawls, viola Jonathan Spitz, cello Norman Krieger, piano 48 BrevardMusic.org

JOHANNES BRAHMS

ABOUT THE MUSIC WOLFGANG AMADEUS MOZART (1756-1791) Flute Quartet in A major, K. 298 Mozart loved “hanging out” with the Jacquin family! The Jacquins were different from your typical Viennese aristocrats. Baron von Jacquin was Professor of Botany and Chemistry and the Director of the Botanical Gardens at the University of Vienna. His daughter Franziska was a budding pianist and son Gottfried was one of Mozart’s good friends. Father Jacquin had been to the West Indies and Central America—places Mozart only could dream of seeing. Every visit would be a stimulating experience. So Mozart decided to add artistic stimulation with a quartet composed for his friends. It would be an informal affair with three movements based on current popular tunes—a chamber style immensely popular in France at the time. Yet it would be a musical parody. The first movement is a set of variations on Franz Anton Hoffmeister’s song “To Nature,” an appropriate tune for a botanist. The minuet was based on the farcical French tune “Il a des bottes, des bottes Bastien” (“The Boots, the Boots, Bastien”). Yet the “Rondieauoux” (misspelling of “Rondeaux”) takes the cake with the rather odd directive, “Allegretto grazioso, ma non troppo presto, pero non troppo adagio. Così-così—non molto garbo ed espressione” (“Allegretto grazioso, but not too fast, nor too slow. So-so—with great elegance and expression”). As is always the case with Mozart, even the silliest occasion and apparent mischief cannot keep him from writing great music. LUDWIG VAN BEETHOVEN (1770-1827) Octet for Winds in E flat major, Op. 103 Despite the high opus number, this work represents Beethoven in his early twenties while still living in Bonn. It is an example of 18th-century entertainment music—something we don’t expect from Beethoven, the heroic. But just like any young composer, Beethoven had to compose whatever the occasion called for in order to be heard. Harmoniemusik— music for wind instruments—was the fashionable entertainment at dinner parties for people like Elector Maximilian Franz, Beethoven’s


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

DID YOU KNOW? Robin Holloway arranged the Piano Quintet for full orchestra in 2008, and Nick Norton arranged it for piano and orchestra in 2014.

‘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

- Siegwart Reichwald

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. – Siegwart Reichwald

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CHAMBER

The opening Allegro has an incessant little sixteenth note motive, heard throughout the movement. This might have been Beethoven’s attempt to keep the audience’s attention within the context of dinner music. The ensuing Andante is actually a very fast-paced, fleet-footed affair with simple back-and-forth between instruments. The flowing minuet and its beautiful legato lines functions as the slow movement. The short finale uses constant call-and-response patterns to showcase the instruments and their distinct colors.

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, but the composer went back to work yet again. He heeded 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 then that it took Brahms fourteen years to compose his First Symphony...

JUNE 29

employer in Bonn. In this work we are introduced to the young, classical Beethoven, whose obvious talent is on display, garnering him the reputation as an up-and-coming composer.


JUNE

27&29

THURSDAY JUNE 27, 7:30PM SATURDAY JUNE 29, 2:00PM OPERA

PORTER CENTER AT BREVARD COLLEGE

ABOUT THE DIRECTOR DEAN ANTHONY, stage director Director of Opera Dean Anthony draws inspiration and expertise from a comprehensive career spanning over 30 years and innumerable turns as performer, director, educator, and producer. Frequently engaged as a stage director, Mr. Anthony’s artistic process is hallmarked by an energetic, gritty, and physical style. Most recently, he was appointed Artistic and Producing Director of Asheville Lyric Opera. (see page 136 for complete biography)

ABOUT THE CONDUCTOR

SUSANNAH Janiec Opera Company of the Brevard Music Center Brevard Festival Orchestra Dean Anthony, stage director Michael Sakir, conductor Eileen Downey, chorus master MUSIC AND LIBRETTO: Carlisle Floyd Act I

-INTERMISSIONAct II Bobby Bradley, Scenic Designer Tláloc López-Watermann, Lighting Designer Lauren Woods, Costume Designer Brittany Rappise, Wig & Makeup Designer

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MICHAEL SAKIR, conductor Michael Sakir serves as Music Director of Opera Memphis and Principal Guest Conductor of the Opera Company of Middlebury. Recent guest conducting engagements include Des Moines Metro Opera, Shreveport Opera, Eugene Opera, Opera Orlando, Intermountain Opera Bozeman, Northwestern University, American Opera Projects, Opera in the Ozarks, and Opera North. (see page 136 for complete biography)

CAST Susannah Polk: Andrea Tulipana Sam Polk: Victor Knight DiNitto Olin Blitch: Andrew Boisvert Little Bat McLean: Gregory Sliskovich Elder McLean: Matthew Huckaba Elder Gleaton: Ethan Garner Elder Hayes: Marcus Jefferson Elder Ott: Samuel Rachmuth Mrs. McLean: Maggie Elisabeth Smith Mrs. Gleaton: Emma Marhefka Mrs. Hayes: Anja Pustaver Mrs. Ott: Jaime Sharp

ENSEMBLE Ari Bell Achilles Bezanis Hannah Carroll Ian DeSmit Tori Franklin Robert Fridlender Leah Rivka Israel Megan Maloney Joseph O’Shea Anja Pustaver Grace Reberg Nicole Rizzo Joseph Sandler Dominique Santiago Errol Shaw Craig Smith Derek Stull Adina Triolo Alea Vernon Vivian Yau


The next morning Susannah is innocently bathing naked in the creek near her home; she is discovered by the elders, who are searching for a baptismal stream. They conceal their lust with outrage and tell the community of her wickedness. Susannah arrives at a church dinner that evening and is sent away, much to her confusion. Later, as she is pondering why she has been

OPERA

Written during the McCarthy era, Susannah is based loosely on the Apocryphal tale of Susannah and the Elders. In New Hope Valley, Tennessee, Susannah—a pretty and wellmannered young woman of humble origins—is faced with hostility from her church community. The opera opens at a square dance given by her church; a group of wives, jealous of Susannah’s beauty and the attention it brings from their husbands, are gossiping about her. Mrs. McLean, one of the wives, states that you can’t expect more from someone who was raised by her drunken brother. Finally, the Reverend Olin Blitch, newly arrived to lead the congregation, enters and asks Susannah to dance despite the gossip. Later that evening, Susannah tells her admirer Little Bat—son of Mrs. McLean and her husband, an elder of the church—about the dance; Little Bat leaves abruptly once her brother Sam returns from hunting.

shunned, Little Bat tells her that the elders have denounced her for bathing in the nude, and admits that he was coerced into saying she seduced him. Sam informs Susannah that she must make a public confession in order to be absolved. Though she claims she has nothing to confess, she goes to the service where Olin Blitch is preaching. When she is singled out to come forward, she runs away. Once the service has ended, Reverend Blitch goes to Susannah’s house and offers to pray for her soul; upon discovering that her brother is away, Blitch rapes her. The next day Blitch, having discovered that Susannah was a virgin, comes to her and begs for forgiveness. He throws himself at Susannah’s mercy, but she refuses to forgive him. When Susannah tells Sam the story, he threatens to kill Blitch; he leaves for the baptismal service, carrying his shotgun. Convinced that Susannah led her brother to murder, the community heads to her house to drive her out of the valley. However, Little Bat has warned her in advance, and when the vigilantes arrive, she is waiting with a shotgun. They retreat, but she has effectively severed her ties with the community and her world. - Reprinted with kind permission of Boosey & Hawkes

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51

JUNE 27 & 29

SYNOPSIS


JUNE

28

FRIDAY JUNE 28, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

SHOSTAKOVICH 11

ABOUT THE ARTISTS KEITH LOCKHART, conductor BMC Artistic Director In 2007, Keith Lockhart succeeded David Effron as Artistic Director of the Brevard Music Center Summer Institute and Festival. Lockhart’s appointment solidified an already special relationship with BMC; having attended as a teenager for two summers (1974, 1975), Lockhart was first featured as a guest conductor in 1996 and had since returned numerous times. He continues to serve as the Conductor of The Boston Pops Orchestra, and is Chief Guest Conductor of the BBC Concert Orchestra in London, having served for the last eight years as its Principal Conductor. (see page 5 for complete biography)

Brevard Music Center Orchestra Keith Lockhart, conductor Olli Mustonen, piano PROKOFIEV (1891-1953) Piano Concerto No. 2 in G minor, Op. 16 Andantino. Allegretto Scherzo: Vivace Intermezzo: Allegro moderato Finale: Allegro tempestoso Mr. Mustonen, piano

-INTERMISSIONSHOSTAKOVICH (1906-1975) Symphony No. 11 in G minor, Op. 103, “The Year 1905” The Palace Square: Adagio The Ninth of January: Allegro In Memoriam: Adagio The Tocsin: Allegro

OLLI MUSTONEN, piano Olli Mustonen has a unique place on today’s music scene. Following the tradition of great masters such as Rachmaninov, Busoni and Enescu, Mustonen combines the roles of his musicianship as composer, pianist and conductor in an equal balance that is quite exceptional, often bringing them together in one fascinating triple role performance. Mustonen’s life as a composer is at the heart of his piano playing and conducting. During an illustrious career spanning 35 years, Mustonen has brought his extraordinary musical insight to many of world’s most significant orchestras, including the Berlin Philharmonic, New York and Los Angeles Philharmonic orchestras, Chicago Symphony, Cleveland Orchestra, Royal Concertgebouw Orkest, Mariinsky Theatre Orchestra, Orchestre de Paris and all the London orchestras. A strong exponent of Prokofiev’s music, Mustonen has recently performed and recorded all of Prokofiev’s Piano Concertos with the Finnish Radio Symphony under Hannu Lintu, released on the Ondine label, earning him critic’s praise such as “This is Prokofiev with a difference, thoughtful and provocative.” (ClassicsToday.com). He has since performed Prokofiev’s 2nd concerto with the Leipzig Gewandhaus and Singapore Symphony Orchestras. Mustonen is unusual in also offering the complete cycle of Prokofiev Piano Sonatas, in recent years bringing the project in full or in part to Helsinki Music Centre, Amsterdam Muziekgebouw, Singapore Piano Festival and the Ruhr Piano Festival. Also close to Mustonen’s heart is the music of Beethoven, all of whose concertos he conducted and played with the Melbourne Symphony in 2010-2012, and of Bartok, whose concerto cycle he performed with the BBC Scottish Symphony in 2012. Mustonen’s repertoire also includes Respighi’s Concerto in modo misolidio, which he has recorded with the Finnish Radio Symphony and Sakari Oramo on the Ondine label. Born in Helsinki, Olli Mustonen began his studies in piano, harpsichord and composition at the age of five. Initially learning with Ralf Gothoni, he subsequently studied piano with Eero Heinonen and composition with Einojuhani Rautavaara.

Official piano of the Brevard Music Center

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The original score was premiered on August 23, 1913 at Pavlovsk near St. Petersburg with the composer as soloist. The reconstructed and reworked score (the original was lost in a fire) was premiered in Paris on May 8, 1924 with Serge Koussevitzky conducting and Prokofiev as soloist. On the platform appeared a youth looking like a high school student. It was Sergei Prokofiev. He sat down at the piano and appeared to be either dusting the keyboard or tapping it at random, with a sharp dry touch. The public did not know what to make of it. Some indignant murmurs were heard. One couple got up and hurried to the exit: “Such music can drive you mad!” The hall emptied. The young artist ended his concerto with a relentlessly discordant combination of brasses. The audience was scandalized. The majority hissed. With a mocking bow, Prokofiev sat down again and played an encore. “The hell with this futurist music!” people were heard to exclaim. “We came here for pleasure. The cats on the roof make better music!”

DID YOU KNOW? Despite the scandal of his Second Piano Concerto, Prokofiev would emerge as the winner from the annual “Battle of the Piano” and receive the coveted Rubinstein Prize for outstanding graduate.

Such was the reaction to the premiere of Prokofiev’s Second Piano Concerto in September 1913, as reported by the St. Petersburg Gazette. Prokofiev was finishing his studies at the St. Petersburg Conservatory, having gained the reputation as an aloof “enfant terrible.” His outstanding pianistic abilities, however, afforded him a career that would take him from Europe to the US and back to Russia. The technical demands of his Second Piano Concerto are staggering, underscoring his exceptional skills. The concerto’s movement design is unusual on several levels. Not only did Prokofiev choose to add a fourth movement, but neither of the inner movements are slow—yet the opening movement is marked Andante. The only lyrical part of the whole concerto is found in the opening theme. The movement then builds towards a monstrous cadenza in which Prokofiev develops the movement’s main ideas. The ensuing scherzo is extremely short and difficult, as both hands play about 1,500 sixteenth-notes each without any rests. Music critic Robert Layton describes the pianist as “some virtuoso footballer who retains the initiative while the opposing theme (the orchestra) all charge after him.” The intermezzo sounds like a grotesque march without offering any relief. The last movement is the counterpart to the first, both in length and substance. The intensity of the first movement’s cadenza is matched in a fierce and discordant dialogue between soloist and orchestra. After a tranquil middle section based on a folk-like tune, the concerto rumbles toward a breathtaking finish.

Shostakovich knows a thing or two about writing descriptive music. Having many film scores to his name—not to mention his crushing Leningrad Symphony—Shostakovich understands how to express complex programs in a subtle and clear manner. Symphony No. 11, “The Year 1905,” offers a powerful description of one of the most fateful days in Russian history. And the movement titles leave no doubt about the program. “The Palace Square” depicts the snow-covered St. Petersburg palace square at daybreak. There is an uneasy calm as revolutionary songs emerge. Distant bugle calls and Russian Orthodox prayers for the dead foreshadow the tragedy. “The Ninth of January” is a cinematic description of the horrific events, as peaceful demonstrators, led by the priest Georgy Gapon, are attacked by the imperial forces, killing and wounding hundreds. “Eternal Memory” laments the fallen victims, sometimes resigned, other times defiant. “The Tocsin” (an alarm bell) expresses the unbroken spirit of resistance, anticipating future uprisings. Shostakovich was born one year after the described events, yet he had the vivid memories of his father and uncle, who had been eyewitnesses: Our family discussed the Revolution of 1905 constantly. […] The stories deeply affected my imagination. When I was older I read much about how it all happened. […] They were carting a mound of murdered children on a sleigh. The boys had been sitting in the trees, looking at the soldiers, and the soldiers shot them—just like that, for fun. They then loaded them on the sleigh and drove off. A sleigh loaded with children’s bodies. And the dead children were smiling. They had been killed so suddenly that they hadn’t time to be frightened. Composed for the 40th anniversary of the 1917 Bolshevik Revolution, Shostakovich’s Eleventh Symphony is a vivid reminder of the horrors that led to the revolution. The Soviet regime embraced it as an expression of their revolutionary ideals, and many audience members felt betrayed by the composer, who seemed to have succumbed to Soviet pressures. Yet others were pointing to a broader meaning and another possible inspiration for the piece: the Hungarian uprising of 1956, which was squelched by Soviet troops, killing an estimated 2,500 Hungarians in the process. In Solomon Volkov’s uncorroborated book Testimony (1979), the author offers the following statement by Shostakovich about his Eleventh Symphony: I think that many things repeat themselves in Russian history. Of course the same event can’t repeat itself exactly, there must be differences, but many things are repeated nevertheless. People think and act similarly in many things. […] I wanted to show this recurrence in the Eleventh Symphony. I wrote it in 1957 and it deals with contemporary themes even though it’s called “1905.” It’s about the people, who have stopped believing because the cup of evil has run over. That’s how the impressions of my childhood and my adult life come together. And naturally, the events of my mature years are more meaningful. - Siegwart Reichwald

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SERGEI PROKOFIEV (1891-1953) Piano Concerto No. 2 in G minor, Op. 16

DMITRI SHOSTAKOVICH (1906-1975) Symphony No. 11 in G minor, Op. 103, “The Year 1905” Premiered on October 30, 1957 in Moscow by the USSR State Symphony Orchestra under the direction of Natan Rakhlin.

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ABOUT THE MUSIC


JUNE

29

SATURDAY JUNE 29, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

ELGAR CELLO CONCERTO

ABOUT THE ARTISTS KEITH LOCKHART, conductor BMC Artistic Director In 2007, Keith Lockhart succeeded David Effron as Artistic Director of the Brevard Music Center Summer Institute and Festival. Lockhart’s appointment solidified an already special relationship with BMC; having attended as a teenager for two summers (1974, 1975), Lockhart was first featured as a guest conductor in 1996 and had since returned numerous times. He continues to serve as the Conductor of The Boston Pops Orchestra, and is Chief Guest Conductor of the BBC Concert Orchestra in London, having served for the last eight years as its Principal Conductor. (see page 5 for complete biography)

Brevard Sinfonia Keith Lockhart, conductor Camille Thomas, cello BRITTEN (1913-1976) Four Sea Interludes from Peter Grimes, Op. 33a Dawn Sunday Morning Moonlight Storm

ELGAR (1857-1934) Cello Concerto in E minor, Op. 85 Allegro. Moderato. Allegro, ma non-troppo. Poco più lento. Adagio. Ms. Thomas, cello

-INTERMISSIONVAUGHAN WILLIAMS (1872-1958) Symphony No. 5 in D major Preludio. Moderato Scherzo. Presto misterioso Romanza. Lento Passacaglia. Moderato

CAMILLE THOMAS, cello The first cellist signed by Deutsche Grammophon in over forty years, Camille Thomas blends a brilliant command of her instrument with a rare musicality to offer truly memorable performances. Her special talent was also recognized at the European Broadcasting Union Competition, where she was awarded the 1st prize and named “New Talent of the Year” in 2014. Camille’s fascinating recital programs offer traditional and underplayed repertoire, themes, and collaborations with composer-pianists - all conceived to stimulate the audience, as well as the artist. She has won numerous prizes at national and international competitions, including the Seventh Antonio Janigro International Competition in Croatia, the Yamaha Music Foundation of Europe Strings Competition, the Edmont Baert Competition, the Léopold Bellan Competition, and was chosen for Forbes’ prestigious “30 under 30” list. In the 2019-20 season, Camille makes her highly anticipated U.S. debut at the Brevard Music Festival. Her whirlwind season then brings her to a number of other leading series and orchestras, including Purdue Convocations, The Cliburn, Houston’s Society of the Performing Arts, Interlochen Presents, Peoples’ Symphony Concerts (her New York City debut), and the Des Moines, Delaware, and Illinois Symphony Orchestras. Camille also has the pleasure of making her Walt Disney Concert Hall recital debut as a featured artist of the Piatigorsky International Cello Festival. Recent and upcoming international appearances include concertos with Paavo Jarvi in Bremen, with Mikko Franck at the Accademia Nazionale di Santa Cecilia and the Orchestre Philharmonique de France, with the Lucerne Festival Strings in Munich, and with Alondra de la Parra at the renowned Elbphilharmonie in Hamburg. Camille studied in Frans Helmerson’s and Wolfgang-Emmanuel Schmidt’s classes at the Hochschule für Musik Hanns Eisler in Berlin, after working with Marcel Bardon and Philippe Muller in Paris and Stephan Forck in Berlin. She plays an instrument by Ferdinand Gagliano (Napoli, 1788), the “Château Pape-Clément”, on a generous loan from Bernard Magrez and a bow by Eugène Sartory kindly on extended loan from the Fondation Roi Baudoin - Fonds Bollandsee.

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DID YOU KNOW? Britten conceived of Peter Grimes while vacationing in Escondido, California.

When Peter Grimes, Britten’s first opera, burst onto the scene, it set the 30-year-old composer on a path toward success. His ability to go beyond the story and explore the human condition in a way that resonates with his audiences sets him apart as one of the great opera composers. The Four Sea Interludes are four of six instrumental pieces necessitated by complex scene changes during and between acts. Britten, however, turned this practical matter into an opportunity to enrich the audience’s experience by exploring the different moods of the sea within the context of the unfolding drama. “Dawn” is the first interlude in the opera, linking the Prologue with Act I. The orchestra is split into three parts: the violins and flutes play an ethereal melody, suggesting the keening of the seagulls; the harp, clarinet, and violas represent the gently rippling waves; and the low brass complete the eerie picture with a chorale-like theme. In “Sunday Morning” (beginning of Act II) it is time for church, suggested by the horn tolls and the syncopated chiming of the woodwinds, which are eventually joined by the sound of the bells. The strings offer a simple hymn-like tune in alternating sections. In “Moonlight” (Act III) the unsettling vacillation between stasis and motion expresses the ominous power of the ocean—a central theme in the opera. While the last interlude, “Storm,” appears in Act I, its significance is found in its return in Act III, as the title character sings one last time before he goes down with the sinking ship. EDWARD ELGAR (1857-1934) Cello Concerto in E minor, Op. 85 Premiered on October 27, 1919 in London under the direction of Albert Coates with Felix Salmond as soloist. This concerto stands at the end of Elgar’s long and successful career. In fact, it is his last major composition and represents the summation of Elgar’s compositional efforts. It comes as a surprise then, that the success of the work was very much in doubt. In fact, the premiere was a disaster. Elgar shared the concert with another conductor, and the cello concerto received hardly any rehearsal time. Since the concerto was not written for a specific soloist, there was no one to champion the work. Add to that Elgar’s highly individualistic approach to the genre, and the delayed success of the work becomes more plausible. While the piece was written in 1918, it was Jacqueline du Pré’s 1960s recording that gave the concerto not only new life but put it on a path toward its ultimate success. Clearly, Elgar did not have to meet anybody’s expectations, and it shows. This work is one of the most unorthodox and

RALPH VAUGHAN WILLIAMS (1872-1958) Symphony No. 5 in D major Premiered on June 24, 1943, at a Promenade Concert in Royal Albert Hall, with the composer conducting the London Philharmonic. Vaughan Williams is the last member of the exclusive group of composers who wrote nine symphonies (amongst them Beethoven, Schubert, Dvořák, Bruckner, and Mahler). And the Fifth symphony often seems to be pivotal works—especially in the case of Beethoven and Mahler. So when Vaughan Williams wrote a war-time symphony in the late 1930s, critics were looking for specific meaning. Vaughan Williams even seemed to provide further hints with a note in the autograph about whole sections having been taken from his abandoned opera project The Pilgrim’s Progress. Yet any type of programmatic reading has eluded us, and Vaughan Williams himself views his Fifth Symphony as a purely abstract, musical work. That doesn’t mean, however, that there is no meaning beyond the notes (paradoxical as that may sound). Vaughan Williams once wrote that “the composer must not shut himself up and think about art; he must live with his fellows and make his art an expression of the whole life of the community.” This work is a summation of the composer’s deep desire to compose in a style that resonates with the broader public. Vaughan Williams found the answer in the music of the past—in particular the English past of Thomas Tallis, Henry Purcell, and English hymns and folk tunes. The Fifth Symphony has an unmistakably English sound; it is a modern work based on models from the past. Three of the movements have Baroque titles (Prelude, Romanza, and Passacaglia). Yet Vaughan Williams places them in a contemporary, English context. Furthermore, he creates an overarching musical narrative based on key relationships and motivic development. The title key D major, for example, isn’t reached until the last movement, as the material from the first movement returns in the finale. Vaughan Williams takes the listener on a delightful journey full of optimism expressed in pastoral tones. Of course, belief in natural beauty and community was exactly what was needed during the horrors of World War II. - Siegwart Reichwald

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BENJAMIN BRITTEN (1913-1976) Four Sea Interludes from Peter Grimes, Op. 33a Premiered as part of the opera at Sadler’s Wells in London on June 7, 1945 under the direction of Reginald Goodall. The London Philharmonic in Cheltenham premiered the Four Sea Interludes as symphonic works only one week later on June 13, 1945.

individualistic concertos ever written. Conceived in reaction to the horrors of World War I, this work is not at all about virtuosity. Because of its dark and expressive tone, Scholar Diana McVeagh even calls the Cello Concerto Elgar’s “War Requiem.” A closer look confirms Elgar’s personal approach. Not only is the concerto laid out in four movements instead of the customary three, but the opening movement is not a concerto movement. The cello opens the work with an anguished cry that jolts the listener’s attention away from virtuosic bravura and places the attention squarely on the emotions expressed in the music. Elgar seems to want to make it clear right from the start that the war had changed the old ways for everyone. This is not to say that the work is not virtuosic or technically demanding, but technique and virtuosity become Elgar’s toolbox for self-expression. Presumably Elgar chose the cello as his medium because of the instrument’s expressive abilities. Only a seasoned composer can transcend compositional and virtuosic technique to create an artwork that expresses the human condition with such directness and precision.

JUNE 29

ABOUT THE MUSIC


JULY

1

MONDAY JULY 1, 7:30PM CHAMBER

PORTER CENTER AT BREVARD COLLEGE

THE SHANGHAI QUARTET BEETHOVEN CYCLE III Weigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello BEETHOVEN (1770-1827) String Quartet in E flat major, Op. 127 Maestoso. Allegro Adagio, ma non troppo e molto cantabile Scherzando vivace Allegro

BEETHOVEN String Quartet in G major, Op. 18, No. 2 Allegro Adagio cantabile Scherzo: Allegro Allegro molto, quasi presto

-INTERMISSIONBEETHOVEN String Quartet in C major, Op. 59, No. 3 Andante con molto. Allegro vivace Andante con moto quasi allegretto Menuetto. Grazioso Allegro molto

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ABOUT THE ARTISTS THE SHANGHAI QUARTET Renowned for its passionate musicality, impressive technique and innovations, the Shanghai Quartet is one of the world’s foremost chamber ensembles. Its elegant style melds Eastern music with Western repertoire, traversing musical genres from folk music to great masterpieces, to cutting-edge contemporary works. Formed in 1983, the Quartet tours the major music centers of Europe, North America and Asia, from the Beijing International Music Festival to the Festival Pablo Casals in France and Puerto Rico, and the Beethoven Festival in Poland. The Quartet has appeared at Carnegie Hall and Lincoln Center and have collaborated with the Tokyo, Juilliard and Guarneri Quartets, Yo-Yo Ma, Menahem Pressler, Yuja Wang, Peter Serkin, Jean-Yves Thibaudet, and Wu Man. The Quartet has a history of championing new music. Its 30th Anniversary brought new works from David Del Tredici, Carl Vine, Jeajoon Ryu, Lei Liang and Robert Aldridge: their 25th Anniversary, Chen Yi’s From the Path of Beauty, commissioned with Chanticleer and Penderecki’s String Quartet No. 3, premiered at the composer’s 75th birthday concert and was again at his 80th Birthday celebration in 2013. From the Path of Beauty, premiered in San Francisco, with performances at Tanglewood and Ravinia, Beijing and Shanghai. Other recent premieres include works by Bright Sheng, Zhou Long, Du Yun, Zhao Lin and William Bolcom. The tradition continues with forthcoming works by Wang Lei and Tan Dun composed for their 35th Anniversary in 2018-19. The Shanghai Quartet has an extensive discography of more than 35 recordings. Other media projects range from an appearance in Woody Allen’s Melinda and Melinda to PBS television’s Great Performances. Weigang Li appeared in the documentary From Mao to Mozart: Isaac Stern in China, and the family of Nicholas Tzavaras was the subject of the film, Music of the Heart. The Shanghai Quartet perform on four exceptional instruments by Goffriller, Guarneri, Stradivari and Guadagnini, generously loaned through the Beare’s International Violin Society. Since 2002 the Shanghai Quartet has been the Quartet-in-Residence at Montclair State University. In addition the quartet is Ensemble-in-Residence with the Shanghai Symphony Orchestra and visiting guest professors of the Shanghai Conservatory and the Central Conservatory in China.

ABOUT THE MUSIC The great German poet Goethe described the classical string quartet in terms of a musical conversation, where a quartet performance is like “listening to four rational people conversing among themselves.” Of course, Goethe was a classicist, and even Mendelssohn’s personal “music appreciation” sessions didn’t warm Goethe’s feelings for Beethoven’s “modern” music. This week’s chamber programs will continue to explore Beethoven’s compositional journey from the high Classical “conversations” to mature Romantic utterances. Throughout the journey, we will get to know Beethoven’s personality and see how life circumstances shaped his compositions. BEETHOVEN (1770-1827) String Quartet in E flat major, Op. 127 Premiered on March 6, 1825 in Vienna by Ignaz Schuppanzigh, Karl Holz, Franz Weiss, and Joseph Linke. Op. 127 has a checkered performance history. Originally scheduled to be premiered on January 23, 1825, Beethoven substituted it at the last minute with his Op. 95 Quartet. Apparently, the composer had doubts


Starting with Op. 127, Beethoven employed a new compositional approach. Instead of using two staves for composing, he used four, indicating a growing independence of the parts. Beyond the increased contrapuntal complexity, we also find an overarching change in the composer’s attitude. Beethoven scholar Maynard Solomon explains that “Beethoven who would once have grabbed fate by the throat had changed into a person who felt a deep submissiveness to fate, who admired the true and eternal light of a godhead, who was attracted to a life of silent contemplation, who considered retreating from the world and living like a monk to attain a stage of grace, who was prepared to admit his faults, and finally, who saw his art as a spiritual means that would elevate him above ‘normal’ people and enable him to partake of the endless, flawless, timeless, all-encompassing state of transcendence.” It would take another 30 years before the rest of the musical world would catch up with Beethoven’s late string quartets. BEETHOVEN String Quartet in G major, Op. 18, No. 2 If Op. 127 moves Beethoven out of the “Classic/Romantic mainstream,” the six op. 18 Quartets gained him entrance into Viennese musical circles 25 years earlier. Having moved to Vienna to “receive Mozart’s spirit through Haydn’s hands,” Beethoven took advantage of any and all opportunities to become fluent in the style of Haydn and Mozart. In order to help Beethoven progress more rapidly as a composer, his benefactor Prince Lichnowsky actually hired four young, talented string

It would be a mistake to “judge” Beethoven’s quartets solely by their time of composition. Despite being composed in the “last century” (1798), the work exhibits tendencies beyond the classicism of Haydn and Mozart. Beethoven’s voice as a composer of the next century is audible in the wittiness of the first movement, the surprising fast middle section of the second, the motivic variety of the scherzo, and the unusual tonal plan of the finale. BEETHOVEN String Quartet in C major, Op. 59, No. 3 Beethoven’s C major Quartet is the perfect work to close tonight’s program, as the related keys of E-flat major and G major of the first two quartets make our “arrival” in C major seem inevitable. Beethoven actually conceived of the C major Quartet as the last of his Op. 59 quartet cycle. The searching and disorienting opening sets up the eventual arrival in the “home key” perfectly. Composed during Beethoven’s “heroic” phase, the Op. 59 Quartets are the works of a composer with a chip on his shoulder—out to prove to himself and others that he belongs. One of the reasons for Beethoven’s insatiable drive for perfection was the realization of his oncoming deafness. Beethoven composed the First Op. 59 Quartet simultaneously with his “Eroica” Symphony—written in defiance of his fate. By the time Beethoven got around to the last, concluding Quartet, he had begun to cope with his hearing loss. In the margins of the sketches for the last movement he wrote, “In the same way that you rush into the whirlpool of society, so it is possible to write operas despite all social hindrances—let your deafness be no more a secret—even in art.” The finale, a sort-of “fiddler’s fugue,” expresses Beethoven’s deep-seated joy found in his art in the midst of tragedy and struggle. - Siegwart Reichwald

BMC is such a great place for young musicians… When we first came to Brevard, we heard this first-rate orchestra…and then we met the students. The energy level here is highly spirited and warm; supportive, not competitive. Brevard has become a very important stop for us in the summer. – The Shanghai Quartet

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players to provide feedback. One of the violinists was none other than the 16-year-old Schuppanzigh (see note above).

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about the work’s success. Beethoven’s fears were realized by the underwhelming first performance two months later. Schuppanzigh admitted that “the originality makes it difficult, which one cannot grasp at first sight.” The second violinist, Karl Holz, added that “things were not properly together,” and Schuppanzigh reasoned that “the ensemble is difficult.” If seasoned musicians who had premiered several of Beethoven’s earlier quartets struggled. there must be something radically new and different about Op. 127.


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PORTER CENTER AT BREVARD COLLEGE

WQXR YOUNG ARTISTS SHOWCASE Young Artists Showcase is a WQXR weekly radio show that has sought out and displayed the talents of young emerging artists since 1978. This concert is recorded live for future broadcast.

MADE POSSIBLE BY: The Harold W. McGraw, Jr. Family Foundation, Inc. Lead Sponsor

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ABOUT THE HOST ROBERT SHERMAN Robert Sherman, award-winning broadcaster and writer, recently celebrated his 56th anniversary with WQXR. Formerly Program Director and later Senior Consultant, he continues to produce and host The McGraw-Hill Companies’ Young Artists Showcase—now in its 34th year on the station—and since their inception, has hosted the Lincoln Center presentations of the annual the Avery Fisher Career Grants. His popular and awardwinning folk series Woody’s Children, which began on WQXR is 1969, is now heard on WFUV. For more than forty years, Bob was a music critic and columnist for The New York Times and for nearly twenty served on the faculty of The Juilliard School. A concert narrator with such esteemed ensembles as Canadian Brass, the United States Military Academy (West Point) Band and the Greenwich Symphony, he sits on the Advisory boards of many cultural organizations, also serving them variously as competition judge, pre-concert lecturer, panel moderator and fundraising emcee. Co-author of The Complete Idiot’s Guide to Classical Music and two best-selling books with Victor Borge, he also joined with his brother, Alexander Sherman, to compile a pictorial history of their celebrated mother, pianist Nadia Reisenberg.


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PORTER CENTER AT BREVARD COLLEGE

THE SHANGHAI QUARTET Renowned for its passionate musicality, impressive technique and innovations, the Shanghai Quartet is one of the world’s foremost chamber ensembles. Its elegant style melds Eastern music with Western repertoire, traversing musical genres from folk music to great masterpieces, to cutting-edge contemporary works. Formed in 1983, the Quartet tours the major music centers of Europe, North America, and Asia. (see page 56 for complete biography)

THE SHANGHAI QUARTET BEETHOVEN CYCLE IV Weigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello BEETHOVEN (1770-1827) String Quartet in D major, Op. 18, No. 3 Allegro Andante con moto Allegro Presto

BEETHOVEN String Quartet in F minor, Op. 95, “Serioso” Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso Larghetto espressivo. Allegretto agitato

-INTERMISSIONBEETHOVEN String Quartet in A minor, Op. 132 Assai sostenuto. Allegro Allegro ma non tanto Molto adagio Alla Marcia, assai vivace Allegro appassionato

ABOUT THE MUSIC BEETHOVEN (1770-1827) String Quartet in D major, Op. 18, No. 3 Of Beethoven’s 16 published string quartets, the D major Quartet was composed first. Presumably, Beethoven wanted to “hide” his first attempt among the group of six quartets as No. 3. While it is indeed the most conventional of his string quartets, it shows plenty of individuality and actually would have made a great first impression. The Allgemeine musikalische Zeitung deemed the work “very difficult to play and by no means popular” (August 26, 1801). The second observation, calling the work “not popular” doesn’t mean that it was not successful. Rather, it infers the progressive nature of the work, and that it was written for the seasoned musician (meaning “Don’t try this at home”). The later string quartets of Haydn and Mozart were also “not popular,” as the string quartet had become the most intellectual and most demanding genre. Beethoven’s Op. 18 Quartets continue the exploration of new compositional territory begun by the quartets of his idols. BEETHOVEN String Quartet in F minor, Op. 95, “Serioso”

DID YOU KNOW? Gustav Mahler arranged Op. 95 for string orchestra.

Op. 95 contains some of the most anguished and violent music Beethoven ever composed. The first movement, barely four minutes long, vacillates between violent outbursts, anguished cries, and attempts of consolation. The second movement begins with a descending bass line associated with a lament since Renaissance times. The struggle of the first movement is now internalized. Downward spirals are counteracted with upward motion—but to no avail. A fugue (a theme that’s imitated in all voices) explores the lament on a grander scale. Despair rules the day. The ensuing Scherzo continues the same struggle of downward spiral versus upward consolation, while two Trio sections express brief rays of hope. A short slow section (Larghetto) leading into the last movement voices an even more desperate lament, as the melodic motion is upward, yet the overall music signals despair. The Finale is equally violent as the first until—truly out of nowhere— unspeakable joy breaks out: dark F minor gives way to F major. And the music just stops! The title “Serioso” seems appropriate. It is the only nickname of any of the quartets provided by Beethoven. Besides the title, Beethoven also wrote in the autograph, “written for a small circle of connoisseurs and is never to be performed in public.” While Beethoven later decided to publish the work after all, his misgivings were clear. He wasn’t sure

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that an audience would be ready for such intense work. Scholars have conjectured the reason for the piece—most notably its chronological proximity to Beethoven’s music for Goethe’s Egmont. Regardless of its inspiration, its meaning is hair-raisingly obvious and absolutely riveting. BEETHOVEN String Quartet in A minor, Op. 132 Premiered on November 6, 1825 in Vienna by the Schuppanzigh Quartet.

DID YOU KNOW? It has been suggested that T.S. Elliott was inspired by Op. 132 to write his set of four poems with the title Four Quartets.

If the inspiration of Goethe’s Egmont caused a highly expressive Op. 95, the personal nature of Op. 132 makes for an even more intense work. The emotional core of this five-movement work is found in the central movement with the title “Sacred song of thanks from a convalescent to the Godhead, in the Lydian Mode.” This hymn-like, simple setting, reminiscent of Renaissance

LOVE WHAT YOU JUST HEARD? Share your personal notes with us!

notes@brevardmusic.org @brevardmusiccenter @brevardmusic 60 Overture

choral music—including the use of the Lydian mode—is a moment of stasis and transcendence: everything stops, and eternity is experienced. During the composition of the first two movements, Beethoven had been rather sick, and with his usual doctor indisposed, the composer was treated by Dr. Braunhofer on April 18, 1825. Upon recuperation, Beethoven sent Dr. Braunhofer a four-part canon, “Doctors bars the gateway to death.” Given the more metaphysical inscription in the autograph of the third movement, it seems safe to assume that Beethoven’s experience of illness and recuperation had become metaphorical, pointing to a more profound meaning. The ensuing March might seem banal at first glimpse, but we quickly realize that the March only provides temporary “earthly” grounding before the music takes flight once again with the last movement. - Siegwart Reichwald


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WHITTINGTON-PFOHL AUDITORIUM

TODAY’S PROGRAM MEREDITH WILLSON Strike Up the Band BAGLEY National Emblem KEY National Anthem

PENDERGRAST FAMILY PATRIOTIC POPS

GRAHAM LOYD Fanfare for Freedom

Brevard Symphonic Winds Kraig Alan Williams, conductor

SAMUEL WARD From Sea to Shining Sea

with Megan Maloney, soprano Leah Rivka Israel, mezzo-soprano Marcus Jefferson, tenor Michael Joseph O’Shea III, baritone

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THURSDAY JULY 4, 2:00PM

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JOHN WILLIAMS America, the Dream Goes On

TRADITIONAL Deep River GEORGE GERSHWIN The Symphonic Gershwin

-INTERMISSIONGEORGE GERSHWIN Porgy and Bess Overture RICHARD Armed Forces Medley

MADE POSSIBLE BY: Sustaining Sponsor

SOUSA The Thunderer TCHAIKOVSKY 1812 Overture SOUSA Stars and Stripes Forever

ABOUT THE CONDUCTOR KRAIG WILLIAMS, conductor Director, Brevard Symphonic Winds Dr. Kraig Alan Williams is currently in his seventh year as the Conductor of the Rutgers Wind Ensemble, 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 Grammynominated Rutgers Wind Ensemble, teaching graduate and undergraduate conducting, and the mentoring of Master’s and Doctoral students in Wind Studies. Williams also teaches classes in undergraduate aural skills and general music. (see page 121 for complete biography)

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FRIDAY JULY 5, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

BEETHOVEN “EMPEROR” CONCERTO Brevard Music Center Orchestra Matthias Bamert, conductor Alexandre Tharaud, piano SCHOENBERG (1874-1951) Pelleas und Melisande, Op. 5

-INTERMISSIONBEETHOVEN (1770-1827) Piano Concerto No. 5 in E flat major, Op. 73, “Emperor” Allegro Adagio un poco mosso Rondo: Allegro ma non troppo Mr. Tharaud, piano

ABOUT THE ARTISTS

FRIDAY, JULY 6

MATTHIAS BAMERT, conductor Matthias Bamert’s reputation in the Classical to Romantic repertoires, his championship of contemporary music, and his innovative programming has received international praise. Currently, he is Chief Conductor of the Sapporo Symphony Orchestra (Japan) and also Principal Guest Conductor of the Daejeon Philharmonic Orchestra (South Korea). Matthias Bamert’s distinguished career began in North America as an apprentice to George Szell, later as Assistant Conductor to Leopold Stokowski, and Resident Conductor of the Cleveland Orchestra under Lorin Maazel. Since then, he has held Music Director positions with the Swiss Radio Orchestra, London Mozart Players, West Australian Symphony, and the Malaysian Philharmonic Orchestra. He has also served as Principal Guest Conductor of the Royal Scottish National Orchestra and New Zealand Symphony Orchestra, and as Associate Guest Conductor of the Royal Philharmonic Orchestra in London. Music Director of the London Mozart Players for seven years, Matthias Bamert masterminded a hugely successful series of recordings of works by “Contemporaries of Mozart”, many of which have won international prizes. In the UK, Matthias Bamert has worked frequently with such orchestras as the Philharmonia, BBC Symphony Orchestra, London Philharmonic, City of Birmingham Symphony Orchestra, and BBC Philharmonic, featuring regularly at the BBC Proms. Internationally, he has appeared with many of the world’s great orchestras, including the Cleveland Orchestra, Pittsburgh Symphony, Los Angeles Philharmonic, Orchestre de Paris, Orchestre symphonique de Montreal, Leningrad Philharmonic, Sydney Symphony, and NHK Symphony Orchestra. Principal Guest Conductor of the Royal Scottish National Orchestra and Director of the Glasgow contemporary music festival Musica Nova from 1985-90, he became renowned for his innovative programming, conducting many world premieres. This gift came to the fore during his acclaimed tenure as Director of the Lucerne Festival (1992-98), when he was also responsible for the opening of the KKL concert hall and founded the new Easter and Piano festivals. A prolific recording artist, Bamert has made over 80 CDs, many of which have won international prizes.

