Close Encounters With Music 27th Season 2018-2019 Playbill

27th Season in the Berkshires

Close Encounters With Music 2018/2019 Yehuda Hanani

Artistic Director

Close Encounters With Music 2018-2019 Calendar Saturday, October, 13, 6 PM Mahaiwe Performing Arts Center, Gt. Barrington MA

A Rossini Extravaganza!

An evening illustrating the wide range of Rossini’s majestic, hilariously wicked and sparkling music.

Emily Marvosh, contralto; Sonja Tengblad, soprano; Roman Rabinovich, piano

Saturday, April 13, 6 PM Mahaiwe Performing Arts Center, Gt. Barrington MA

Prestige Performance: The American Brass Quintet The ensemble that sets the artistic standard for modern classical brass. Kevin Cobb and Louis Hanzlik. trumpet; Eric Reed, horn; Michael Powell, trombone; John Rojak, bass trombone

Sunday, November 11, 3 PM West Stockbridge Historical Society, W. Stockbridge, MA

Sunday, April 28, 3 PM Casana T House, Hillsdale, NY

Conversations With... Reconsidering Haydn Professor Caryl Clark provides a window into the changing social, cultural, and political spheres that influenced Joseph Haydn.

Conversations With... Tamar Muskal— Composer, Songwriter, Fashionista From pop songs to symphonies to a new opera-inprogress, set in the world of high fashion.

Saturday, December 8, 6 PM Mahaiwe Performing Arts Center, Gt. Barrington MA

Mozart and Schubert— Marzipan and the “Trout” Miraculous Mozart and music from the pen of a 22-year-old prodigy inspired by the tragic-comic death of a fish! Max Levinson, piano; Itamar Zorman, violin; Karine Lethiec, viola; Yehuda Hanani, cello; David Grossman, double bass Saturday, February 23, 6 PM Saint James Place, Gt. Barrington MA

Mid-Winter Fireside Concert: Haydn Seek Humor in the Works of Papa Haydn String quartets, surprise and comedy. Call it a master class in musical humor. Hagai Shaham and Xiao-Dong Wang, violin; Dov Scheindlin, viola; Yehuda Hanani, cello Saturday, March 23, 6 PM Mahaiwe Performing Arts Center, Gt. Barrington MA

Troika à la Russe— Rachmaninoff, Prokofiev, Scriabin

Sunday, May 5, 12 PM The Lenox Club, Lenox MA

Annual Luncheon Musicale Benefit Celebrate the Salon in the Gilded Age elegance of the Lenox Club, a venerable Berkshire presence since 1864!

Saturday, May 18, 6 PM Mahaiwe Performing Arts Center, Gt. Barrington MA

The Art of the String Quartet—The Escher Mozart Quartet No. 23, Barber Adagio and the great, other-worldly Schubert Quintet. The Escher String Quartet: Adam Barnett-Hart, violin; Danbi Um, violin; Pierre La Pointe, viola; Brook Speltz, cello, with Yehuda Hanani, cello Saturday, June 8, 6 PM Mahaiwe Performing Arts Center, Gt. Barrington MA

GALA: Like Father-in-Law, Like Son-in-Law Antonin Dvořák and Josef Suk Czech folklore and the divine Dvořák Piano Quintet in A Major. Soyeon Kate Lee, piano; Irina Muresanu and Peter Zazofsky, violin; Michael Strauss, viola; Yehuda Hanani, cello

Russian lore, Slavic emotionalism, Soviet-era sarcasm and dazzling virtuosity. Inna Faliks, piano; Yehuda Hanani, cello Cover painting by Hans Heuberger

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welcome from our president To our patrons, subscribers, audience members and friends, It is my great pleasure to welcome you to another exciting season of brilliant concerts right here in Great Barrington. And this year is especially momentous because it marks the first time that Close Encounters With Music will have operated year-round in the Berkshires. In the summer of 2018, we launched our Berkshire High Peaks Music Festival, ten days of master classes, faculty lectures and, most of all, astonishing performances by some of the world’s most promising young musicians. Mark your calendars for next August. High Peaks will be back!!