ALEXANDRE THARAUD, piano Official piano of the Brevard Music Center

Alexandre Tharaud has distinguished himself as one of France’s leading pianists. Recognized on the international stage as an artist of unique vision and originality, Alexandre is heralded for his brilliantlyconceived programs and bestselling recordings that range from Bach, Chopin, Rameau, and Ravel to music inspired by Paris cabaret of the 1920’s. This season’s highlights in North America include performances with the Cleveland Orchestra and Franz Welser-Möst, and his return to the Montreal Symphony. His recent recitals in the U.S. include his return to Carnegie Hall, and recitals in Washington, DC, Boston, Montreal, and Chicago. He also continues to appear frequently with Les Violons du Roy, and in recent seasons has made his debuts with the Philadelphia Orchestra and the Atlanta Symphony and returned to the Toronto Symphony. Other recent highlights in North America include

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Alexandre performs extensively throughout Europe in some of the most prominent concert halls. His festival appearances include the BBC Proms, Edinburgh International Festival, Gergiev Festival in Rotterdam, Aix-en-Provence, La Roque d’Anthéron, Schleswig-Holstein, Rheingau, Ruhr Piano Festival, Nuits de Décembre de Moscou, Rimini, Domaine Forget, and Lanaudière. Alexandre’s discography reflects his eclectic affinity to many musical styles. His recordings range from Bach, Mozart and Haydn (with Les Violons du Roy) to Le Bœuf sur le Toit - a homage to the roaring twenties. In 2014, he published his first book, Piano Intime, which was followed in early 2017 by a more personal narrative view on his career: Montrez-moi vos mains. Alexandre Tharaud is also featured in films directed by Michael Haneke (Amour) and Raphaëlle Aellig-Régnier (Le Temps Dérobé), and has completed a new edition of Maurice Ravel’s complete solo piano works for the German publisher Bärenreiter.

ABOUT THE MUSIC ARNOLD SCHOENBERG (1874-1951) Pelleas und Melisande, Op. 5 Premiered on January 25, 1905 in Vienna under the direction of the composer. Few literary works inspired musical compositions more quickly than Maurice Maeterlinck’s 1893 play Pelléas et Mélisande. Within twelve years Sibelius and Fauré had composed suites, Debussy wrote an opera, and Schoenberg composed his most ambitious tone poem. Fascinatingly, these four musical works present four very different interpretations of the play, offering deep insights into the personalities of the composers. Not aware of Debussy’s operatic endeavor, Schoenberg had initially planned to compose an opera as well, but in the end decided on a purely musical treatment: “Mahler and Strauss had burst onto the musical scene, and their appearances were so fascinating, that every musician was immediately forced to take sides, for or against. I quickly got fired up and set about composing onemovement, uninterrupted symphonic poems on the scale of the models provided by Mahler and Strauss.” About his compositional approach, Schoenberg explains: “I tried, with the exception of just a few minor omissions and minor changes in the order of the scenes, to reflect every single detail. I did perhaps, as it often happens in music, give the love scenes a bit more space.” In the end Schoenberg decided to select eight of the fifteen scenes of the play, organizing them in four sections—much like a traditional symphony, albeit without any pauses. At the heart of Schoenberg’s version is the psychological equilibrium of love and revenge. Through the constant transformation of musical themes representing Fate and the three main characters, Schoenberg traces the emotional journey of Pélleas, Mélisande, and Golaud. The following descriptions, based on Alban Berg’s analysis, will offer a rather elemental listening guide to a highly complex and imaginative work: 1. [Sonata form.] The Fate theme is introduced, followed by the Mélisande theme (oboe/English horn). Horns signal Golaud’s

2. [Scherzo.] As Mélisande’s ring falls into the fountain, Golaud mysteriously falls off his horse; Golaud grows suspicious. Pelléas and Melisande meet at the tower window after which Golaud escorts his brother Pélleas through the menacing darkness of the castle’s vaults. 3. [Slow movement.] Pélleas and Mélisande rendezvous by the fountain. As they embrace each other before parting, the enraged Golaud comes out of hiding and kills Pélleas. 4. [Finale: The Death of Mélisande.] The events are placed into broader context through reappearances of themes from part 1. Having given birth to her daughter, Mélisande is dying. The remorseful Golaud is still plagued with jealousy, even as Mélisande assures him of her innocent love for Pélleas. Her death restores the equilibrium. LUDWIG VAN BEETHOVEN (1770-1827) Piano Concerto No. 5 in E flat major, Op. 73, “Emperor” Premiered on November 28, 1811 by the Gewandhaus Orchestra in Leipzig under the direction of Johann Philipp Christian Schulz with Friedrich Schneider as soloist. We have passed through a great deal of misery. I tell you that I have brought into the world little that is connected—only here and there a fragment. The whole course of events has affected both my body and soul … what a destructive and desolate life surrounds me! Nothing but drums, cannons, and human suffering in every form!” That is Beethoven’s report to his publisher Gottfried Christoph Härtel, written on July 26, 1809, recounting the terrifying and sustained French assault on Vienna. At one point during the invasion, Beethoven sought shelter in a friend’s cellar, covering his head with pillows in the hope of protecting the remaining shreds of hearing. It is hard to imagine the “Emperor” Concerto as the outcome of this horrific experience. But of course, nobody would have expected the “Eroica” Symphony in response to the composer’s oncoming deafness. It must have pained Beethoven not to be able to premiere the work. His deafness had progressed to the point that public performances were no longer possible. Instead, Friedrich Schneider premiered the work in Leipzig, while Beethoven’s student Carl Czerny gave the Vienna premiere three months later. Beethoven’s last piano concerto is his most innovative and expansive. Instead of opening with the usual orchestral exposition, he begins the concerto with a pianistic flourish, indicating its intense nature and preparing the listener for the martial opening theme. But it is the second, lyrical theme that actually takes center stage over long stretches of the movement. Beethoven explores a wide range of interactive textures between the piano and orchestra, as he carefully controls the musical narrative of this movement of epic proportions. For the remaining two movements, Beethoven uses the chorale (Protestant hymn) and the dance as reference points to focus the audience’s attention. The chorale in the slow movement creates a sense of beautiful serenity, before the last movement bursts forth with an exuberant rondo. - Siegwart Reichwald

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appearance as he consoles the frightened Mélisande and takes her to his father’s castle as his bride. Pelléas enters in youthful vigor and idealism. Mélisande realizes her love for Pélleas.

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appearances at Boston Symphony Hall and at Walt Disney Hall. Alexandre has enjoyed working with such conductors as Peter Oundjian, Bernard Labadie, Daniele Gatti, Lionel Bringuier, Stéphane Denève, Vladimir Jurowski, Rafael Frühbeck de Burgos, and Yannick Nézet-Séguin, among others.


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SATURDAY JULY 6, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

DVOŘÁK SYMPHONY NO. 5 Brevard Sinfonia Ruth Reinhardt, conductor Daniel Bernard Roumain (DBR), violin GLANERT (1960-) American Prelude No. 1

DBR (1971-) Voodoo Violin Concerto Mr. Roumain, violin

-INTERMISSIONDVOŘÁK (1841-1904) Symphony No. 5 in F major, Op. 76 Allegro ma non troppo Andante con moto Andante con moto Finale: Allegro molto

MADE POSSIBLE BY: The Jerome Family, Lead Sponsor Community Outreach Sponsor

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ABOUT THE ARTISTS RUTH REINHARDT, conductor Ruth Reinhardt is quickly establishing herself as one of today’s most dynamic and nuanced young conductors. She was Assistant Conductor of the Dallas Symphony Orchestra (DSO) for two seasons under Jaap van Zweden, concluding at the end of the 2017/18 season. In 2018/19 Reinhardt makes debuts with the Royal Stockholm Philharmonic, Grosses Orchester Graz, and Kristiansand Symphony Orchestra; as well as the symphony orchestras of Fort Worth, Omaha, Orlando, Portland, and Sarasota, among others. Reinhardt returns to the Dallas Symphony three times this season, for a subscription week as well as concerts in the Dallas community and the DSO’s contemporary ReMix series. She also returns to the Cleveland Orchestra, Seattle Symphony, Malmö Symphony, and the Impuls Festival in Germany. Last season, Reinhardt was a Dudamel Fellow of the Los Angeles Philharmonic, and in summer 2018, she was assistant conductor of the Lucerne Festival Academy Orchestra and worked with Carnegie Hall’s National Youth Orchestra (NYO-USA) assisting Michael Tilson Thomas. Highlights of her 2017/18 season included guest engagements with the Indianapolis, North Carolina, and San Diego symphonies, and the Los Angeles Chamber Orchestra in the Primrose Viola Competition. Ruth Reinhardt received her master’s degree in conducting from The Juilliard School, where she studied with Alan Gilbert. Born in Saarbrücken, Germany, she began studying violin at an early age and sang in the children’s chorus of Saarländisches Staatstheater, Saarbrücken’s opera company. She attended Zurich’s University of the Arts (Zürcher Hochschule der Künste) to study violin with Rudolf Koelman, and began conducting studies with Constantin Trinks, with additional training under Johannes Schlaefli. She has also participated in conducting master classes with, among others, Bernard Haitink, Michael Tilson Thomas, David Zinman, Paavo Järvi, Neeme Järvi, Marin Alsop, and James Ross. Prior to her appointment in Dallas, Reinhardt was a conducting fellow at the Seattle Symphony (2015-16), Boston Symphony Orchestra’s Tanglewood Music Center (2015), and an associate conducting fellow of the Taki Concordia program (2015-17).

DANIEL BERNARD ROUMAIN (DBR), violin Daniel Bernard Roumain’s acclaimed work as a composer and performer spans more than two decades, and has been commissioned by venerable artists and institutions worldwide. “About as omnivorous as a contemporary artist gets” (New York Times), DBR is perhaps the only composer whose collaborations traverse the worlds of Philip Glass, Bill T. Jones, Savion Glover and Lady Gaga. Known for his signature violin sounds infused with a myriad of electronic and urban music influences, DBR takes his genre-bending music beyond the proscenium. He has been nominated for an EMMY for Outstanding Musical Composition for his work with ESPN; featured as keynote performer at technology conferences; and written large scale, site-specific music for public parks. DBR’s made his Carnegie Hall debut in 2000 with the American Composers Orchestra performing his Harlem Essay for Orchestra, a Whitaker commission. He went on to compose works for the Boston Pops Orchestra; Carnegie Hall; the Library of Congress; the Stuttgart Symphony, and myriad others. DBR’s commitment to arts education has garnered long-term relationships with countless universities,


DBR recently premiered We Shall Not Be Moved, a chamber opera co-commissioned by Opera Philadelphia and Apollo Theater, with libretto by Marc Bamuthi Joseph, and direction by Bill T. Jones. New York Times called the work “The Best Classical Performance of 2017.” He is currently creating the musical score for The Just and The Blind, a new collaboration with Marc Bamuthi Joseph commissioned by Carnegie Hall.

ABOUT THE MUSIC DETLEV GLANERT (1960-) American Prelude No. 1 Premiered on July 20, 2015 at the Tanglewood Music Center under the direction of Ruth Reinhardt. What is American music? That’s the question German composer Detlev Glanert asked himself when he was commissioned to write three short symphonic works for performance in the US. He found his answer in the music of Ives, Copland, and Bernstein. Glanert’s affinity for Romantic music viewed from a modernist perspective made it easy for him to explore the mid-twentiethcentury milieu of Copland’s and Bernstein’s America. The end result is a piece bustling with energy and excitement. The Boston Globe describes the First Prelude as “a plush, brassy fanfare, coursing with updated late-Romantic panache.” While Glanert spent most of his career in Germany and Italy in the world of opera, his 1985 studies at Tanglewood provided an obvious glimpse into the American tradition of concert music. In a way, his First American Prelude might be viewed as a musical postcard exploring the American tradition of Ives, Copland, and Bernstein from a modernist German perspective. DBR (1971-) Voodoo Violin Concerto “This is not your mama’s classical music” might be the understatement of the century by DBR about his eclectic style mixing classical, hip-hop, rock, jazz, blues, and folk styles. Hailed by The New York Times as “about as omnivorous as a contemporary artist gets,” DBR has collaborated with a diverse group of musicians—including Philip Glass, Cassandra Wilson, Bill T. Jones, Savion Glover, and Lady Gaga. And calling Snoop Dogg one of the greatest chamber musicians of modern times showcases DBR’s deep understanding of the whole spectrum of American musics. On his YouTube channel DBR explain that, “As an artist entrepreneur, I really am committed to create projects that speak to social injustice, have something to say about racial and social identity—and, in many ways, I’m trying to figure out how are we all going to live together.” In 2002 DBR conceived his Voodoo Concerto initially as a chamber work for the Kitchen House Blend, a 10-member ensemble of strings, reeds, brass, percussion and piano. Four years later he arranged it for full orchestra. As the title suggests, DBR explores some of his Haitian roots. Yet his approach is

ANTONÍN DVOŘÁK (1841-1904) Symphony No. 5 in F major, Op. 76 Premiered on March 25, 1879 in Prague under the direction of Adolf Čech. While Dvořák was one of the first European composers who truly wrestled with the question of the American musical tradition, his Fifth Symphony explores his own, Czech identity. There are few works with a more confusing publication history than Dvořák’s Fifth. Yet its circuitous route offers insights into Dvořák’s development as a Czech composer in a culture dominated by German Romanticism. While the work actually was the fifth symphony Dvořák wrote, it was published as his Third Symphony (1888), and his published “Symphonies Nos. 1 and 2” are really his Symphonies Nos. 6 and 7. To make the matter even more confusing, Simrock cunningly invented a much higher opus number (76 instead of 24), selling the audience on the idea that this was his most mature work to date. So what’s behind all of the confusing renumbering? In order to understand Simrock’s motivation for his shrewd business move, we need to look at Dvořák’s career path. Virtually unknown in 1874 outside of Bohemia and without any major publications to his name, Dvořák submitted a variety of compositions as application for an Austrian state stipend. Not only would Dvořák receive a substantial sum for the next several years, but Brahms, who was one of the judges, recommended Dvořák to his publisher: As for the state stipendium, for several years I have enjoyed works sent in by Antonín Dvořák (pronounced Dvorschak) of Prague. This year he has sent works including a volume of 10 duets for two sopranos and piano, which seem to me very pretty, and a practical proposition for publishing. … Play them through and you will like them as much as I do. As a publisher, you will be particularly pleased with their piquancy. … Dvořák has written all manner of things: operas (Czech), symphonies, quartets, piano pieces. In any case, he is a very talented man. Moreover, he is poor! I ask you to think about it! The duets will show you what I mean, and could be a “good article.” Dvořák’s Fifth Symphony was composed in response to his first stipend in 1875. Emboldened by the positive feedback, Dvořák decided to compose a “Czech” symphony that showed less influence of the New German School and a more individualistic approach. The use of Czech rhythms and other folk idioms—in particular in the inner movements—created an ingenious work teeming with energy; and the use of a variety of folk-like melodies helps create a pastoral mood. It was not difficult for Simrock to sell Dvořák’s “latest” symphony as a modern work, where the somewhat exotic composer had come into his own. Ironically, Simrock’s advertisement of the Fifth as a Czech work was prophetic, because Dvořák’s Eighth would become the mature symphony where the composer embraced (once again) his Czech heritage. - Siegwart Reichwald

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An avid arts industry leader, DBR serves on the board of directors of the League of American Orchestras, Association of Performing Arts Presenters and Creative Capital, the advisory committee of the Sphinx Organization, and was co-chair of 2015 and 2016 APAP Conferences.

much broader, “This concerto is most concerned with the notion of the ritual, or our collective rites of passage. From the current state of a highly technological country in the United States of America (the techno-textures and rhythms of “Filter”), to my own relationship with Catholicism (the meditative tonality of “Prayer”), I find “Tribe” in all of its primitive repetition, to, perhaps, be the most accurate depiction of where we are right now, as a collective, civilized society; a collective, civilized world.”

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orchestras, and performing arts centers. DBR earned his doctorate in Music Composition from the University of Michigan. He is currently Institute Professor of Practice at Arizona State University.


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7

SUNDAY JULY 7, 3:00PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

SAINT-SAËNS ORGAN SYMPHONY Brevard Concert Orchestra Ken Lam, conductor Rubén Rengel, violin DUKAS (1865-1935) The Sorcerer’s Apprentice

VIEUXTEMPS (1820-1881)

Violin Concerto No. 5 in A minor, Op. 37 Allegro non troppo Adagio Allegro con fuoco Mr. Rengel, violin

-INTERMISSIONSAINT-SAËNS (1835-1921)

Symphony No. 3 in C minor, Op. 78, “Organ” Adagio. Allegro moderato. Poco adagio Allegro moderato. Presto. Maestoso. Allegro

ABOUT THE ARTISTS

MONDAY, JULY 9

KEN LAM, conductor BMC Resident Conductor Ken Lam is Music Director of the Illinois and Charleston (SC) Symphony Orchestras, as well as Artistic Director of the Hong Kong Voices. 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. Previously Ken held positions as Associate Conductor for Education of the Baltimore Symphony Orchestra, Assistant Conductor of the Cincinnati Symphony Orchestra, and Principal Conductor of the Hong Kong Chamber Orchestra. (see page 121 for complete biography)

RUBÉN RENGEL, violin Venezuelan violinist Rubén Rengel, 22, was the Winner of the 2018 Annual Sphinx Competition. He is currently pursuing his Master’s degree at the Shepherd School of Music, at Rice University, under the remarkable guidance of Paul Kantor. He earned his Bachelor’s degree at the Cleveland Institute of Music as a student of world-renowned violinist Jaime Laredo. Rubén’s early education was centered at the Emil Friedman Conservatory and School in Caracas, where he studied with Maestro Iván Pérez Núñez for eleven years. As a soloist, he has appeared with the Venezuela Symphony Orchestra, the Firelands Symphony Orchestra, the CIM Orchestra, Virtuosi de Caracas, Filarmonía Caracas, and Arcos Juveniles de Caracas, working with conductors such as Theodore Kuchar, Carlos Miguel Prieto, Carl Topilow, Andrew Grams, and Ulyses Ascanio. Rubén has had the opportunity to perform at the Teatro Teresa Carreño in Caracas as a soloist, at the Kennedy Center as a representative of CIM, and at Carnegie Hall with the New York String Orchestra Seminar as well as on tour with the Shepherd School Symphony Orchestra. Rubén is an avid chamber musician, member of the Autana Trio, Bronze medal winners at the 2015 Fischoff National Chamber Music Competition. Some of his chamber music coaches include Sharon Robinson, Merry Peckham, Joel Smirnoff, Norman Fischer, James Dunham, Donald Weilerstein, Peter Salaff, Itzhak Perlman, and Joseph Silverstein. Rubén began his violin studies at the age of three at the National System of Youth Orchestras of Venezuela, “El Sistema,” where he was until the age of six. In addition to classical music, Rubén has extensive experience performing Venezuelan folk music and Jazz. This has allowed him to develop important abilities in the area of improvisation, and he has recorded and toured with distinguished Venezuelan ensembles. Rubén also has a strong interest in the art of conducting.

ABOUT THE MUSIC PAUL DUKAS (1865-1935) The Sorcerer’s Apprentice Premiered on May 18, 1897 at the Société Nationale de Musique, Paris, under the direction of the composer If you’ve wondered how to use Goethe and Mickey Mouse in the same sentence, look no further: Disney’s imaginative rendition (Fantasia,

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HENRY VIEUXTEMPS (1820-1881) Violin Concerto No. 5 in A minor, Op. 37 Premiered on September 24, 1861 by the composer as soloist with the Brussels Conservatory Orchestra.

DID YOU KNOW? A decade prior to Fantasia, The Wizard’s Apprentice was produced as a short film based on the music of Paul Dukas.

“The orchestra, transported, was tempted to stop playing in order to listen, and the audience, intoxicated with pleasure and admiration, acclaimed him and obliged him to return three times to thunderous applause!” This concert review from music critic François-Joseph Fétis exemplifies the success of Vieuxtemps’s most often performed work. Vieuxtemps was one of the most highly celebrated violin virtuosos of his day. Yet as a composer he had not yet left his mark. According to another critic, however, with his Fifth Concerto “Vieuxtemps’s compositional talent has reached the same level of perfection, and the same grandeur, as his talent as a performer.” Composed as an exam piece for the Brussels Conservatory, Vieuxtemps might not have anticipated its unparalleled success. Maybe it’s the work’s fluid design of three integrated movements, or maybe the two stunning cadenza options, that have captivated audiences everywhere. Doubtlessly, much of the work’s success lies in the expertly conceived solo part that explores violin techniques for their expressive qualities rather than mere virtuosic display. That does not mean, however, that this concerto is not challenging. Hubert Léonard, who had commissioned the concerto, wrote to the composer that “I shall only give my pupils the violin part, so that they will not massacre your concerto before it has been published!”

ORCHESTRA

CAMILLE SAINT-SAËNS (1835-1921) Symphony No. 3 in C minor, Op. 78, “Organ” Premiered in London at St. James Hall on May 19, 1886 under the direction of the composer.

DID YOU KNOW? The Finale’s opening can be heard in the France pavilion of Epcot at the Walt Disney World Resort.

“There goes the French Beethoven!” was Charles Gounod’s response to the 1886 Paris premiere of Saint-Saëns’s Third Symphony. At the pinnacle of his career, Saint-Saëns was a central player in French music as composer, pianist, and organist. He combined all three talents in this unusual work for orchestra, piano, and organ. The work is first and foremost a symphony, however, with the piano and organ adding to the composer’s timbral arsenal. The composer stated that, “with it I have given all I could give. What I did I could not achieve again.” That is a strong statement for one of the most prolific composers of his time, indicating the importance of the work. The work’s unusual structural design underscores Saint-Saëns’s innovative approach to the genre that brought Beethoven to mind. For the premiere the composer explained the structure of the work: This symphony is in two parts. Nevertheless, it embraces in principle the four traditional movements, but the first is altered in its development to serve as the introduction to the Poco adagio, and the scherzo is connected by the same process to the finale. What ties the movements together are common themes that reappear and are transformed—much like a Liszt symphonic poem. In fact, when Liszt died during the composition of this symphony, Saint-Saëns dedicated the work to his friend’s memory. At the slow opening a four-note motif is announced which becomes the central idea for the work. It reappears as part of the memorable allegro theme. A second, lyrical theme enters only to be drowned out quickly by the closing theme of the exposition of this compact sonata-form movement. Just as the composer explained, the first movement also fulfills an introductory function for the ensuing Poco adagio. Saint-Saëns describes the main theme of the second movement as an “extremely peaceful, contemplative theme,” played first by the strings over sustained organ chords. Throughout the movement the composer explores the lyric quality of the theme with constant transformations. The Scherzo begins the second part of the symphony with a tempestuous theme based on the symphony’s main material. According to Saint-Saëns, “there is struggle for mastery, which ends in the defeat of the restless, diabolical element.” The finale opens with an organ blast and a triumphant theme, announcing “the approaching triumph of calm and lofty thought.” The main theme appears now in triumph, leading to a spectacular ending. - Siegwart Reichwald

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1940) of Dukas’ Sorcerer’s Apprentice faithfully adapts the composer’s programmatic reading of Goethe’s ballad under the same title. In doing so, Disney opened up the complex and beautiful sound world of post-romantic program music to generations of casual listeners around the globe. In the poem, the apprentice casts a spell on the broom to help him with his chores. Not being able to control the broom, he decides to “kill” it with an ax, having forgotten the spell to stop the broom. Unfortunately, the split broom merely divides itself, causing an ever-greater mess. Just in time, the sorcerer appears and restores order. Goethe wrote the poem in 1797 as part of a friendly competition with Friedrich Schiller. Goethe’s poem is still taught in German schools for its beauty of composition and its expressive language. The educational benefit of Disney’s Fantasia (besides the exposure to great music) is the sorcerer’s scolding— which is not found in Goethe’s original.


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8

MONDAY JULY 8, 7:30PM CHAMBER

INGRAM AUDITORIUM AT BREVARD COLLEGE

BMC ARTIST FACULTY: CHAMBER MUSIC OF AARON COPLAND COPLAND (1900-1990) Duo for Flute and Piano

Flowing Poetic, somewhat mournful Lively, with bounce

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

Amy Porter, flute ~ Norman Krieger, piano COPLAND Sonata for Violin and Piano Andante semplace Lento Allegretto giusto Benjamin Sung, violin ~ Douglas Weeks, piano

-INTERMISSIONCOPLAND Selections from 12 Poems of Emily Dickinson Why Do They Shut Me Out of Heaven? The World Feels Dusty Heart, We Will Forget Him! Selections from Old American Songs, vol. 2 The Little Horses At the River Ching-a-ring Chaw Cynthia Clayton, soprano ~ Hector Vasquez, baritone Deloise Lima, piano COPLAND Sextet Allegro vivace Lento Precise and rhythmic Steve Cohen, clarinet ~ Corinne Stillwell, violin Byron Tauchi, violin ~ Erika Eckert, viola Brian Snow, cello ~ Donna Lee, piano 68 BrevardMusic.org

ABOUT THE MUSIC AARON COPLAND (1900-1990) Duo for Flute and Piano Premiered on October 3, 1971 at the Settlement Music Festival in Philadelphia with Elaine Shaffer on the flute and Hephzibah Menuhin at the piano. In 1969, a group of 70 former students of William Kincaid commissioned Copland to write the Duo for Flute and Piano. William Kincaid (1895-1967) had been the principal flutist of the Philadelphia Orchestra for over forty years, and his long tenure at Curtis Institute had made him one of the most influential teachers in the country. Copland was excited to be able write a virtuosic work for a group of outstanding flute players. While pondering Kincaid’s legacy, Copland presumably also reminisced about his own career. In fact, the Duo would be one of his last works. Upon completion of the work Copland explains that, “It was exactly as if someone had simply turned off a faucet,” yet he felt “lucky to have been given so long to be creative, and resigned to the act that is appears to be over.” COPLAND Violin Sonata Premiered on January 17, 1944 at Town Hall in New York by Ruth Posselt and Copland. “To Lt. Harry H. Dunham (1910-1943), a friend of mine who lost his life while on duty in the South Pacific” reads the dedication of this simple but intimate chamber work, written in memory of a close friend. Copland began the work in Oakland, NJ, and finished it on the Hollywood set for the movie The North Star. Copland explains,

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While The New York Times critic Olin Downes wrote that the work strikes him “as paper music, not as creation,” Virgil Thomson finds that “it has a quality at once of calm elevation and buoyancy that is characteristic of Copland and irresistibly touching.” COPLAND Selections from 12 Poems of Emily Dickinson Copland was not a prolific song composer. Besides a few early songs, Copland published only the Dickinson song cycle and two sets of Old American Songs. Yet these publications have become monuments of American art song literature. Even though they were composed within the same time period, the collections represent two very different styles. While Old American Songs espouse Copland’s popular American style, the Dickinson cycle mirrors the poet’s austere and more abstract approach of some of his piano works. In the preface, the composer explains, These twelve songs were composed at Sneden’s Landing, New York, at various times during the period from March 1949 to March 1950. […] The poems center about no single theme, but they treat of subject matter particularly close to Miss Dickinson: nature, death, life, eternity.

Copland’s research at the Sheet Music Collection of the Harris Collection of American Poetry and Plays at Brown University led him to compose two sets of arrangements of songs he had found. “The Little Horses” is a lullaby from the South, “At the River” an arrangement of the 1865 hymn tune by Robert Lowry, and the “Chin-a-ring Chaw” a minstrel song, which Copland rewrote to fit modern sensibilities. COPLAND Sextet Premiered on February 26, 1939 in Town Hall, New York. Copland wanted to write the perfect American piece. He called it Short Symphony. Yet the 15-minute distillation of everything American turned out to be technically almost beyond the reach of orchestras. Even 14 rehearsals didn’t prepare Mexico’s National Orchestra sufficiently for the work’s premiere. Subsequent planned performances by Stokowski and Koussevitzky had to be canceled. When asked if the work was too difficult, Koussevitzky replied, “No, not too difficult— impossible!” So Copland turned the virtuosic work into a Sextet, negotiating some of the technical challenges. By now, the novelty of Copland’s highly original score has been conquered, and Copland’s expression of America has changed the musical landscape. About the challenges Copland presented his fellow musician with, the composer responded, “one learns to have patience.” - Siegwart Reichwald

Copland was the central figure connecting all branches of the American musical tree… More than any other composer, Copland and his work are emblematic of 20th century American music. – Keith Lockhart

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COPLAND Selections from Old American Songs, vol. 2 Premiered on July 1953 by William Warfield with Copland at the piano.

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I had carried sketches for a violin and piano piece with me to California. During the frequent periods when I had to wait for the studio to move ahead on The North Star, I played through the piano parts of violin sonatas from various periods […] For whatever reasons, at that time I had little desire to compose a dissonant or virtuosic work, or one that incorporated folk materials. Nevertheless, certain qualities of the American folk tune had become part of my natural style of composing, and they are echoed in the Sonata.


JULY

9

TUESDAY JULY 9, 7:30PM ORCHESTRA

TONIGHT’S PROGRAM GRANADOS (1867-1916) Andaluza from 12 Spanish Dances, Op. 37 (arr. Allen)

WHITTINGTON-PFOHL AUDITORIUM

ALBENIZ (1860-1909) Sevilla (Sevillanas) from Suite Espagnole, Op. 47 (arr. Allen)

JUST BRASS

O’CONNELL (1989-) Capriccio for Horns

BMC Brass Artist Faculty High School and College Brass Ensembles Neal Berntsen, program coordinator Jamie Hafner, conductor

ZEGIEL (1994-) Blue Ridge (world premiere) BACH (1685-1750) Fugue in G minor, BWV 578, “Little Fugue” (arr. Allen) STEVENS (1951-) Prometheus and the Gift of Fire

-INTERMISSIONDILORENZO (1967-) Fire Dance BRAHMS (1833-1897) How Lovely is thy Dwelling Place from A German Requiem (arr. Williams) EWAZEN (1954-) Symphony in Brass Andante. Allegro molto Andante con moto Allegro vivace PURCELL (1659-1695) Five Madrigals In These Delightful, Pleasant, Groves The Nightingale Phyllis, Farewell Elves’ Dance Love is Dainty BÖHME (1870-1938) Adagio ma non tanto from Sextet in E flat minor, Op. 30 (arr. Rudd) STRAUSS (1864-1949) Vienna Philharmonic Fanfare

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JULY 9

YOU BELONG HERE Ranked among the best programs in the country, UNCSA School of Music combines highly personalized instruction from major studio teachers with numerous opportunities to perform in ensembles and productions of all sizes. We’re instrumental in preparing students for the professional world of music.

DANCE

DESIGN & PRODUCTION

DRAMA

FILMMAKING

MUSIC

uncsa.edu/brevard

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10

WEDNESDAY JULY 10, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

TCHAIKOVSKY SOUVENIR DE FLORENCE Brevard Camerata Eric Ohlsson, oboe Jason Posnock, violin GERSHWIN (1898-1937) Lullaby

BACH (1685-1750) Concerto for Oboe and Violin in C minor, BWV 1060 Allegro Adagio Allegro Mr. Ohlsson, oboe Mr. Posnock, violin

-INTERMISSIONTCHAIKOVSKY (1840-1893) Souvenir de Florence, Op. 70 Allegro con spirito Adagio cantabile e con moto Allegretto moderato Allegro con brio e vivace

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ABOUT THE ARTISTS ERIC OHLSSON, oboe Oboist Dr. Eric Ohlsson is dedicated to both performing and teaching on a national and international scale. He is the Charles O. DeLaney Professor of Oboe in the College of Music at Florida State University, a post he has held since 1986. Ohlsson performs regularly as Principal Oboe of the Tallahassee Symphony, the Palm Beach Opera Orchestra, and in the summer months, with the Brevard Music Center Orchestra, where he has been a member of the Artist Faculty since 1994. He was formerly Principal Oboe of the Naples Philharmonic, Columbus Symphony, Augusta Symphony, and South Carolina Philharmonic. Additionally, he has performed as guest principal with the Charlotte Symphony, the Florida Orchestra, and the Jacksonville Symphony. Eric Ohlsson has performed as a recitalist and chamber musician the US, Canada, Europe, and South America, in venues such as Weill Recital Hall in New York City, Teatro Colon in Buenos Aires, and at the Grand Castle of Vianden in Luxembourg, to name a few. He has performed at Conferences of the International Double Reed Society on ten separate occasions. Ohlsson has been a featured soloist with the orchestras of Naples, Tallahassee, and Augusta, and the Pro Musica Chamber Orchestra, CityMusic Cleveland, South Carolina Philharmonic, South Carolina Chamber Orchestra, and Florida State Chamber Orchestra. He has also been a soloist with orchestras at the Brevard Music Center, and the University Orchestras of Florida State and The Ohio State University. As a pedagogue, Ohlsson has taught hundreds of young oboists at FSU, Brevard Music Festival, and at the Vianden International Music Festival. Many of these students now hold important positions as university professors, symphonic performers, and educators across the country. He has also taught at the University of South Carolina, the South Carolina Governors School of the Arts, Otterbein College, and Denison University. His degrees are from The Ohio State University (DMA and MM) and James Madison University (BME). His most influential teachers are John Mack, William Baker, James Caldwell, Ben Wright, and Travis Cox.

JASON POSNOCK, violin Violinist Jason Posnock enjoys a versatile musical career both in the United States and internationally. He has performed regularly in such prominent American ensembles as the Philadelphia Orchestra and the Pittsburgh Symphony Orchestra, and has accompanied them on tours to Europe, South America, the Far East and New York’s Carnegie Hall. Originally from New Jersey, Mr. Posnock began taking violin lessons at the age of four. He made his solo debut with the Philadelphia Orchestra at the age of ten, and has since appeared as soloist with orchestras on three continents. Jason attended Princeton University, graduating with honors in 1994, earned his ARCM(PG) from the Royal College of Music, London, and a Performance Residency Program from Carnegie Mellon University. His early teachers included famed pedagogue Samuel Applebaum and David Arben, and later, Felix Andrievsky, Yumi Scott, and Andrés Cárdenes.


In addition to his performance schedule, Mr. Posnock has devoted much of his time to teaching and working with young musicians, serving on the faculty of the Brevard Music Center, as Artist Lecturer in Violin at Carnegie Mellon University, conductor of the Intrada Strings preparatory orchestra, and maintaining a busy teaching studio. He has also coached the violin sections of the Carnegie Mellon Philharmonic, the Three Rivers Young People’s Orchestra, and the Asheville Symphony Youth Orchestra. Presently Mr. Posnock resides with his family in Brevard, NC, serves on the faculty of Brevard College, and is the Director of Artistic Planning & Educational Programs at the Brevard Music Center.

ABOUT THE MUSIC GEORGE GERSHWIN (1898-1937) Lullaby

DID YOU KNOW? The Juilliard String Quartet made the first recording of Lullaby in 1974.

Apparently, Tchaikovsky did not lack self-confidence. About his Souvenir de Florence he wrote, “What a Sextet—and what a fugue at the end—it’s a pleasure! It is awful how pleased I am with myself; I am embarrassed not by any lack of ideas, but by the novelty of the form.” Yet Tchaikovsky did not arrive at this proud proclamation without due process. After he had spent considerable time composing the sextet during the summer of 1890, a private performance later that year left him dissatisfied, and he heavily revised the work over the course of the next two years. Only after its successful premiere did he express his above quoted enthusiasm for the piece. Surely part of the reason for Tchaikovsky’s excitement about this work can be found in its inspiration. Florence had been his favorite vacation spot for many years. He always stayed at a villa owned by his benefactor, Nadezhda von Meck, whose only condition for her support was that they would never meet. Instead of creating or following a specific program, Tchaikovsky expresses his reminiscences of Florence within the framework of a classical divertimento, which seems only fitting, as Italy represented “old world charm” and tradition to the Northern European travelers. Besides Mozart’s divertimentos, Mendelssohn’s Octet clearly was also one of his models, as Tchaikovsky explores a variety of sonorities and string textures. Each movement builds in excitement—despite the minor key—until the exuberance culminates in the fugue of the last movement. - Siegwart Reichwald

“Gershwin’s boyhood was marked by an interest in athletics and an indifference to school” (Grove Music Online). This statement might be misleading and needs to be placed in the proper context. While Gershwin dropped out of high school to work for a music publisher, he continued to be a life-long learner. Lullaby was an assignment by his private composition teacher, the Hungarian composer and pianist Edward Kileny. Composed first for the piano, Kileny wanted him to understand how to write for strings. This imaginative setting by the 21-yearold attests to Gershwin’s rapid development as a composer, as he employs a variety of string techniques. Having used the tune in his unsuccessful opera Blue Monday, the Lullaby sat on his brother Ira’s shelf until 1968, when he decided to publish it. Ira said of the piece, “It may not be the Gershwin of Rhapsody in Blue, Concerto in F, or any of his other concert works, but I find it charming.”

THE BREVARD CAMERATA is comprised of BMC’s talented College Division students working side-by-side with members of the Artist Faculty. Directed by Jonathan Spitz, Principal Cellist of the New Jersey Symphony and longtime member and artistic leader of Orpheus, America’s premier conductorless ensemble, the Brevard Camerata explores nearly four centuries of music from the rich and diverse chamber orchestra repertoire.

JOHANN SEBASTIAN BACH (1685-1750) Concerto for Oboe and Violin in C minor, BWV 1060 This popular concerto represents a fascinating feat of reverse engineering. While there were hints of a concerto for oboe and violin, no such composition existed among Bach’s works. Since Bach is known for the recycling of pieces for different settings, scholars came to realize that Bach’s Concerto for Two Harpsichords BWV 1060 was actually a transcription of the now lost version for violin and oboe. Max Schneider reconstructed the original version by rewriting the right-hand parts of the Harpsichord Concerto for oboe and violin. The outcome is a stunning work that moves the listener from wonder (first movement) and serenity (second movement) to boundless joy.

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PYOTR IL’YCH TCHAIKOVSKY (1840-1893) Souvenir de Florence, Op. 70 Premiered on December 6, 1892 by the St. Petersburg Music Society.

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Concertmaster of the Asheville Symphony Orchestra since 2007, Mr. Posnock has previously held the positions of Concertmaster of the Clarksburg (WV) Symphony Orchestra and Concertmaster of the McKeesport (PA) Symphony Orchestra. He has often been invited to perform with the Pittsburgh Symphony, as well as serve as Guest Concertmaster of ensembles such as the Bangor, Roanoke, Erie, Westmoreland, and Altoona Symphony Orchestras.


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11&13

THURSDAY JULY 11, 7:30PM

ABOUT THE DIRECTOR DOROTHY DANNER, stage director Noted for her inventive staging, Dorothy Danner has directed nearly 200 productions of operettas, musicals and plays throughout the United States, Canada and Belgium, including operas for the companies of Houston, Miami, Philadelphia, Cleveland, Virginia, Cincinnati and San Francisco Merola.

SATURDAY JULY 13, 2:00PM OPERA

(see page 137 for complete biography)

PORTER CENTER AT BREVARD COLLEGE

ABOUT THE CONDUCTOR KELLY KUO, conductor Maestro Kelly Kuo brings a dynamic versatility and nuance to a diverse repertoire, which includes over 80 operas and an expansive symphonic repertoire as well. Currently Artistic Director of Oregon Mozart Players, recent engagements include Lyric Opera of Chicago, Cincinnati Opera, Kentucky Opera, and Madison Opera, amongst others.

ROMÉO ET JULIETTE Janiec Opera Company of the Brevard Music Center Brevard Festival Orchestra Dorothy Danner, stage director Kelly Kuo, conductor Lindsay Woodward, chorus master MUSIC: Charles Gounod LIBRETTO: Jules Barbier and Michel Carré Act I Act II

-INTERMISSIONAct III Act IV Act V Danielle Brooks, Scenic Designer Bobby Bradley, Lighting Designer Glenn Avery Breed, Costume Designer Brittany Rappise, Wig & Makeup Designer

MADE POSSIBLE BY: The Zimmerli Family Opera Endowment, Sustaining Sponsor

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(see page 136 for complete biography)

CAST (in order of vocal appearance) Tybalt: Achilles Bezanis Paris: Joseph O’Shea Count Capulet: Ari Bell Juliette: Emily Margevich Mercutio: Joseph Sandler Roméo: John Riesen • Gertrude: Dominique Santiago Grégorio: Matthew Huckaba Frère Laurent: Errol Shaw Stéphano: Nicole Rizzo Benvolio: Marcus Jefferson Duke of Verona: Craig Smith • Guest Artist

ENSEMBLE Andrew Boisvert Hannah Carroll Ian DeSmit Victor DiNitto Tori Franklin Robert Fridlender Ethan Garner Matthew Huckaba Leah Rivka Israel Marcus Jefferson Megan Maloney Emma Marhefka Anja Pustaver Samuel Rachmuth Grace Reberg Jaime Sharp Gregory Sliskovich Maggie Elisabeth Smith Derek Stull Adina Triolo Andrea Tulipana Vivian Yau


ACT 3 The cell of Friar Laurent. Roméo visits Friar Laurent and reveals his love for Juliette. She soon appears with Gertrude, asking the Friar to marry them. Recognizing their deep love, he marries them with the hope of reconciliation between the two families.

PROLOGUE Verona, 18th century. After an orchestra introduction, the chorus introduces the endless feud between the Montague and Capulet families and the tragedy that will befall them.

SYNOPSIS ACT 1 A masked ball at the Capulet palace. Tybalt assures Count Pâris that the beautiful Juliette will enchant him. Capulet escorts his daughter into the hall, inviting the guests to dance. Hidden under their masks, Roméo, Mercutio, and Benvolio are also present; Roméo shares a foreboding dream, but Mercutio dismisses it as the work of the fairy Queen Mab. Seeing Juliette dance, Roméo falls in love. Meanwhile, Juliette jokes with her nurse Gertrude that she will never get married. Roméo approaches Juliette, and both see their destiny together. Roméo’s identity is discovered, and the friends flee from the palace.

A street in front of the Capulet palace. Roméo’s page, Stéphano is accosted by Mercutio for singing a song about a turtledove imprisoned in a nest of vultures. The situation escalates when Tybalt and Roméo get involved. Roméo asks Tybalt to move past the hatred between their families, only to see Tybalt respond by killing Mercutio in a duel. Roméo stabs Tybalt in revenge. Both families demand justice before the Duke of Verona, and Roméo is exiled. ACT 4 Juliette’s room. Having spent their wedding night in Juliette’s room, she forgives Roméo for killing Tybalt. Hearing the morning lark sing, they can hardly bring themselves to say goodbye. Juliette is alone in her room when Capulet enters with Friar Laurent, announcing her marriage to Pâris this very day. After Capulet leaves, the Friar offers a plan: Juliette will drink a potion that will make her appear dead. Once she will have been transported to the family tomb, Roméo will meet her there when she awakens. Summoning all of her courage, Juliette agrees. The Capulet palace. The wedding is about to happen, and the wedding party processes. Guests offer best wishes and present gifts. On the way to the chapel Juliette collapses. Her father realizes in anguish that she is dead. ACT 5 The underground crypt of the Capulets. Juliette lies on a tomb. Friar Laurent learns that Roméo has not received the letter explaining the situation and sends another messenger. Roméo appears and sees Juliette. Believing her dead, he drinks a vial of poison. Just then she awakens, and the lovers affirm their love to one another. As Roméo weakens, Juliette takes his dagger and stabs herself. They die in prayer, asking God for clemency.

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The same night, Roméo sneaks into the Capulet’s garden, looking for Juliette. Finding her on her balcony, Roméo declares his love. Their tender exchange is momentarily interrupted by servants searching for a Montague pageboy. Juliette assures Roméo of her eternal love for him.

OPERA

ACT 2


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FRIDAY JULY 12, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

MENDELSSOHN “ITALIAN” SYMPHONY Brevard Music Center Orchestra Ken Lam, conductor Vanessa Benelli Mosell, piano BOULANGER (1893-1918) D’un matin du printemps

CHOPIN (1810-1849) Piano Concerto No. 1 in E minor, Op. 11 Allegro maestoso Romanze. Larghetto Rondo. Vivace Ms. Benelli Mosell, piano

-INTERMISSIONMENDELSSOHN (1809-1847) Symphony No. 4 in A major, Op. 90, “Italian” Allegro vivace Andante con moto Con moto moderato Saltarello. Presto

ABOUT THE ARTISTS KEN LAM, conductor BMC Resident Conductor Ken Lam is Music Director of the Illinois and Charleston (SC) Symphony Orchestras, as well as Artistic Director of the Hong Kong Voices. 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. Previously Ken held positions as Associate Conductor for Education of the Baltimore Symphony Orchestra, Assistant Conductor of the Cincinnati Symphony Orchestra, and Principal Conductor of the Hong Kong Chamber Orchestra. (see page 121 for complete biography)

VANESSA BENELLI MOSELL, piano Vanessa Benelli Mosell is a rising star on the international music scene, much praised for her virtuosity and technical brilliance, which she brings to her piano playing and also to her conducting and directing. She has received praise for her recordings of Stockhausen and for her debut concerto CD of Rachmaninoff’s Piano Concerto No.2 with the London Philharmonic Orchestra, often featured on BBC Radio 3, France Musique and RAI. From Prato, Italy, Vanessa began her studies when she was seven years old at Imola. Her debut, at age eleven, inspired Pascal Rogé to describe her as “the most natural musical talent I have encountered in my entire life.” She then studied at the Moscow Tchaikovsky Conservatory with Mikhail Voskresensky, and then at the Royal College of Music in London, graduating in 2012. Since then, she has worked with the Moscow Soloists, Orchestre Philharmonique de Strasbourg, Münchner Symphoniker, Zurich Chamber Orchestra, and Jerusalem Symphony Orchestra, and has played at the Berliner Philharmonie, Philharmonie de Paris, Madrid’s Auditorio Nacional, Palau de la Musica Barcelona, UNESCO Auditorium, King’s Place, and the Wigmore Hall. Following Vanessa’s private recording of Karlheinz Stockhausen’s Klavierstücke when she was seventeen, she was invited to study with him, as he believed that she “has the power to let people appreciate my music.” Stockhausen remains an important influence on Vanessa, even featuring on her DECCA Classic debut in 2015 with “[R] Evolution”. Recent highlights include her debuts at the Teatro alla Scala Milan, Amsterdam’s Muziekgebouw aan 't IJ, Dublin’s National Concert Hall for RTÉ with concerti by Rachmaninoff and George Benjamin, as well as her much praised conducting debut with the Divertimento Ensemble in Milan. This season, Vanessa performs with the Royal Scottish National Orchestra, at the Seoul Arts Centre, debuts at the Royal Festival Hall, Southbank Centre, as well as performances in festivals across Europe and the Middle East. Vanessa’s next disc, works of Ravel with the Royal Scottish National Orchestra, will be released in 2019.

Official piano of the Brevard Music Center

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The Boulanger family was artistically inclined; mother and grandmother were singers, and father was a composer. Older sister, Nadia, would become one of the foremost teachers of her generation. In fact, Nadia taught her younger sister, Lili, who in 1913 became the first woman to win the coveted Prix de Rome, guaranteeing a five-year salary. Her career was further bolstered by a life-time publishing contract with Ricordi. But Lili Boulanger was living on borrowed time. Suffering from what’s believed to be Crohn’s disease since childhood, Lili was a sickly person aware of her mortality. Her condition worsened considerably under the stresses of World War I. Knowing that the end was near, Boulanger worked tirelessly to finish some her final compositions, including D’un matin du printemps. Her premature death at age 24 cut short the life of one of the most promising artists of the twentieth century. Despite Boulanger’s grim prognosis, D’un matin du printemps (“One Spring Morning”) celebrates the joy and beauty of spring. Stylistically, the young composer was influenced by Debussy’s Impressionism and Fauré’s modernist tendencies. Her awareness and fusion of these contemporary styles create a musical language that is uniquely her own. FRÉDÉRIC CHOPIN (1810-1849) Piano Concerto No. 1 In E minor, Op. 11 Premiered on October 11, 1830 in Warsaw under the direction of Carlo Evasio Soliva with the composer as soloist “Chopin F. third year student, exceptional talent, musical genius” was the third-year report in 1829 from his Warsaw school. It was clear to the musical establishment that Chopin had learned all he could, and that he needed to spread his wings. In order to present himself outside of Poland, Chopin composed two piano concertos, both of which he performed in Warsaw in front of an adoring crowd in 1830. He would leave for Vienna a few weeks after the second performance and conquer the musical capital by storm. Soon thereafter Paris would become his home for the rest of his life. Scholars agree that Chopin had already reached full maturity as a composer before he arrived in Paris in 1831—and his two piano concertos are all the proof we need. Written from a pianist’s perspective in the style of the fashionable virtuoso concertos of his day, his works focus squarely on the soloist with the orchestra strictly as accompaniment. While his First Piano Concerto is conventional in design, Robert Schumann nevertheless wrote in his 1836 review that “Chopin introduces the spirit of Beethoven into the concert hall.” And Schumann’s future wife Clara Wieck performed the work regularly all throughout Europe. At the heart of the concerto is Chopin’s complex tonal language with unusual modulations and unique key relationships, giving the work its expressive quality. The first movement avoids harmonic resolution altogether, leading to the Romance, which presumably expresses his feelings for the young singer Konstancja Gładkowska—feelings he didn’t dare share in person with her. The

FELIX MENDELSSOHN (1809-1847) Symphony No. 4 in A major, Op. 90, “Italian” Premiered on May 13, 1833 at in London under the direction of the conductor

DID YOU KNOW? In surely one of the most embarrassing professional experiences of Schumann’s career, he mistook Mendelssohn’s “Scottish” Symphony for the “Italian” and found “ancient melodies sung in lovely Italy” in the “Scottish” Symphony.

This symphony expresses the exuberance of a young German traveler, soaking in the sights and sounds of Italy. Each of the four movements of this classically conceived symphony might be seen as musical postcard, depicting his impressions of this foreign land. The opening Allegro vivace drops the listener in the middle of Italy with its two exciting main themes. Mendelssohn writes, that “the whole country had such festive air that I felt as if I were a young prince making his entry.” The Andante con moto, possibly inspired by a religious procession Mendelssohn had seen in Naples, paints a contrasting picture to the busy excitement of the first movement. The noble and somewhat somber character of this movement is expressed most clearly in its rhythmic gestures and the chant-like opening theme. In the traditional minuet Mendelssohn seems to tip his hat to Italy’s rich cultural history. The closing Saltarello, however, was based on present-day Italian culture. On January 17, 1831, Mendelssohn wrote, Afterward we danced, and I wish you could have seen Louisa Vernet dancing the Saltarello with her father. When at length she was forced to stop for a few moments, and snatched up a tambourine, playing with the utmost spirit and relieving us, who could really scarcely any longer move our hands, I wished I had been a painter, for what a superb picture she would have made! Upon his return from Italy, Mendelssohn presented the score to the London Philharmonic Society. Despite its success, the composer felt that this symphony needed major revising, and he discouraged any further performances. Had he not presented his score as a gift to the society, he surely would have taken the score with him, and the work might have never seen another performance! In fact, the work was not performed outside of London during Mendelssohn’s lifetime. Soon after his death the “unfinished” work was published—and the rest is history. - Siegwart Reichwald

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LILI BOULANGER (1893-1918) D’un matin du printemps

last movement includes reminiscences of Polish dances, a fitting ending for a farewell piece to his homeland and his calling card for broader musical public. It didn’t take long for Western Europe to recognize Chopin’s extraordinary talents, for Robert Schumann introduced Chopin to the German-speaking world in his 1831 with the famous words, “Hats off, gentlemen, a genius!”

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ABOUT THE MUSIC


SATURDAY JULY 13, 7:30PM

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ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

COPLAND AND MEXICO Brevard Sinfonia Angel Gil-Ordoñez, conductor Lorenzo Candelaria, host COPLAND (1900-1990) “Hoe Down” from Rodeo

COPLAND El Salón México

REVUELTAS (1899-1940) Duelo from Homenaje a Federico García Lorca

REVUELTAS Sensemayá

ABOUT THE ARTISTS ANGEL GIL-ORDOÑEZ, conductor A frequent guest conductor across Europe, the United States, and Latin America, Angel Gil-Ordóñez holds the positions of Music Director and Conductor of PostClassical Ensemble (PCE) in Washington, DC (which he co-founded with music historian Joseph Horowitz), Principal Guest Conductor of New York’s Perspectives Ensemble, and Music Director of the Georgetown University Orchestra. He also serves as advisor for education and programming for Trinitate Philharmonia in León, Mexico. Mr. Gil-Ordóñez is a regular guest conductor at the Bowdoin International Music Festival in Maine, and this will be his first appearance at Brevard. In the United States, he has appeared with the American Composers Orchestra, Opera Colorado, Pacific Symphony, Hartford Symphony, Brooklyn Philharmonic, Orchestra of St. Luke’s, and National Gallery Orchestra. Abroad, he has been heard with the Munich Philharmonic, the Solistes de Berne, at the Schleswig-Holstein Music Festival, and the Bellas Artes National Theatre in Mexico City. In the summer of 2000, he toured the major music festivals of Spain with the Valencia Symphony Orchestra in the Spanish premiere of Leonard Bernstein’s Mass. Former Associate Conductor of the National Symphony Orchestra of Spain, Gil-Ordóñez was born in Madrid (Spain). He worked closely with legendary conductor Sergiu Celibidache in Germany for more than six years, and also studied with Pierre Boulez and Iannis Xenakis in France. A Naxos artist, Gil-Ordóñez has recorded 5 CDs, in addition to PCE’s Virgil Thomson, Copland, and Revueltas DVDs. In 2006, the King of Spain awarded Gil-Ordóñez the country’s highest civilian decoration, the Royal Order of Queen Isabella, for his work in advancing Spanish culture around the world, in particular for performing and teaching Spanish music in its cultural context. Gil-Ordóñez received a WAMMIE award in 2011 from the Washington Area Music Association in the category of best conductor. Gil-Ordóñez moved to the United States in 1994 and became an American citizen in 2009. He resides in Washington, DC, with his wife, Adriana, and daughter, Paula.

LORENZO CANDELARIA, host

-INTERMISSIONREVUELTAS Redes (film with live orchestra)

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

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Lorenzo Candelaria has held the position of the Dean of Fine Arts at SUNY, Purchase since 2018 with the aim of creating a model for arts education in the United States. A native of El Paso, Texas, Candelaria is a firstgeneration, Mexican-American college graduate. Following a year of study with the celebrated Russian violinist Victor Danchenko at the Cleveland Institute of Music, he completed his undergraduate degree in musicology at the Oberlin Conservatory where he also studied violin, viola, and the Chinese erhu (a two-stringed fiddle). Candelaria received his Ph.D. in musicology with the honor of “distinction” from Yale University, specializing in early music while pursuing a performance career with groups that included Walt Disney World’s Mariachi Cobre and the Grammy-nominated Mariachi Sol de México. With the generous support of a Fulbright fellowship, he conducted nearly two years of groundbreaking archival research on Catholic plainchant and liturgy in Spain. Candelaria has held professorships at the Yale Institute of Sacred Music (visiting) and the University of Texas at Austin, where he


He is currently working on book manuscripts titled Music in Mexican Catholicism (under contract) and ARTSWAYS: Saving Public Arts Education in America.

ABOUT THE MUSIC The most recent edition of the New Grove Dictionary of Music and Musicians – the major English-language, classical-music reference work -- allots less than a page to Silvestre Revueltas (1899-1940). It’s a safe prediction that future editions will find a lot more to say about him – not only because American audiences and musicians are belatedly getting better acquainted with Revueltas, but because of changing aesthetic fashions: Revueltas is no longer eclipsed by his Mexican contemporary Carlos Chavez, who was part of a modernist community (also including Aaron Copland) into which Revueltas did not fit. Revueltas blazed a short and disordered path. A product of rural Mexico, he was educated in Mexico and Chicago, and early in his career played the violin and conducted in Texas and Alabama. Chavez recalled him to Mexico City to be assistant conductor of the National Symphony (1929-35). In spirit, he resembles the Mexican muralists of the same seminal generation (his brother Fermin was himself a muralist of consequence). Seized by creative demons, he could compose for days without food or sleep. He travelled to Spain to take part in an antifascist Congress during the Spanish Civil War. He died young, weakened by drink, depressed and disillusioned by Franco’s victory in Spain and by the failure of the Mexican Revolution to radically redistribute wealth and power. The Mexican poet Octavio Paz summarized: Silvestre, like all real people, was a battlefield. Inside Silvestre lived numerous interlocutors, many passions, many capacities, weaknesses as well as refinement. . . . This wealth of possibilities, divinations, and impulses give his [music] the sound of a primal chord, like the first light that escapes a world in formation. It is significant that unlike Copland or Chavez, Revueltas was not seduced by Paris, from which city he once wrote to his wife: “I’d love to perform [my music] here, simply to see the expressions of disgust in their faces. It would be as if something obscene, or tasteless, or vulgar had been uttered.” The “objectification of sentiment” Copland found kindred in Chavez has no equivalent in Revueltas. REDES Redes (1935) was the first of 10 Mexican films Revueltas scored. It was co-directed by Emilio Gómez Muriel and an Austrian émigré: Fred Zinnemann, later the Hollywood director of High Noon, From Here to Eternity, and A Man for all Seasons. The cinematographer was an American: Paul Strand, called by Susan

“Redes” refers to fishing nets. (In the United States the film was released as The Wave). The story of this 60-minute film is of poor fishermen victimized by monopoly control of their market. It argues for organized resistance as a necessary means of political reform. Redes has a tangled background. Strand had come to Mexico in 1933, attracted by the revolutionary government and its reformist program. Like Copland the year before, he had been invited by the composer Carlos Chávez. With Chávez, Strand conceived what became Redes and engaged Zinnemann. But in 1934 a new government (under Lázaro Cárdenas) came to power. Chávez was replaced as Director of Fine Arts by Antonio Castro Leal. Leal reassigned the music of the proposed film to Revueltas. This bumpy history may partly account for other discontinuities. Redes sits uneasily between two genres: fiction film and documentary. Most of the actors are non-professionals. Long stretches eschew dialogue. Curiously, the spoken word is almost never backscored – the music speaks when the actors don’t, and vice versa. And yet the contributions of Strand and Revueltas are indelible – and indelibly conjoined. Visually, Redes is a poem of stark light and shadow, of clouds and sea, palm fronds and thatched huts, with Strand’s camera often tipped toward the abstract sky. Metaphor abounds: a rope is likened to a fisherman’s muscled arm. Pregnant, polyvalent, the imagery invites interpretation equally poetic: music. The influence of Redes on American cinema is ponderable. The three classic American film documentaries produced by the politics or the thirties are The Plow that Broke the Plains (1936) and The River (1938), both scored by Virgil Thomson, and The City (1939), scored by Aaron Copland. Paul Strand was a cinematographer for The Plow, and Copland was a known admirer of Revueltas. In a 1937 article for The New York Times, he hailed its American premiere as follows: Revueltas is the type of inspired composer in the sense that Schubert was the inspired composer. That is to say, his music is a spontaneous outpouring, a strong expression of his inner emotions. There is nothing premeditated . . . about him.When seized with the creative urge, he has been known to spend days on end without food or sleep until the piece was finished. He writes his music at a table in the manner of the older musicians, and quite unlike the musical procedure of the modern composer, who, because he uses complex harmonics and rhythms, is as a rule forced to seek the help of the piano. I mention this as an instance of Revueltas’s extraordinary musicality and naturalness. The Plow that Broke the Plains and The City, documentaries with narration but no dialogue, are purer and more finished films than Redes. And (whether fortuitously or consciously) their ingenious scores, with lean “black and white” timbre and sonority, are better suited to 1930s monaural reproduction than are the sonic heights and emotional depths of the Redes soundtrack. Its music vividly “restored” in live performance, Redes will for many viewers doubtless surpass in impact its more famous North American progeny. - Joseph Horowitz

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Sontag “the biggest, widest, most commanding talent in the history of American photography.”

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received tenure and served for twelve years on the musicology faculty. More recently, he served as an Associate Provost at the University of Texas at El Paso (UTEP)–a Hispanic Serving Institution of 25,000 students that earned national distinction for its bold and inspiring mission of “access and excellence” in an under-resourced community along the U.S.-Mexico border. A recipient of the prestigious Robert M. Stevenson Prize for outstanding scholarship on the music of Spain and Mexico, Candelaria is an award-winning author, teacher, and widelyengaged speaker on topics ranging from plainchant to mariachi music to arts education and the 21st-century demographic.


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MONDAY JULY 15, 7:30PM CHAMBER

PORTER CENTER AT BREVARD COLLEGE

BMC ARTIST FACULTY: CARNIVAL OF THE ANIMALS POULENC (1899-1963) Trio for Oboe, Bassoon, and Piano Presto Andante Rondo Emily Brebach, oboe ~ Susan Barber, bassoon Deloise Lima, piano RAVEL (1875-1937) Sonata for Violin and Piano No. 2 in G major Allegretto Blues. Moderato Perpetuum mobile. Allegro Caroline Chin, violin ~ Jihye Chang, piano

-INTERMISSIONDEBUSSY (1862-1918) Marche écossaise sur un thème populaire Elisabeth Pridonoff and Eugene Pridonoff, piano four-hands SAINT-SAËNS (1835-1921) Carnival of the Animals Introduction and Royal March of the Lion Hens and Roosters Wild Donkeys Swift Animals Tortoises The Elephant Kangaroos Aquarium Characters with Long Ears The Cuckoo in the Depths of the Woods Aviary Pianists Fossils The Swan Finale Amy Porter, flute ~ Steve Cohen, clarinet Jay Christy and Margie Karp, violins Maggie Snyder, viola ~ Benjamin Karp, cello Kevin Casseday, double bass ~ David Fishlock, percussion Craig Nies and Douglas Weeks, pianos

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ABOUT THE MUSIC FRANÇIS POULENC (1899-1963) Trio for Oboe, Bassoon, and Piano, Op. 43 Premiered on May 2, 1926 in Paris. During the 1920s all of Paris was under the spell of Stravinsky and neoclassicism. As a member of Les six, a group of six brash young musicians, Poulenc brought his own wit and charm to composition. When he was challenged about the lack of seriousness in his music, he remarked specifically in regard to the Op. 43 Trio: For those who believe that I don’t care about matters of form, I don’t hesitate to unmask my secrets here: the first movement follows the plan of an allegro by Haydn, and the Rondo finale is carved out of the scherzo of the Second Concerto for Piano and Orchestra by Saint-Saëns. What Poulenc fails to mention are all of the intangibles that give the composer a distinct voice. While his music does display eighteenthcentury craftsmanship, it is his melodiousness, impeccable sense of rhythmic timing, and biting wit that are a constant in all of his music. In case of this trio, the result is an engaging work that seems, at the same time, both irreverent and profound. MAURICE RAVEL (1875-1937) Sonata for Violin and Piano No. 2 in G major Premiered on May 30, 1927 in Paris by Georges Enesco with Ravel at the piano. In the 1920s Ravel learned about the blues—literally and figuratively. World War I had been traumatic for Ravel, as he lost several of his friends. The death of his mother compounded his grief. Artistically, Ravel felt deserted after the deaths of Debussy, Saint-Saëns, and Fauré. The confused composer found a sense of release in the jazz and blues craze sweeping through Paris. He was impressed with


CLAUDE DEBUSSY (1862-1918) Marche écossaise sur un thème populaire Debussy was a struggling young artist in 1890, so when an American general with Scottish heritage approached him with a commission, the young composer was all in. Legend has it that Debussy and General John Meredith Read met in one of Debussy’s favorite cafés. Problem was, General Read didn’t speak French nor Debussy English. So the writer Alphonse Allais acted as translator (the fact that Read served as US consul general in France makes this account seem unlikely). As a descendant of the ancient counts of Ross, Read knew of a Scottish melody played by pipers before battle. He wanted Debussy to compose a March. Debussy eagerly accepted the commission and composed a colorful four-hand March. Debussy was able to get even more money out of this occasional work when he orchestrated it a few years later.

DID YOU KNOW? For the 1949 Columbia Masterworks recording of Carnival of the Animals Ogden Nash wrote humorous verses to accompany each movement.

Saint-Saëns just needed to have some fun. After a disastrous concert tour through Germany in 1885, and with the commission of his Third Symphony on his desk, the composer needed some stress relief. With Shrovetide season in full swing, Saint-Saëns decided to let various animals join the carnival festivities. The private performance on Shrove Tuesday was so successful that another private performance was scheduled four weeks later; one of the attendees was Franz Liszt. Despite pleadings from Liszt and others, Saint-Saëns forbade all public performances, and the score was not to be published until after his death (hence the 1922 first public performance). Presumably, Saint-Saëns was worried about his image. Composed for eleven instruments—including the rather rare use of the glass harmonica—Saint-Saëns showcases his mastery at imaginative instrumentation in order to capture animals through sound. But the music goes beyond vivid depictions of various animals. Saint-Saëns created musical caricatures: for example, the Tortoise dances the “Can-Can” from Jacques Offenbach’s Orpheus and the Elephant moves to Berlioz’s delicate “Dance of the Sylphs” and Mendelssohn’s Scherzo from Midsummer Night’s Dream. The composer even parodied himself in a mechanical version of his own Danse Macabre presented by the Fossils. And, of course, there are the rarest of animals, the Pianists. Obviously, Liszt enjoyed Saint-Saëns’s wittiness, and was surely sad that the world had to wait for such a long time to hear one of Saint-Saëns’s most creative scores. - Siegwart Reichwald

Saint-Saëns just needed to have some fun… Composed for eleven instruments…Saint-Saëns showcases his mastery at imaginative instrumentation in order to capture animals through sound. – Siegwart Reichwald

2019 Summer Institute & Festival

CHAMBER

CAMILLE SAINT-SAËNS (1835-1921) Carnival of the Animals Premiered privately on Shrove Tuesday, March 9, 1886. The first public performance took place February 25, 1922 in Paris under the direction of Édouard Colonne.

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their “frightening virtuosity.” He wrote, “Abroad we take jazz seriously. It is influencing our work. The Blues in my sonata, par example, is stylized jazz, more French than American in character perhaps, but nevertheless influenced strongly by your so-called ‘popular music.’” It would take Ravel over four years (1923-27) to complete his Violin Sonata—far longer than any other work.

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TUESDAY JULY 16, 7:30PM BMC PRESENTS

PORTER CENTER AT BREVARD COLLEGE

BMC PRESENTS: HARPETH RISING

HARPETH RISING

C

hamberfolk: 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. Maria Di Meglio, cello, was born and raised in Brooklyn, NY. She was drawn to the music of her first generation Italian and Balkan roots, and grew up learning Eastern European folk songs alongside classical repertoire. She attended many classical programs throughout NYC, including at LaGuardia High School (the “Fame” school), and Manhattan School of Music’s Precollege Division. 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 descendent of Cole Younger, a member of the James-Younger Gang and the namesame 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.

MADE POSSIBLE BY: Hampton Inn-Brevard, Series Sponsor

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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 threepart harmonies, consummate musicianship, and a deft, yet soulful, lyrical perspective.


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WEDNESDAY JULY 17, 7:30PM CHAMBER

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BMC PRESENTS

PORTER CENTER AT BREVARD COLLEGE

JULY 16

BMC ARTIST FACULTY: COPLAND AND THE COLD WAR COPLAND (1900-1990) The Cat and the Mouse

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

Piano Variations Douglas Weeks, piano

COPLAND

“Hoe Down” from Rodeo Benjamin Sung, violin Jihye Chang, piano

COPLAND

El Salón México (arr. L. Bernstein) Jihye Chang, piano

-INTERMISSIONCOPLAND

Into the Streets May First Excerpts from Copland’s Senate Testimony (1953)

COPLAND

Piano Quartet Adagio serio Allegro giusto Non troppo lento Caroline Chin, violin Scott Rawls, viola Alistair MacRae, cello Michael Chertock, piano

Funded in part by the National Endowment for the Humanities

ABOUT THE MUSIC Aaron Copland, himself a pianist, composed prolifically and significantly for piano. In fact, his keyboard output felicitously traces his striking stylistic odyssey–and also his shifting political orientation. Of the piano works we hear tonight, The Cat and the Mouse (1920) is the earliest Copland composition still widely played. This “Humoristic Scherzo” depicts a cat stalking and disposing of its prey, precedes Copland’s studies with Nadia Boulanger in Paris (1921-24)–and therefore predates the formative influences to come of France, and of Stravinskyan modernism. The Piano Variations (1930), coming a decade later, is pure Copland: a bracing wake-up call; a new American sound; skyscraper music of steel and concrete. Its angular rhythms and dissonant tonal shards vibrate with the intensity and nervous energy of Copland’s New York. No previous American had achieved such concise freshness of style. At the same time, it was a kind of music that confounded audiences­— and Copland reacted with concern to their consternation. Of the “job of the forties,” he wrote: “the radio and phonograph have given us listeners whose sheer numbers in themselves create a special problem,” one whose solution was “to find a musical style which satisfies both us and them.” The reorientation Copland espoused was pursued in lectures and broadcasts for layman, and by the books What to Listen for in Music (1939) and Our New Music (1941). It was equally embedded in such well-known works as tonight’s El Salon Mexico (1936). And, seeking a “new audience,” Copland was impelled to compose for film. As a

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trial run for Hollywood, he scored a city-planning film created by Lewis Mumford for the 1939 World’s Fair: The City (which we see and hear on July 21). Though he later won an Academy Award for his score for William Wyler’s The Heiress (1949), The City proved by far Copland’s highest achievement composing for the cinema. Copland’s activities as a fellow-traveler peaked with his award-winning worker’s song “Into the Streets May First” (1934). Composed for the New Masses, it sets a poem by Alfred Hayes. Copland never included “Into the Streets” in his catalog; during the McCarthy era, he publicly disowned it as “the silliest thing I did.” Copland’s constant intent was to direct contemporary American listeners to new and American works, rather than the canonized European masters. His frustration was great. In 1941, he went so far as to write: “Very often I get the impression that audience seem to think that the endless repetition of a small body of entrenched masterworks is all that is required for a ripe musical culture.... Needless to say, I have no quarrel with masterpiece. I think I revere and enjoy them as well as the next fellow. But when they are used, unwittingly perhaps, to stifle contemporary effort in our own country, then I am almost tempted to take the most extreme view and say that we should be better off without them!” In fact, Copland could not counteract the American “culture of performance,” with its fixation on the “world’s greatest” conductor (Arturo Toscanini), pianist (Vladimir Horowitz) and violinist (Jascha Heifetz), all foreign-born. With such non-tonal serial works as the Piano Quartet (1940) and Piano Fantasy (1957), he effectively ended his compositional search for an

idiom satisfying “both us and them.” The former composition (which we hear), is strikingly subdued; Copland’s friend Harold Clurman (a partisan of the political left) called it “disquieting, as if it described the quiet preceding or following an atom bomb attack. The work is the voice of our inner fear, an echo of the secret trepidation in all our hearts as we look out upon the bleak horizon of a world in bondage to its illusions.” Copland once commented that he opted for serial composition– composing, that is, with a fixed sequence of pitches after the fashion of Arnold Schoenberg’s 12-tone rows–because he “needed more chords.” The result is music more dissonant than the Copland we know best. At the same time, there are tonal tendencies not to be found in the 12-tone music of Schoenberg, Webern, and other hard-core practitioners. Copland’s way of here using a 10-note series in fact has little in common with Schoenberg’s precise methodology. And the music still sounds like Copland. In short, tonight’s concert explores how Copland’s brush with Senator Joseph McCarthy may have impelled him toward a more esoteric compositional style. It also documents the ultimate fate of “Copland and Mexico”– tour topic July 13. Copland’s Mexican epiphany of the 1930s was crucial in impelling him to become a political artist–which he did, only to discover in the 1950s that the United States was much less welcoming to political art than was the Mexico he had so memorably discovered. - Joseph Horowitz

Copland’s constant intent was to direct American listeners… to new and American works rather than the canonized European masters. Tonight’s concert explores how Copland’s brush with Senator Joseph McCarthy may have impelled him toward a more esoteric compositional style. – Joseph Horowitz

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THURSDAY JULY 18, 7:30PM ORCHESTRA

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SOUND ON CANVAS Brevard Symphonic Winds Kraig Alan Williams, conductor HINDEMITH (1895-1963) Engelkonzert from Mathis Der Maler

ABOUT THE CONDUCTOR SUSATO (c. 1510-1570) The Danseyre (arr. Dunnigan) La Morisque Bergerette Fagot Den hoboecken dans BACH (1685-1750) Fugue in G minor, BWV 578, “Little Fugue” (arr. Calliet) MOZART (1756-1791) Overture from The Magic Flute for Woodwind Quintet (arr. Wendt)

KRAIG WILLIAMS, conductor Director, Brevard Symphonic Winds Dr. Kraig Alan Williams is currently in his seventh year as the Conductor of the Rutgers Wind Ensemble, 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, teaching graduate and undergraduate conducting, and the mentoring of Master’s and Doctoral students in Wind Studies. Williams also teaches classes in undergraduate aural skills and general music. (see page 121 for complete biography)

GRIEG (1843-1907) Funeral March for Rikard Nordraak DEBUSSY (1862-1918) The Engulfed Cathedral (arr. Patterson) STRAVINSKY (1882-1971) Minuetto – Finale from Pulcinella Suite arranged for Woodwind Quintet STRAVINSKY Excerpts from The Rite of Spring (arr. Vosbien) 2019 Summer Institute & Festival

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FRIDAY JULY 19, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

A COPLAND CELEBRATION Brevard Music Center Orchestra Keith Lockhart, conductor Steve Cohen, clarinet COPLAND (1900-1990) Appalachian Spring

COPLAND Clarinet Concerto Mr. Cohen, clarinet

-INTERMISSIONCOPLAND Symphony No. 3 Molto moderato Allegro molto Andantino quasi allegretto Fanfare: Molto deliberato. Allegro risoluto

ABOUT THE ARTISTS KEITH LOCKHART, conductor BMC Artistic Director In 2007, Keith Lockhart succeeded David Effron as Artistic Director of the Brevard Music Center Summer Institute and Festival. Lockhart’s appointment solidified an already special relationship with BMC; having attended as a teenager for two summers (1974, 1975), Lockhart was first featured as a guest conductor in 1996 and had since returned numerous times. He continues to serve as the Conductor of The Boston Pops Orchestra, and is Chief Guest Conductor of the BBC Concert Orchestra in London, having served for the last eight years as its Principal Conductor. (see page 5 for complete biography)

STEVE COHEN, clarinet Clarinetist Steve Cohen maintains an active solo, chamber music, and master class schedule and has performed solo recitals and master classes throughout the U.S., Canada, Europe, Korea, China, Taiwan, and Japan. He joined the New Orleans Symphony (now Louisiana Philharmonic) in 1975 and remained Principal Clarinet 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. 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 returned to Korea to be a guest artist and master class clinician at the Seoul Philharmonic’s Clarinet Festival in 1998. Cohen has performed at the International Clarinet Association conventions in several cities, including in Porto, Portugal in August 2009. He hosted the 2001 ICA convention in New Orleans and has written many articles for the magazine of this organization. Moving to Chicago in 2005 to become clarinet professor and coordinator of winds, brass, and percussion at Northwestern University, he is Principal Clarinet of the Music of the Baroque orchestra and has played on numerous occasions with the Chicago Symphony Orchestra. He has also performed with the Chicago Lyric Opera orchestra and as a chamber musician throughout the Chicago area. His many collaborations include the Lincoln Quartet, the Miro Quartet, the Dempster St. Pro Musica, and the Chicago Chamber Musicians. Cohen has guest taught at the Oberlin Conservatory, University of Southern California, and Indiana University. Previously on the faculty of the Cincinnati College-Conservatory and Louisiana State University, he is an artist/clinician for Buffet clarinets and a Legere reed artist. For 2015-16 he was also Visiting Professor of Clarinet at the University of Texas at Austin in addition to his Northwestern duties. New York City born to a Juilliard trained clarinetist, Cohen’s teachers have included, Loren Kitt, Larry McDonald, Karl Leister, and Robert Marcellus.

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

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Premiered as a ballet on October 30, 1944 at the Library of Congress, with Martha Graham in the lead role and conducted by Louis Horst; the concert suite for full orchestra was premiered in New York on October 4, 1945 under the direction of Artur Rodziński.

DID YOU KNOW? About his use of the Shaker tune “Simple Gifts” in Appalachian Spring Copland quipped: “My research evidently was not very thorough, since I did not realize that there have never been Shaker settlements in rural Pennsylvania.”

Appalachian Spring won the Pulitzer Prize in 1945. It was commissioned by the Elizabeth Coolidge Foundation as a ballet for the highly regarded dancer and choreographer, Martha Graham. The original scoring called for a 13-member chamber ensemble. Copland composed the work in 1943-44; he created a concert suite for full orchestra in 1945. The ballet’s narrative is about “a pioneer celebration in spring around a newly-built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, their new domestic partnership invites. An older neighbor suggests now and then the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end the couple are left quiet and strong in their new house.” COPLAND Clarinet Concerto Premiered as a radio broadcast by Benny Goodman and Fritz Reiner and the NBC Symphony on November 6, 1950; first concert performance on November 28, 1950 in Philadelphia under the direction of Eugene Ormandy with Ralph McLane as soloist. Composing a clarinet concerto was not on Copland’s bucket list. In fact, it hadn’t made any list. While he had become proficient in writing for the instrument with his Sextet and other orchestral scores, Copland wasn’t particularly drawn to the clarinet. But when “the King of Swing,” Benny Goodman, commissioned a concerto, Copland was intrigued. By 1947 Goodman had become America’s most famous musician, both in the jazz world and in classical circles. Previous commissions to Bartók and Hindemith put Copland in good company and evidenced Goodman’s earnest desire to further the instrument’s repertoire. As was his custom, Copland studied the instrument’s repertoire and technical limitations. Goodman later wrote that he “had made no demands on what Copland should write,” giving Copland complete control of the work. Most of the preliminary work on was done in Brazil. Despite his slow progress, Copland knew he was on the right track. From Rio, he wrote to a friend that, “The pas de deux will make them weep.” It would take Copland another year until he was able to send the score to Goodman, who wrote, “With a little editing, I know we will have a good piece.” Small revisions were made during an in-person

The first movement is a languid song form composed in 3/4 time, rather unusual for me, but the theme seemed to call for it. The second movement, a free rondo form, is a contrast in style—stark, severe, and jazzy. The movements are connected by a cadenza, which gives the soloist considerable opportunity to demonstrate his prowess, while at the same time [it] introduces fragments of the melodic material to be heard in the second movement. Some of the second movement material represents an unconscious fusion of elements obviously related to North and South American popular music: Charleston rhythms, boogie-woogie, and Brazilian folk tunes. The instrumentation being clarinet with strings, harp, and piano, I did not have a large battery of percussion to achieve jazzy effects, so I used slapping basses and whacking harp sounds to simulate them. The Clarinet Concerto ends with a fairly elaborate coda in C major that finishes off with a clarinet glissando—or “smear” in jazz lingo. COPLAND 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 1920s 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 ’30s 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 ’40s, 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

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AARON COPLAND (1900-1990) Appalachian Spring

meeting and run-through. Since its premiere, the work has quickly become a standard. Copland has offered the following commentary:

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ABOUT THE MUSIC


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SATURDAY JULY 20, 8:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

RAIDERS OF THE LOST ARK IN CONCERT Brevard Sinfonia Nicholas Buc, conductor WILLIAMS (1932-)

RAIDERS OF THE LOST ARK PARAMOUNT PICTURES Presents A LUCASFILM LTD Production A STEVEN SPIELBERG Film

RAIDERS OF THE LOST ARK

Starring HARRISON FORD KAREN ALLEN PAUL FREEMAN RONALD LACEY JOHN RHYS-DAVIES DENHOLM ELLIOTT Music by JOHN WILLIAMS Executive Producers GEORGE LUCAS and HOWARD KAZANJIAN Screenplay by LAWRENCE KASDAN Story by GEORGE LUCAS and PHILIP KAUFMAN Produced by FRANK MARSHALL Directed by STEVEN SPIELBERG

Raiders of the Lost Ark Film with Live Orchestra Tonight’s program is a presentation of the complete film Raiders of the Lost Ark with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. “RAIDERS OF THE LOST ARK” Licensed by LUCASFILM LTD and PARAMOUNT PICTURES. This program licensed by LUCASFILM LTD and PARAMOUNT PICTURES. Motion Picture, Artwork, Photos ©1981 Lucasfilm Ltd. All Rights Reserved. MUSIC WRITTEN BY JOHN WILLIAMS BANTHA MUSIC (BMI) ALL RIGHTS ADMINISTERED BY WARNER-TAMERLANE PUBLISHING CORP. (BMI) ALL RIGHTS RESERVED. USED BY PERMISSION.

PRODUCTION CREDITS Raiders of the Lost Ark in Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Sophie Greaves Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Matt Yelton Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Raiders of the Lost Ark has been adapted for live concert performance. With special thanks to: Paramount Pictures, Lucasfilm Ltd, Steven Spielberg, Frank Marshall, John Williams, Alan Bergman, Howard Roffman, Chris Holm, Chip McLean, Darryl J. Franklin, Dan Butler, Pat Woods, Mark Graham and the musicians and staff of the Brevard Music Center.

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A NOTE FROM THE COMPOSER

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In creating the character Indiana Jones, George Lucas and Steven Spielberg introduced an enduring and much loved figure into the pantheon of fictional movie heroes. Raiders of the Lost Ark was illuminated by the superb comedy-action performance of Harrison Ford and enlivened by the spirited direction of Steven Spielberg. Speaking for myself, I must say that the experience of composing the music for this film, and for the subsequent installments in the series, was a very happy one, and offered me a wild and truly joyous ride.

ABOUT THE CONDUCTOR NICHOLAS BUC, conductor Nicholas Buc is a composer, conductor, arranger, violinist, and pianist. He studied Composition at the University of Melbourne where he received the inaugural Fellowship of Australian Composers Award. As the recipient of the Brian May Scholarship, he completed a Master’s degree in Scoring for Film and Multimedia at New York University, receiving the Elmer Bernstein Award for Film Scoring. Continuing his passion for music and film, he conducted the live-in-concert world premieres of John Williams’ Close Encounters of the Third Kind, Alan Menken’s Beauty and the Beast, and Nicholas Hooper’s Harry Potter and the HalfBlood Prince. Other live film concerts he has conducted include Pixar In Concert, Star Trek, E.T. the Extra-Terrestrial, Back to the Future, Casino Royale, Raiders of the Lost Ark, Jurassic Park, Psycho, Star Wars: Episodes IV, V, VI and VII, and the first six Harry Potter films. He has conducted all the major Australian symphony orchestras as well as the Minnesota Orchestra, Houston, Milwaukee, Indianapolis, Austin, Grand Rapids, and Madison Symphony Orchestras in the US. He also makes regular appearances in Asia, conducting the Tokyo, Hong Kong, Malaysian, Osaka, and Taipei Philharmonic orchestras. Nicholas has worked with Wynton Marsalis and the Jazz at Lincoln Center Orchestra, Chris Botti, Amanda Palmer, Ben Folds, and was conductor/arranger for Tina Arena on six Australian tours. He has written arrangements for Missy Higgins, Passenger, Eskimo Joe, and The Whitlams, as well as working on five seasons of The Voice Australia. His orchestral arrangements for the recent shows All You Need Is Love (The Beatles), Stairway To Heaven (Led Zeppelin), Nothing Has Changed…Remembering Bowie (David Bowie), and Praying For Time (George Michael) have been enjoyed by audiences around Australia. Nicholas is currently completing work on a major theatrical work, TROT. Written with lyricist Gordon Lindsay, it is a new musical based on Charles Dickens’ much loved David Copperfield. He also recently completed a new ballet score, Kazka, for Lehenda Ukrainian Dance Company, which toured throughout Australia, Canada and the US.

I’m especially delighted that the magnificent Brevard Sinfonia has agreed to perform the music this evening in a live presentation of the movie. I know I speak for everyone connected with the making of the Raiders in saying that we are greatly honored by this event… and I hope that tonight’s audience will experience some measure of the joy and fun we did when making the film nearly thirty-five years ago.

ABOUT THE COMPOSER JOHN WILLIAMS In a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music for more than one hundred films, including all eight Star Wars films, the first three Harry Potter films, Superman, Memoirs of a Geisha, Home Alone, and The Book Thief. His 45-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, Lincoln, The BFG, and The Post. Mr. Williams has composed themes for four Olympic Games. He served as music director of the Boston Pops Orchestra for fourteen seasons and remains their Laureate Conductor. He has composed numerous works for the concert stage including two symphonies, and concertos commissioned by many of America’s most prominent orchestras. Mr. Williams has received five Academy Awards and 51 Oscar nominations (making him the second-most nominated person in the history of the Oscars), seven British Academy Awards, twenty-three Grammys, four Golden Globes, and five Emmys. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. In 2004, he received the Kennedy Center Honors, and in 2009 he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016 he received the 44th Life Achievement Award from the American Film Institute–the first time a composer was honored with this award.

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SUNDAY JULY 21, 3:00PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

COPLAND’S AMERICA

ABOUT THE ARTISTS KEN LAM, conductor BMC Resident Conductor Ken Lam is Music Director of the Illinois and Charleston (SC) Symphony Orchestras, as well as Artistic Director of the Hong Kong Voices. 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. Previously Ken held positions as Associate Conductor for Education of the Baltimore Symphony Orchestra, Assistant Conductor of the Cincinnati Symphony Orchestra, and Principal Conductor of the Hong Kong Chamber Orchestra. (see page 121 for complete biography)

Brevard Concert Orchestra Ken Lam, conductor Joseph Horowitz, curator COPLAND (1900-1990) Excerpts from The City KORNGOLD (1897-1957) Excerpts from Kings Row

-INTERMISSIONBARBER (1910-1981) Second Essay for Orchestra, Op. 17

JOSEPH HOROWITZ, curator 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 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.

COPLAND Suite from Billy the Kid

The Open Prairie Street in a Frontier Town Card Game at Night (Prairie Night) Gun Battle Celebration Dance (after Billy’s Capture) Billy’s Death The Open Prairie Again

MADE POSSIBLE BY: A Loyal Friend of Brevard Music Center, Sponsor This project is supported in part by an award from the National Endowment for the Arts

Funded in part by the National Endowment for the Humanities

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It had none of the garish color of the ghetto, none of the charm of an old New England thoroughfare, or even a pioneer street . . . I mention it because it was there I spent the first twenty years of my life. It fills me with mild wonder every time I realize a musician was born on that street. Music was the last thing anyone would have connected with that street. Copland’s parents, immigrant Jews from Russia, ran a department store. Urban jitters, urban hardness, urban energy, urban loneliness fundamentally inform his creative identity. The opposite side of the Copland coin was a romanticized or imagined West–all open space, a place for tenderness, solace, and a solitude different from the grim anomie of the metropolis. However personal may have been this sense of self and of place, it resonated with the American experience: with fire escapes and skyscrapers; with nights on the wide prairie. And Copland was a fervent democrat, with strong feeling for the downtrodden and disenfranchised. All this helps account for his signature achievement– an “American sound” for the concert hall. But first came Paris, in 1920. Copland there acquired worldliness and a strong aesthetic base in the cosmopolitanism of Stravinsky and other Francophile modernists. Back in New York, he produced the Piano Variations (1930): a twentieth century American landmark. The hard plainness and clarity of this skyscraper music, combined with its hyperactive bursts of rhythmic energy, defined an “urban” Copland style in which his “American” traits were strongly latent. They became explicit in the 1930s when, as with so many other artists, his social conscience was aroused by the Depression and the fascist menace. He sought a larger public and a more “useful” role. As he later wrote: During these years I began to feel an increasing dissatisfaction with the relations of the music-loving public and the living composer. The old “special” public of the modern music concerts had fallen away, and the conventional concert public continued apathetic or indifferent to anything but the established classics. It seemed to me that composers were in danger of working in a vacuum. Moreover, an entirely new public for music had grown up around the radio and phonograph. It made no sense to ignore them and to continue writing as though they did not exist. I felt it was wroth the effort to see if I couldn’t say what I had to say in the simplest possible terms. The outcome was his most famous music–works whose “popular” flavor was partly an outcome of popular sources, quoted or otherwise absorbed: Billy the Kid (1938), with its cowboy songs; Rodeo (1942), with its fiddle tunes; and Appalachian Spring (1944), with its climactic variations on the Shaker hymn “Simple Gifts.” With the 1940s, and wartime, Copland produced a couple of occasional patriotic pieces that–to his own surprise–proved enduring embodiments of the

Copland’s desire to reach an enlarged “new audience” in the thirties and forties also directed him to film. His first soundtrack was for The City, a documentary created for the 1939 New York World’s Fair. A collaboration with the filmakerphotographers Ralph Steiner and Willard Van Dyke–both major figures–The City depicts, in sequence, a New England village, a milltown, a city, and a “new town.” Its message is that the grim milltown and frantic city cancel the quality of life earlier achieved in rural America–and recapturable in planned communities of modest size. Copland’s ample score, organically and prominently deployed (it rarely overlaps the narration, and there is dialogue), is Copland’s highest achievement as a film composer, but far from his best-known. It clinches both his “city” and “country” idioms. The “city” sequence–the film’s artistic core–is memorably vital, notwithstanding its message. The City proved Copland’s ticket to Hollywood, where he scored Of Mice and Men (1935), Our Town (1940), The North Star (1943), and The Red Pony (1948). His films during this period also included The Cumington Story (1939) for the Office of War Information. Copland’s final Hollywood score, for William Wyler’s The Heiress (1949), won an Academy Award. And yet Wyler insisted on bringing in another composer to soften the astringency of Copland’s style–and Copland, disenchanted, never worked in Hollywood again. In 1961, Copland returned to film to score Something Wild, an independent feature populated with Manhattan beggars and prostitutes. Posthumously, his music furnished the score for He Got Game, Spike Lee’s 1998 celebration of the inner-city basketball culture created by African-Americans. Lee later commented: When I listen to [Copland’s] music, I hear America, and basketball is America. It’s played on the sides of barns in Indiana . . . wheat fields in Kansas. Hoops is played on the asphalt courts of Philly, Chicago and also Brooklyn. We feel the correlation between Copland’s music and the images in He Got Game is superlative. Alex [music Supervisor Alex Steyermark] and I frequently commented, “It’s like he wrote the score for this film.” Summarizing Copland’s influence as a film composer, Andre Previn has said: “What Copland represented in Hollywood [was] ‘fewer notes.’” Copland counteracted the luxurious Romantic soundtracks of Erich Korngold and Max Steiner that had previously defined Hollywood’s musical taste. In The City, the literalism of Hollywood practice is ingeniously contradicted by “Sunday Traffic.” A rapid montage of images shows people fleeing the city only to be trapped in a sea of cars. The music conveys the happiness they hoped to find; the images show a mounting frustration that gradually and subtly seeps into the musical score. - Joseph Horowitz

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Aaron Copland, born in Brooklyn in 1900, was in every way a child of the city. His street, he once recalled, could “only be described as drab.”

American spirit. The Fanfare for the Common Man (1942) was one of 18 fanfares for brass and percussion commissioned by Eugene Goossens and the Cincinnati Symphony. A Lincoln Portrait (1942) was commissioned by Andre Kostelanetz for a summer tour less than a year after Pearl Harbor.

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ABOUT THE MUSIC


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MONDAY JULY 22, 7:30PM CHAMBER

INGRAM AUDITORIUM AT BREVARD COLLEGE

BMC ARTIST FACULTY: MENDELSSOHN PIANO TRIO NO. 1 BRAHMS (1833-1897) Intermezzo in A major, Op. 118, No. 2 Craig Nies, piano

CLARA SCHUMANN

ABOUT THE MUSIC JOHANNES BRAHMS (1833-1897) Intermezzo in A major, Op. 118, No. 2

-INTERMISSION-

Mendelssohn and Clara Schumann were on the composer’s mind when Brahms wrote his Six Pieces, Op. 118. Composed in the vein of Mendelssohn’s short piano pieces called Songs without Words, Brahms offered his most intimate thoughts and feelings with the sparest of gestures. Their deceiving brevity are a testament to Brahms’s compositional mastery, as he paints the most complex artistic pictures with unparalleled economy. By 1893 the aging Clara Schumann was limited to playing the piano for a few minutes at a time. These six gifts offered not only moments of respite and artistic delight to Brahms’s long-time friend, but they communicated far beyond the written word. Music had become their love-language, as Mendelssohn so eloquently explained 60 years earlier, when asked about the true meaning of his Songs without Words: “Words seem to me too ambiguous, so vague, so easily misunderstood in comparison to a piece of genuine music, which fills one’s soul with a thousand better things than words. What a piece of music that I love expresses to me are not thoughts that are too vague to be contained in words, but rather too precise.”

MENDELSSOHN (1809-1847)

CLARA SCHUMANN (1819-1896) Piano Trio in G minor, Op. 17

CLARA SCHUMANN (1819-1896) Piano Trio in G minor, Op. 17 Allegro moderato Scherzo. Trio Andante Allegretto Karen Galvin, violin Brian Snow, cello Douglas Weeks, piano

Piano Trio No. 1 in D minor, Op. 49

Molto allegro ed agitato Andante con moto tranquillo Scherzo: Leggiero e vivace Finale: Allegro assai appassionato

Corinne Stillwell, violin Jonathan Spitz, cello Michael Chertock, piano

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While Clara Schumann is mostly known as one of the great piano virtuosos of her day, she was also a formidable composer. In fact, growing up as a child prodigy, Clara had more compositional training than her husband Robert. Throughout their marriage, the couple would study compositional techniques together. Unfortunately, Clara stopped composition after her husband’s death; all of her compositions represent mid-19th-century aesthetics, even though she continued to perform and teach for another 40 years. And as Brahms’s chief compositional advisor, Clara would continue to be aware of the newest compositional trends. Schumann composed her Piano Trio during one of the most frustrating times of her life. The Schumanns had moved from Leipzig to Dresden in 1844 in order to improve Robert’s health and to continue her reconciliation with her father. Yet Dresden quickly turned to disappointment: Robert’s mental condition worsened, relations


FELIX MENDELSSOHN (1809-1847) Piano Trio No. 1 in D minor, Op. 49 [Mendelssohn’s Op. 49] is the trio masterpiece of our time, as in their day were those of Beethoven Franz Schubert. . . The storm of recent years is gradually coming to an end and, we admit, has already cast up many pearls on the beach. Mendelssohn, although less tossed about by it than others, nevertheless also remains a child of this time, has also had to struggle, has often also had to hear some narrow-minded writers’ idle chatter that “the true flowering of music is

Robert Schumann’s 1840 review deserves our attention not because of its high praise for Mendelssohn’s first piano trio, but because of Schumann’s attempt at already contextualizing historically and stylistically a work just composed. Schumann seems to imply that Mendelssohn’s Op. 49 has solved important compositional issues. And indeed, Mendelssohn’s First Piano Trio figures prominently in his stylistic development. At issue was how the new lyricism, with its emphasis on melody and extra-musical expression, could be sustained and integrated into large-scale compositions in the tradition of Schubert and Beethoven. So what does all that mean? Simply put, with his First Piano Trio Mendelssohn helped usher in a Romantic style that expresses meaning on a purely musical level. It is up to you, the audience, to engage with the music and enjoy the unfolding narrative. In case of Op. 49, the journey takes us from struggle (first movement) through reflection (second) and exploration (third) to eventual redemption (end of last movement). - Siegwart Reichwald

LOVE WHAT YOU JUST HEARD? Share your personal notes with us!

notes@brevardmusic.org @brevardmusiccenter @brevardmusic 2019 Summer Institute & Festival

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behind us,” and has raised himself so high that we may well say that he is the Mozart of the nineteenth century, the most brilliant of musicians, who saw most clearly through the contradictions of the time and was first to resolve them.

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with her father deteriorated, and Clara suffered a miscarriage. Burdened with familial responsibilities and no time for concert tours, Clara created performance opportunities with the establishment of a chamber series and the founding of a piano trio. Inspired by their success and encouraged by her compositional studies alongside Robert, Clara decided to contribute her own trio. All of her frustrations found expression in her most ambitious and melancholic composition, creating one of the most individualistic and innovative chamber works of her generation. In order to express her disappointing Dresden experience defiantly, Clara built on Mendelssohn’s melodybased approach and explored the possibilities of melodic/ thematic integration among all four movements, forging a path Brahms would travel years later, most notably in his Third Symphony and Third String Quartet.


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TUESDAY JULY 23, 7:30PM CHAMBER

STRAUS AUDITORIUM

U.S. ARMY BRASS QUINTET SGM Terry Bingham, trumpet MSG Christian Hinkle, trumpet MSG Tommy R. Lee, French horn SSG Gregory W. Hammond, trombone MSG Jonathan W. Voth, tuba Bob McDonald, baritone The U.S. Army Brass Quintet returns to Brevard with BMC alumnus Bob McDonald in an evening of patriotic standards and Americana favorites.

ABOUT THE ARTISTS U.S ARMY BRASS QUINTET Since its inception in 1972, The U.S. Army Brass Quintet has gained a reputation as one of the most highly respected and sought after groups of its kind. The ensemble has appeared before audiences and dignitaries in 48 states and 14 foreign countries. An element of The U.S. Army Band “Pershing’s Own” in Washington, DC, The U.S. Army Brass Quintet has performed at the White House, presidential inaugurations, and official state ceremonies in the Nation’s Capital. They have been selected repeatedly as the first ensemble to honor new presidents with the traditional “Hail to the Chief” on live national broadcasts. In addition, The U.S. Army Brass Quintet frequently provides musical support for special events hosted by the Secretary of Defense, the Secretary of the Army, and the Army Chief of Staff, as well as for ceremonies supporting the Military District of Washington. The U.S. Army Brass Quintet continues a long tradition in support of music education. The ensemble’s outreach activities include frequent appearances at the Midwest Band and Orchestra Clinic, the International Trumpet Guild Conference, The U.S. Army Band’s annual Tuba-Euphonium Conference, and at high schools, universities, and conservatories throughout the United States and around the world.

BOB MCDONALD, baritone Baritone Bob McDonald holds a BA in Vocal Performance and an MA in Opera Directing from Oberlin Conservatory of Music. He enjoys a diverse career across many artistic disciplines, including musical theatre, opera, and the concert stage, as well as his job as a baritone in the US Army Chorus. Mr. McDonald has performed a variety of musical theatre roles on various Washington DC stages, including Louis in Sunday in the Park with George; Lombardi in Passion; Sweeney Todd (Kennedy Center); the Husband in Putting it Together (Signature Theatre); and principal roles in HMS Pinafore, The Mikado, The Pirates of Penzance and Down at the Old Bull and Bush (Interact Theatre). Regionally, he has performed Curly in Oklahoma!, Fred in Kiss Me Kate and The Pirate King in The Pirates of Penzance. Bob also had acting roles in Don Quixote and The Second Shepherd’s Play at the Folger Elizabethan Theatre. As an opera singer, Mr. McDonald has performed Papageno in The Magic Flute, Marcello in La Boheme, Paquillo in La Perichole, the title role in Don Giovanni, and Escamillo in Carmen, among others. As baritone soloist, Mr. McDonald has performed with many choral groups, both in Washington DC and regionally. Mr. McDonald’s activeduty Army career has given him the opportunity to perform in the US and abroad for our troops, as well as entertain presidents and visiting heads of state. Bob is a familiar face to DC hockey fans as he has been the National Anthem singer for the Washington Capitals for over 25 years. He is also well known for his annual summer cabaret at Washington’s Tony-Award-winning Signature Theatre. Bob is particularly happy to be back at Brevard Music Center, where as a student and “faculty brat” (son of long-time BMC Tenor Bill McDonald) he spent many happy summers.

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of artistry and scholarship with deep musicianship skills and entrepreneurial savvy. Eastman graduates emerge as leaders in their respective fields, create their own professional opportunities, and shape the future of music.

For application information visit esm.rochester.edu/admissions

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WEDNESDAY JULY 24, 7:30PM CHAMBER

INGRAM AUDITORIUM AT BREVARD COLLEGE

BMC ARTIST FACULTY: SCHUMANN PIANO QUARTET FINZI (1901-1956)

Interlude for Oboe and String Quartet, Op. 21 Eric Ohlsson, oboe Jay Christy, violin Caroline Chin, violin Erika Eckert, viola Alistair MacRae, cello

CLARKE (1886-1979) Viola Sonata Impetuoso Vivace Adagio. Allegro

Maggie Snyder, viola Deloise Lima, piano

-INTERMISSIONSCHUMANN (1810-1856)

Piano Quartet in E flat major, Op. 47 Sostenuto assai. Allegro ma non troppo Scherzo: Molto vivace Andante cantabile Finale: Vivace Benjamin Sung, violin Jennifer Snyder Kozoroz, viola Susannah Chapman, cello Elisabeth Pridonoff, piano 96 BrevardMusic.org

ABOUT THE MUSIC GERALD FINZI (1901-1956) Interlude for Oboe and String Quartet, Op. 21 Gerald Finzi was a complex man. Having lost his father and three brothers at an early age, Finzi found solace in literature, the English countryside, and eighteenth-century English music—not in any particular order. Living with his wife Joyce Black (1907-1991) on a 16arce estate on the Hampshire hills at Ashmansworth, Finzi was a lifelong collector and student. His substantial library of English Literature is now housed in the Finzi Book Room at Reading University Library, and his library of music from about 1740 to 1780 is considered the finest of its period assembled privately in England (now housed at St. Andrews University). When Finzi was commissioned to write a Suite for Oboe, he just couldn’t find the right approach. He eventually settled on the idea of an Interlude, offering him broader compositional possibilities. He thought that the work contained “some decent music and a certain amount of rant.” Yet musicologist Stephen Banfield finds in the Interlude “the first real manifestation of Finzi’s mature idiom.” It would take Finzi over three years to complete the work. The end result is a beautiful post-Romantic work that is on the bookshelf of most every professional oboe player. REBECCA CLARKE (1886-1979) Viola Sonata Premiered at the Berkshire Music Festival in 1919.

DID YOU KNOW? Tonight’s performance marks the 100th anniversary of Clarke’s Viola Sonata.

Rebecca Clarke was a trailblazer. In 1907 she was Charles Stanford’s first female student at the Royal Academy of Music, and in 1912 she became one of the first female musicians in the Queen’s Hall orchestra. She made a name for herself as violist, concertizing extensively in Hawaii in 1918-19 and on a round-the-world tour of the British colonies in 1923. As a composer, her breakthrough came with her Viola Sonata (1919) and Piano Trio (1921), both runners up in the prestigious Elizabeth Sprague Coolidge competition. Unfortunately, World War II more or less put an end to her career. She moved to the US, married James Friskin, a member of the piano department at Juilliard, and mostly stopped composing. Yet Clarke got to experience a renewed interest in her work in the late 1970s, when several of her works were re-issued.


Fermette cette nuit dans les veine de Dieu This night is fermenting in the veins of God ROBERT SCHUMANN (1810-1856) Piano Quartet in E flat major, Op. 47 As a critic, Schumann viewed the “proper” string quartet as a continuation of the classical style with its conversational texture where “everyone has something to say” and where “symphonic furore” should be avoided. In 1842, Schumann focused almost exclusively on chamber music, studying the string quartets of Haydn and Mozart and completing contrapuntal exercises. It is no surprise then, that his first compositional fruits were his three String Quartets, Op. 41. For his next project, Schumann decided on more Romantic genres by including the piano for his Piano Quintet, Op. 44, and the Piano Quartet, Op. 47. These more Romantic genres called for a different compositional

Schumann composed a work that is concise and clear. While he borrows stylistic ideas from earlier composers, the compositional voice is unmistakably his. The work begins with a slow introduction that will eventually become part of the sonata form plot—similar to Mendelssohn’s Midsummernight’s Dream Overture. The ensuing Scherzo actually has two trios—just like Mozart’s “Stadler” Quintet. The aria-like qualities of the third movement seem to show traces of Beethoven, while the last movement is full of counterpoint—a common trait of late Mozart and Beethoven. Most importantly, however, Schumann is able to seamlessly integrate all of these stylistic traits into his own, highly expressive style, thereby offering Romantic chamber music that points toward a neo-classical style—a style music critic Eduard Hanslick would later describe as “absolute music.” - Siegwart Reichwald

Composed in 1842 during Schumann’s “Chamber Music Year,” the Piano Quartet is a deeply Romantic statement build upon a reflective introduction, song-like melodies, and a lively scherzo.

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Poéte, prends ton luth; le vin de la jeunesse Poet, take up your lute; the wine of youth

approach, as this type of chamber music occupies an intermediary position between private entertainment and public concert. His Piano Quartet lives at this intersection, with its intimate sounds and yet symphonic approach to form.

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Clarke inscribed her Viola Sonata with a quotation from La nuit de mai (1835) by Alfred de Musset:


JULY

THURSDAY JULY 25, 7:30PM

25&27 SATURDAY JULY 27, 2:00PM OPERA

PORTER CENTER AT BREVARD COLLEGE

DIE FLEDERMAUS Janiec Opera Company of the Brevard Music Center Brevard Festival Orchestra Dean Anthony, stage director Michael Sakir, conductor Eileen Downey, chorus master MUSIC: Johann Strauss, Jr. LIBRETTO: Karl Haffner and Richard Genée Act I

-INTERMISSIONAct II

-INTERMISSIONAct III Bethanie Wampol Watson, Scenic Designer Tláloc López-Watermann, Lighting Designer Glenn Avery Breed, Costume Designer Brittany Rappise, Wig & Makeup Designer

MADE POSSIBLE BY: Nancy Crow Trentini, Lead Sponsor Nancy B. Hicks, Sustaining Sponsor In honor of Ross Magoulas and Dean Anthony 98 BrevardMusic.org

ABOUT THE DIRECTOR DEAN ANTHONY, stage director Director of Opera Dean Anthony draws inspiration and expertise from a comprehensive career spanning over 30 years and innumerable turns as performer, director, educator, and producer. Frequently engaged as a stage director, Mr. Anthony’s artistic process is hallmarked by an energetic, gritty, and physical style. Most recently, he was appointed Artistic and Producing Director of Asheville Lyric Opera. (see page 136 for complete biography)

ABOUT THE CONDUCTOR MICHAEL SAKIR, conductor Michael Sakir serves as Music Director of Opera Memphis and Principal Guest Conductor of the Opera Company of Middlebury. Recent guest conducting engagements include Des Moines Metro Opera, Shreveport Opera, Eugene Opera, Opera Orlando, Intermountain Opera Bozeman, Northwestern University, American Opera Projects, Opera in the Ozarks, and Opera North. (see page 136 for complete biography)

CAST (in order of vocal appearance) Alfred: Ian DeSmit Adele: Vivian Yau Rosalinda: Tori Franklin Gabriel von Eisenstein: Robert Fridlender Dr. Blind: Gregory Sliskovich Dr. Falke: Derek Stull Frank: Samuel Rachmith Sally: Adina Triolo Prince Orlofsky: Hannah Carroll Ivan: Craig Smith Frosch: Dean Anthony

ENSEMBLE Ari Bell Achilles Bezanis Andrew Boisvert Victor DiNitto Ethan Garner Matthew Huckaba Leah Rivka Israel Marcus Jefferson Megan Maloney Emily Margevich Emma Marhefka Joseph O’Shea Anja Pustaver Grace Reberg Nicole Rizzo Joseph Sandler Dominique Santiago Jaime Sharp Errol Shaw Maggie Elisabeth Smith Craig Smith Andrea Tulipana Alea Vernon


Gabriel and Rosalinda von Eisenstein’s parlour. The impetuous tenor, Alfred, is heard serenading his old flame, Rosalinda. The chambermaid Adele enters reading a letter from her sister Sally. The letter urges Adele to get the night off to come to the ball being held at the villa of Prince Orlofsky. Adele resolves to go. Rosalinda appears, amazed that Alfred has returned. Adele tells her mistress that her “poor old aunt” is deathly ill and she must have the night off. However, Rosalinda refuses to let her go, because tonight Gabriel must start a short jail term for a civil offense. Adele exits weeping.

Rosalinda enters, masked, and Falke shows her Gabriel in the garden flirting with Adele. Gabriel is immediately taken with the beauty of the “Hungarian countess.” He immediately takes out his famous chiming watch. This ploy has always worked for him— promising to give the lady his watch in return for her favor but never delivering. Rosalinda turns the tables on him and steals the watch. The guests return and insist that the “Hungarian countess” unmask. Orlofsky defends her, stating that in his house a lady may cover or uncover as much as she wishes. To prove that she is Hungarian, Rosalinda sings a stirring czardas.

Alfred appears and begins to woo Rosalinda. She gets him to leave by promising to see him later, after her husband has left for jail. Gabriel arrives, fighting with his lawyer, Doctor Blind, because his jail term has been extended due to Blind’s incompetence. Blind promises to appeal, but Gabriel throws him out.

Orlofsky calls for champagne. After a rousing toast, everyone is in the mood for romance and a waltz but the clock is striking six, and Gabriel and Frank are due at jail. They rush off drunkenly as the waltz continues.

Doctor Falke arrives and persuades Gabriel to postpone reporting to jail until the next morning. After Falke leaves, Rosalinda tells Adele that she may have the night off. Gabriel reenters and bids Rosalinda and Adele a sorrowful goodbye.

The prison.

Rosalinda, left alone, doubts the wisdom of receiving Alfred. He is well on the way to removing her doubts when Herr Frank, the prison warden, arrives to personally escort “Herr von Eisenstein” to his “cozy little prison.” Rosalinda takes Alfred aside and begs him to say that he is Eisenstein to avert a scandal. Alfred leaves with Frank to take Gabriel’s place in prison. ACT 2 The ballroom of Prince Orlofsky. Everyone is having a wonderful time at the ball. Sally is surprised to see her sister Adele, but decides to introduce her as an actress named “Olga.” Falke enters with the Prince, who is lamenting his terminal boredom. Falke assures him that tonight he will laugh, as Falke has planned a little comedy entitled The Revenge of the Bat. Sally introduces “Olga” to the Prince, who gives the two girls his purse to take to the gaming room. Gabriel enters, and Falke introduces him to the Prince as the “Marquis de Renard,” a French nobleman. Falke asks the Prince to distract Gabriel while Falke sends a note to Rosalinda. Orlofsky insists that Gabriel drink with him. Gabriel is flabbergasted to see his chambermaid at the ball. Adele is equally horrified to see her master but insists that she is the

ACT 3

Frosch, the jailer, enters. His pleasant state of intoxication is interrupted by Alfred singing in his prison cell. Frank, Adele and Sally arrive. The girls think Frank can help Adele break into show business. Frank tells Frosch to put them somewhere, but the only room free is an empty cell. Gabriel enters and asks the “Chevalier” if he has been arrested too. Frank confesses that he is no chevalier but is the director of the prison. Gabriel confesses that he is no marquis, but is Herr von Eisenstein, who has come to serve his jail term. Frank refuses to believe him, as he arrested Herr von Eisenstein the evening before, while he was at home with his wife. This revelation sobers Gabriel completely. Frosch comes back in with Dr. Blind, whom Eisenstein (Alfred) has sent for. Frosch tells Blind he will bring Gabriel from his cell. Blind is confused, as he can see Gabriel already there. Frosch brings in Alfred, who is annoyed to see no one there. Rosalinda enters, distraught. Alfred tells her that perhaps the lawyer he has sent for can help them. Gabriel returns disguised as Blind. He questions the pair and then reveals himself. Rosalinda counters his insinuations by producing his watch. Falke appears with Prince Orlofsky and all the party guests. The whole situation was a joke: The Revenge of the Bat. All is forgiven, and the opera ends with more champagne and revelry.

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actress Olga. A new guest arrives, “the Chevalier Chagrin”— actually, the prison warden, Frank. Falke tells the guests that they are waiting for a mysterious Hungarian countess who will have to remain masked to protect her identity.

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SYNOPSIS


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FRIDAY JULY 26, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

BRAHMS 4 Brevard Music Center Orchestra Christian Zacharias, conductor/piano SCHUMANN (1810-1856) Manfred Overture, Op. 115

MOZART (1756-1791) Piano Concerto No. 20 in D minor, K. 466 Allegro Romanze Rondo: Allegro assai Mr. Zacharias, piano

-INTERMISSIONBRAHMS (1833-1897) Symphony No. 4 in E minor, Op. 98 Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

Official piano of the Brevard Music Center

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ABOUT THE ARTIST CHRISTIAN ZACHARIAS, conductor/piano “One must ‘speak’ music…” Christian Zacharias is a narrator among the conductors and pianists of his generation. In each of his elaborate, detailed, and clearly articulated interpretations, Zacharias is interested in what lies behind the notes. With his distinctive combination of integrity, unique style, surpassing linguistic expressiveness, deep musical insight and assured artistic instinct paired with his charismatic and captivating personality, Christian Zacharias has made a name for himself not only as one of the world’s leading pianists and conductors, but also as a musical thinker. Beginning as a pianist and later moving on to work as a conductor as well, his international career burgeoned through numerous widely acclaimed concerts with the world’s leading orchestras, renowned conductors not to mention several awards and recordings. Zacharias was a long-term Artistic Partner at the St. Paul Chamber Orchestra and is still deeply connected to the orchestra. He also maintains close ties with the Gothenburg Symphony Orchestra, the Boston Symphony Orchestra, the Kammerorchester Basel, the Konzerthausorchester Berlin and the Bamberger Symphoniker. Zacharias also performs recitals in major musical centers worldwide and collaborates with like-minded musicians such as Frank Peter Zimmermann, the Leipziger Streichquartett, and Baiba Skride. Zacharias’ work in the world of music has earned him numerous awards and prizes, including the 2007 Midem Classical Award “Artist of the Year.” The French government also honored him as an “Officier dans l’Ordre des Arts et des Lettres” and he was awarded for his contributions to culture in Romania in 2009. In 2016 he was named member of the Royal Swedish Academy of Music. During his time as Artistic Director and Principal Conductor of the Orchestre de Chambre de Lausanne, his recordings with the orchestra garnered widespread critical acclaim among the international press. His most recent recordings feature the four Schumann symphonies and C.P.E. Bach’s Berlin symphonies. In 2015 and 2017, Christian Zacharias chaired the Jury of the Clara Haskil Competition and as president of the jury of the 2018 Geza Anda Competition he conducted the final concert.

ABOUT THE MUSIC ROBERT SCHUMANN (1810-1856) Manfred Overture, Op. 115 Premiered in Leipzig on March 14, 1852 under the direction of the composer. Schumann loved great literature. His father had been a publisher of pocket editions of works by Goethe, Schiller, and Byron, among others, and throughout his life Schumann was a voracious reader. Upon completing his opera Genoveva in 1848, Schumann tried to think of other ways to wed music with literature. So he decided to create a “dramatic poem with music,” and Byron’s Manfred seemed to be the perfect subject. Within a couple of days Schumann had composed the overture, and over the course of a month he had written fifteen musical numbers setting the 1,336-line poem to music in a variety of ways— including melodrama (spoken words over music), interludes, solos, and choruses. Quite satisfied with the result he wrote, “never have I


WOLFGANG AMADEUS MOZART (1756-1791) Piano Concerto No. 20 in D minor, K. 466 Premiered on February 11, 1845 in Vienna with Mozart as soloist and conductor.

DID YOU KNOW? Only two of Mozart’s 23 piano concertos are in a minor key.

One might think that Mozart’s move from provincial Salzburg to cosmopolitan Vienna opened up new a world to him. Yet it is the other way around: Mozart brought the world to Vienna. His D minor Piano Concerto is case in point. With every movement he expanded the Viennese horizon. The first movement opens in stormy D minor, conjuring up a scene from Italian opera. Composed for a Friday Lenten concert, the first movement seems to frame the somber occasion appropriately. The slow movement is surprisingly in the “wrong” key (B-flat major rather than the customary relative major, F major). The reason becomes apparent in the middle section, as it allows Mozart to explore yet a different minor key (G minor). The searching middle section, punctuated by pounding G minor chords, furthers Mozart’s operatic approach of the opening movement. The last movement expands into the world of symphony, as the woodwinds take on a central role—no longer just a supporting cast. And it is the woodwinds who usher in the Mozart’s almost other-worldly scene: the arrival in joyful D major. What began as a Lenten drama ends in festivities Mozart might have experienced in Prague. The concert series was one of Mozart’s greatest successes in Vienna. Yet, long-lasting success in Vienna was nevertheless elusive. Only fellow musicians like Haydn truly understood Mozart’s genius: [If] I could impress on the mind of every music-lover, but particularly powerful people, the inimitable works of Mozart as deeply and with as much musical understanding, with as great feeling, as I grasp them and feel them, then the nations would compete to possess such a treasure. […] It makes me angry that this unique Mozart still has not been employed at an imperial or royal court. Pardon me if I get carried away; I am too fond of the man.

ORCHESTRA

The story of Byron’s dramatic poem is about Manfred, who is tortured by his guilt over the death of his beloved Astarte. Neither the summoning of the seven spirits nor the offer of redemption bring peace. Stubbornly unrepentant to the end, Manfred gives his soul to neither heaven nor hell, only to death. The overture is by some considered his greatest orchestral work (including Brahms), its unsurpassed passion capturing the essence of Manfred’s character.

JOHANNES BRAHMS (1833-1897) Symphony No. 4 in E minor, Op. 98 Premiered in Meiningen on October 25, 1885 under the direction of the composer.

DID YOU KNOW? The Fourth Symphony is Brahms’s only symphony that ends in a minor key.

“For this whole movement I had the feeling that I was being given a beating by two incredibly intelligent people.” Those were the words of the eminent music critic Eduard Hanslick after the first movement at the unofficial unveiling of the Fourth Symphony. It was an affair among friends; a two-piano reading of the score. The “incredibly intelligent people” were the composer himself and Ignaz Brüll (a composer friend). Hanslick was one of the page turners; the great conductor Hans Richter the other. The initial reaction of this erudite group was surprisingly lukewarm. Yet Brahms’s Fourth is considered his last word on the symphony, music for the connoisseur. Arnold Schoenberg’s 1947 essay, Brahms the Progressive, illuminates Brahms’s masterfully spun motivic web that runs through seemingly every theme of every movement. Brahms scholar Malcolm MacDonald writes, “No study shorter than book length may even begin to demonstrate the extraordinary subcutaneous motivic connections of this Symphony, whose thematic integration far exceeds the other three.” And all music majors are made to marvel over Brahms’s use of the archaic Baroque passacaglia (continuous variations over a repeated theme) as the climactic finale. So why are these “incredibly intelligent people” (and their page turners) not initially wowed? Because they knew that great (Romantic) music is not about how you say it but what you have to say! They were too stunned by the delivery that they couldn’t yet fathom the work’s content. Brahms expressed these concerns in a letter to the conductor of the Meiningen orchestra, Hans von Bülow: “I’m really afraid that it tastes like the climate here [Mürzzuschlag, Austria]. The cherries don’t ripen in these parts; you wouldn’t eat them.” The 21-year-old Richard Strauss, Bülow’s assistant in Meiningen, reported to his father after initial rehearsals that the Fourth was “beyond all question a gigantic work, with a grandeur in its conception and invention, genius in its treatment of forms, periodic structure, of outstanding vigor and strength, new and original and yet authentic Brahms from A to Z.” Fortunately, the audiences in Meiningen and Vienna didn’t overthink the work like the intellectuals surrounding Brahms, making the work a great success. Audiences ever since are also not “blinded” by Brahms’s unequalled, mannerist compositional technique. Rather, we are wowed by the depth of expression that is the end result of Brahms’s striving. While it is a technical masterpiece, it is, more importantly, a work of art that engages us at our emotional core. We are swept away by the indescribably beautiful and intense lyricism of the first movement, transfixed by mystical melodies of the second, elated by energy of the scherzo, and overwhelmed by the unmatched power of the finale. And that is what “authentic Brahms from A to Z” is all about! - Siegwart Reichwald

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devoted myself to a composition with such love and energy as to Manfred.” Realizing his novel approach, Schumann suggested that “in time, my endeavors in this, the dramatic field, will be accorded a just assessment.”


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SATURDAY JULY 27, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

DEBUSSY AND RAVEL Brevard Sinfonia Christian Zacharias, conductor Rémi Geniet, piano DEBUSSY (1862-1918) Ibéria

RAVEL (1875-1937) Piano Concerto for the Left Hand Mr. Geniet, piano

-INTERMISSIONHONEGGER (1892-1955) Pacific 231

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

Official piano of the Brevard Music Center

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ABOUT THE ARTISTS CHRISTIAN ZACHARIAS, conductor With his distinctive combination of integrity, unique style, surpassing linguistic expressiveness, deep musical insight and assured artistic instinct paired with his charismatic and captivating personality, Christian Zacharias has made a name for himself not only as one of the world’s leading pianists and conductors, but also as a musical thinker. His international career has burgeoned through numerous widely acclaimed concerts with the world’s leading orchestras, renowned conductors and recordings. (see page 100 for complete biography)

RÉMI GENIET, piano French pianist Rémi Geniet won First Prize in the 2015 Young Concert Artists International Auditions, Second Prize in the 2013 Queen Elisabeth International Piano Competition in Belgium, First Prize at the 2011 Prix du Piano Interlaken Classics in Bern, Switzerland, and the Interpretation Prize at the 2010 International Horowitz Competition in Kiev, Ukraine. Mr. Geniet’s performances in the U.S. include appearances with the St. Louis and the Richmond Symphony Orchestras. He has been presented in recital on the Young Concert Artists Series in New York at Carnegie’s Zankel Hall and the Morgan Library, and in Washington, DC at the Embassy of France. Outside of the United States, Mr. Geniet’s numerous performance as soloist include concertos with the Warsaw Philharmonic, the Armenian Philharmonic Orchestra, the Hong Kong Sinfonietta, the St. Petersburg Philharmonic, the Royal Flemish Philharmonic, the Luxembourg Philharmonic Orchestra, and the National Orchestra of Belgium. In France he has performed with the L’Orchestre National de Montpellier, L’Orchestre National de Lorraine the Orchestre National de Montpellier, the Orchestre National de Lille, the Orchestra Philharmonique de Nice, and the Orchestre d’Auvergne. Mr. Geniet has been heard in recital in Vienna, Geneva, Ghent, Brussels, Germany, and Poland, and in numerous French festivals and venues including the Auditorium du Louvre, Piano à Lyon, and the Festival de Radio France. In addition, he recently opened the “L’âme du Piano” series at the Salle Gaveau to critical acclaim. Mr. Geniet has performed at festivals including the Euriade Festival in the Netherlands, the St. Petersburg Arts Square International Winter Festival, the Interlaken Classics Festival in Switzerland, the Verbier Festival in Switzerland, and the Montreal Bach Festival. Rémi Geniet studied at the Conservatoire National Supérieur de Musique de Paris, where he worked with Brigitte Engerer, and at the École Normale de Musique Alfred Cortot with Rena Shereshevskaya. He has also worked with Evgeni Koroliov at the Hochschule für Musik in Hamburg. Mr. Geniet has two CD releases on the Mirare label: his collection of Beethoven pieces, and his all-Bach CD, which was awarded the prestigious “Diapason d’Or.”


DID YOU KNOW? Debussy spent all of one afternoon in Spain—apparently more than enough to write a masterpiece of “Spanish music,” for Manuel de Falla, declared Ibéria “an example of how much Debussy can teach the composers of Spain about a civilized use of their own music.”

Ibéria turned out to be his last orchestral work, and his career experience in that genre is a large part of this piece’s success. Debussy decided not to quote any Spanish folk songs; rather, he created his own Spanish sound by incorporating Spanish musical elements into his own impressionistic style. Spanish composer Manuel de Falla, keenly aware of the rich colors and shadings of the impressionistic style, observes that Debussy was able to preserve “a lasting remembrance of the impressions made on him by that peculiar light of a Plaza de Toros: the striking contrast between the part flooded by sunlight and that covered by shade.” And on a broader scale Debussy composed “the echoes from the villages, a kind of sevillana—the generic theme of the work— which seems to float in a clear atmosphere of scintillating light; the intoxicating spell of Andalusian nights, the festive gaiety of a people dancing to the joyous strains of a band of guitars and bandurrias […] all this whirls in the air, approaches and recedes, and our imagination is continually kept awake and dazzled by the power of an intensely expressive and richly varied music.” MAURICE RAVEL (1875-1937) Piano Concerto for the Left Hand Premiered on November 27, 1931 in Vienna with Paul Wittgenstein as soloist, conducted by Robert Heger. If there really is such a thing as a silver lining in tragic events, this piano concerto, commissioned by the Austrian pianist Paul Wittgenstein, comes pretty close. Having lost his right arm during World War I, the maimed pianist began transcribing and commissioning works for left hand alone and resumed a successful career as pianist. Wittgenstein was initially not too excited about Ravel’s piano concerto. After an orchestral introduction, the piano enters with a long cadenza. Wittgenstein remarked, “If I wanted to play without the orchestra, I wouldn’t have commissioned a concerto!” There are other peculiarities in this piece besides the physical limitation of writing for one hand. Unlike the typical threemovement concerto—fast – slow – fast—this is a one-movement piece with various sections, more along the lines of a fantasy. Ravel stated that, “in a work of this kind, it is essential to give the impression of a texture no thinner than that of a part written for both hands. For the same reason, I resorted to a style that is much nearer to that of the more solemn kind of traditional concerto.” The result is a soulful work full of passion and introspection, as well as power and mystery.

That Honegger loved trains might be an understatement. He once wrote that “to me they are living beings, and I love them as others love women and horses.” His obsession with trains only grew when he had to travel to Paris long distance by train twice weekly for lessons. So given its title, it’s only natural to assume that Pacific 231 would be a descriptive symphonic poem about the fast and powerful steam locomotive with just that name. And, in fact, Honegger’s most popular piece is often cited in music history classes as an example of programmatic writing. Yet Honegger wrote that, “in Pacific I was pursuing a very abstract and quite unalloyed idea, by giving the feeling of a mathematical acceleration of rhythm, while the actual motion of the piece slowed down. In musical terms, I composed a huge, formal chorale, strewn with counterpoint in the manner of J. S. Bach.” Really? It doesn’t take any musical knowledge to visualize the steam and grinding mechanism of a locomotive leaving the station and gaining speed. The composer finally gave up trying to convince audiences otherwise, offering the following description (presumably with a smirk): “the quiet breathing of the machine at rest, its effort in starting speed, the progress from mood to mood, as 300-ton train hurtles through the dark night, racing 120 miles an hour.” RAVEL 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 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 Chloé 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 Chloe. They find Daphnis and awaken him. In anguish, he looks around for Chloe, who at last appears surrounded by shepherdesses. […] Daphnis and Chloe mime the story of the nymph Syrinx who was beloved of the god Pan. Chloe 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. Chloe returns and dances to the melody of the flute. [Dance] The dance grows more and more animated and, in a mad whirl, Chloe 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

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CLAUDE DEBUSSY (1862-1918) Ibéria Premiered on February 20, 1910 in Paris under the direction of Gabriel Pierné.

ARTHUR HONEGGER (1892-1955) Pacific 231 Premiered on May 8, 1924 in Paris.

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ABOUT THE MUSIC


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SUNDAY JULY 28, 3:00PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

SOLOISTS OF TOMORROW Brevard Music Center Orchestra Ken Lam, conductor

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. Tonight’s concert will feature the 2019 winners of the Jan and Beattie Wood Concerto Competition, who will all receive scholarships to the 2020 BMC Institute and Festival.

Official piano of the Brevard Music Center

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SUNDAY JULY 28, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

SUPERSONIC High School and College Percussion Ensembles Charles Ross and David Fishlock, program coordinators

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Hypnotic rhythms and spectacular, syncopated drumming combine for a mesmerizing evening of family fun! BMC’s percussion students and faculty present works by Bach, Tchaikovsky, G.H. Green, and many others.


PORTER CENTER AT BREVARD COLLEGE

BMC ARTIST FACULTY: THE SOLDIER’S TALE MARTINŮ (1890-1959) Nonet No. 2, H. 374 Poco allegro Andante Allegretto Dilshad Posnock, flute ~ Emily Brebach, oboe Jonathan Cohen, clarinet ~ Susan Barber, bassoon Hazel Dean Davis, horn ~ Jan Mraček, violin Juliet White-Smith, viola ~ Benjamin Karp, cello Craig Brown, double bass

-INTERMISSIONSTRAVINSKY (1882-1971) The Soldier’s Tale Part 1 Introduction: The Soldier’s March Music for Scene 1: Airs by a Stream Reprise: The Soldier’s March Music for Scene 2: Pastorale Music for the End of Scene 2 Reprise: Airs by a Stream Music for Scene 3: Airs by a Stream

Part 2 Reprise: The Soldier’s March Royal March Little Concert Three Dances: Tango Three Dances: Waltz Three Dances: Ragtime The Devils Dance Little Chorale The Devil’s Song Great Chorale Triumphal March of the Devil

Ken Lam, conductor ~ Keith Lockhart, narrator Corinne Stillwell, violin ~ George Speed, double bass Jonathan Cohen, clarinet ~ William Ludwig, bassoon Robert Sullivan, trumpet ~ David Jackson, trombone David Fishlock, percussion

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BOHUSLAV MARTINŮ (1890-1959) Nonet No. 2, H 374 Premiered at the Salzburg Festival on July 27, 1959 by the Czech Nonet. Martinů was a journeyman all of his life. After moving to Paris in the 1920s, the composer was forced to leave Europe during World War II, settling in New York. Yet America never quite felt home, so he returned to Paris, before moving to Nice and finally “settling” in Switzerland. Compositionally, however, Martinů had a clear sense of home as a Czech composer. The Nonet is his last chamber work, composed for the 35th anniversary of the Czech Nonet, the only chamber ensemble of its kind. The neoclassical work, cast in an eighteenth-century three movement design, celebrates the ensemble’s (and Martinů’s) musical heritage. While it betrays Stravinsky’s influence, it is nevertheless the assured work of a master, leaving behind a legacy both as Czech composer and as one of the most prolific composers of the twentieth century. IGOR STRAVINSKY (1882-1971) The Soldier’s Tale Premiered on September 28, 1918 in Lausanne, conducted by Ernest Ansermet. Necessity is the mother of Invention; The Soldier’s Tale is the perfect example of this truism. Living in relative isolation in Switzerland in 1917 and beset with financial difficulties, Stravinsky wondered, “Why not do something quite simple? Why not write together a piece that would need no vast theater or large public? Something with two or three characters and a handful of instrumentalists.” Using a Russian folk tale as a starting point, Stravinsky, together with Swiss playwright Charles Ferdinand Ramuz, created a story about the human condition—only fitting for wartime Europe. The cast was limited to the three speaking roles (narrator, soldier, and devil), a dancer, and a septet from woodwind, brass, and string families. Despite the sparse instrumentation, Stravinsky explored a wide range of styles—from waltz and Argentinian tango to Spanish paso doble and military march. Fascinatingly, this “make-shift” work became central in the development of neoclassicism. At the heart of the story is the power of music—much like the earliest operas based on the Greek legend of Orfeus. A young soldier makes a trade with the devil, exchanging his violin for a book that predicts the future. After what the soldier perceived to be three days of learning how to use the book, he returns home only to find out that he had been gone for three years. To the villagers he now appears to be a ghost; even worse, he finds his girlfriend with husband and kids. The soldier finds solace by accumulating wealth with the help of his book. Not finding happiness, however, he buys back his old violin only to realize that he is now unable to play it. When he journeys to the king’s castle in order to try to heal the princess, the devil awaits him. Having learned that he can regain his musical abilities by losing all his money to the devil, the soldier does so in a card game. He then not only heals the princess with his playing, but he also forces the devil to dance himself to exhaustion. The wedding of the soldier and the princess should signal a happily-ever-after. But when the soldier leaves the safety of the castle to see his mother, the devil is there waiting for him and takes him away. The piece closes with “The Devil’s Triumphant March.” - Siegwart Reichwald

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CHAMBER

ABOUT THE MUSIC

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MONDAY JULY 29, 7:30PM

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WEDNESDAY JULY 31, 7:30PM CHAMBER

PORTER CENTER AT BREVARD COLLEGE

DVORÁK SERENADE FOR STRINGS Brevard Camerata William Ludwig, bassoon MOZART (1756-1791) Serenade No. 6 in D major, K. 239, “Serenata notturna” Marcia. Maestoso Menuetto Rondeau. Allegretto

TOWER (1938-) Red Maple for Bassoon and String Orchestra Mr. Ludwig, bassoon

-INTERMISSIONDVORÁK (1841-1904) Serenade for Strings in E major, Op. 22 Moderato Menuetto: Allegro con moto Scherzo: Vivace Larghetto Finale: Allegro vivace

ABOUT THE ARTIST WILLIAM LUDWIG, bassoon William Ludwig joined the faculty of the prestigious Jacobs School of Music at Indiana University as Professor of Bassoon in August of 2007 and was appointed Chair of the Woodwind Department in 2010. Previous to this appointment he had been Professor of Bassoon at Louisiana State University since 1985. For the last ten summers he has been Artist Faculty at Brevard, and Principal Bassoon of the Brevard Music Center Orchestra. His orchestral experience also includes Principal Bassoon with the Baton Rouge Symphony (19862007) and the Florida Orchestra (1980-1985). A noted chamber musician he has performed in a wide variety of settings in the United States and Europe, including at the Prague Spring International Music Festival, Highlands (NC) Chamber Music Festival, and Hot Springs Music Festival. He has performed with the Orpheus Chamber Orchestra, Timm Wind Quintet, and Ars Nova Wind Quintet. He was artist-in-residence at the State University of New York-Stony Brook Department of Music from 1989 to 1994 concurrently with his LSU appointment, and taught at the University of South Florida from 1979 to 1985. He holds degrees from Louisiana State University and Yale School of Music and has had the privilege of studying with John Patterson, Sol Schoenbach, Leonard Sharrow, Bernard Garfield and Arthur Weisberg. Mr. Ludwig is sought after to present master classes at many universities and colleges, including the Glenn Gould School in Toronto in November 2010. Other master classes given include the New England Conservatory, Eastman, University of Georgia, University of Illinois, University of Michigan, Michigan State University, and Cincinnati College-Conservatory. Additionally, he has been an invited performer to numerous International Double Reed Society Conferences in this county and in Europe. Mr. Ludwig has transcribed works of Bach, Brahms, Beethoven, and Prokofiev for the bassoon. He has commissioned works for bassoon with orchestra, jazz trio, and interactive computer and for solo bassoon and oboe/bassoon duo. His recordings include “Bach for Bassoon” with Mark Custom Records, “Rhapsody in Bassoon” with Mark Custom Records, a Brahms/Schumann/Prokofiev CD with Centaur Records, and a series of Reicha Wind Quintet recordings with the Ars Nova Wind Quintet for the Musical Heritage Society.

ABOUT THE MUSIC WOLFGANG AMADEUS MOZART (1756-1791) Serenade No. 6 in D major, K. 239, “Serenata notturna” This serenade offers fascinating insights into the compositional affairs of the 19-year-old Mozart. Dated January 1776, it is the last of three serenades composed during that period. Serenades were usually composed for a specific occasion. Given its January date and “soft” instrumentation, it was obviously an indoor event. With only three movements, it also must have been a fairly short affair, as occasional serenades tend to have six to eight movements—to be repeated if needed. The opening March would be played for some sort of procession, followed by the other movements as entertainment. Both Minuet and Rondeau would offer perfect “background” music. Equally intriguing is the outdated scoring. Having a quartet of string players as soloists harkens back to the Baroque Concerto Grosso, and the addition of

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JOAN TOWER (1938-) Red Maple for Bassoon and String Orchestra Premiered on August 4, 2013 in Columbia, SC with Peter Kolkay as soloist under the direction of Morihiko Nakahara.

ANTONÍN DVOŘÁK (1841-1904) Serenade for Strings in E major, Op. 22 Premiered on December 10, 1876 in Prague under the direction of Adolf Čech.

DID YOU KNOW? In 2008 the Nashville Symphony’s recording of three of Joan Towers’ recent works was the top selling recording, winning three Grammy awards.

“I don’t do movements,” Joan Tower famously quipped, and her 17 minute-long “concerto” for bassoon follows through on that. Despite the lack of movements, the work has nevertheless three cadenzas. Tower’s goal was to let the bassoon “shine.” Tower describes herself as a very intuitive composer: “I’m totally unpre-compositional. I compose very slowly but I have tremendous concentration. I can go three hours at a time without looking up, but I’ve built that up over time; I used to have to go sharpen my pencil, get a cup of coffee, make that phone call. The only thing I know is who I’m writing the piece for and low long it is. The piece sort of writes itself.” When Tower was commissioned to write a bassoon concerto by a consortium or orchestra, including the South Carolina Philharmonic, she was excited about this opportunity: “You go to a flute convention and there are dozens of pieces offered […] the less common instruments just don’t come forward.” Despite her previous work with Peter Kolkay, Tower nevertheless felt like she needed to learn more about the bassoon. So she enlisted Bard student David Nagy to play drafts and provide feedback.

1875 was a good year for Dvořák. Happily married for two years, Dvořák was in the process of building a life for his young family. As the recipient of the Austrian State Prize for young composers, he was able to focus on his craft. Some of the fruits of his labor were his Fifth Symphony, his opera Vanda, several chamber works, and the Serenade for Strings. Composed in only twelve days, Dvořák seems to give expression of his contentment. The work brims with optimism and happiness.

DID YOU KNOW? The first movement was quoted in The Simpsons for the episode “Homer is Where the Art Isn’t.”

Despite the speed of composition, the Serenade is as masterfully crafted as some of his more serious works composed that year. In fact, Dvořák carefully creates a sense of unity through thematic recurrences: material from the waltz appear in the larghetto, and finale concludes with a restatement of the work’s opening theme. Dvořák was well on his way to add his voice to late-19th-century Romanticism. - Siegwart Reichwald

THE BREVARD CAMERATA is comprised of BMC’s talented College Division students working sideby-side with members of the Artist Faculty. Directed by Jonathan Spitz, Principal Cellist of the New Jersey Symphony and long-time member and artistic leader of Orpheus, America’s premier conductorless ensemble, the Brevard Camerata explores nearly four centuries of music from the rich and diverse chamber orchestra repertoire.

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The result is a work that allows the instrument to come forward unimpeded, revealing the rich color spread throughout its different registers.

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timpani hints at a regal occasion. Regardless of its occasion, the music is vintage early Mozart: imaginative, at times daring, and always full of surprises.


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THURSDAY AUG 1, 7:30PM OPERA

PORTER CENTER AT BREVARD COLLEGE

From the Pulitzer Prize to the Tony Award to the Academy Award, Frank Loesser has won them all! This evening we celebrate the legendary American songwriter in a concert of his favorite melodies from hit shows including Broadway’s Guys and Dolls, How to Succeed in Business Without Really Trying, and The Most Happy Fella, among other acclaimed works.

The Janiec Opera Company of the Brevard Music Center

BROADWAY IN BREVARD: AN EVENING OF FRANK LOESSER FAVORITES Janiec Opera Company of the Brevard Music Center Dean Anthony and Marla Berg, directors Neill Campbell, piano Josh Quinn, piano

Ladies:

Gentlemen:

Hannah Carroll Tori Franklin Leah Rivka Israel Megan Maloney Emily Margevich Emma Marhefka Anja Pustaver Grace Reberg Nicole Rizzo Dominique Santiago Jaime Sharp Maggie Elisabeth Smith Adina Triolo Andrea Tulipana Alea Vernon Vivian Yau

Ari Bell Achilles Bezanis Andrew Boisvert Ian DeSmit Victor DiNitto Robert Fridlender Ethan Garner Matthew Huckaba Marcus Jefferson Joseph O’Shea Samuel Rachmuth Joseph Sandler Errol Shaw Gregory Sliskovich Craig Smith Derek Stull

It’s astonishing how many mundane situations tickled Loesser’s muse… Frank Loesser’s Guys and Dolls was a masterly achievement in the new tradition—music, story, characters, acting, and direction pouring out of the same crucible. – Brooks Atkinson, BROADWAY (MacMillan, NY 1970)

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OPERA

AUG 1 The Bienen School of Music offers · A 152,000-square-foot stateof-the-art facility overlooking Lake Michigan · Conservatory-level training combined with the academic flexibility of an elite research institution · Traditional BM, BA, MM, PhD, and DMA degrees as well as innovative dual-degree, self-designed, and double-major programs · Close proximity to downtown Chicago’s vibrant cultural landscape

Woodwind Faculty Flute/Piccolo John Thorne Jennifer Gunn Alyce Johnson Oboe Michael Henoch Robert Morgan Clarinet Steven Cohen Leslie Grimm Mark Nuccio Saxophone Taimur Sullivan Bassoon David McGill

www.music.northwestern.edu

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FRIDAY AUG 2, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

RACHMANINOFF SYMPHONY NO. 2 Brevard Symphonic Winds Kraig Alan Williams, conductor Brevard Concert Orchestra Keith Lockhart, conductor MASLANKA (1943-2017) Hymn for World Peace

MACKEY (1973-) Aurora Awakes Brevard Symphonic Winds

-INTERMISSIONRACHMANINOFF (1873-1943) Symphony No. 2 in E minor, Op. 27 Largo. Allegro moderato Allegro molto Adagio Allegro vivace Brevard Concert Orchestra

ABOUT THE ARTISTS KEITH LOCKHART, conductor BMC Artistic Director In 2007, Keith Lockhart succeeded David Effron as Artistic Director of the Brevard Music Center Summer Institute and Festival. Lockhart’s appointment solidified an already special relationship with BMC; having attended as a teenager for two summers (1974, 1975), Lockhart was first featured as a guest conductor in 1996 and had since returned numerous times. He continues to serve as the Conductor of The Boston Pops Orchestra, and is Chief Guest Conductor of the BBC Concert Orchestra in London, having served for the last eight years as its Principal Conductor. (see page 5 for complete biography)

KRAIG WILLIAMS, conductor Director, Brevard Symphonic Winds Dr. Kraig Alan Williams is currently in his seventh year as the Conductor of the Rutgers Wind Ensemble, 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 Grammynominated Rutgers Wind Ensemble, teaching graduate and undergraduate conducting, and the mentoring of Master’s and Doctoral students in Wind Studies. Williams also teaches classes in undergraduate aural skills and general music. (see page 121 for complete biography)

ABOUT THE MUSIC DAVID MASLANKA (1943-2017) Hymn for World Peace Best known for his works for wind ensemble, Maslanka’s catalog of 130 composition includes ten symphonies, eight of which are for concert band. When Maslanka decided to focus exclusively on composing, he moved from New York City to Missoula, Montana. His ever-growing connection with the American landscape had become a central aspect of his work, placing him in a greater tradition of American composers such as Amy Beach, Charles Ives, and Virgil Thompson. Another perspective essential to his music was his meditative process. The composer explains, Dreams are the source of all our creativity. A musical composition is merely a dreaming process made conscious. In fact, all composition is the dreaming process made conscious. All composition begins below the unconscious level, and then flows up to the conscious. That is why dreams are so vitally important to pay attention to—they are an outward manifestation of messages from your inner self and provide the composer with a unique source for musical creativity. Maslanka’s deeply rooted spirituality finds expression in many different ways. He explains that, “the title, Hymns for World Peace, came from the simple thought that if we want world peace, we can begin as individuals to ask for it. Music making opens hearts and creates peace in individuals and communities. This is a powerful step as musicians that we can take.

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Below are excerpts from Jake Wallace’s official program notes for Aurora Awakes: Aurora now had left her saffron bed, And beams of early light the heav’ns o’erspread, When, from a tow’r, the queen, with wakeful eyes, Saw day point upward from the rosy skies. — Virgil, The Aeneid, Book IV, Lines 584-587 Aurora—the Roman goddess of the dawn—is a mythological figure frequently associated with beauty and light. Also known as Eos (her Greek analogue), Aurora would rise each morning and stream across the sky, heralding the coming of her brother Sol, the sun. Though she is herself among the lesser deities of Roman and Greek mythologies, her cultural influence has persevered, most notably in the naming of the vibrant flashes of light that occur in Arctic and Antarctic regions—the Aurora Borealis and Aurora Australis. John Mackey’s Aurora Awakes is, thus, a piece about the heralding of the coming of light. Built in two substantial sections, the piece moves over the course of eleven minutes from a place of remarkable stillness to an unbridled explosion of energy—from darkness to light, placid grey to startling rainbows of color. The presence of two more-or-less direct quotations of other musical compositions is particularly noteworthy in Aurora Awakes. The first, which appears at the beginning of the second section, is an ostinato based on the familiar guitar introduction to U2’s “Where the Streets Have No Name.” Though the strains of The Edge’s guitar have been metamorphosed into the insistent repetitions of keyboard percussion, the aesthetic is similar—a distant proclamation that grows steadily in fervor. The difference between U2’s presentation and Mackey’s, however, is that the guitar riff disappears for the majority of the song, while in Aurora Awakes, the motive persists for nearly the entirety of the remainder of the piece. The other quotation is a sly reference to Gustav Holst’s First Suite in E-flat for Military Band. The brilliant E-flat chord that closes the Chaconne of that work is orchestrated (nearly) identically as the final sonority of Aurora Awakes—producing an unmistakably vibrant timbre that won’t be missed by aficionados of the repertoire. This same effect was, somewhat ironically,

“That has always been one of my favorite chords because it’s just so damn bright. In a piece that’s about the awaking of the goddess of dawn, you need a damn bright ending—and there was no topping Holst. Well… except to add crotales.” SERGEI RACHMANINOFF (1873-1943) Symphony No. 2 in E minor, Op. 27 Premiered on January 26, 1908, in Saint Petersburg under the direction of the composer. With the disastrous aftermath of his First Symphony in the rearview-mirror—thanks in large part to his highly acclaimed Second Piano Concerto—Rachmaninoff moved to Dresden in order to focus on composing. Compositionally and professionally at a crossroads, Rachmaninoff wrote in February 1907, “I have composed a symphony. It’s true! I finished it a month ago and immediately put it aside. It was a severe worry to me and I am not going to think about it any more.” Fortunately, the composer did think about it again the following summer, and the work was premiered with great success, winning the Glinka Prize. Rachmaninoff’s post-Romantic style becomes apparent right from the start with the introduction of an Urmotiv (primal motif) out of which the whole work evolves. In fact, the whole symphony unfolds in a rather predictable, almost 19th-century fashion—a reactionary style for which the composer would be criticized for the rest of his life. Rachmaninoff had made a deliberate choice to continue the legacy of Tchaikovsky, placing himself within the lineage of the great Russian, Romantic symphonists. This choice seemed to have sealed his fate as a composer, since the 1954 edition of the revered Grove Dictionary of Music and Musicians predicted that, “the enormous popular success . . . is not likely to last.” Yet despite his many doubters, Rachmaninoff remains to this day, one of the most often performed composers. It seems that the composer’s difficult choice paid off, as he stayed true to his talents by writing “outdated” works full of beauty, intensity, and rich content. - Siegwart Reichwald

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Premiered on May 8, 2009 at the J.E.B. Stuart High School in Falls Church, Virginia, under the direction of Doug Martin.

suggested by Mackey for the ending of composer Jonathan Newman’s My Hands Are a City. Mackey adds an even brighter element, however, by including instruments not in Holst’s original:

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JOHN MACKEY (1973-) Aurora Awakes


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SATURDAY AUG 3, 7:30PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

FIREBIRD Brevard Sinfonia Ken Lam, conductor SooBeen Lee, violin LIADOV (1855-1914) From the Apocalypse, Op. 66

PROKOFIEV (1891-1953) Violin Concerto No. 2 in G minor, Op. 63 Allegro moderato Andante assai Allegro ben marcato Ms. Lee, violin

-INTERMISSIONSTRAVINSKY (1882-1971) Song of the Nightingale

STRAVINSKY Firebird Suite (1919)

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ABOUT THE ARTISTS KEN LAM, conductor BMC Resident Conductor Ken Lam is Music Director of the Illinois and Charleston (SC) Symphony Orchestras, as well as Artistic Director of the Hong Kong Voices. 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. Previously Ken held positions as Associate Conductor for Education of the Baltimore Symphony Orchestra, Assistant Conductor of the Cincinnati Symphony Orchestra, and Principal Conductor of the Hong Kong Chamber Orchestra. (see page 121 for complete biography)

SOOBEEN LEE, violin Violinist SooBeen Lee has been called “Korea’s hottest violin prodigy” (Hancinema). She has already appeared as soloist with every major Korean orchestra, including the Seoul Philharmonic, Busan Philharmonic Orchestra, and KBS (Korean Broadcasting System) Symphony Orchestra. Other distinctions include performances for Secretary-General of the United Nations Ki-moon Ban, at the Blue House for the King and Queen of Malaysia, with China’s Wuhan Philharmonic, at the Seoul Arts Center, and for many state guests in Korea. During the 2018-19 season SooBeen Lee appeared on the Young Concert Artists Series to give her New York concerto debut, performing the Chausson Poème with the Orchestra of St. Luke’s at Lincoln Center’s Alice Tully Hall, in recital at New York’s Morgan Library and Museum, and in recital at the Kennedy Center in Washington, DC as recipient of the Korean Concert Prize. Other appearances include concerto performances with the Gulf Coast Symphony, Rockford Symphony, Plymouth Philharmonic, Longwood Symphony, and Palm Beach Symphony; and recitals for Boston’s Isabella Stewart Gardner Museum, Cold Spring Harbor Laboratory, Southern Adventist University, Jewish Community Alliance, Buffalo Chamber Music Society, Abbey Church Events, and Cosmos Club in Washington, DC. SooBeen Lee won First Prize at the 2013 Moscow International David Oistrakh Violin Competition and First Prize at the 2014 Young Concert Artists International Auditions, where she was also honored with YCA’s Slomovic Prize, which provided support for her Washington, DC debut, the Michaels Award, which provided support for her New York debut, and three performance prizes. SooBeen Lee began studying the violin at the age of four. At eight years old, she won the National Competition of the Korean Chamber Orchestra and the next year, she won First Prize at the Russia International Youth Violin Competition. She made her Seoul recital debut at the age of nine on the Kumho Prodigy Concert Series. Ms. Lee studies with Miriam Fried at the New England Conservatory, where she recently performed the Sibelius Violin Concerto as winner of their 2018 Concerto Competition.


Then I saw another mighty angel coming down from heaven, wrapped in a cloud, with a rainbow over his head, and his face was like the sun, and his legs like pillars of fire. He had a little scroll open in his hand. And he set his right foot on the sea, and his left foot on the land, and called out with a loud voice, like a lion roaring. When he called out, the seven thunders sounded. The Book of Revelation 10:1-3 (ESV) How long can an audience be kept in suspense? That seems to be the compositional challenge Liadov gave himself. Composed in 1912, this “Symphonic Tableau” is truly a musical picture rather than a narrative. Using musical imagery from chant-like melodies to unearthly sounds, the listener realizes something epic is about to happen. Liadov focuses on the moment of anticipation, leaving the listener to ponder what’s next in this epic story. SERGEI PROKOFIEV (1891-1953) Violin Concerto No. 2 in G minor, Op. 63 1935 was an important year for Prokofiev. The composer was at a crossroads. Tired of living out of a suitcase, Prokofiev quipped that the Second Violin Concerto’s “principal theme of the first movement was written in Paris, the first theme of the second theme in Baku, while the performance was given Madrid.” Prokofiev felt a strong pull to return home to Russia after 18 years abroad, and this concerto’s international genesis represents a compositional no-man’s-land of sorts. It would be Prokofiev’s last commission from the West, and it foreshadows his new compositional ideals forged through a deliberate inner dialog between the aesthetic demands of Soviet Realism and his evolving compositional ideals. In November of 1934 during a visit to Moscow, Prokofiev wrote an article in Izvestiia, outlining his emerging aesthetics—and providing us with an aesthetic roadmap for this concerto: We must compose big music—that is, music, whose conception and technical execution corresponds to the breadth of our era. Such music should, above all, push us toward further development of musical forms. Unfortunately, contemporary Soviet composers run a real risk of becoming provincial. Finding the right language for our music is not easy. It should first of all be melodic, but the melody, though simple and accessible, shouldn’t become a refrain or a trivial turn of phrase. Many composers have difficulty composing melody in general— no matter what kind—and composing a melody for definitely stated goals is even more difficult. The same holds true for compositional technique and how it is set forth; it must be clear and simple, but not hackneyed. Its simplicity must not be an old-fashioned one; it must be a new simplicity. IGOR STRAVINSKY (1882-1971) Song of the Nightingale Hans Christian Anderson’s tales were all the rage during Stravinsky’s childhood. It is not surprising then that the young composer chose Anderson’s Song of the Nightingale for his first opera. Appropriately, Stravinsky chose a story about real versus artificial music. But he was interrupted with three (rather important) consecutive commissions by Sergei Diaghilev: The

Stravinsky’s music aims to capture the essence of Anderson’s story. We enter the Chinese Emperor’s court full of splendor and noisy bustle. The nightingale enchants the Emperor with its beautiful song (flute cadenza followed by solo violin). Suddenly, a mechanical nightingale—a gift from the Japanese Emperor— dazzles the ministers with its mechanical tune (piccolo, flute, oboe), and the nightingale retreats to the fisherman. Angrily, the Emperor names the mechanical bird the First Singer. When the Emperor falls deathly ill (dark timbres, slow tempo), only the song of the real nightingale can revive him. When asked to stay, the bird declines in order to aid others in need. At the conclusion, the fisherman sings a melancholic song. STRAVINSKY Firebird Suite (1919) 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. 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 1919 version is most often performed, cutting the music to roughly 20 minutes. The 1919 version has five sections with several subsections. The story is told through Prince Ivan’s eyes. The Introduction begins with an atmospheric and spooky depiction of Kashchei’s dark realm. Stravinsky’s extraordinary use of the orchestra draws the listener into this magical kingdom. The appearance of the Firebird as he is dancing, stands in stark contrast, portrayed through bright colors and constantly changing meters. The Prince observes the captives in The Round Dance of the Princesses and falls in love with one of the princesses. The mood is tranquil and pastoral with pensive melodious woodwind solos. Having been enlisted by the Prince to help free the princesses, the Firebird has cast a spell on the ogrelike creature, and in The Infernal Dance of King Kashchei the captor dances himself to complete exhaustion. This section shows Stravinsky’s unmatched skills as orchestrator and innovator, depicting this growing frenzy with a rhythmic complexity never seen before. At the end of the section, the frenzy turns to exhaustion, allowing the Firebird to lull Kashchei to sleep in the Berceuse. A lazy tune is introduced by the bassoon and then taken up by the whole orchestra. Ivan destroys the giant egg containing the soul of the evil King. The Finale opens with a Russian folk tune in the horn. From there Stravinsky creates one of music history’s most exciting crescendos through dynamics and scoring, offering a climactic ending as the princesses have been freed. - Siegwart Reichwald

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ANATOL LIADOV (1855-1914) From the Apocalypse, Op. 66

Firebird (see below), Petrushka, and The Rite of Spring. By the time Stravinsky returned to the opera, his style had matured considerably, making for a rather uneven work. So Stravinsky decided to turn his opera into a purely symphonic work. Stylistically, Stravinsky picked up where he had left of with his three ballet scores—with a forward-looking approach to a more streamlined orchestration found in his works of the 1920s.

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ABOUT THE MUSIC


AUG

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SUNDAY AUG 4, 3:00PM ORCHESTRA

WHITTINGTON-PFOHL AUDITORIUM

SEASON FINALE: MAHLER 2

ABOUT THE ARTISTS KEITH LOCKHART, conductor BMC Artistic Director In 2007, Keith Lockhart succeeded David Effron as Artistic Director of the Brevard Music Center Summer Institute and Festival. Lockhart’s appointment solidified an already special relationship with BMC; having attended as a teenager for two summers (1974, 1975), Lockhart was first featured as a guest conductor in 1996 and had since returned numerous times. He continues to serve as the Conductor of The Boston Pops Orchestra, and is Chief Guest Conductor of the BBC Concert Orchestra in London, having served for the last eight years as its Principal Conductor. (see page 5 for complete biography)

ILANA DAVIDSON, soprano

Brevard Music Center Orchestra and Festival Chorus Keith Lockhart, conductor Ilana Davidson, soprano Susan Platts, mezzo-soprano David Gresham, chorus master

Ilana Davidson brings assured musicality and interpretive insight to repertoire spanning the 12th to 21st centuries. Her recording of William Bolcom’s Songs of Innocence and of Experience conducted by Leonard Slatkin won four Grammy Awards including Best Classical Album. New York’s Carnegie Hall has welcomed her for Mahler’s Symphony No. 2 with the Boston Philharmonic and most recently Mona Lisa (Von Schillings), Der Diktator (Krenek), and From Jewish Folk Poetry, Op. 79 (Shostakovich) with the American Symphony Orchestra and The Orchestra Now.

MAHLER (1860-1911)

She has sung Carmina Burana with the Houston, Edmonton, Reading, Alabama and Toledo Symphonies; Mahler’s Symphony No. 2 and Gluck’s Orphée et Euridice and with the Québec Symphony; the Fauré Requiem with the Charlotte Symphony; and concerts with the Orchestra of St. Luke’s, Boston’s Handel and Haydn Society, and the Pacific, Ann Arbor, Alabama, Nashville Symphonies, National Philharmonic, Bellingham Music Festival, and Harrisburg Symphony. She recently made a debut with the Saint Paul Chamber Orchestra as Euridice in Gluck’s Orfeo ed Eurydice, sang Mahler’s Symphony No. 4 with the Bellingham Music Festival, Fort Worth, Detroit, Anchorage Symphonies and at the Brevard Music Center; Mozart’s Exsultate Jubilate at Brevard and with the Wheeling Symphony, Brahms Requiem with the North Carolina Symphony, at Berkshire Choral Festival and Mahler Symphony No. 2 with the Rhode Island Philharmonic. Recordings in Ms. Davidson’s discography include Kurt Weill’s Down in the Valley (Capriccio), Stanley Kubrick’s Mountain Home by Paul Elwood (Innova), John Zorn’s Chimeras (Tzadik), and Krenek’s What Price Confidence (Phoenix Edition).

Symphony No. 2 in C minor, “Resurrection” Allegro maestoso Andante moderato Scherzo. In ruhig fließender Bewegung Urlicht Im Tempo des Scherzos Ms. Davidson, soprano Ms. Platts, mezzo-soprano

The American soprano is a graduate of The Curtis Institute of Music, attended the Tanglewood Music Center (for two seasons) and Aston Magna Early Music Academy, and is co-artistic director/creator of ClassicalCafé. She is a recent winner of the Bronx Council of the Arts Award for vocal performance and is the cantorial soloist at North Fork Reform Synagogue.

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Opera performances include her London Philharmonic Orchestra debut with Vladimir Jurowski conducting Wagner’s Die Walküre, her Royal Opera House, Covent Garden debut in Mozart’s Die Zauberflöte, John Adams’ Nixon in China (BBC Symphony), Britten’s Albert Herring (Pacific Opera Victoria and Vancouver Opera), Peter Grimes (Vancouver Symphony), Wagner’s Das Rheingold (Pacific Opera Victoria) and Bernstein’s A Quiet Place (Montreal Symphony). More recently she sang Mahler’s Das Lied von der Erde (a piece she has recorded in both chamber and full-orchestral versions) and the premiere of L’Aube by Howard Shore with the Toronto Symphony, Mahler’s Second Symphony with the Vancouver Symphony, Elgar’s Dream of Gerontius with the Orquestra Sinfónica Nacional in Mexico City and Mahler’s Eighth and Third Symphonies with the Royal Scottish National Orchestra. Other recordings include art songs with pianist Dalton Baldwin, Mahler’s Lieder eines fahrenden Gesellen with the Smithsonian Chamber Players and Santa Fe Pro Musica (Dorian Records) and Lieder by Robert Schumann, Clara Schumann and Johannes Brahms on the ATMA label. A much sought-after recitalist, she has appeared on the major song series of New York, Montreal, London, San Francisco and Washington, D.C.

ABOUT THE MUSIC GUSTAV MAHLER (1860-1911) Symphony No. 2 in C Minor, “Resurrection” Premiered on December 13, 1895 in Berlin under the direction of the composer. The Second Symphony was one of Mahler’s most popular works during his lifetime. That might seem surprising, considering that the work begins with a “Todtenfeier” (Funeral Rites). Clearly, Mahler meets the challenge of writing a symphony about resurrection head-on. In his unwavering quest for answers to life’s most daunting questions, Mahler is brutally honest—both with himself and with his audience. That doesn’t mean, however, that his answers are simple or straight forward. Todtenfeier was composed as a stand-alone symphonic poem upon completion of his First Symphony. Based presumably on Adam Mickiewicz’s 1832 poetic drama Dziady, Mahler explores

The second movement is intended as an intermezzo, an interlude between the darkest movements of the Symphony. Ever since its composition, Mahler continuously doubted its place in the symphony (yet he decided to keep it as part of the work). Its idyllic nature and folk elements express the memories of a happy moment in the life of the hero, when one’s existence was still full of promises. The ensuing third movement is the expected scherzo movement of a typical symphony. It is based on a song Mahler had composed on July 8, 1893 with the title “St. Anthony of Padua’s Sermon to the Fishes.” The hero is now faced with life’s problems and is losing his grip on reality. In his program Mahler suggests that the experiences of both the deceased and those left behind are explored. Mahler further explains the experience to be like that of a person leaving a graveside and feeling alienated from the terrifying world around him. The first three movements were performed by the Berlin Philharmonic on March 4, 1895. Despite the works incomplete nature, the performance was captivating. Mahler chose another song as the starting point for the fourth movement, but this time the singer (and text) were included. “Urlicht” (Primal Light). Taken from his song cycle Des Kanaben Wunderhorn we hear the voice of naïve hope, acknowledging its origin and expressing its deep desire to return to the Creator. It took Mahler a long time to figure out the order of the movements—until he found inspiration for his last movement. Mahler explains: I had long contemplated bringing in the choir in the last movement, and only the fear that it would be taken as a formal imitation of Beethoven made me hesitate again and again. Then Bülow died, and I went to the memorial service. — The mood in which I sat and pondered on the departed was utterly in the spirit of what I was working on at the time. — Then the choir, up in the organ-loft, intoned Klopstock’s Resurrection chorale. — It flashed on me like lightning, and everything became plain and clear in my mind! It was the flash that all creative artists wait for—“conceiving by the Holy Ghost”! What I then experienced had now to be expressed in sound. And yet—if I had not already borne the work within me—how could I have had that experience? Mahler used the first two stanzas of Klopstock’s chorale and added three new stanzas, thereby offering his own religious/ philosophical views. The finale returns to the mood of the opening movement. Mahler explains that the last climactic experience is an inner event. The Last Judgment is proclaimed; the Apocalypse is upon us. Graves fly open and humanity assembles, rich and poor without distinction. After a scream and an earthquake, there is ghostly silence. The chorus enters with the words “You will rise again, yes, you will rise again, my dust, after brief repose.” Finally, God is seen in his splendor and the Last Judgement is replaced by his omnipresent love. - Siegwart Reichwald

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Rolex-Prize-winning Canadian mezzo-soprano Susan Platts has performed at London’s Covent Garden and Royal Albert Hall, Milan’s Teatro alla Scala, the Teatro di San Carlo, Carnegie Hall, and Lincoln Center, as well as with the Philadelphia, Cleveland, and Minnesota Orchestras, Orchestre de Paris, BBC Symphony Orchestra, Royal Scottish National Orchestra, National Arts Centre Orchestra; Montreal, Toronto, American, Detroit, Milwaukee, Baltimore, and Houston Symphonies, Boston’s Handel and Haydn Society, the Los Angeles, and St. Paul Chamber Orchestras, among many others. She has collaborated with the conductors Marin Alsop, Sir Andrew Davis, Ludovic Morlot, Leon Botstein, Josep CaballéDomenech, John Adams, Christoph Eschenbach, Jane Glover, Jeffrey Kahane, Carlos Kalmar, Keith Lockhart, Kent Nagano, Yannick Nézet-Séguin, Sir Roger Norrington, Peter Oundjian, Itzhak Perlman, Carlos Miguel Prieto, Bramwell Tovey, Osmo Vänska, and Pinchas Zukerman.

questions about the living and the dead. According to a 1901 program note Mahler had written for the King of Saxony, the listener is taken to the coffin of a loved one. Remembering the suffering and aspirations of the deceased, questions of life, death, and afterlife are asked, leading to the over-arching question: What is the meaning of life? While Todtenfeier was composed as a sort of continuation to his First Symphony and the hero’s death, Mahler realized that his symphonic poem was really the beginning of a new symphony.

AUG 4

SUSAN PLATTS, mezzo-soprano


Urlight

Primal Light

O Röschen roth! Der Mensch liegt in größter Noth! Der Mensch liegt in größter Pein! Je lieber möcht’ ich in Himmel sein! Da kam ich auf einen breiten Weg: Da kam ein Engelein und wollt’ mich abweisen. Ach nein! Ich ließ mich nicht abweisen: Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!

O little red rose! Man lies in greatest need! Man lies in greatest suffering! How much rather would I be in Heaven! I came upon a broad road. There came an angel and wanted to block my way. Ah no! I did not let myself be turned away! I am of God, and to God I shall return. Dear God will grant me a small light, Will light my way to eternal, blissful life!

—DES KNABEN WUNDERHORN

—FROM DES KNABEN WUNDERHORN

Aufersteh’n

Resurrection

Aufersteh’n, ja aufersteh’n wirst du, Mein Staub, nach kurzer Ruh! Unsterblich Leben Wird der dich rief dir geben.

Arise, yes, you will arise from the dead, My dust, after a short rest! Eternal life! Will be given you by Him who called you.

Wieder aufzublüh’n wirst du gesät! Der Herr der Ernte geht Und sammelt Garben Uns ein, die starben.

To bloom again are you sown. The lord of the harvest goes And gathers the sheaves, Us who have died.

—FRIEDRICH KLOPSTOCK

—FRIEDRICH KLOPSTOCK

O glaube, mein Herz, o glaube: Es geht dir nichts verloren!

O believe, my heart, oh believe, Nothing will be lost to you!

Dein ist, was du gesehnt! Dein, was du geliebt, Was du gestritten!

Everything is yours that you have desired, Yours, what you have loved, what you have struggled for.

O glaube: Du wardst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten!

O believe, You were not born in vain, Have not lived in vain, suffered in vain!

Was entstanden ist, das muß vergehen! Was vergangen, auferstehen! Hör’ auf zu beben! Bereite dich zu leben!

What was created must perish, What has perished must rise again. Tremble no more! Prepare yourself to live!

O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, In heißem Liebesstreben, Werd’ ich entschweben Zum Licht, zu dem kein Aug’ gedrungen! Sterben werd’ ich, um zu leben!

O Sorrow, all-penetrating! I have been wrested away from you! O Death, all-conquering! Now you are conquered! With wings that I won In the passionate strivings of love I shall mount To the light to which no sight has penetrated. I shall die, so as to live!

Aufersteh’n, ja aufersteh’n wirst du, Mein Herz, in einem Nu! Was du geschlagen, Zu Gott wird es dich tragen!

Arise, yes, you will arise from the dead, My heart, in an instant! What you have conquered Will bear you to God.

—GUSTAV MAHLER

—GUSTAV MAHLER

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THURSDAY AUG 8, 7:30PM BMC PRESENTS

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BMC PRESENTS

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WHITTINGTON-PFOHL AUDITORIUM

BMC PRESENTS: AN EVENING WITH LYLE LOVETT AND HIS LARGE BAND

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singer, composer, and actor, Lyle Lovett has broadened the definition of American music in a career that spans 14 albums. Coupled with his gift for storytelling, the Texas-based musician fuses elements of country, swing, jazz, folk, gospel, and blues in a convention-defying manner that breaks down barriers. Lovett has appeared in 13 feature films, and on stage and television. Among his many accolades, besides four Grammy Awards, he is the recipient of the Americana Music Association’s inaugural Trailblazer Award, and was recently named the Texas State Musician. Garden & Gun recently called Lovett “one of America’s most beloved singer/songwriters,” and he was featured in the coveted “What I’ve Learned” column in the February 2012 issue of Esquire. Release Me, out in 2012 was Number 1 for several weeks on the Americana charts. Produced by Nathaniel Kunkel and Lovett, Release Me represents the end of an era as it was his last record for Curb/ Universal Music Group after being on the label for his entire career. Release Me is quintessential Lyle, mixing a smart collection of originals and songs written by some of his favorite songwriters that show not only the breadth of this Texas legend’s deep talents, but also the diversity of his influences, making him one of the most infectious and fascinating musicians in popular music. Since his self-titled debut in 1986, Lyle Lovett has evolved into one of music’s most vibrant and iconic performers. His oeuvre, rich and eclectic, is one of the most beloved of any living artist working today.

Produced in collaboration with Mountain Song Productions

MADE POSSIBLE BY: Hampton Inn-Brevard, Series Sponsor Platt Architecture, P.A., Lead Sponsor

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SATURDAY AUG 17, 7:30PM BMC PRESENTS

WHITTINGTON-PFOHL AUDITORIUM

BMC PRESENTS: BÉLA FLECK’S BLUE RIDGE BANJO CONCERT Béla Fleck’s concert at Whittington-Pfohl Auditorium is the culmination of the Blue Ridge Banjo Camp—the world’s premier banjo camp. The camp features instructors Tony Trischka, Kristen Scott Benson, Alan Munde, Noam Pikelny, and Béla Fleck—all virtuosos in their respective styles. Instructors will join Béla and other special guests for this unique concert displaying the wondrous diversity of the banjo.

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J

ust in case you aren’t familiar with Béla Fleck, there are some who say he’s the world’s premier banjo player. 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. The 15-time GRAMMY Award winner has been nominated in more categories than any other artist in GRAMMY history, and remains a powerfully creative force globally in bluegrass, jazz, classical pop, rock and world beat Any world-class musician born with the names Béla (for Bartók), Anton (for Dvořák) and Leos (for Janáček) would seem destined to play classical music. Fleck made the classical connection with Perpetual Motion, his critically acclaimed recording that went on to win a pair of GRAMMYs. Collaborating with Fleck on Perpetual Motion was his long-time friend and colleague, bassist/composer Edgar Meyer. The two have also collaborated on The Melody of Rhythm, a triple concerto for banjo, bass and tabla, in collaboration with world-renowned tabla virtuoso, Zakir Hussain. In 2009, Béla produced the award-winning documentary and recordings, Throw Down Your Heart, where he journeyed across Africa to research the origins of the banjo. The impact of fatherhood sparked Juno Concerto, a piece for banjo and orchestra, named for his firstborn son. His first banjo concerto The Impostor has now been performed over 50 times worldwide, and his latest concerto was recently premiered with the Louisiana Philharmonic. These days, Fleck bounces between various intriguing touring situations: he performs his concertos worldwide, collaborates in a duo with Chick Corea and a trio with Zakir Hussain and Edgar Meyer. He performs in concert with the Brooklyn Rider string quartet, in banjo duet with Abigail Washburn, banjo and mandolin duet with Chris Thile, and occasionally back to bluegrass with his old friends Sam Bush, Jerry Douglas, Stuart Duncan, Bryan Sutton and others. He collaborates with African artists such as Oumou Sangare and Toumani Diabate, in a jazz setting with The Marcus Roberts Trio, and - with Béla Fleck and the Flecktones, who continue to perform together 25 years after the band’s inception.

Hampton Inn-Brevard, Series Sponsor Produced in collaboration with Mountain Song Productions

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BMC PRESENTS

AUG 17 In this storied realm, boundless adventure awaits. Request your free Adventure Guide and Waterfall Map today.

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FACULTY CONDUCTORS

KEN LAM, BMC Resident Conductor Ken Lam is Music Director of the Charleston Symphony Orchestra and Illinois Symphony Orchestra. He is also Artistic Director of Hong Kong Voices. In 2011 Ken 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, Buffalo, Hawaii, Memphis, Hilton Head and Meridian, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, Guiyang Symphony Orchestra, and the Taipei Symphony Orchestra. In opera, he 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. Ken 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 in his seventh year as the Conductor of the Rutgers Wind Ensemble, 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, 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 18 states including conductor of the Delaware All-State Wind Ensemble, and guest conductor of such prominent ensembles as the Dallas Wind Symphony and The United States Air Force Band. Williams has led highly acclaimed concerts before the College Band Director’s National Association Southern Regional, the Tennessee All-West Concert Band Festival, the Mid-South Low Brass Conference, and the Mid-South Horn Conference. His wind ensembles have been featured in several Mid-South Imagine Contemporary Music Festivals featuring the works of such noted composers as Joseph Schwantner, George Crumb, James Mobberley, Armando Luna, Hasan Ucarusu, Eric Whitacre, Michael Daugherty, and David Maslanka. Prior to arriving at Rutgers, Williams held positions the University of Memphis, Duke University, California State University, LA, and Lake Elsinore Civic Light Opera, amongst others. Williams has conducted performances in Carnegie Hall, and internationally in Graz, Budapest, Malta, Marktoberdorf, and Prague. He has also been broadcast on NPR and recorded for Mark Records and ADK in Prague. 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 and Festival in 2001 and was named Director of Band Activities and Chamber Winds in 2008. He has regularly achieved critical acclaim for his work with the Brevard Symphonic Band and Chamber Winds.

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ARTIST FACULTY

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 Head of Composition at Mason Gross School of the Arts, Rutgers University. SUE BARBER serves as Professor of Bassoon at James Madison University and bassoonist with The Bluestone Wind Quintet. She has performed with the Richmond and Roanoke Symphony Orchestras, Opera on The James, and Opera Roanoke; and performed numerous solo and chamber recitals. She has presented masterclasses and recitals in Asia, Europe, South America, and throughout the United States and served as a Visiting Professor of Bassoon at Indiana University.

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, has taught at Indiana University, and has also been a bass clinician for the American String Teachers Association.

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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 enjoys a versatile career as a soloist, collaborative artist, and a lecturer/researcher of music, presenting creative and educational programs in venues and institutions around the globe. Chang has recorded for Albany, Centaur, Sony/BMG Korea, and Parma. She directs a solo piano project called Continuum 88 and the BMC Piano Intensive. Dr. Chang has been Visiting Assistant Professor and Lecturer at Florida State University since 2011, and holds degrees from Indiana University and Seoul National 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, 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. Pianist MICHAEL CHERTOCK serves as Chair of the Keyboard Division at the University of Cincinnati, College-Conservatory of Music, and also as Keyboardist of the Cincinnati Symphony. He has appeared as a soloist with orchestras worldwide, and collaborated with conductors such as James Conlon, Jaime Laredo, Keith Lockhart, Erich Kunzel, and Andrew Litton. Mr. Chertock has won awards at major competitions including the Joanna Hodges International Piano Competition, the St. Charles International Piano Competition, and the World Piano Competition of the American Music Scholarship Association. Assistant Professor of Violin at Bowling Green State University, CAROLINE CHIN has concertized throughout the United States, Europe, and Asia in concert halls including the White House, John F. Kennedy Center, Updated York’s Carnegie and Weill Halls, and the Concertgebouw in Amsterdam. She is an avid chamber musician, a promoter of new music, and has been recorded on Centaur, Avie, Somm, and New World Record labels. Ms. Chin holds degrees from Indiana University and The Juilliard School.


DAVID COUCHERON joined the Atlanta Symphony Orchestra in September 2010 as the youngest concertmaster in any major U.S. orchestra. He has been a soloist with the BBC, Sendai, and Oslo Philharmonic Orchestras and given solo recitals in concert halls around the world. Mr. Coucheron has performed 14 solo violin concertos with the Atlanta Symphony, and is the featured soloist of the orchestras recording of Vaughan Williams The Lark Ascending. He holds degrees from the Curtis Institute, Juilliard, and Guildhall School of Music.

Soprano CYNTHIA CLAYTON is an audience favorite in opera houses throughout the United States and overseas for her critically acclaimed performances. She has performed leading roles with New York City Opera, Houston Grand Opera, Dallas Opera, San Diego Opera, Cleveland Opera, Fort Worth Opera, and Opera San José. Ms. Clayton’s concert performances have included appearances with orchestras across the United States. She is currently a member of the faculty at the Moores School of Music at the University of Houston.

Hornist HAZEL DEAN DAVIS currently resides in Boston, where she frequently performs with the Boston Symphony and Pops and the Grammy-nominated chamber orchestra A Far Cry, as well the San Francisco Symphony and Cincinnati Symphony. She previously played second and fourth horn with the Virginia Symphony Orchestra, and has spent past summers at 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.

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 CollegeConservatory 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. Clarinetist JONATHAN COHEN has performed as soloist with orchestras including the Louisiana Philharmonic Orchestra, the Montgomery Symphony Orchestra, and the Minnesota Orchestra. He performed with The Saint Paul Chamber Orchestra during the 2014-2017 seasons, and has appeared as a guest member with the Orpheus Chamber Orchestra, the New York Philharmonic, The Buffalo Philharmonic, the Cincinnati Symphony, and the Metropolitan Opera Orchestra. Jonathan holds degrees from the Manhattan School of Music and The Juilliard School.

NATHAN COLE is First Associate Concertmaster of the Los Angeles Philharmonic and has appeared as guest concertmaster with the orchestras of Cincinnati, Pittsburgh, Minnesota, Houston, Ottawa, Seattle, and Oregon. He was previously a member of the Chicago Symphony and Principal Second Violin of the Saint Paul Chamber Orchestra. A native of Lexington, Kentucky, Cole is a graduate of the Curtis Institute of Music, studying there with Pamela Frank, Felix Galimir, Ida Kavafian, and Jaime Laredo.

GWENDOLYN DEASE is currently 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 world-renowned 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. 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.

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JAY CHRISTY is Assistant Principal Second Violin of 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.


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ARTIST FACULTY

DEREK FENSTERMACHER is the newly appointed Principal Tuba of the St. Louis Symphony Orchestra. An enthusiastic educator, Fenstermacher teaches at Bard College’s Conservatory of Music and Montclair State University. Fenstermacher co-founded the Boreas Quartet, an exciting new ensemble, and is a member of the New York Tuba Quartet. Fenstermacher has won numerous awards and competitions, including the Leonard Falcone Artist Solo Tuba Competition.

Antonio Symphony and the Britt Festival Orchestra. He has previously held principal positions with the Houston Grand Opera, Utah Festival Opera, and Festival Mozaic Orchestra. Garza earned a Bachelor of Music degree from Rice University’s Shepherd School of Music and is an alumnus of the Interlochen Center for the Arts. He is currently the Instructor of Horn at St. Mary’s University in San Antonio.

DAVID FISHLOCK , Principal Percussionist of the Cincinnati Symphony Orchestra, grew up in Buffalo, New York. He received his Bachelors of Music degree from the Cleveland Institute of Music and was a fellow at the New World Symphony. David has toured the United States, Asia, and Europe and has worked with many of the world’s leading conductors and soloists. David has taught at Miami (OH) University and Northern Kentucky University, in addition to his private teaching and coaching schedule.

Clarinetist DANIEL GILBERT joined the faculty at the University of Michigan as Associate Professor of clarinet in 2007. Previously, he held the position of Second Clarinet in the Cleveland Orchestra from 1995 to 2007. Mr. Gilbert is an active soloist and chamber musician, performing to critical acclaim throughout North America, Europe, and Asia. He also serves as Principal Clarinet of the chamber orchestra, CityMusic Cleveland. A native of New York City, Gilbert holds degrees from Yale University and The Juilliard School.

AUBREY FOARD is Principal Tubist of the Baltimore Symphony Orchestra. He most recently held the same position with the Charlotte Symphony, and was previously with the West Virginia, Santa Barbara, and Albany Symphonies and the Britt Festival Orchestra. Mr. Foard teaches tuba and euphonium at the University of California, Los Angeles (UCLA) where he serves as a continuing lecturer. He has presented masterclasses and performed recitals worldwide, most recently in Hong Kong, Taiwan, and Singapore.

Award-winning and versatile harpist MICHELLE GOTT has performed extensively with the National Arts Centre Orchestra in Canada, and has worked with the major orchestras of New York, Boston, St. Louis, Toronto, and Vancouver. She has served as director of harp ensembles for the Ottawa Youth Orchestra Academy and on the harp faculty at the University of Ottawa. She joined the University of Arizona as Assistant Professor of Harp in the fall of 2018.

ELIZABETH FREIMUTH is the Principal Horn of the Cincinnati Symphony and Pops Orchestras. Before joining the CSO, Elizabeth 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.

KAREN STRITTMATTER GALVIN serves as Assistant Concertmaster of the North Carolina Symphony Orchestra. She has served on the board of the Raleigh Chamber Music Guild (now Chamber Music Raleigh), has taught at the University of North Carolina, and is founder and curator of New Music Raleigh, a cutting-edge ensemble dedicated to performing the works of living composers. A Pittsburgh native, Ms. Galvin holds degrees from Carnegie Mellon University and the University of Maryland.

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JEFF GARZA is Principal Horn of the San

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. ADAM HOLZMAN , is founder of the Guitar Department at the University of Texas at Austin’s Butler School of Music. He has appeared at renowned concert halls across the country and worldwide. Mr. Holzman’s commitment to new music has led him to commissions and premiers by composers such as Samuel Adler, Robert Helps, Roland Dyens, and Stephen Funk Pearson. Mr. Holzman studied at Florida State University and was chosen twice to perform in the historic master classes of the legendary Andres Segovia.


STEFAN DE LEVAL JEZIERSKI is a member of the Berlin Philharmonic horn section. A native of Boston, he was trained at the University of North Carolina School of Arts and Cleveland Institute of Music. During his studies, he was already performing in concerts with the Cleveland Orchestra. As a soloist and chamber musician, Stefan de Leval Jezierski appears at leading international music festivals in Europe, Asia and North America and is a founding member of the Scharoun Ensemble of Berlin. First Associate Concertmaster of the Philadelphia Orchestra, Canadian violinist JULIETTE KANG enjoys an active and varied career. She has been a featured soloist with the Philadelphia Orchestra and was previously Assistant Concertmaster of the Boston Symphony Orchestra. In 1994 she was the Gold Medalist of the International Violin Competition of Indianapolis. In addition, Ms. Kang was a winner at Young Concert Artists Auditions, and received first prize at the 1992 Menuhin Violin Competition of Paris. She holds degrees from the Curtis Institute of Music and The Juilliard School.

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.

Violist JENNIFER SNYDER KOZOROZ regularly performs with the Milwaukee Symphony, and has appeared with the Columbus Symphony, ProMusica Chamber Orchestra, The Ritz Chamber Players, Virginia Chamber Players, The Arcas String Quartet and Manhattan Virtuosi. Previously, Ms. Kozoroz has been the Assistant Principal Viola of the Virginia Symphony and violist of the Harrington String Quartet. She completed her high school studies at Interlochen Arts Academy and went on to earn degrees from Ohio State University and The Juilliard School.

ARTIST FACULTY

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.

NORMAN KRIEGER is Professor of Piano and department co-chair at the Indiana University Jacobs School of Music. He regularly appears as recital and 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. Former Professor of Keyboard Studies at the University of Southern California, Mr. Krieger was named Gold Medal Winner of the first Palm Beach Invitational Piano Competition. 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 a Steinway Artist and is currently Professor of Piano at Kent State University.

ALLEGRA LILLY is Principal Harpist of the St. Louis Symphony and has also appeared with the New York Philharmonic, the Boston, Chicago, Pittsburgh, Toronto, and Charlotte Symphonies, the Boston Pops and Boston Pops Esplanade Orchestras, the All-Star Orchestra, and the St. Paul Chamber Orchestra. Ms. Lilly made her solo debut at the age of 12 with the Detroit Symphony, and has since appeared as soloist with the St. Louis Symphony, Juilliard Orchestra, National Repertory Orchestra, and International Symphony. A sought-after accompanist and chamber musician, pianist DELOISE LIMA has performed extensively throughout Brazil, Europe, and South America with many recognized singers and instrumentalists. She 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. Ms. Lima is currently Assistant Professor of Collaborative Piano at Florida State University and principal keyboard of the Tallahassee Symphony.

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*Room and board scholarships available Lynn University does not discriminate on the basis of race, color, gender, religion, sexual orientation, national origin, disability, genetic information, age, pregnancy or parenting status, veteran status or retirement status in its activities and programs. In accordance with Title IX of the Education Amendments of 1972, Lynn University does not discriminate on the basis of sex. Inquiries concerning the application of the non-discrimination policy may be directed to the University Compliance Officer/Title IX Coordinator at 3601 N. Military Trail, Boca Raton, FL 33431; via email at titleixcoordinator@lynn.edu; by phone at +1 561-237-7727 or to the U.S. Dept. of Education OCR. Lynn University is accredited by the Southern Association of Colleges and Schools Commission on Colleges to award baccalaureate, master’s and doctoral degrees. Contact the Commission on Colleges at 1866 Southern Lane, Decatur, Georgia 30033-4097 or call +1 404-679-4500 for questions about the accreditation of Lynn University. © 2019 Lynn University

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WILLIAM LUDWIG is Professor of Bassoon 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. A noted chamber musician, he has performed in a wide variety of settings throughout the United States and Europe, and made recordings both as soloist and chamber musician. Mr. Ludwig holds degrees from LSU and Yale School of Music.

Violinist CHARLES MUTTER was born in Sussex, England, and has served as Associate Leader (co-concertmaster) of the BBC Concert Orchestra since 2007. Prior to this appointment, Charles led the Edinburgh String Quartet for four years and was Artistic Director of the Loch Shiel Spring Festival. He is now also much in demand as a guest concertmaster with orchestras including the Philharmonia, City of Birmingham Symphony Orchestra, and Bournemouth Symphony Orchestra, and as a session musician.

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 principle 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.

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. His performances have ranged from his work with 10 Pulitzer Prize-winning composers to a recital series of Bach’s complete Well-Tempered Clavier. Dr. Nies holds degrees from Curtis, Yale, and SUNY Stony Brook. His teachers have included Mieczyslaw Horszowski, Rudolf Serkin, Claude Frank, Beveridge Webster, and Gilbert Kalish.

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. Violinist JAN MRÁČEK was born in Pilsen, Czech Republic. Among many awards, he has won the Hradec International Competition, Kreisler International Violin Competition, and was the youngest Laureate of the Prague Spring International Festival competition in 2010. He has appeared as soloist with numerous orchestras including the St. Louis Symphony and Royal Philharmonic Orchestras. Currently Mr. Mráček serves as Concertmaster of the Czech Philharmonic Orchestra. He plays on a Carlo Fernando Landolfi violin, (1758) loaned to him by Mr. Peter Biddulph.

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.

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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 AMY PORTER enjoys a versatile and distinguished career as one of the world’s leading concert performers. She has performed as a concerto soloist with orchestras throughout the world. A native of Wilmington, Delaware, Ms. Porter is a graduate of The Juilliard School. She is currently the Professor of Flute at University of Michigan and previously held the position of Associate Principal Flute in the Atlanta Symphony Orchestra. Ms. Porter is the founder and Past President of the Southeast Michigan Flute Association. Flutist DILSHAD POSNOCK, originally from Bombay, India, has appeared in concerts across the U.S., England, and India. She serves as Principal Flute of the South Asian Symphony, Piccolo with the Asheville Symphony, and faculty member at Brevard College. She was previously Artist Lecturer in Flute at Carnegie Mellon, and performed with the Pittsburgh Symphony, and Pittsburgh Opera and Ballet. She holds degrees from the Royal College of Music, London, and Carnegie Mellon, where she was a student of Jeanne Baxtresser.


Violinist WENDY RAWLS is presently Assistant Concertmaster of the Greensboro Symphony and Concertmaster of the Chamber Orchestra of the Triangle. She 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.

Steinway Artist ELISABETH PRIDONOFF , Professor Emerita at the University of Cincinnati, is a graduate of The Juilliard School and studied with Marcus and Gorodnitzski. Her former students are international prize winners and hold teaching positions throughout academia. She has collaborated with Ronald Copes, Masao Kawasaki, Timothy Lees, Steven Moeckel, Tai Murray, Paul Katz, Peter Wiley, David Shifrin, and with Eugene Pridonoff as the Pridonoff Duo. She has recorded for ablaze Records, Centaur Records, and Toccata Classics.

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.

Steinway Artist EUGENE PRIDONOFF, Professor Emeritus at the University of Cincinnati, has maintained an international performing and teaching career for over five decades. A laureate in the Leventritt, Montreal, Brazil, and Tchaikovsky competitions, he studied with Serkin and Horszowski at Curtis and has performed with the NY Philharmonic, LA Philharmonic, Philadelphia and National Symphony Orchestras. Collaborators include Jaime Laredo, Leonard Rose, Lynn Harrell, and Elisabeth Pridonoff as the Pridonoff Duo. Recordings for ablaze Records and Vienna Modern Masters.

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 violin instructor at Pine Crest School in Boca Raton. 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.

ARTIST FACULTY

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.

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. 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 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.

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Saxophonist HENNING SCHRÖDER has performed at major venues worldwide, both as a soloist and with renowned ensembles including the Berlin Philharmonic, Max Raabe & Palast Orchester, and Opus21. He is a member of the Capitol Quartet and has been featured at international saxophone conferences in Europe and the US. A dedicated pedagogue, Dr. Schröder serves as Associate Professor of Music at Ohio Northern University, where he teaches saxophone, chamber music, music theory, and music history.

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. GREG SIMON is Assistant Professor of Composition and Jazz Studies at the University of Nebraska. His works have been performed worldwide by ensembles including Phantom Brass, Nu Deco Ensemble, and Alarm Will Sound; and recorded on the Blue Griffin, MSR Classics, and Equilibrium labels. He was the Nebraska Music Teachers’ Association Composer-in-Residence for 2018, and serves as the director of the Flyover New Music Series at the University of Nebraska-Lincoln. Greg received his D.M.A. from the University of Michigan.

Bassist GEORGE SPEED has been professor of double bass at Oklahoma State University since 2005, and will begin an appointment as Assistant Professor of Bass at Florida State University this fall. Mr. Speed has performed with the Boston, Dallas, and Fort Worth Symphony Orchestras, and served as Principal Bass of the Oklahoma City Philharmonic. In 2018, Centaur Records released his CD of Vivaldi Cello Sonata transcriptions. A native of Spartanburg, SC, Mr. Speed earned 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 soloist 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 and as Strings Area Coordinator 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.

Cellist BRIAN SNOW has earned a reputation as a compelling and versatile performer and a skilled educator. He has performed and recorded with a variety of artists and composers, and has appeared on New Amsterdam, Innova, Deutche Gramophon, Centaur, Cantaloupe, and Naxos labels. Dr. Snow is Assistant Professor of Cello at Bowling Green State University, and previously served in faculty positions at Sarah Lawrence College, Western Connecticut State University, and Brooklyn Conservatory.

the Cincinnati Symphony and Cincinnati Pops Orchestras. He has served as Professor of Trumpet at Northwestern University’s Bienen School of Music and held positions with the Cleveland Orchestra, New York Philharmonic, Charleston (SC) Symphony, U.S. Air Force Band and Orchestra, and Chicago Chamber Brass. Mr. Sullivan has appeared as soloist with several orchestras and wind ensembles, and has recorded two solo albums for Summit Records.

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.

Violinist BENJAMIN SUNG is Associate Professor of Violin at Florida State University. Recent concert highlights include a complete Beethoven sonata cycle with pianist David Kalhous, an appearance with the FSU University Symphony Orchestra in Piazzolla’s Estaciones Porteñas for the 2016 ASTA National Conference, and a TED talk for TEDx Fargo. Mr. Sung has an upcoming solo album featuring music by Sciarrino, Berio, Maderna, and Schnittke. In the 2019-20 season, he will be performing the complete 24 Caprices by Paganini.

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ROBERT SULLIVAN is Principal Trumpet of


HECTOR VASQUEZ has sung leading roles at the Metropolitan Opera, San Francisco, Seattle, Los Angeles, San Diego, Cleveland, Orlando, and Houston Grand Opera, and appeared as baritone soloist with the orchestras of Los Angeles, San Francisco, San Diego and Houston. His broadcast appearances include Live from the MET, Live from Lincoln Center, and NPR radio performances. Currently Mr. Vasquez serves on the faculty of the Moores School of Music at the University of Houston. 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.

JULIET WHITE-SMITH is Professor of Viola at The Ohio State University. She has performed as soloist with the Thailand Philharmonic Orchestra, throughout the U.S. and Europe, and on the African continent. In demand as a masterclass clinician, she has presented at conservatories and music schools in the U.S. and around the world. White-Smith earned a DMA at the Eastman School of Music, and holds degrees from University of Houston and Louisiana State University. A native of Davenport, Iowa, BETHANY WIESE is currently Assistant Professor of Tuba and Euphonium at Appalachian State University. Prior to this appointment, she spent two years as a fellow of the New World Symphony. Leading a diverse performance career, Ms. Wiese has been named the winner of several competitions and performed with a variety of orchestras and chamber. She and holds degrees from Northwestern University, Yale University, and Lawrence University (Wisconsin).

JANICE WILLIAMS has served as Director of Choral Activities at Bolton High School in Arlington, Tennessee, on the faculty of the University of Memphis Community Music School, and as 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.”

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ARTIST FACULTY

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.


OPERA ARTISTIC STAFF

DEAN ANTHONY Director of Opera Dean Anthony draws inspiration and expertise from a comprehensive career spanning over 30 years and innumerable turns as performer, director, educator, and producer. Frequently engaged as a stage director, Mr. Anthony’s artistic process is hallmarked by an energetic, gritty, and physical style. His portfolio stretches across the repertoire from Le Nozze di Figaro to Dead Man Walking and includes regular engagements at regional houses across the United States. Most recently, he was appointed Artistic and Producing Director of Asheville Lyric Opera. Mr. Anthony’s upcoming 2019-2020 season includes productions of Glory Denied with Asheville Lyric Opera and Union Avenue Opera, As One with Pensacola Opera, Les Contes d’Hoffmann with Opera Delaware, Cavalleria Rusticana with Knoxville Opera, Carmen with Opera Tampa, The Merry Widow with Asheville Lyric Opera, Barber of Seville with Opera on the James, La bohème with Peabody Opera Theater, and productions of Susannah, Die Fledermaus, Carmen, and Man of La Mancha with the Janiec Opera Company. A major producer and promoter of new works, Mr. Anthony has helped facilitate the development of numerous projects including Tom Cipullo’s Mayo, J. Mark Searce’s Falling Angel, a workshop of Robert Aldridge’s Sister Carrie, and Change the World, It Needs It!, a new cabaret with the Kurt Weill Foundation. In collaboration with composer Michael Ching, Mr. Anthony produced and created the opera Speed Dating Tonight!, which garnered nationwide attention and has been booked for over 75 different productions to date. Mr. Anthony is currently the Director of Opera with the Janiec Opera Company at the Brevard Music Center and has served on the Brevard faculty since 2008. A passionate educator, he has shared his insights through a unique movement and acting masterclass series at opera companies, universities, and music festivals the world over from the Boston Conservatory of Music to Festival Lyrique de Belle Ile en Mer. As a character artist, Mr. Anthony performed over 100 roles on the operatic stage and garnered acclaim for his keen vocal, dramatic, physical, and acrobatic abilities, earning him the nickname “The Tumbling Tenor.” Some of his most praised portrayals include the roles of Puck in A Midsummer Night’s Dream, Little Bat in Susannah, and Bardolfo in Falstaff. He has graced the stages of companies across the globe from Vancouver Opera to Theater des Westens in Berlin, while frequenting North American venues including L’Opera de Montreal, San Francisco Opera, and New York City Opera, among others. Mr. Anthony is also esteemed for numerous television appearances from his celebrated turn as Daniel Buchanan in Francesca Zambello’s production of Street Scene, to the world premiere of Robert Greeleaf’s Under the Arbor and An Evening of Gilbert and Sullivan with The Boston Pops on PBS. He is featured in the Grammy-nominated recording of Amahl and the Night Visitors, produced under the NAXOS label.

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EILEEN DOWNEY Music Director, Chorus Master, Vocal Coach Eileen Downey is currently Senior 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 is also the Music Director for the Janiec Opera Company of the Brevard Music Center, where she has been engaged as the chorus master and vocal coach for the summer seasons of 2013-14, and 2016-19. She has been an accompanist for the Middle/East Tennessee Metropolitan Opera National Council Auditions since 2012, and was recently a pianist for the International Tuba and Euphonium Conference and a guest artist of the Tennessee Cello Workshop. Eileen is an alumna of the Merola Opera Program, and was one of the 2011 staff accompanists for AIMS in Graz. Other programs in which she has been involved include SongFest, Project Canción Española, Aspen Opera Theater Center, Opera North, and the Opera Theatre and Music Festival of Lucca, Italy. Ms. Downey received a Bachelor’s degree in Piano Performance and a Master’s Degree in Collaborative Piano from Michigan State University.

KELLY KUO Guest Conductor Maestro Kelly Kuo brings a dynamic versatility and nuance to a diverse repertoire, which includes over 80 operas and an expansive symphonic repertoire as well. Currently Artistic Director of Oregon Mozart Players, recent engagements include Lyric Opera of Chicago, Cincinnati Opera, Kentucky Opera, Madison Opera, Indianapolis Opera, Tulsa Opera, Anchorage Opera, Memphis Symphony Orchestra, Indianapolis Chamber Orchestra, Cincinnati Chamber Orchestra, Lexington Philharmonic, Malta Philharmonic, and Ballet Fantastique. Upcoming engagements include company debuts with Charlie Parker’s Yardbird for Seattle Opera, Poppea for Opera Columbus, and the Reno Chamber Orchestra as a Music Director finalist.

MICHAEL SAKIR Guest Conductor Michael Sakir serves as Music Director of Opera Memphis and Principal Guest Conductor of the Opera Company of Middlebury. Recent and upcoming guest conducting engagements include Seattle Opera, Des Moines Metro Opera, Opera Orlando, Intermountain Opera Bozeman, Northwestern University, American Opera Projects, Opera in the Ozarks, and Opera North. Sakir has held music staff positions with Santa Fe Opera, Washington National Opera, Florida Grand Opera, among other companies. He holds degrees from Oberlin Conservatory and Boston Conservatory. He was a participant in the 2017 Opera America Leadership Intensive. He is a native of Northern California.


Noted for her inventive staging, Dorothy Danner has directed nearly 200 productions of operettas, musicals and plays throughout the United States, Canada and Belgium, including operas for the companies of Houston, Miami, Philadelphia, Cleveland, Virginia, Cincinnati and San Francisco Merola. A dedicated teacher, she has served on the faculties of both the Juilliard Opera Center and the Curtis Institute of Music and has been a frequent guest director at Academy of Vocal Arts, NYU and Carnegie Mellon. She is part of the theatrical Danner/Paltrow family and as a young performer appeared in nine Broadway shows from the original Once Upon A Mattress to Michael Bennett’s Ballroom.

DIANE ALEXANDER Voice Instructor Diane Alexander is a critically acclaimed soprano who has appeared with major opera companies and orchestras, including Washington National Opera, Houston Grand Opera, New World Symphony, New Orleans Opera, San Diego Opera, and Central City Opera, to name a few. Diane’s versatility caught the eye of Broadway Director Hal Prince, who cast her as Carlotta in Phantom of the Opera. She has received multiple awards including Metropolitan Opera National Finalist, Sullivan Foundation Career Grant, and Bel Canto Scholarship in Sienna, Italy. Diane is a Certified Professional Life Coach and master voice teacher mentoring and teaching rising stars of today.

ANDREW WENTZEL Voice Instructor One of the most requested bass-baritones in the U.S. during his most active years, Mr. Wentzel has performed with the Metropolitan Opera, the New York City Opera, Theatre of St. Louis, Florida Grand Opera, Houston Grand Opera, Boston Lyric Opera, Central City Opera, San Diego Opera, and Washington Opera, in such roles as Don Giovanni, Leporello, Figaro, Basilio, Colline, Méphistophélès, Escamillo, Olin Blitch, and Banquo. A popular concert singer and recitalist, he appeared regularly with major symphony orchestras including the Boston Symphony and the National Symphony. Mr. Wentzel has been recorded on Decca, Koss, Nuova Era, and Naxos Era labels. He is Professor of Voice at the University of Tennessee, serves as the Administrator of the Knoxville Opera Studio, and is the chair of the Artistic Committee of the Knoxville Opera where he sits on the Board of Directors. He has regularly served as an adjudicator for the Metropolitan Opera National Council Auditions. Mr. Wentzel has served on the artistic staff as the vocal instructor of the Janiec Opera Company of the Brevard Music Center since 2013.

CAROLINE WORRA Voice Instructor

OPERA ARTISTIC STAFF

DOROTHY DANNER Guest Director

Caroline Worra has been hailed by Opera News as “one of the finest singing actresses around.” She has sung over 90 different operatic roles including more than 20 World, American, and Regional Premieres. Ms. Worra has worked at over 30 opera companies across the United States and abroad, as well as two National tours as Violetta and Rosalinda. She was internationally acclaimed for her performances and recordings of The Mines of Sulphur, (Grammy nominated for Best Opera Recording), The Greater Good, Glory Denied, and Amleto, each being recognized by Opera News as one of the best opera recordings of the year.

ADRIANA ZABALA Voice Instructor Mezzo-soprano Adriana Zabala has created roles in operatic world premieres including Sister Carrie, Doubt (recently broadcast on PBS’ Great Performances), Dinner at Eight, The Manchurian Candidate, Volpone, and Steal a Pencil for Me. Recent credits include Florencia en el Amazonas with San Diego Opera (debut) and Madison Opera, the new opera Fellow Travelers, a reprisal of Cherubino, her signature role, and her debut with the Berkshire Opera Festival as Composer in Ariadne Auf Naxos. Ms. Zabala has been a soloist with the Minnesota Orchestra, the Orchestra of St. Luke’s, the New Jersey, Jerusalem, Virginia, and Jacksonville Symphonies, The Saint Paul Chamber Orchestra, the Mormon Tabernacle Choir, and has appeared in recital at the Kennedy Center, Carnegie Hall, Wolf Trap, with the Source Song Festival, The New York Festival of Song, the Salzburg Chamber Music Series, and many others. She is an alumna of the University of Cincinnati College-Conservatory of Music and Louisiana State University, had apprenticeships at Santa Fe and Wolf Trap, and was a Fulbright Scholar at the Mozarteum in Salzburg. She is a proud member of the voice faculty at the University of Minnesota.

SUSANNE MARSEE Guest Lecturer Susanne Marsee (BA, 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. Ms. Marsee has sung 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

MARLA BERG Assistant Director Marla Berg, soprano, has enjoyed a versatile career in opera, concert, recital and musical theatre. She has sung with opera companies across the United States including Glimmerglass Opera, Central City Opera, Anchorage Opera, Fort Worth Opera, Cleveland Opera and Kansas City Opera. Her repertoire includes Violetta in La Traviata, Pamina in Die Zauberflöte, Constanze in Die Entführung aus dem Serail, Miss Wordsworth in Albert Herring, and Hanna in The Merry Widow. In concert she has appeared with The Cleveland Orchestra, the American Composers Orchestra in her Carnegie Hall debut, the Denver Chamber Symphony, the Rockford Symphony and the Ohio Chamber Orchestra. Recent musical theater appearances include Mother Superior in The Sound of Music and Desiree in A Little Night Music. Ms. Berg is currently Associate Professor of Voice and Director of the Opera Program at Kent State University. Recent productions at Kent State include Gilbert and Sullivan’s Iolanthe, Bizet’s Dr. Miracle, Blitzstein’s The Harpies, and Copland’s The Tender Land. Other directing credits include Donizetti’s Elixir of Love, Mark Adamo’s Little Women and Menotti’s The Consul. Ms. Berg received her BM from St. Olaf College, and MM and Artist Diploma from Cleveland Institute of Music.

LINDSAY WOODWARD Staff Pianist, Chorus Master Lindsay Woodward is a New York-based pianist and vocal coach known for her spirited performance as both a soloist and collaborator. A graduate of the University of Utah and the Manhattan School of Music, Ms. Woodward’s musical training and affinity for the operatic repertoire have earned her several prestigious young artist positions around the country. She has enjoyed coaching fellowships at Wolf Trap Opera and the Aspen Music Festival and School as well as thriving in resident artist positions at Utah Opera and most recently Minnesota Opera where she spent three seasons as both pianist and chorus master for 15 productions.

NEILL CAMPBELL Staff Pianist Pianist Neill Campbell has been a pianist/ coach at the Seagle Music Colony, Janiec Opera Company at Brevard Music Center, Gulfshore Opera, Pensacola Opera, and Shreveport Opera. At Shreveport, Neill was a Resident Artist, where he served for two years as chorus master, rehearsal pianist, and pianist for the Shreveport Opera Xpress outreach and touring program. Most recently, Neill was the principal coach and chorus master for the 2019 touring season of Gulfshore Opera, where he prepared choruses for Don Pasquale and La Traviata. Neill has performed across the United States, and internationally in Italy and in Havana, Cuba. Neill is a graduate of Michigan State University, where he received both his MM in Collaborative Piano, and his BM in Piano Performance.

JOSH QUINN Staff Pianist September 7 AMERICAN ICONS October 12 THE CITY OF MUSIC December 14 HOLIDAYS AROUND THE WORLD March 28 ONCE UPON A TIME . . . May 2 FOOD, GLORIOUS FOOD!

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Josh Quinn is the young artist pianist, coach, and conductor with Chicago Opera Theater. He recently decided to transition into coaching and conducting after singing with the Merola Opera Program, Opera Theatre of Saint Louis, Prototype Festival, American Symphony Orchestra, Naples Philharmonic, and West Edge Opera. He has degrees from the New England Conservatory and is an artist member of Music for Food, a musician-led initiative to fight hunger in our home communities. At COT, Quinn will serve as pianist and assistant conductor for Iolanta, The Scarlet Ibis, Moby Dick, Aleko, Everest, The Freedom Ride, and Soldiers Songs.


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Peabody alumni and faculty at Brevard this summer include: Gwendolyn Dease, percussion Ken Lam, conducting

Donna Lee, piano Maggie Snyder, viola

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OPERA CAST

GUEST ARTIST JOHN RIESEN, tenor Roméo, Roméo et Juliette Award-winning American tenor John Riesen is consistently impressing audiences with his “fantastic, powerful voice” (Texarkana Gazette). Recent roles include Prince Charming in Cendrillon (Opera Company of Middlebury), Lensky in Eugene Onegin (Intermountain Opera Bozeman, Chautauqua Opera), Alfredo in La Traviata (Gulfshores Opera, Tri Cities Opera), Younger Thompson in Glory Denied (Opera Birmingham, Des Moines Metro Opera), Raplh Rackstraw in HMS Pinafore (Anchorage Opera), Candide in Candide (Chautauqua Opera), Tony in West Side Story Suite (New York City Ballet), Pinkerton in Madama Butterfly (Pensacola Opera), and Rodolfo in La bohème (Shreveport Opera).

ARI BELL bass-baritone Hometown: Highland Park, IL

VICTOR KNIGHT DINITTO baritone Hometown: Rochester, NY Education: BM Purchase College; pursuing MM Indiana University

TORI FRANKLIN soprano Hometown: Knoxville, TN Education: BA Music Education, Brevard College; MM Vocal Performance, UT Knoxville

ROBERT FRIDLENDER baritone Hometown: Woodstock, GA Education: BM University of Georgia

Education: BM Vassar College

ACHILLES LEONIDAS BEZANIS tenor Hometown: Willowbrook, IL Education: BM University of Michigan; MM Eastman School of Music

ANDREW BOISVERT bass Hometown: Needham, MA Education: BM University of Hartford; pursuing MM University of Maryland

HANNAH CARROLL mezzo-soprano Hometown: Chicago, IL Education: BM and BA Northwestern University; MM Eastman School of Music

IAN DESMIT tenor Hometown: Lumberton, NC Education: BA UNC Greensboro

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ETHAN GARNER mezzo-soprano Hometown: Robbins, NC Education: BM Appalachian State University; MM Mannes School of Music

MATTHEW HUCKABA baritone Hometown: Knoxville, TN Education: BM Carson-Newman University; pursuing MM University of Tennessee Knoxville

LEAH RIVKA ISRAEL mezzo-soprano Hometown: Cape Elizabeth, ME Education: pursuing BM Manhattan School of Music

MARCUS JEFFERSON tenor Hometown: Wayne, NJ Education: BM Eastman School of Music


Hometown: Bettendorf, IA Education: pursuing BM University of Michigan

EMILY MARGEVICH soprano

NICOLE RIZZO mezzo-soprano Hometown: Albany, NY Education: pursuing BM Boston Conservatory

JOSEPH SANDLER baritone

Hometown: Chicago, IL

Hometown: Richmond, VA

Education: BM DePaul University; MM DePaul University

Education: BFA Carnegie Mellon University

EMMA MARHEFKA soprano

DOMINIQUE SANTIAGO mezzo-soprano

Hometown: Allentown, PA

Hometown: Saranac Lake, NY

Education: pursuing BM The Crane School of Music SUNY Potsdam

Education: pursuing BME at the Crane School of Music SUNY Potsdam

MICHAEL JOSEPH O’SHEA III baritone

JAIME SHARP mezzo-soprano

Hometown: Mobile, AL

Hometown: Orlando, FL

Education: pursuing BM University of South Alabama

Education: pursuing BM University of Michigan

ANJA PUSTAVER soprano

ERROL WESLEY SHAW bass-baritone

Hometown: Madison, WI

Hometown: Miami, FL

Education: BM University of Wisconsin-Stevens Point; pursuing MM University of WisconsinMadison

Education: BM Stetson University

SAMUEL RACHMUTH bass-baritone

GREGORY VLADIMIR SLISKOVICH tenor

Hometown: Rockville Centre, NY

Hometown: Los Angeles, CA

Education: pursuing BM Mannes College of Music

Education: BA UCLA, MM New England Conservatory; pursuing GD New England Conservatory

GRACE REBERG mezzo-soprano

MAGGIE ELISABETH SMITH mezzo-soprano

Hometown: Chicago, IL

Hometown: Louisville, KY

Education: pursuing BM Michigan State University

Education: BM/BMME University of Kentucky; MM Florida State University

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OPERA CAST

MEGAN MALONEY soprano


OPERA CAST

CRAIG SMITH baritone

ANDREA TULIPANA soprano

Hometown: Fairport, NY

Hometown: Liberty, MO

Education: Pursuing BM Crane School of Music at SUNY Potsdam

Education: BM Butler University; pursuing MM University of Cincinnati College-Conservatory of Music

DEREK JAMES STULL baritone

ALEA VERNON soprano

Hometown: Phoenix, AZ

Hometown: Cheshire, CT

Education: BME Dallas Baptist University; pursuing MM University of Tennessee Knoxville

Education: pursuing BM University of Cincinnati College-Conservatory of Music

ADINA TRIOLO soprano

VIVIAN YAU soprano

Hometown: Princeton, NJ Education: pursuing BM Manhattan School of Music

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Hometown: Hong Kong, China Education: BM The Juilliard School; pursuing MM San Francisco Conservatory of Music


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OPERA DESIGNERS

BOBBY BRADLEY (SCENIC AND LIGHTING DESIGNER)

This season at BMC: Susannah and Roméo et Juliette Bobby is a Brevard based theatrical designer and is thrilled to be working with BMC and the Janiec Opera Company for a sixth season. Previous designs at BMC include Candide, (Production Design), Falling Angel (Production Design) and Don Pasquale (Lighting Design). He is also a co-owner of Brevard based Iris Design LLC providing design and production services for live events in Western North Carolina and has designed and managed events for theatre, opera, TV, film, and live music across U.S. and internationally. He holds a BFA in Theatrical Design from Baylor University and is a member of United Scenic Artists Local 829.

GLENN AVERY BREED (RESIDENT COSTUME DESIGNER)

This season at BMC: Susannah, Roméo et Juliette, Die Fledermaus, and Broadway in Brevard: An Evening of Frank Loesser Favorites Glenn has served as the resident costume designer for the last 11 years, this starts his 12th Season working for BMC. Glenn holds an MFA in Costume Design/Technology from the University of Cincinnati College-Conservatory of Music and BA in Theatrical Design from St. Edwards University in Austin, Texas. Glenn is currently a Full Professor of Costume Design and Technology at the University of West Florida. Glenn also owns and operates Wardrobe Witchery Opera and Theatrical Costume Rentals based out of Pensacola, FL. Wardrobe Witchery costumes companies from coast to coast.

DANIELLE SCHULTZ BROOKS (SCENIC DESIGNER)

This season at BMC: Roméo et Juliette Designs at Janiec Opera Company include The Magic Flute, Cosi Fan Tutti, Albert Herring, Sweeney Todd: The Demon Barber of Fleet Street, The Merry Widow, Peter Brook’s Carmen, HMS Pinafore (Scenic Design), La Boheme, Barber of Seville, La Traviata (Props Master). Other credits include Red Fern Theatre Company (Props Master) - All Through the Night, +30NYC, We in Silence Hear a Whisper. Daniel holds a MFA in Scenic Design from SUNY, Purchase.

THERRIN EBER (LIGHTING DESIGNER)

This season at BMC: Opera’s Greatest Hits and Broadway in Brevard: An Evening of Frank Loesser Favorites Therrin is returning to BMC after being our Festival Lighting Designer / Master Electrician last season. Therrin is currently finishing his MFA at The University of Alabama with a concentration in Scenic and Lighting Design. He holds a BA in Theatre with a concentration in Design/Technology and Directing from Purdue University Fort Wayne. He has designed for theatres primarily in the Midwest region and has also served as the resident production designer for University of Alabama Opera Theatre under direction of Paul Houghtaling.

Opera, Utah Festival Opera, Todi Music Fest (Portsmouth, VA), Opera Roanoke, Shreveport Opera, Guerilla Opera (Boston, MA), Crested Butte Music Festival, and DiCapo Opera (NYC). Some of these include: The Long Walk, Glory Denied, Hydrogen Jukebox, Baby Doe, Sondheim on Sondheim, Cenerentola, Carmen, Street Scene, Zauberflöte, Amadeus, 9 to 5, Midsummer Night’s Dream, Sweeney Todd, South Pacific, Roméo et Juliet, Scalia/Ginsburg (world premier) Ulysses, Pirates of Penzance, Così fan Tutte, Gallo (world premier), Giver of Light (world premier), Bovinus Rex (world premier), Heart Of a Dog, Man of La Mancha, Salome, La Bohème, The Marriage of Figaro, Madame Butterfly, The Crucible, Eugene Onegin, The Daughter of the Regiment, Il Trovatore, La traviata, Falstaff, The Magic Flute, Tosca, Don Giovanni, Footloose, and Hairspray, among many others. He has a BFA in Performance Production from Cornish College of the Arts, and an MFA in Design from NYU/Tisch. He was the 2002 Allen Lee Hughes Lighting Fellow at Arena Stage in Washington, DC.

BRITTANY RAPPISE (WIG & MAKEUP DESIGNER)

This season at BMC: Susannah, Roméo et Juliette, Die Fledermaus, and Broadway in Brevard: An Evening of Frank Loesser Favorites Brittany Rappise is a freelance wig and makeup designer based out of Pensacola Florida. She is excited to be back in the mountains for her seventh season at BMC. Her last work on the Brevard stage includes Madama Butterfly, La Cenerentola, Candide, Don Pasquale, Street Scene, and Le Nozze Di Figaro. She has spent the last few months traveling with her wigs and has designed this season at Sarasota Opera, Amarillo Opera, Opera Delaware, and Tulane Summer Lyric. Brittany holds an MFA in Wig and Makeup Design from the University of North Carolina school of the arts, and a BA in Theater from The University of West Florida. Her company, The Makeup Wigstress, based out of Pensacola offers full service Wig & Makeup Design and Rental for opera, theater, film and events.

BETHANIE WAMPOL WATSON (SCENIC DESIGNER)

This season at BMC: Die Fledermaus Bethanie is a scenic designer and educator. Delighted to be working with Brevard Music Center since 2006. Selected recent design credits include Albert Herring, Gianni Schicchi, and Il Tabarro (Rutgers Opera). Other credits include Red Velvet (Shakespeare Theatre New Jersey), Black Tom Island, Brick City, and My Lord What a Night (Premiere Stages), Paradise (Luna Stage Company and Passages Theatre Company), 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), and Stagedoor Manor (New York). She teaches art and theatre in West Orange, NJ. She has a MFA from Rutgers University and BA from Troy University.

TLÁLOC LÓPEZ-WATERMANN (LIGHTING DESIGNER)

LAUREN WOODS (COSTUME DESIGNER)

Tláloc is so happy to be working with BMC again. Tláloc’s lighting, scenic, and projection designs have been seen at Pittsburgh Opera, Opera on the James, TheatreZone, Opera Naples, Castleton Festival, Brevard Music Center, Toledo

This is Lauren’s fifth summer at the Brevard Music Center in the Costume Department and her first as Costume Designer. She is currently pursuing her MFA in Costume Production at UNC Chapel Hill. She received her BFA in Theatre Design and Technology from Northern Illinois University.

This season at BMC: Susannah and Die Fledermaus

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This season at BMC: Susannah


Caitlin Bolden, Janiec Opera Company Administrator

OPERA DESIGNERS & STAFF

OPERA ARTISTIC STAFF

Dean Anthony, Director of Opera Eileen Downey, Music Director / Chorus Master / Vocal Coach Kelly Kuo, Guest Conductor Michael Sakir, Guest Conductor Dorothy Danner, Guest Director Diane Alexander, Voice Instructor Andrew Wentzel, Voice Instructor Caroline Worra, Voice Instructor Adriana Zabala, Voice Instructor Susanne Marsee, Guest Lecturer Marla Berg, Assistant Director Lindsay Woodward, Staff Pianist / Chorus Master Neill Campbell, Staff Pianist

PRODUCTION STAFF

Josh Quinn, Staff Pianist

Andrea Boccanfuso, Director of Production Matthew Queen, Assistant Production Manager Justin Mosher, Assistant Production Manager Bobby Bradley, Scenic Designer: Susannah and Lighting Designer: Roméo et Juliette Glenn Avery Breed, Resident Costume Designer Danielle Schultz Brooks, Scenic Designer: Roméo et Juliette Therrin Eber, Lighting Designer: Broadway in Brevard: An Evening of Frank Loesser Favorites, Opera’s Greatest Hits, Festival Lighting Designer Tláloc López-Watermann, Lighting Designer: Susannah, Die Fledermaus Brittany Rappise, Wig & Makeup Designer Bethanie Wampol Watson, Scenic Designer: Die Fledermaus Lauren Woods, Costume Designer: Susannah Teila Vochatzer, Company Manager, Purchasing Agent, Scenic Designer: Prelude Garrett Rhodes, Festival Technical Director Brandon R. Smith, Technical Director Jonathan Harder, Technical Director Lance Perl, Head of Sound and Video, A-1/ V-1 Hannah Fuller, Production Assistant Apprentice Colin Miller, Production Assistant Apprentice Joshua Goldstein, House Manager Tyler Colmery, House Management Apprentice Anna Naderer, Orchestra Operations Manager Margo Leist, Orchestra Operations Associate Manager Gabriel Gonzalez, Orchestra Operations Assistant Manager Trinton Prater, Assistant Stage Manager of Orchestra Carly DellaPenna, Assistant Stage Manager of Orchestra/ Production Assistant Cassandra Dayton, Stage Crew Apprentice Rebecca Nelson, Stage Crew Apprentice Jared Smith, Stage Crew Apprentice Anna Mondragon, Stage Crew Apprentice/ ASM Susannah Christopher Byrd, Stage Crew Apprentice

Danielle Ranno, Production Stage Manager Jeri Ann Barber, Lead Assistant Stage Manager/ Rehearsal SM Susannah Meghan Crawford, Lead Assistant Stage Manager Michaela Ryan, Assistant Stage Management Apprentice Penelope Murzenski, Assistant Stage Management Apprentice Kelsey Andrade, Costume Shop Manager Amanda Miller, Costume First Hand J Alan Smith, Wardrobe Supervisor Natalie Garcia, Wig and Makeup Shop Manager Allison Burkholder, Wigs and Makeup Consultant/ Artisan Shawnazia Simmons, Wig and Makeup Apprentice Gina Makarova, Wig and Makeup Apprentice Samuel Marchitto, Staff Carpenter Katelyn DiDio, Staff Carpenter Kristian Michels, Carpentry Apprentice Mackenzie Ross, Carpentry/ Sound Apprentice Cole McVay Carpentry Apprentice Jordan Bohl, Props Master Claire Wylie, Props Apprentice Jacquelyn Reis, Scenic Charge Haley Grace Clark, Scenic Artist Lisa Arrona, Scenic Apprentice Shane Erickson, Design Apprentice Victoria Reed, Master Electrician Mason Clough, Staff Electrician Patrick Bohmier, Lighting Apprentice Sidney McGough, Lighting Apprentice Margo Turman, Lighting Apprentice Madeleine Anderson, Lighting Apprentice Connor Maloney, Sound and Video A-2/ V-2

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STUDENT ROSTER

VIOLIN

Noah Arcenas - Jacksonville, FL Ian Babler-Madrid - Orlando, FL Alem Ballard - Griffin, GA Alaina Barnett - Asheville, NC Anna Black - Eagle, ID Elisabeth Bloom - Davidson, NC Clara Brown - Indianapolis, IN Jorie Butler-Geyer - Houston, TX Elliott Cihlar - Charleston, SC Lucy Collins - Lincoln, NE Catherine Cook - Athens, GA Monica Corliss - Evans, GA Caroline Cornell - Naples, FL Glen Dizon - Jacksonville, FL Claudia Dorian - Atlanta, GA Michael Eller - Ypsilanti, MI Josianne Eteme - Baltimore, MD Samuel Ferguson - Alpharetta, GA Elias Fredericks - Poughkeepsie, NY Jonathan Frelix - Hattiesburg, MS Erin Gardiner - Perrysburg, OH Preston Griffith - Anderson, SC Laura Harrington - St. Augustine, FL Emma Harrison - St. Petersburg, FL Morgen Heissenbuettel - Ypsilanti, MI Victoria Hemachandra San Antonio, TX Madelynn Huff - Newcastle, OK Martha-Grace Jackson - Charlotte, NC Gabriel Jallo - Philadelphia, PA Christopher Jasiewicz North Huntingdon, PA Ashtin Johnson - Tallahassee, FL Ian Jones - Marietta, GA Madison Jones - Lexington, KY Clara Kachanes - Hays, KS Hyejun Kang - Suwanee, GA Olena Kaspersky - Los Angeles, CA Lindsay Keck - Warrenton, VA Nathaniel Kim - Boise, ID Kristine Ka Wai Kwok Hong Kong, Hong Kong Alexa Lang - Mount Dora, FL Darrian Lee - New Braunfels, TX Daniel Lee - Kenner, LA Sarah Lee - Albuquerque, NM Anastasia Letkemann - Jacksonville, FL Kana Luzmoor - Oakland, CA Catherine MacGregor - Marietta, GA Emmeline MacMillan - Seminole, FL Roland Mason - Suwanee, GA Michael Mawle - Bowling Green, OH Tekla Mendez - Tallahassee, FL Madeline Miller - Grand Rapids, MI Allison Parks - West Melbourne, FL Keenan Peet - Pine Bluff, AR Delaney Rayens - Lexington, KY Blake Richardson - Tallahassee, FL Avery Riel - Decatur, GA Thomas Roggio - Bowling Green, OH Miranda Rojas - Lexington, KY Leah Rosales - Wichita, KS Eva Shvartcer - Lincoln, NE Olivia Skaja - Deer River, MN Helen Smit - Hopewell Junction, NY Edward Steinbaum - Hopatcong, NJ Natalie Sterba - Omaha, NE Katherine Taylor - North Augusta, SC Shannon Taylor - Mount Pleasant, MI Joseph Tornquist - Maplewood, NJ Rebecca Tozzie Palm Beach Gardens, FL Olivia Velanova - Atlanta, GA Hope Welsh - Tallahassee, FL Lauren Williams - Tampa, FL George Willis - Perrysburg, OH Ava Wipff - Mesa, AZ Kathryn Wyly - Ithaca, NY

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VIOLA

Sophia Aiello - Epworth, GA Gia Angelo - Philadelphia, PA Armando Atanda - Jacksonville, FL Ariana Blevins - Paris, TN Madeline Bohler - Louisville, KY Adam Brotnitsky - Philadelphia, PA Skyler Bugg - Tyrone, GA Kara Charles - Brooklyn, NY Sahng-Wan Choi - Wilmette, IL Ailani Frasier - Greenville, SC Jaden Frye - Oklahoma City, OK Evan Guttormson Ponte Vedra Beach, FL Madeline Guyer - Williamsburg, VA Amanda Hamilton - Johns Creek, GA Wesley Hamilton - Augusta, GA Brittany Hoff - Denton, TX Jordan Holloway - Boulder, CO Joy Hsieh - Doraville, GA Bryan Johnson - Grover, NC Syon Lee - Short Hills, NJ Hanna Manning - Clemson, SC Luvyana Marquez - Miami, FL Jeffrey Mcarthur - Mount Pleasant, SC Brooke Mickelson - Kimberly, ID Ashley Overby - Kettering, OH Lucy Prichard - Menlo Park, CA Hunter Sanchez - Wichita Falls, TX Nathaniel Sattler - Reno, NV Benjamin Silberman Shaker Heights, OH Joshua Singletary - Tallahassee, FL Savannah York - Greenville, SC

CELLO

Ethan Clay - Zachary, LA Kathryn DeLaMare Pleasant Grove, UT Ilana Hilley - Atlanta, GA Nicole Holman - Columbus, OH Todd Humphrey - Grayson, GA Hailey Kang - Tualatin, OR Olivia Katz - Minneapolis, MN Hannah MacLeod - Minneapolis, MN Cameron MacMillan - Seminole, FL Elizabeth Mathiesen East Stroudsburg, PA Christopher Mattingly - Lexington, KY Lindsay McKenna Lakewood Ranch, FL Joshua Myers - Naples, FL Daniel Oliver - Parker, CO Sophie Paul - Salem, OR Kiri Pitts - Houston, TX Russell Rivas - Trussville, AL Rafael Rock - Los Angeles, CA Pono Santos - Sammamish, WA Russell Scaife - Lexington, KY Anthony Schnell - Sylmar, CA Arabella Schwerin - Sioux City, IA Caleb Singletary - Tallahassee, FL Amelia Smerz - Downers Grove, IL Sophie Stubbs - Baxter, MN Pakin Tantasook - Lexington, KY Michael Tynes - Rogers, AR Jonathan Walton - Decatur, GA Eliott Wells - Lake Oswego, OR Carlton Williams - Summerville, SC Michael Zieglar - Ellicott City, MD Paul Zmick - Waco, TX

DOUBLE BASS

Taiga Benito - Honolulu, HI Nicholas Burton - Tulsa, OK Peter Casseday - Jacksonville, FL Jacob Cherry – Kennesaw, GA Eleanor Dunlap - Lawrence, KS Joseph Escobar - Brookshire, TX

Nathan Graham - Fairfax, VA Ian Grems - Corinth, TX John Hunter - Edinburg, TX Aiden Johnson - Buford, GA Peter Kim - Wagram, NC Lucas Kornegay - Crestview, FL Nicole Mann - Cumming, GA James McMillan - Charlotte, NC Jacob Meazle - Dallas, TX Jonathon Piccolo - Lewisville, TX Chase Rowe - Panama City Beach, FL Noah Steele - Lancaster, NY David Weiss - Philadelphia, PA Elizabeth Young - Kettering, OH

FLUTE

Sophia Brinkman - Dallas, TX Yuxin Dong - Basking Ridge, NJ Natalie Gregg - Hendersonville, TN Katherine Grischow - Nashville, NC Hyungjoo Han - Ellicott City, MD David Jimenez - Spring, TX Kaitlin Jones - Fort Smith, AR Jiwon Jung - Louisville, KY Rachel Lee - Suwanee, GA Emily Nazario - Brookeville, MD Aaron Rib - Clearwater, FL Samantha Tartamella Oakland Township, MI Cheryl Zhang - Potomac, MD

OBOE

SAXOPHONE

Blake Adams - Tuscaloosa, AL Spencer Cox - Lakeland, TN Matthew Dardick - Elmhurst, IL Tae Ho Hwang - Baltimore, MD Micheal Kralick - Alpharetta, GA Jacob Mahran - Englewood, OH Leo Schlaifer - Plymouth, MN

FRENCH HORN

George Andrews - Sugar Land, TX Jasmine Chen - Belmont, MA Abigail Davidson - Parker, CO Kiersten Gustafson - Seguin, TX Liam Hanna - Somerville, MA Garrett Harrison – Tomball, TX Rachelle Huffman Farmers Branch, TX Brianne Ihasz - Fredonia, NY Daniel Infranco - Miller Place, NY Riley Martinez - Upland, CA Aiden McCoy - Raleigh, NC Thomas Ossi - Jamaica Plain, MA Sarah Palmer - Brunswick, OH Theresa Reagan - Lowell, MI Peter Sarsfield - Lawrenceville, NJ Eden Stargardt - Rockford, MI Kurt Steelman - Charlotte, NC Fiona Stout - Miami, OK Jacob Zemans-Ronthal Toronto, ON Canada

Izumi Amemiya - Honolulu, HI Brittany Bonner - Boulder, CO Robert Burleson - Goose Creek, SC Maxwell Canipe - Greer, SC Cheyanna Duran - Conifer, CO Mengying Han - Beijing, China Trevor Mansell - Calgary, AB Canada Olivia Oakland - Boca Raton, FL Ojochilemi Okoka - Atlanta, GA Amanda Rearden - Yardley, PA Peyton Redmyer - Gulf Breeze, FL Jacob Shapiro - Chicago, IL Nathaniel Wolff - Decatur, GA

TRUMPET

CLARINET

TROMBONE

Lucas Alexander - Nelson, BC Canada John Antisz - Bayonne, NJ Simon Bakos - Mason, OH Iris Brenowitz - Seattle, WA Jackson Brown - Omaha, NE Alexandria Carrillo - Dacula, GA Ivan Ferguson - Henderson, NV Samantha Kopec - Clearwater, FL Taylor Overholt - Cincinnati, OH Carly Siegel - Ramsey, NJ Teng Tu - Lexington, MA Kenton Venskus - Falls Church, VA Samantha Winkler - Tomball, TX

BASSOON

Rick Barrantes - Toronto, ON Canada Nathan Bond - Simpsonville, SC Georgia Clement - Gonzales, LA Ryan Goodwin - Ann Arbor, MI Emma Kirby - Fort Collins, CO Isibeal Measells - Haymarkey, VA Luke Pancoast - Lake Oswego, OR Chloe Robbins - Elgin, IL John Robken - Baton Rouge, LA Brody Sanner - Meyersdale, PA Harrison Storm - Bonney Lake, WA Madeleine Tung - Wilmette, IL Zachary VonCannon - Charlotte, NC

Michael Chen - Herndon, VA Charles Gately - Hamilton, OH Taylor Hubbard - Raleigh, NC John Johnson - San Antonio, TX Justin Kohan - Orchard Park, NY David Ortiz - Philadelphia, PA David Peebles - Pittsburgh, PA Ethan Revere - Asheville, NC William Rich - Martinez, GA George Steffey - Raleigh, NC Miles Hilger Von Unwerth New York, NY

Matthew Ethier - Harrisville, RI Melissa Hagstedt - Waxhaw, NC Gavin Kelley - Charlotte, NC William Mudgett - Fort Myers, FL Justin Stobart - The Woodlands, TX Aron Tapalla - Denham Springs, LA

BASS TROMBONE Ryan Carter - Iowa City, IA Christopher Colby - St. Louis, MO

TUBA

Nathanael Seman - Canton, GA Chris Torrisi - The Woodlands, TX Aysia Walton - Conway, SC Evan Zegiel - Boca Raton, FL

PERCUSSION

Judah Barak - Arden, NC David Dong - Frisco, TX Adam Finkelstein - Greenville, SC Michael Giunta - Wichita, KS Zunhao He - Rochester, NY Jacob Hord - Richardson, TX James Leonard - Liberty Township, OH Hannah Robins - Winston Salem, NC Yonatan Rozin - New York, NY Julian Saint Denis - Germantown, MD Lucas Wall - Pittsford, NY Sarah Whitaker - East Lansing, MI


Benjamin Albertson - Olympia, WA Jenna Allen - Niwot, CO Sophie Kim - University Park, MD

PIANO

Everett Adkins - Pearland, TX Megan Angriawan - Medan, Indonesia Olivia Backal-Balik - Narberth, PA Ethan Benadon - Dickerson, MD James Berger - Buffalo, NY Kayla Boodoo - District Heights, MD Rosa Burke - Staten Island, NY Gloria Cai - Ellicott City, MD Yiran Cao - Greencastle, IN Ada Cigeroglu - Hoboken, NJ Emma Devine - Simpsonville, SC Han Ding - Shenzhen, China Yilin Du - Idyllwild, CA Mary Ellerbee - Zachary, LA Sarah Faulk - Franklin, TN Morgan Flanigan - Yarmouth, ME Grace Gallagher - Rock Hill, SC Caroline Gardner – Richfield Springs, NY John Gibb - Los Angeles, CA Karmen Grubisic - Longmont, CO Julia Haas - Morristown, TN Taae Hamid - Gallipolis, OH Aidan Hartman - Ooltewah, TN Maxwell Hinton Tamborine Mountain, Australia Claudia Hu - Raritan, NJ Peiyi Jiang - Garden City, NY Benjamin Kellogg - Myrtle Beach, SC John King - Clover, SC Alexander Klapowitz Old TAappan, NJ Veronica Kogan - Johns Creek, GA Matthew Krell Campbell River, BC Canada Reed Kurtz - Summerville, SC Austin Kwan - Flagstaff, AZ Moon Su Lee Auckland, New Zealand Jonathan Li - Richmond, BC Canada Han Lin - Tucson, AZ Hao Lin - Idyllwild, CA Qiaoni Liu - Chengdu, China David Liu - Wellington, FL Cristian Makhuli - Charlotte, NC Caroline Malcom - Alpharetta, GA Kiran Masroor - Miami, FL Marissa Mathia - Omaha, NE Madeleine McEntire - Whitmire, SC Keelin McLoughlin - Center Valley, PA Gabriel Merrill-Steskal Ellensburg, WA James Moran - Elgin, SC Craig Murray - Mount Vernon, NY Mary Murray - Birmingham, AL Joanna Norwood - Camden, SC Abigail Ogonek - Westlake, OH Joseph Petchauer - Flower Mound, TX Marisa Pickard - Hoover, AL Hannah Powell - Laurens, SC Charis Qi - Niantic, CT Olivier Rabu - Toronto, ON Canada Hannah Ramanou - Pine Lake, GA Nicholas Renzi - Potomac, MD Julia Naomi Ribeiro Da Cruz Sao Paulo, Brazil Lucy Richmond - Mount Pleasant, SC Charles Roberts - Winchester, VA Peter Sawchuk - Salt Lake City, UT Henry Schrecker Mount Pleasant, SC Haley Shiozawa - Salt Lake City, UT

Carissa Shuxteau - Brentwood, TN Joseph Snipes - Carrollton, GA Hampton Stroble - Laurens, SC Linlin Uta - Yokohama, Japan Nathan Vondergeest - Clinton, SC Zachary Watson - Winchester, MA Kelsey Watts - Lenoir, NC Davis Whyte - Paradise Valley, AZ Peter Xu - Brentwood, TN Katherine Yang - Cumming, GA Maxwell Yates - Raleigh, NC Jiaen Zhang - Guangzhou, China Meng Zhao - Kent, OH Shi Yi Zhu - Wuhan, China Hongrui Zhu - Chongqing, China

COLLABORATIVE PIANO

Chen-Fang Hsu - Bloomington, IN Faith Ellen Lam - Chantilly, VA Skyler Miller - Bradenton, FL Thomas Ryskamp – Byron Center, MI Zixiao Ye - Memphis, TN

CLASSICAL GUITAR

Keelan Bozman - Charlotte, NC Jean Pierre Castillo - Greenville, NC David Duong - Jacksonville, FL Isabella Fincher Colorado Springs, CO Damian Goggans - Cleveland, OH Sean McCrary - Fort Worth, TX Gema Ornelas - Bay City, TX Manuel Rodriguez – Milwaukee, WI Evan Taucher - Austin, TX Mengya Tian - Austin, TX Evan Wadsworth - San Antonio, TX Frank Wendelin - Buffalo, NY

COMPOSITION

Edward Babcock – Wenham, MA Andrew Bambridge - Pittstown, NJ Andrew Faulkenberry - Spotswood, NJ Zachary Gulaboff Davis - Salem, OR Zachary Hicks - Brighton, MA Neil Holcomb - Ocean View, DE Chandler Hyatt - Simpsonville, SC Matthew Kaminski - Tigard , OR Davis Reinhart - Buellton, CA Brian Shank - San Francisco, CA Pranav Sivakumar - Tower Lakes, IL Kyle Valorose - North Chesterfield, VA Carle Wirshba - Plainview, NY Chi Chun Adrian Wong Ho Man Tin, Hong Kong Sida Zhao - Shanghai, China

OPERA

Ari Bell - New York, NY Achilles Bezanis - Willowbrook, IL Andrew Boisvert - Needham, MA Hannah Carroll - Hinsdale, IL Ian DeSmit - Greensboro, NC Victor DiNitto - Rochester, NY Tori Franklin - Knoxville, TN Robert Fridlender - Athens, GA Ethan Garner - Robbins, NC Matthew Huckaba - Knoxville, TN Leah Israel - Cape Elizabeth, ME Marcus Jefferson - Wayne, NJ Megan Maloney - Bettendorf, IA Emily Margevich - Chicago, IL Emma Marhefka - Allentown, PA Joseph O’Shea - Mobile, AL Anja Pustaver - Waunakee, WI Samuel Rachmuth Rockville Centre, NY Grace Reberg - Downers Grove, IL Nicole Rizzo - Clifton Park, NY

Joseph Sandler - Fredericksburg, VA Dominique Santiago - Winthrop, NY Jaime Sharp - Winter Garden, FL Errol Shaw - Chicago, IL Gregory Sliskovich - Los Angeles, CA Craig Smith - Fairport, NY Margaret Smith - Tallahassee, FL Derek Stull - Litchfield Park, AZ Adina Triolo - Skillman, NJ Andrea Tulipana - Greensboro, NC Alea Vernon - Cheshire, CT Vivian Yau - Tai Po, Hong Kong

HIGH SCHOOL VOICE

Jacquelyn Banford - New Canaan, CT Emily Bell - Camden, SC Daphne Buan - Verona, WI Anna Carney - Orangeburg, NY Hope Cruse - St Augustine, FL Ruby Gerken - Asheville, NC Olivia Heese - Plover, WI Leigh Ives - Odessa, FL Isabelle Kosempa - Durham, NC Katharine Kosowski - Macon, GA Candania Levius - Glenn Dale, MD Laura Looper - Pensacola, FL Lucy Mason - Arlington, VA Ruby Moore - Flat Rock, NC Olivia Park - Colts Neck, NJ Erin Perry - Highland, IN Beatrix Postley - Mill Neck, NY Cierra Reynolds - Largo, FL Campbell Schouten - Amarillo, TX Sara Shiff - Plymouth, MN Lilla Timperman - Charlotte, NC Natalia Valvano - Issaquah, WA Mckayla Williams - Delray Beach, FL Yumeng Wu - Hudson, OH Lisha Zhai - Shenzhen, China

JAZZ INSTITUTE

Michael Abbo - West Bloomfield, MI Joshua Achiron - Rochester, NY Zakaria Antifit - Kissimmee, FL Jalen Baker - Tallahassee, FL Keelan Bozman - Charlotte, NC Kyle Bramson - Key Biscayne, FL Sam Butler - Fairhope, AL Ben Carroll - Jupiter, FL Ben Chase - Richmond, VA Luca Colonna - Raleigh, NC Joseph Dattilo - Nashville, TN Jawan Davidson - Durham, NC Matt De León - West Hartford, CT Mike DeSousa - Lexington, KY Karleigh Dills - Mount Berry, GA Joseph Dowdy - Winston-Salem, NC Griffin Edwards - Durham, NC Andrew Esch - Hillsborough, NC Margherita Fava - Lansing, MI Christian Fematt - El Paso, TX Maxwell Filipiak - West Seneca, NY Zachary Finnegan - Bloomington, IN Stephanie Fisher - Weston, FL Joseph Foglia - Raleigh, NC Ingrid Forsyth - Banner Elk, NC Harrison Gesser West Palm Beach, FL Gabriel Glover - Fishers, IN Emma Gonzales - Garner, NC Eric Gonzales - Kissimmee, FL Rashaad Greene - Marietta, GA William Gu - Nashville, TN Joshua Guenther - Lansing, MI Alexander Guillory - Goldonna, LA Travis Hunter - Northridge, CA Derek Janoff - Boca Raton, FL Olivia Jones - Charlotte, NC

Jon-Grayson Kerr - Fairhope, AL Lee Kolarik - North Ridgeville, OH Eric Law - Chapel Hill, NC Hugh Lindsay - Lexington, KY Adam Lord - Jupiter, FL Samuel Macaraeg - Denton, TX Marion Mallard - Decatur, IL Kevin Martinez - Rifle, CO Tahj Mason - Collierville, TN Robert McCormac - Boone, NC Jasai Mckinney - Atlanta, GA Tyler Monroe - Knightdale, NC Clayton Moore - Mount Berry, GA Pablo Muller - Cary, NC Jacob Newsome - Fairhope, AL Anthony Oro - West Palm Beach, FL Andrew Peal - Miami, FL Jesus Portillo Jr - El Paso, TX Shota Renwick - Denver, CO Fernando Rodriguez Deerfield Beach, FL Ruben Romeo - Weston, FL Andrew Schrader - Orlando, FL Sean Smith - Claremont, CA Jackson Spellman Royal Palm Beach, FL Ethan Spevere - Royal Palm Beach, FL Paul Stancampiano - Boca Raton, FL Luca Stine - Sarasota, FL Jonah Sutinen - Jupiter, FL Emre Tekmen - Raleigh, NC Adam Thomas - Mountain Brook, AL Jack Timmins - Trinity, FL Jonah Trudeau - Austin, TX Dylan Vessel - Denver, CO Matthew Wall - Rome, GA Ernest Wang - Plano, TX Aaron West - Boone, NC Walker Whitley - Asheville, NC Aaron Yu - Atlanta, GA Robert Zea - Cooper City, FL Jason Zhu - Nashville, TN

2019 Summer Institute & Festival

STUDENT ROSTER

HARP

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This just may be your new favorite place to shop. Vintage Sports Collectibles, Antiques, Furniture, Gifts & Accessories

Located inside Triangle Stop Food Stores

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AT STETSON

STUDY

MUSIC The Stetson University School of Music is regarded as one of the nation’s finest undergraduate-only professional schools of music, with a select enrollment of 240 majors. Students enjoy the advantage of close collaboration with faculty and remarkable opportunities for solo and ensemble performance. The Stetson School of Music is located on

2020 AUDITION DATES January 25 February 1, 8, 15, 22

SCHOOL OF MUSIC

the historic DeLand campus. Visit stetson. edu/music, where you can learn more about our outstanding programs and the audition process, listen to our brilliant musical

More at: 800-688-0101 stetson.edu/music/admissions

performances and schedule a campus visit.

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1

3/25/19 2:26 PM


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Become an Annual Passholder now and discover the gracious hospitality of America’s Largest Home® and the relaxed welcome at our estate winery. BILTMORE.COM/JOIN

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BMC AWARDS

DISTINGUISHED SERVICE AWARD DR. FALLS L. HARRIS

Dr. Falls Harris was first introduced to Brevard Music Center nearly twenty years ago by his friend and fellow Greenville, South Carolina resident, Roger Varik, who was then a member of the Music Center’s Board of Trustees. Falls attended one or two concerts each year in those days and, recognizing his friend’s deep and ongoing passion for classical music and arts education, Roger nominated Falls to the Music Center Board, to which he was elected in 2004. Since that time, Falls has served in key leadership roles on the Board, including Chair of the Search Committee that appointed Brevard’s current president, Mark Weinstein, Chair of the Governance Committee, and Chairman of the Board of Trustees in 2014 and 2015. During his tenure as Board Chairman, he oversaw the Board’s development and implementation of the organization’s current strategic plan that led to new guiding principles for the Music Center’s programming. This strategic plan also included “A Challenge Among Friends,” our multi-million dollar initiative to improve the campus infrastructure, and that now features Parker Concert Hall, currently under construction. Falls Harris’ decades-long commitment and dedication to the mission of Brevard Music Center is exemplary, and will be an impactful legacy felt long into the future.

BMC ALUMNI AWARD

AMY PORTER, BMC Alumna, 1979-80 Brevard Music Center honors an exceptional flutist as the recipient of its 2019 BMC Alumni Award. Amy Porter has been praised by critics for her exceptional musical talent and passion for scholarship. Amy’s discography of J.S. Bach’s Cello Suites has been regarded as a “gleaming, lyrical reading” (New York Times). Released in March 2018, her latest concerto recording is Michael Daugherty’s Trail of Tears Concerto for Flute and Chamber Orchestra (NAXOS), which also makes its Brevard debut during opening weekend of the 2019 BMC season. Amy continues to build a brilliant career through collaborations with internationally renowned composers and leading American conductors. She has appeared as a soloist with the Atlanta Symphony, Houston Symphony, American Composers Orchestra, Omaha Symphony, Delaware Symphony, Albany Symphony, Flint Symphony, Billings Symphony, Battle Creek Symphony, Arkansas Symphony, Elgin Symphony, and collaborated with such artists as Nicholas McGegan, Ransom Wilson, David Alan Miller, Yoel Levi, Thomas Wilkins, Jose-Luis Gomez, Enrique Diemecke, David Amado, Anne Harrigan, and Arie Lipskey. She has performed premieres by Michael Daugherty, Ellen Taffe-Zwillich, Joel Puckett, Christopher Caliendo, Katherine Hoover, and Frank Ticheli, among others. Winner of the 3rd Kobe International Flute Competition and Paris Ville d’Avray Competition, Amy has been invited to perform and serve on international juries around the globe. She has been heard in recital on National Public Radio (NPR), highlighted on PBS Live From Lincoln Center, profiled for NAXOS Records’ “Women of March” (2018), and has been featured on the covers and written articles for Flute Talk Magazine in the U.S. and The Flute Magazine in Japan. Amy is currently a Professor of Flute at the University of Michigan—where she became the first performing artist to receive the Henry Russel Award for distinguished scholarship and conspicuous ability as a teacher. Formerly the Associate Principal Flute of the Atlanta Symphony Orchestra, Amy is also an avid chamber musician, and is a member of Trio Virado with violist Juan-Miguel Hernandez and guitarist Joao Luiz. Born in Wilmington, Delaware, Amy graduated from the Juilliard School with further studies at the Mozarteum Academy in Salzburg. She plays a 14K white gold flute with rose gold engraved keys made for her by the Wm. S. Haynes Co.

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ARTIST • SCHOLAR • LEADER Devin Copfer: BM violin performance, BA arts management, artistic director of Chamber Brews.

photo credit: Ziwei Jin

STRINGS

AT OHIO STATE music.osu.edu

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Make music with the best in one of the most beautiful places on Earth. At the University of Colorado Boulder College of Music, more than a music degree awaits. Nestled in the foothills of the Rocky Mountains, renowned performers, educators, scholars and composers share their passion for music, helping shape its future alongside the musicians of tomorrow.

Awaken the artist within you. Discover more at colorado.edu/music

Congratulations to CU Boulder faculty teaching at the Brevard Music Festival: Erika Eckert Associate Professor of Viola

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Elevate Your Perspective

Blue Ridge Public Radio joins the Brevard Music Center in exploring and celebrating classical music. For highlights of Summer Music Festival performances listen to BPR Classic for Open Air Brevard. Learn more, see our program schedule, and all of our broadcast frequencies at BPR.org.

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Find your place in a remarkable community! Perform in outstanding ensembles, audition for music scholarships regardless of major, and study with dynamic, accomplished faculty.

Become a music teacher yourself through the 5 year BM/MAT program.

pugetsound.edu/music UNIVERSITY OF PUGET SOUND | Tacoma, WA | music.admission@pugetsound.edu | 253.879.3228

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BREVARD MUSIC CENTER ASSOCIATION

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+ volunteers 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 are active year-round. To learn more about BMCA, or to volunteer, email volunteer@brevardmusic.org. A friendly 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 Ann Arnold Bill Arnold Joyce Baila Mary Baker John Baldrige Marilyn Baldrige Dennis Bartt Frank Baumgartner Joy Baumgartner Michael Beall Beth Best Carrie Blair Chuck Blunt Gail Blunt Rich Bonito Beryl Bradley Elda Brown Barbara Burkhart Carl Burkhart Moya Burns Ginger Campbell Norm Campbell Carol Carrano Toni Casciato Jane Chandler Lucille Chaveas Peter Chaveas Ken Chepenik Leslie Chepenik Jack Christfield Mary Scott Christfield Bob Cole Karen Cole Penny Colman-Crandal Adele Colston Ian Cowie Vanessa Cowie David Crandal Laura Cunningham Debra Davis Bob Decker Carole Deddy Jane DeMartini Tom DeMartini

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Elaine Deppe Beth Dierauf Dorne Dietsch Maggie DiRocco Dick Dobrowski Kathy Dobrowski Bonnie Duffner Nancy Elliott Bill Ester Nancy Ester Joy Evans Richard Evans Debbie Fairall Anthony Fast Catherine Frey Kris Fulmer Barbara Gannon John Gannon Kathy Garofalo Dana Garrett Michael Geremia Shirley Geremia Alice Gibson Mark Gibson Cindy Gilbert Rob Gilbert Lois Grabowski Joyce Greame Wanda Gregory Connie Haberman John Hadacek Kris Hadacek Roberta Hallinen Geri Hambley Joe Hamrick Alan Harms Janet Harms John Harrington Sandy Harrington Daryl Hausman Bob Hayward Karen Hayward Karen Henegar Cherie Hennig Patti Herring Carla Hill

Lani Houck Rick Houck Alan Hunt Jeanne Hunter Paula Hunter Evey Huntington Donna Ingram Molly Jenkins Morris Jenkins Yanda Jin Kevin Jones Lisa Keller-Decker Julia Kennerly Patrick Kennerly Bob Keyes Trisha Keyes Mary Douglass Kimble Doug Knapp Wendy Kotowski Jan Clare Kuba Leslie Lathrop Robbie Lindeman Marilyn Lockhart Bill Lovejoy Joan Manfre Penny Mann Buddy Marines Carol Marines Shirley Martin Mark Marvell Maddy Mayor DeLane McAlister Mike McCarthy Mike McLain Jane McKeown Robert McKeown Lee McMinn Bill Medl Carol Miller Marie Miller Bill Moore Marion Moore Rhae Mozley Cait Murphy Tina Murphy Gordon Neale

Mundy Neale Fran Newby Jim Null Sue Null Jim O’Neal Susan O’Neal Laura Oxman Scott Oxman Alicia Parker-Sweatt Joni Pavlik Ray Pavlik Larry Pellegrini Nancy Pellegrini Myron Pstrak Linda Randall Erik Rasmussen Fran Rasmussen Bill Raspa Donna Raspa Kacey Ratterree Manfred Rehm Decker Reidpath Kate Reinke Tom Reinke Katinka Remus Rod Remus Carole Repici Joe Resor Kay Reynolds Gypsy Richardson Bill Robertson Jane Robertson Michel Robertson Michael Rosenthal Nancy Rosenthal Jimmy Roubion Marlena Sacca Sayre Santonelli Betty Schenfield Bob Schmitt Cheryl Scott Gary Seacat Missy Seacat Michael Sebastian Lou Shelley Mike Shelley

Donna Shreve Stan Shreve Linda Sierra Murphy Smith How Stanton Barb Steadman Carolyn Steele Ginny Steiger Ann Strother Susan Sunflower Tom Sweeny Chet Terry Bob Tharpe Linda Thompson Ron Thompson Linda Threatte George Tibbetts Aleta Tisdale Judy Tjiattas Marty Tjiattas Keitha Todd Joan Toepfer Susan Toscani Twighla Voglesong Steve Walker Harriet Walls Dave Watkins Carol Weinhofer Kim Whelan Tom Whelan Helen Whitley Jay Williams Penny Williams Chris Williamson Margo Williamson Herb Wolff Jo Wolff Jude Wolff Jean Woods Beverly Yeager David Yeager Paul Yount Penny Yount Debbie Yunker Don Ziegler


Ginny Steiger Susan Toscani Barb Steadman Linda Randall Michel Robertson Linda Thompson

Committee Chairs Beautification Communications/ Newsletter Concessions Deliveries Facilities Harmony Gifts Hospitality Membership BMCA Office Ushers Welcome Center / Raffle

Doug Knapp & Sayre Santonelli Mark Marvell & Michel Robertson Susan Toscani & Kris Fulmer Wanda Gregory 2019 BMCA board: (L to R, first row first) Doug Knapp, Sayre & Linda Thompson Santonelli, Susan Toscani, Ginny Steiger, Barb Steadman, Bob Schmitt Linda Randall, Maggie DiRocco, Kris Fulmer. Back row Karen Penny Mann Cole, Linda Thompson, Mark Marvell, Penny Mann, Mary Scott & Ginny Steiger Christfield, Wanda Gregory. Not pictured Joni Pavlik and Michel Joni Pavlik & Maggie DiRocco Robertson. Karen Cole Linda Thompson Mary Scott Christfield Mark Marvell & Linda Randall

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BMCA

BMCA BOARD

Executive Committee President 1st Vice President 2nd Vice President Secretary Past President Board Advisor

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With a relocation to a beautiful space on South Broad Street and the ability to host events, 2019 brings a new chapter to The Haen Gallery Brevard. The Asheville gallery remains at its Biltmore Avenue location where it was founded 13 years ago. Visit either loction to experience incredible artwork, including captivating large-scale sculpture.

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GIVING OPPORTUNITIES

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. Approximately one half of the revenue needed to operate a successful institute comes through 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 $1.4 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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ANNUAL FUND

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 $1,000 or more to our current A Challenge Among Friends initiative can be found on page 13. The following represents gifts received from May 1, 2018 through April 30, 2019. Every effort has been made to ensure that listings are complete and accurate. If you have questions, please contact the Development Office at development@brevardmusic.org. FOUNDER’S CIRCLE ($100,000+) Estate of Richard Cushman Dr. William J. Pendergrast, Sr. Jacquelyn and Bruce Rogow Elisha and Jeffrey Zander

CHAIRMAN’S CIRCLE ($25,000 +) Betsy and Thomas Bolton Yvonne and Charles Goldsmith William R. Hackney III Dr. Falls L. Harris Mariam and Robert Hayes Charitable Trust The Hearst Foundation Mr. and Mrs. Roger R. Nelson North Carolina Arts Council Drs. Tom and Joanne Parker Perkins Charitable Foundation Platt Architecture, P.A. Emily and Bill Searcy Charitable Trust Wells Fargo Private Bank Elizabeth S. White

ARTISTIC DIRECTOR’S CIRCLE ($15,000 +) Kristine and John Candler The Chattooga Club T. Kenneth Cribb, Jr. Sandy and Bernie Fox Helen C. Gift Nancy Hicks Martha Rivers Ingram Christina and Rich Jacobs Laurie and Douglas Ombres The Payne Fund The Robinson-Hill Humanitarian Fund Carole and Arthur Schreiber Estate of Isabel Studley

PRESIDENT’S CIRCLE ($10,000 +) Audi Asheville Betsy O. Barefoot and John N. Gardner Dr. and Mrs. Bruce Berryhill Malcolm and Patricia Brown George D’Angelo and Laura St. Clair Dennis and Preston M. Davitt Frederick Dent Brenda S. Templeton and Dwight L. Guy Carlene Jerome Patti and Phillip Jerome Linda and Warren Johnson

Barbara and John Lawless Cheryl and Philip Leone Ruby Morgan and Douglas MacDonald Katie Loeb‑Schwab and Mark Schwab The Florence Mauboules Charitable Trust Moore-Blanchard Funerals & Cremations and Cathleen Blanchard National Endowment for the Arts Inez and Bob Parsell RBC Wealth Management Valeria and James Robertson Liz and Rusty Saylor Linda and John Sarpy Skyland Automotive Nancy Crow Trentini Dr. Joella Utley Harriet and Ken Walls Patricia R. Webb Dr. Charles and Teena Ellen Weiss

COMPOSER’S CIRCLE ($5,000 +) Susan and Robert Ableidinger Kristen and William Alpert Kurt and Dorinda Bagwell Maurine Bagwell Sally and Doug Bailey The Beattie Foundation City of Brevard Estate of Anne N. Collings H. Michael Cushinsky Eugenia and Robert Dowdeswell Dr. J. Murray and Jerusha Barnum Fadial A.S. Fendler Family Foundation Dr. and Mrs. William J. Fogle III Julia Fosson and Sharon Ritchey Carl and Sally Gable Dr. and Mrs. Ken Graff Susan Harrington Butts and Timothy Butts Kara and Mark Harrison Sue and Doug Henderson KillerBeesHoney.com Susan and Doug Kish Paul Komar and Teri Goodall‑Komar John G. Landrum Rita E. Landrum Danette and Patrick Lane Emiley and Keith Lockhart Mr. and Mrs. C. Jim McCarthy III E. T. McLean Karen and Gerald Migliaccio Joseph Mihelick and Jerilyn Schaller

Jack and Debera Millstein James Northey Helen and Walt Peery Stephen Sosin and James Pegolotti SharonAnn and Robert Philip Susan H. and David A. Schoenholz Paulette Stewart‑Johnson Martha Washington Straus and Harry H. Straus Foundation Maggi and Rick Swanson Transylvania County Government Mr. and Mrs. Nat S. Turner Sybil and James O. Wells Jaynie and Stanley Whitcomb James A. Wilson Jan and Beattie Wood Jill Zimerman

VIRTUOSO ($2,500 +) 35 Degrees North Landscape Services Carol and Phillip Attridge Emily and Brian Beals Beverly‑Hanks & Associates Carrie Blair Clare and Joseph Blake Annette Blum and James May Bold Rock Partners, LP Danny and Kim Bottoms Janie and Lynwood Boyd Candy and Malcolm Burgess Mary and James Burt The Dan Cameron Family Foundation Jane and Dan Carter John Carter Gerri and Marshall Casse Cindy and Jim Cast Jane and Bill Chandler Beth Ann and Chris Chiles Charles Cloak Frederick Cohn Wesley and Gayle Colby Sally Cook Simon Cordery Martha and Walter Coursey Marc Dambax/Marco Trattoria Joan Davis Richard W. Dowdeswell Else Drusts Patsy and John Dupre Wes and Sandra Eastman Angie Edgell Nate and Sugie Einstein Mimi and Peter Elder

Jane and Ed Eudy Linda and Peter Fricke Dr. Dianna Gaultney Irene and James Granger Shirley Hallblade and Dave McClellan Elaine Harbilas and Diane Loar Sandy and John Harrington Clarke and Joe Harrison Jean and Bill Holmes George W. Howell Lynn and Donald Hupe Dr. and Mrs. Randy Jackson Barbara M. and Edward C. Jarosz Rosemary and Rick Johnston Gail and Ken Kinard Alice Keith Pfohl Knowles Penny and William Kobernusz Robert S. Lawrence and Sue Rossman Leslie A. Lathrop Elizabeth Lemon Judy and Jim Lipham Lynda and Ronald Lipham Rebecca and Lawrence Lohr Patrick and Amy McCarter Judith and George McCleary Mary Lou and Mac McJunkin Robert and Jane McKeown Jennifer H. Merrell Billie and Roy Messer Sherry and William • Minnich Boone Smith and Robert Morris Margaret and Gus Napier Mr. and Mrs. Jonathan Nelson, for Congregation Beth Jacob Ladene H. and Russell E. Newton, Jr. Diane M. North, Ph.D. Susan and Jim O’Neal Mr. and Mrs. Charles Overstreet Mary and Charles D. Owen, Jr. Steve Owen and Associates Reed and Jack Parker Peace Center Foundation Pfizer Foundation Bob and Martha Pierce Marilyn and Anton Plonner Erwin and Barbara Prietz Donna Reyburn and Michael Griffith Joel Reynolds, In Honor of Ken Lam Lindsay Robertson and Louis Burch Michel and Bill Robertson Leah Rosenheck and Joe Labrador The Perry N. Rudnick Endowment of The Community Foundation of Henderson County Marjorie D. Severance • Deceased

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ANNUAL FUND

Marshall L. Seymour Mr. and Mrs. Wallace Sipos Alice A. Smyth Susan and Herbert Spaugh Rosa and Willie Stanfield Linda and Ron Thompson Deborah and George Tibbetts Morrison Torrey and David Hirschman Melba and Mike Tracy Anne and John Vance Rev. and Mrs. William H. Walker, Jr. Ann Wallace and Bill Nichols Walnut Cove Members Association Anita and Harold Watsky Mark Weinstein and Susanne Marsee Bruce F. White Bob and Elaine Wilkerson Sue S. Williams Joan Yarbrough

ENSEMBLE MEMBER ($1,500 +) Kay and Blan Aldridge Dr. B. Barbara Boerner Chloe and William Coger Mary and Jan Dryselius Marietta and Walter Lacyk Retha and Ross Lynch Margaret MacCary and Sydney Swager Anne Maliff Roberta and Jeff McKeever Lori R. Price Pamela Sandine Nancy Seneff Mary Claire and Daniel Wall

PRINCIPAL ($1,000 + ) Ione M. Allen Music Scholarship Luanne Allgood Judy and Allain Andry Catty and Michael Andry John and Linda Austin Elizabeth Bates and Roy Penchansky Doris Anne Bradley Donna and Larry Bradner Judy and Gary Breisinger Peg and Dan Bresnahan Leslie and Chip Brown Elaine Brown Mr. and Mrs. John M. Brown Jeanne and Rod Bucklin Alyce and Russell Butner Bena and George Cates Gloria Chord Dr. and Mrs. Dana Christianson Control Technologies Deborah and Paul Cooper Donna and Dave Bailey Gwin and Robert • Dalton Craig Davis and Harriet McMaster Danita and Glenn Dickman Becky and Jim Dockter Thomas Eglinton Carol and Sid Elliott ExxonMobil Foundation Mr. Robert Fearheiley and Ms. Katherine Courney

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First Citizens Bank ‑ Brevard Robin D. and Dr. Jerry Fishman Floride Smith Dean Charitable Trust Estate of Elizabeth Fodor Kristine Fulmer Beth and Jim Gillespie Lirio Angelosante and Patty Gomez George and Elaine Goosmann Carolyn Gordon‑Loebig Meredith and Kelly Graves Harris Ace Hardware Sandi and Peter Heckman Hillary and William Hickman William and Linda Hill Judith M. Hodge Nancy and Joe Hunter Molly and Morris Jenkins Nancy King Bonnie and Steven Knier Julia Krebs and Roger Hux Mary LaVigne Cathy Layton Betty and Felix Laughlin Rebecca and Arthur Lebowitz Irene and Richard Lindgren Debbie and Albert Loeb Donna Lohr Suzanne and Norman Macoy Joy and Fred Malakoff Gerry and Beth Mayo Patricia and Noel McDevitt Virginia and Henning Meyn Marie and Raymond Miller National Federation of Music Clubs Southeastern Region Jewel and Shane Nichols Rachel and Bryan O’Neill Mr. and Ms. Lloyd O. Otterman Marie G. Park Pisgah Forest Rotary Club Richard and Brenda Raab Karen and Ted Ramsaur Linda M. Randall and Vernon L. McMinn Joseph Resor Vivian and Ron Rogers Turner and Debbie Rouse Susie and John Ruhl Holly Shulman and John Stagg Sigma Alpha Iota Philanthropies, Inc. Charles Smith Lowell G. Smith Travis E. Smith, Jr. Steelcase Foundation Aleen Steinberg Anne J. Stoutamire Will and Dorothy Trotter Georgiana and James Ungaro Carol and Ken Weemhoff Beverly and Jim Whitten Berkeley Young Anne and Chad Zimmerman

SOLOIST ($500 +) Lynn and Ken Adams Kate and Jon Anderson Russell Arakaki

Sue and Harold Aronberg Maria and Norman Bein Penny and Paul Betters Merritt S. Bond Janice and Joseph Boyd Carolyn and Edward Brann Becky and Jim Bruening Jett Campbell Paulette and Joseph Cantey Teresa Cantrell Edith Cecil Leslie and Kenneth Chepenik Geraldine and Michael Clifford Pat and Charlie Clogston Gay and David Cogburn Mr. and Mrs. Gerard Coluccelli Margaret and Russ Dancy Betty and Fred Devitt Marion Donovan Harry Durity Elke and George Fetterolf Elaine T. Freeman Lawrence Fridkis Kathleen and Lawrence Garofalo Kate and Chuck Gass Rhonda and Joseph Gaudino Nancy and Gary Gilchrist Camille and Ralph Grant Greenberg Family Foundation, Inc Carole and Don Guffey Falls Harris, Jr. Mimi and Hugh Haston Patricia Hawkins and Fred Petersen Sandi and Peter Heckman Holly and Keith Housman Judy and Paul Hummer Dr. Evelyn Spache Huntington Lynda and John Hysong Rita and Edward Isbey Marge and Herbert Jarvis Mr. and Mrs. Stewart H. Johnson Mr. William Johnson and Dr. Sally C. Johnson Kay and Geoffrey Jollay Kathy and Jesse Jones Dr. David Kalwinsky Shirley and Jack Kaplan Mr. and Mrs. Jay H. Kaplan Pamela W. Kaplan Nancy and Alexander Kasten Hollie and Richard Keffer Kay and Alvin Keith Lynn and Larry Klein Dr. and Mrs. Richard N. Knowles Marilyn and Howard Krone Shea and John Kuhn Judy and Harold Kutner Debra and David Lachter Mariano and June LaVia Elizabeth Rivers Lewine Penelope L. Mann Gary and Janice Marine Carol and Hugh McCollum Parmelee Miller Mu Phi Epsilon Foundation Mr. and Mrs. Stuart Murphy Mr. and Mrs. Joseph M. Narsavage Network for Good Jennifer and James Newman

Overland Expo The Paton Fund of The Community Foundation of Henderson County, Inc. Dr. and Mrs. Roman L. Patrick, Jr. Jacob Paul Mary Ellen and Jeff Pendergrast Veronica and Eugene Peterman Kirsten and John Peterson Patricia and James Petillo Joanna and Michael Petrie Isabel Richardson Jane G. Robertson Elizabeth and Richard Rodney Donna Rose Karen Rosenbaum and Clay Edwards Penny and Jim Roubion Michelle and Robby Russell Karen Samuelson Gloria and James Sanders Ralph and Adelia Sawyer G. Thomas Seeley Helena and David Shuford Kirk J. Smith Karen Spacek and William Solmson Nancy Spain and Ben Meyer Martine C. Stolk Chuck and Kathy Strong Jim and Caroline Sullivan Mary Ann and John Tiano Susan Toscani Hugh Tucker and Paul Thomas Mr. Waddy Thompson and Mr. Charles Cosler United Way Of Transylvania County Inc Diane and Howard Williams Mrs. Ann Grant and Ms. Carolyn J. Van Ness Joy and Benjamin Warren Wells Fargo Private Bank - Asheville Mary Lou and Ed Wilson David Yeager Mary and Roy York Marjorie and Gregory Zack

ORCHESTRA MEMBER ($300 +) Mr. and Mrs. Ken Douglas Adams Linda Albright Jim Anderson Daniel Angerstein David Ardia Alton Arnold Toni Arnold Daisy Arrington Kathryn A. Banks Nancy Beale Kathleen Bellizio Dr. and Mrs. James H. Black Mr. and Mrs. Randolph Blake The Bromfield Inn Nancy and Donald Buebendorf Carole and Frederick Burgett Barbara and Carl Burkhart Charles Butz John Canning Dale Carter Janet and Randy Catlin


Janie and Robert Sargent Mr. and Mrs. Ronald Schleich Claire and Hal Schmidt Mary Scott and Jack Christfield Gerald Schultz Carol and Stephen Sedgwick Lou and Mike Shelley Claire and Richard Skerrett Bronwen and Jerry Starnes Mr. and Dr. Jonathan Simon Carol and James Smeaton Esther and Gordon Start Virginia Steiger Ann P. Strother Rhonda and Richard Taylor Susan and James Toms Carolyn Tripp Mr. and Mrs. James Tripp Francisco Troconis Blayne Turner Katina and Brian Turner Mr. and Mrs. R.A. Vanmeter Don Weidemann Marilee and Bill Welliver Larke Wheeler Monica and Bruce Williams Larry and Sandra Winecoff Gerry W. Winterrowd Donna Wren Bobby Yount

CURTAIN RAISER ($125 +) Mary and Craig Adams Ross Akin Ruth Allen Elijah Alper AON Foundation Matching Gifts Program Yvonne Arbuckle Karla Atkinson Jim and Suzanne Bailey Karen Bain Mr. and Mrs. David Baker Katelynn Baker Marilyn and John Baldrige Sarah and Thomas Belk Heidi Bell Elizabeth C. Best Nancy J. Birge Cheryl and Boyd Black David E. Bloom Mr. and Mrs. Morty Blumberg Richie Wilkinson and John Bologni Jennifer Borden Gay Boswell Mr. and Mrs. R. Barry Borden Martha and Edwin Bridges Sandy and Donald Brokmeyer Donna L. Brown Jo Brown Donna and Richard Brown Dr. and Mrs. Stephen Brown Ronald Bryson Mr. and Mrs. Thomas Bushar Frank Byrd Peggy C. Cabe Robert and Jodi Camp Ellen Campbell

Oliver Cantey Elizabeth and Walter Cantrell Carol and John Carrano Alexander Cash Mr. and Mrs. H.D. Caughman Jill and Larry Chapman Russell N. Chappell, Jr. Walt and Karen Charen Laura Clark Mr. and Mrs. Gregory Cloos Faye and Gil Coan, Jr. Edith and David Cofrin Susan H. Collins Rowena J. Cottingham Eleanor M. Cox Everett T. Culpepper Laura and Tom Cunningham Henrietta and Alvin Cuttler Terry and Max Dajnowicz Judy and John Davis Cynthia and John Deliman Dorne Jo S. Dietsch Sandra Dillon Delores Doerr Michael Domonkos Nancy Dorr Milton R. Dowdeswell Jr. Erika Eckert Connie and Chuck Edmands Mary Ellen Edmonds Jeanette and George Erdman Dr. and Mrs. Hector Estepan Joy A. Evans Jean and Richard Fallis Barbara L. Felt and Henry Felt Mr. John H. Field Marsha and Bruce Fishbane Howard and Carol Fisher Mr. and Mrs. Eugene Fitzgerald Linda Fitzhugh Sharyn and Tad Fogel Pamela and Robert Folger Nancy Foltz Susan and Michael Fong Carolyn and Ted Fredley Belinda and Jeffrey Fromson Angela J. Fulton Mr. and Mrs. Harrison Gardner Elizabeth and John Gardner Wendy and Kenneth Gassman H. Pierre Gauthier Carol and Allan Gerson James Gorney Nancy and George Goyette Lois Grabowski Howard Granat Wanda and Jack Gregory Elizabeth Greenberg Mr. and Ms. James S. Grien Barbara and Rudy Griffin Judith and Phil Ham Michael Hamaway Todd Hansen Lynn S. Harding Jimmy Harris Mr. and Mrs. Matthew Haskins Tim Hatfield James B. Hawkins Linda Wofford Hawkins

Karen and Robert Hayward Carol and John Helbling Vicki and John Held George Hellyer and George Wagner John and Debby Hirst Mr. and Mrs. David Hoppenworth Katherine and Carey Horne Bev and Bob Howard Mary Howell Margaret Howell Steve Hurst Joya Iannicelli Stanley Ingber and Laura Robbins Paula and Warren Jackson Ann Jaedicke Mary Jaeger‑Gale Kim H. Jardine Rick Jensen Sheila Johnson Donna Johnston and Charles Stohr Margaret Joseph Suzanne and Henry Judy Gerda Moore Kahn Willa Kalman Lonnie and Charles Kantor Joe Karpicus Adelaide Kersh Mr. and Mrs. Keith Kiser Richard Kleinmann and Nancy Foltz Ken and Lin Kolb Angela Kornegay Joan and Lawrence Korth Becky Koslick Joseph and Wendelyn Kotowski Melvin I. Kruger Dr. Albert Kunze Mr. and Mrs. Roger Lamberton John R. Lauritsen Alice Lee Page and Mark Lemel Leslie and Ursula Lilliman Cathie and Walter Long Andrew Griffin Long Linda and Timothy Looney Evelyn and Richard Lorenz Mr. and Mrs. Bill Loventhal Mr. and Mrs. Henry Lucius III Susan Peterson Mahan and Thomas Mahan Marlene and Edward Martin Nancy and George Martin Dr. Shirley Davis Martin Jane and Bill Mason Watt McCain Robert McCann Susan and Roger McCann Harry and Sande McCauley Susan L. McConnell J. Samuel McKnight Craig Davis and Harriet McMaster Toni Meador Kye Merriam Fred Meyer Edna Ruth Miller Marie and Raymond Miller Vernon and Edna Ruth Miller Kathleen and Robert Milligan Vernetta and Michael Milts Jenny D. Mishkin

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Mr. and Mrs. James R. Catlin Ryan Cecil Dan M. Cliffe Deborah and Paul Cooper Obie Cuento Betsy and Tom + Darnall Patricia and Frank Dennis Judith Dewar Magdalena and Michael DiRocco Barbara Dowd Duke Energy Foundation Betty and Robert Edge Bettie and Van Edwards Kathy Elliston Dr. and Mrs. W. Leon Elliston Raquel and Raymond Ferrero Jonnie and Charles Flanagan James E. Gallagher, Jr. Mr. and Mrs. Frank L. Giannuzzi Charlotte and Charles Gilmore Fred and Nancy Granros Bernard Groseclose and Elizabeth Mason Jane Hancock Jan and Doug Hart Keith Hawk Mr. and Mrs. Michael B. Heisler Dr. Carter Heyward Rena and Stephen Hoffman Whitfield Jack Carolyn and Albert Jolly Michelle Jones Jackie and Bill Kalbas Patsy Kanter and Ernest D. Levinson Paul A. Kays Thomas King William C. Knochel Suzanne and Richard Knox Jennifer Leopold Jennifer Loew Bill Lovejoy Mary Jane Newland Manning and Preston Manning Hal and Nancy Martin Mary Alice and Jack McBrayer Pat and Fred McGarrahan Tim and Sharon Mendelsohn Alan Mercaldo Fred Meyer Marcia Millar Maureen and Richard Mitchell Terence Monaghan Ellen and Jimmie Morrison Susan and David Napolitano Peggy and Robert Neal Mr. Ira Pearce and Dr. Mary B. Pearce Patricia and Kevin Pernicano Mr. and Mrs. Thomas Peterman Mr. and Mrs. Kevin A. Peters Teed and Sadler Poe Barbara and Stanley Price Jeanne and Donald Puchala Deb Richter David Roberts Lucy and Robert Rodes Enid and Louis Rogow Author Anne Sanders


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Sharon Rangazas Mary Lynn Raszynski Roger Reep Mr. and Mrs. Oscar Reiner, Jr. Mrs. Ronda Respess Rebecca Rhodes Robert Richardson and Patricia Edge Vancene and John Robenalt David Roberts Colleen Rose Lorraine and John Rourke Claire M. Rouse David Rusch Michael H. Sanders Suzanne Sanger Mr. and Mrs. William Scherer Robert and Louise Schmidt Nancy Schuman Eleanor and Bert Schweigaard‑Olsen Joyce and Steve Seelinger Melinda and Norman Sharrit Lori C. Shook Mr. and Mrs. Richard Shulman

Robert Sihler and Ann Jaedicke Joyce and Bert Simon Kay and Brian Smithson Judy Snyder Bob and Jeanne Speight Mr. and Mrs. Douglas Sperry Lisa Springer Barbara Steadman Carolyn Steele Charles Stohr and Donna Johnston Marcia and Robert Stoner Zee and Marshall Stuart Mr. and Mrs. Raymond L. Swetenburg Phil and Joan Szczepanski Thomas J. Tate K.D. and J.W. Tempelaar‑Lietz Roger Hill Timpson Dr. James and Ms. Gail Tiitus Mary Nell Todd Ken Tozier Susan and Peter Trapp Evelyn Tribbs Marilyn and George Tubb Jane and Jack Turner

Vic Umansky Leon Vancini Joseph Walc Caren Von Hippel and Bill Walker, Jr. Mary Ellen Long Way Carol and Harry Weinhofer Dr. and Ms. Terrell Weitman Sandra W. Welles Janice and Kraig Williams Roy Williams Susan Winsor Mr. and Mrs. James Wirths Diane and Aubrey Woodard Frances Worthy and John Wigington Sydna and Rick Wylie Jean York Camille Yow Ruthie Zaleon Dr. Noel and Roxanne Zusmer • Deceased

LIFETIME GIVING SOCIETY 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.

$1,000,000 +

Brevard Music Center Association North Carolina Arts Council Dr. William J. Pendergrast, Sr. Jacquelyn and Bruce Rogow The Estate of Elwood P. Safron Betty A. Scott • Mrs. J. Douglas Sykes, Jr. • J. Mason Wallace, Jr. Irrevocable Trust

$750,000 +

John S. Candler Estate of Richard H. Cushman Frederick B. Dent Josie Renzulli • 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 The Cannon Foundation The Champion Hills Community Mariam and Robert Hayes Charitable Trust Ruby Morgan and Douglas MacDonald Barbara • and Elwood • Safron Mrs. Emily Searcy • Emily and Bill Searcy Charitable Trust

Surdna Foundation Nelly and Kurt Zimmerli

$250,000 +

Malcolm and Patricia Brown Citizens Telephone Company T. Kenneth Cribb, Jr. 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 William R. Hackney III Gail and William Hagler Dr. Falls L. Harris Robert N. Hill III • Vivian S. Hoeppner • The Janirve Foundation Barbara and John Lawless Frances J. Munk • Laurie and Douglas Ombres Drs. Tom and Joanne Parker SharonAnn and Robert Philip The Rauch Foundation Charles E. Schooley • Nancy Crow Trentini Patricia R. Webb Betsy and Bill • White Lynn P. Williams Elisha and Jeffrey Zander

$100,000 +

Ione M. Allen Music Scholarship Martha Andrews • Sally and Doug Bailey

Mr. and Mrs. W.D. Bain, Jr. The Barnet Foundation Trust Margery • and Charles • Barnum Nancy Glass and John Belmont Joan and Bruce Berryhill George S. Betsill • Joseph Blake • The Estate of William G. Boggs, Jr. Jane and Dan Carter The Chattooga Club The Estate of Anne N. Collings Mary C. Conner Revocable Trust Martha and Walter Coursey Eugenia and Robert Dowdeswell Duke Energy Foundation Mimi and Peter Elder The Estate of Lois Maxine Gibbs The Estate of Patricia K. Gibson First Citizens Bank - Brevard AJ Fletcher Foundation Marilyn and Larry Fogdall Sandy and Bernie Fox Betsy O. Barefoot and John N. Gardner The Ann and Gordon Getty Foundation Helen C. Gift Yvonne and Charles Goldsmith The Estate of Helen C. Hanes Tracy and Tom Hannah Mary Adelaide Hester Nancy Hicks Martha Rivers Ingram Intercollegiate Studies Institute Anne Irwin Don M. Jenkins • Carlene Jerome

Ewing M. Kauffman Foundation Mr. and Mrs. G. William • Lohr, Jr. Audrey Love Charitable Foundation The Estate of Ruth H. Meinecke Ladene and Russell Newton The Payne Fund Platt Architecture, PA Valeria and James Robertson John and Linda Sarpy Fund Carole and Arthur Schreiber The Estate of Mary K. Scott Eleanor and Bert Schweigaard-Olsen The Estate of Marjorie Smiley Mrs. A. Robert Soehner • South Carolina Federation of Music Clubs Spartanburg County Foundation Dorothy Richard Starling Foundation Martha Washington Straus and Harry H. Straus Foundation Lynda and Carl Sykes Loretha and Paul • Thiele Harriet and Ken Walls Kate and Mitchell Watson Sue Williams The Zimmerli Foundation, Inc *as of April 30, 2019 • Deceased

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ANNUAL FUND AND LIFETIME GIVING SOCIETY

Mr. and Ms. Ronald A. Mislowsky Joe Mitchell Marilyn Mitchell Sara Helen Moore Edward Moreadith J. G. Morgan Don and Sarah Lee Myracle Terri Nell Carl and Ginger Newman Dorothy Newton Tom and Carole Oosting John Orr Robert Overstreet Liz S. Papenbrock Davy Parrish Debbie and Rod Parrish Jack N. Parsons Helene Pasternack Nancy B. Patrick Gratia and David Pratt Willis Preston Barbara and Stanley Price Katherine Price Jack and Harriet Ralston


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ENCORE SOCIETY

YOUR LEGACY...OUR FUTURE: JOIN THE ENCORE SOCIETY TODAY! Now more than 80 years since our founding, Brevard Music Center 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. Annual Fund giving 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. In addition to that ongoing partnership is the forethought of those who also choose to ensure BMC’s 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. To learn more, call us at (828) 862-2121 and speak with Dave Perrett, Director of Development. 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 Kathleen Bellizio Judy and Dennis Berman George S. Betsill • Mildred Blaha • Dr. B. Barbara Boerner William G. Boggs, Jr. • Emily and Doug Booth John S. Candler Pat and Charlie Clogston Wesley and Gayle Colby Mrs. Gilbert H. Collings, Jr. • Mrs. Edwin P. Collins Elizabeth Conger • Mary C. Conner • Mrs. 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 Selena Einwechter Jerusha and Murray Fadial Marilyn and Larry Fogdall John N. Gardner Laurence Glazener Hildegard H. Greitzke Gail and William Hagler Viva • and George • Handler Copey Hanes • Sandy Glock Harrington Mary Adelaide Hester • Vivian S. Hoeppner • Jean and William • Hough Edith Howson • Ann Ives Debbie Klingender and John Allen Dorothy King • 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 Charles D. Owen, Jr. Dr. William J. Pendergrast Sr. SharonAnn and Robert Philip Anca Pop, M.D. Donna Reyburn and Michael Griffith Lindsay Robertson Valeria and James Robertson Janie and Robert Sargent Mary Sauerteig • Jeannette and Robert Schmitt 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 Crow Trentini Joella Utley Irene and Tonny Van Der Leeden Stephanie Eller Vaughn J. Mason Wallace, Jr. • Kate and Mitchell Watson Patricia R. Webb Mark Weinstein and Susanne Marsee Bill • and Betsy White Delmar Williams Lynn P. Williams Jan and Beattie Wood Joan Yarbrough Nelly and Kurt Zimmerli • Deceased

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MAMMA MIA! 2018

THE STATE THEATRE OF NORTH CAROLINA

BROADWAY MOUNTAIN STYLE

828.693.0731 FLATROCKPLAYHOUSE.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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We’ve set the stage for an

INSPIRING SUMMER OF MUSIC

Keith Lockhart Artistic Director

S U M M E R F E S T I VA L Symphony. Opera. Chamber. R&B. Pops. Jazz. Bluegrass.

BREVARDMUSIC.ORG | (828) 862-2105 | Lawn tickets start at $20 182 BrevardMusic.org


GIFTS IN HONOR & MEMORY

GIFTS IN HONOR AND MEMORY Gifts were made in honor or memory of the following individuals from May 1, 2018 through April 30, 2019.

GIFTS IN HONOR In Honor of Dean Anthony Nancy B. Hicks In Honor of Joan and Bruce Berryhill George and Bena Cates Thomas J. Tate In Honor of Mr. Tom Bolton William J. Gibbs In Honor of Martha and Walter Coursey Mary Ellen & Jeff Pendergrast In Honor of T. Kenneth Cribb, Jr. Martha and Clarke Blackman Margaret Barnes Ernest Camp John Dargan Harry M. Mims In Honor of Frederick Dent M.D. Stuart

In Honor of Walton and Helen Peery Michael Teden In Honor of Alyna Rogow and Elliot Sanders Blue Moon Friends and Family Elizabeth Greenberg Greenberg Family Foundation, Inc. Ruthanne and Henry Lucius Ed, Roben and Kristen Schwen Jeffrey Schwen Zeinab Schwen Ann V. Wallace Nichols In Honor of Carole and Arthur Schreiber Shirley and Richard Knight In Honor of George and Jane Silver’s 50th Wedding Anniversary Bill and Rita Loventhal

In Honor of Kristine Fulmer for Her Outstanding Contributions to Brevard AARP-Tax-Aid From her Colleagues and Friends

In Honor of Nancy Crow Trentini Dorothy Newton

In Honor of Charles and Yvonne Goldsmith Aaron Price Lori Price Richard Shulman

In Honor of Charles Weiss’ “Special Birthday” J.F. Malakoff Jill Zimerman

In Honor of Dr. Falls L. Harris Nate and Sugie Einstein In Honor of Ken Lam Joel Reynolds In Honor of Ross Magoulas Nancy B. Hicks In Honor of Michael McAllister Elizabeth P. Cain In Honor of Mary Owen’s Special Birthday Ann Armfield In Honor of Tom and Joanne Parker Kathy and George Dambach In Honor of “My Grandchildren” Helene Pasternak and Jim Magyar

In Honor of Mark Weinstein Jeanne and Rod Bucklin

In Memory of Joyce Carpenter Ron and Kathie Whittemore In Memory of Dicksie Cribb Catherine and Lauren Smith In Memory of Alan Cuttler Henrietta Cuttler In Memory of Robert Dalton Dr. J. Murray and Jerusha Barnum Fadial In Memory of Carol Martin Elliott Charles Elliott In Memory of Clarice Farrell Mary Schultz In Memory of Cynthia Flamm Timur Kanaatov In Memory of Elizabeth Fodor Estate of Elizabeth Fodor In Memory of Bette Lathrop Betty L. Pearce Katharine Jones

In Memory of Ettie Minor Luckey Sarah Belk Holly Bryant Lynn Hodges Walt and Helen Peery Roy L. Smart III Jan O. Swetenburg In Memory of Mary Ann Morie Nancy Hicks In Memory of Edmond Murphy Nancy and Stuart Murphy Judith and William Schanilec Teresa and Daniel Trusler Janice and Kraig Williams In Memory of Evan Armstrong North Diane M. North Ph.D. In Memory of Karen Adele Kadel Northey James Northey In Memory of Jane Rhodes Cindy C. Cordell In Memory of Lonnie Safley Bill and Sara Knochel

In Memory of John and Elizabeth Landrum John G. Landrum III Rita E. Landrum

In Memory of Dr. Alan E Singer Edward E. Moreadith

In Memory of G. William Lohr, Jr. Dr. J. Murray and Jerusha Barnum Fadial

In Memory of Jamie White Sally Cook

In Honor of Claire Loren Winter Mary Scott and Jack Christfield

GIFTS IN MEMORY In Memory of Nancy C. Albyn Kristine and John Candler Mr. Craig Dykstra Ms. Marianne Evans Alex Murray Ms. Gretchen Near Ms. Judith Orbach Ms. Gail Rachor In Memory of Karen Akin Ross Akin In Memory of W.D. Bain, Jr. Joseph Blake In Memory of George Betsill Theo V. Sitton

“I have grown significantly while studying at Brevard Music Center and I highly recommend it to anyone looking for a challenging and rewarding summer experience. BMC will leave you inspired.” — EVAN ZEGIEL, TUBA

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BREVARD MUSIC CENTER ENDOWMENT

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 at (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 General Operations Endowment Fund Brevard Music Center Memorial Scholarship Fund Brevard Music Center Staff Scholarship Fund Brevard Music Center Association 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 The Dicksie Cribb Opera Scholarship Award

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Janet E. Cushman Memorial Scholarship Fund 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 Deickman-Handler Memorial 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 The John and Elizabeth Landrum 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


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 Ruth Treiber Rauch Voice Study Program 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 Joan 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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Dr. Charles and Nell Aiken Newland Fund Ladene Herring and Russell Emrich Newton, Jr. Scholarship Fund Betty Ann Page Memorial Scholarship Fund 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 Sylvia Richter Scholarship Fund Dr. Julius and Barbara M. Sader Scholarship Fund Elwood and Barbara Safron Scholarship Fund John and Mary Sauerteig Scholarship Fund

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Hampton Inn.............................................................. 163 Hawg Wild BBQ.........................................................24 Heart of Brevard.......................................................196 Hendersonville Symphony.....................................138 Highlands-Cashiers Chamber Music.................. 170 Indiana University Jacobs School of Music........ 193 Jacksonville University.............................................139 Jennings Building Supply....................................... 165 Jerome and Summey Insurance Agency............ 176 Key Falls Inn.............................................................. 125 Laborde Eye Group.................................................139 Lakeview Capital Partners........................................24 Landmark Realty.......................................................150 Longy School of Music of Bard College............ 170 Lynn University Conservatory of Music............... 128 Main Street Ltd......................................................... 133 Mantiques.................................................................. 151 Marco Trattoria.......................................................... 125 Mars Hill University.................................................. 143 Mission Health.......................................................... 124 Moore-Blanchard Funerals & Cremations.......... 181 Mountain River Tap & Growlers............................ 151 Mountain Xpress......................................................186 New Leaf Garden Market....................................... 171 Oskar Blues Brewery..............................................189 Our State Magazine...................................................29 Pad Thai.....................................................................148 Peabody Conservatory of The Johns Hopkins University...................................................139 Petrie School of Music, Converse College ....... 142 Pisgah Fish Camp....................................................148 Platt Architecture, PA.............................................. 178 PNC Bank................................................................. 172 Professional Videography by Henry Felt............. 170 RBC Wealth Management.................................... 167 Quixote....................................................................... 165 Residential Property Management....................... 165 Rocky’s Soda Shop/ DD Bullwinkel’s.................190

Roosevelt University................................................ 133 Rutgers University.................................................... 129 Skyterra...................................................................... 135 Sora Japanese Restaurant & Sushi Bar............. 153 Southern Alarm.........................................................198 Stetson University.................................................... 152 Steinway & Sons...................................................... 195 Steinway Piano Gallery...........................................194 The Bromfield Inn..................................................... 153 The Center for Art & Inspiration............................148 The Haen Gallery..................................................... 161 The Laurel Magazine of Highlands.......................180 The Laurel of Asheville............................................186 The Ohio State University......................................156 The Square Root Restaurant................................. 151 The Sunset Motel.....................................................156 The University of Georgia, Hodgson School of Music.......................................................156 theophilus.....................................................................31 Transylvania County TDA....................................... 119 Transylvania County TDA....................................... 132 Transylvania Times .................................................. 191 Tryon Estates ...........................................................169 University of Colorado, Boulder .......................... 157 UNC, Greensboro................................................... 153 UNC School of the Arts ...........................................71 University of Puget Sound.....................................159 University of Tennessee School of Music........... 162 Veterans History Museum......................................156 WDAV......................................................................... 192 WHKP........................................................................180 WNC Magazine ....................................................... 185 WSQL........................................................................ 181 WTZQ........................................................................ 181

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ADVERTISERS INDEX

35 Degrees North Landscape Services............. 120 Advent Health..............................................................17 Appalachian State University Summer Fest....... 170 Ardenwoods.................................................................28 Asheville Audi...........................................................164 Asheville Citizen-Times...........................................184 Bed & Breakfast on Tiffany Hill.............................168 Bellagio/Blue Spiral 1.................................................. 2 Bienen School of Music, Northwestern..............109 Biltmore......................................................................154 Biltmore Beacon......................................................186 Blue Moon Gallery......................................................25 Blue Ridge Public Radio........................................158 Bold Life..................................................................... 172 Bold Rock Hard Cider ........................................... 133 Bob Jones University................................................ BC Brevard Health & Raquet Club................................25 Brevard Lumberyard................................................ 197 Broad Street Wines....................................................30 Cantrell Construction.................................................30 Capital at Play........................................................... 187 Carnegie Mellon University.......................................25 Carolina Living Choices............................................24 Cashiers Benefit Antique Show........................... 172 Cashiers Mountain Markets...................................186 College Walk Retirement Community ................199 Comporium...................................................................30 Connestee Falls Realty........................................... 143 Deerfield .................................................................... 125 Dixon Hughes Goodman LLP .................................28 Dugan’s Pub............................................................. 129 Eastman School of Music ........................................95 Fisher Realty.................................................................16 Flat Rock Playhouse ...............................................180 Florida State University........................................... 129 Furman University........................................................20 Fyzical Therapy & Balance Centers..................... 143 Greystone Inn...........................................................149


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The Art of Living Well

College Walk has four lifestyles to choose from, unrivaled amenities and superior service. Adjacent to Brevard College and a short walk to downtown, Brevard is at your fingertips.

Join us for dinner, or stop by to share a cup of coffee.

(828) 884-5800 100 North College Row Brevard, NC 28712

www.collegewalkretirement.com

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© 2019 Bob Jones University. All rights reserved. BJU does not discriminate on the basis of race, color, age, sex, national or ethnic origin, protected disability or veteran status. 21947 (4/4)

MUSIC AT BJU Pursuing and sharing God’s beauty through redemptive artistry

BJU Symphony Orchestra and Choirs at Chicago’s Orchestra Hall Performing Jubilate Deo by Dan Forrest ’99

2019-2020 SEASON HIGHLIGHTS

DAVID KIM, ARTIST IN RESIDENCE Concertmaster, The Philadelphia Orchestra

• Hovhaness Symphony No.1 ‘Exile’ • Handel Messiah • Mozart Così fan Tutte • Tchaikovsky Violin Concerto

Explore more at music.bju.edu DEGREE PROGRAMS: Music Composition, BMus • Keyboard Performance (Piano or Organ), BMus • Orchestral Instrument Performance, BMus • Piano Pedagogy, BMus • Voice Performance, BMus • Music Education, BME • Music, BA or BS • Music and Church Ministries, BS • Music Minor • Master of Music Education (Online)

Scholarships available. Contact music@bju.edu @BJU.Music

Profile for Brevard Music Center

2019 BMC Overture Magazine  

The seasonal publication for the annual Brevard Music Center Summer Festival. Overture includes all festival programming and program notes,...

2019 BMC Overture Magazine  

The seasonal publication for the annual Brevard Music Center Summer Festival. Overture includes all festival programming and program notes,...

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