Close Encounters is now multi-dimensional with the combination of our fall-to-spring concert series in Great Barrington, our educational activities at Berkshire High Peaks Festival, our interesting and off-beat explorations of music-related subjects through Conversations With… super-accomplished people and our on-going Commissioning Project which supports the creation of new compositions. Close Encounters nurtures the music lover, the music community and the musical spirit.

Your support makes it all possible. We thank you for attending the concerts and for being part of the growing Close Encounters family. We hope to continue to serve you.

— Marcie Setlow

FROM THE ARTISTIC DIRECTOR Dear Friends and Close Encounters Enthusiasts, A hearty welcome to our new season!

Two concerts will examine the use of humor in music—unaided by words— from the wit and mischief of Haydn to the outrageous, naughty buffoonery of Rossini, whose anniversary we celebrate.

The Escher Quartet returns by popular request, and I’ll join them for the sublime Schubert Quintet—one of the highest peaks in all of chamber music. A Russian night will feature a Slavic mystic and two exiles: Scriabin, Rachmaninoff and Prokofiev, the third of which was, alas, lured back by Stalin’s promises of national glory. (In this grim tale, it is the Wolf who caught Peter….)

The celebrated American Brass Quintet introduces a complete change of timbre (no strings attached), and our holiday concert includes the most beloved “Trout” Quintet, freshly caught and expertly prepared for you—our gourmand audience. We conclude with heart-on-sleeve Dvořák and son-in-law Josef Suk in a cornucopia of melodies inspired by Czech folklore. Check it out!

I’ll see you at the “Afterglow” on stage following the concerts.

—Yehuda Hanani

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C l o s e E n c o u n t e r s Wi t h M u s i c Saturday, October 13, 2018 – 6 PM • Mahaiwe Performing Arts Center, Great Barrington

A Rossini Extravaganza!

Gioachino Rossini (1792-1868) “No, no, non ve” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from Cenerentola “Di tanti palpiti” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from Tancredi “Giusto ciel” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from Maometto “Petite valse l’huile de ricin” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from Péchés de vieillesse “Cruda sorte” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from L’italiana in Algeri “Caresse a ma femme” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from Péchés de vieillesse “La regata veneziana” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from Péchés de vieillesse “Voga o Tonio” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from the song cycle Les Soiree Musicales No. 9

Intermission

Gioachino Rossini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . String Sonata No. 3 in C major

I. Allegro II. Andantino III. Allegro “Le petit train” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from Péchés de vieillesse “Quis est homo” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from Stabat Mater “Agnus Dei” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from Petite Messe Solennelle “Petite Caprice, Style Offenbach” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . from Péchés de vieillesse Jacques Offenbach (1819-1880) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “Barcarolle”

Emily Marvosh, contralto; Sonja Tengblad, mezzo-soprano; Roman Rabinovich, piano; String Quartet: Maria Jojatu and Sophia Velinson, violin; Melanie Chen, cello; Julide San, double bass

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C l o s e E n c o u n t e r s Wi t h M u s i c Saturday, December 8, 2018 – 6 PM • Mahaiwe Performing Arts Center, Great Barrington

Mozart & Schubert— Marzipan and “The Trout” Wolfgang Amadeus Mozart (1756 - 1791) . . . . . . . . . . . . . . . . . Piano Quartet in E Flat Major K 493

I. Sostenuto assai – Allegro

II. Scherzo, Molto vivace – Trio 1 & 2 III. Andante cantabile

IV. Finale, Vivace Intermission

Franz Schubert (1797 - 1828) . . . . . . . . . . . . . . . . . . . . . . . . . . Piano Quintet in D Major “The Trout”

I. Allegro vivace II. Andante III. Scherzo: Presto

IV. Andantino – Allegretto

V. Allegro guisto

Max Levinson, piano; Itamar Zorman, violin; Karine Lethiec, viola; Yehuda Hanani, cello; David Grossman, double bass

Reception following the performance

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C l o s e E n c o u n t e r s Wi t h M u s i c Saturday, February 23, 2019 – 6 PM • Saint James Place, Great Barrington

Midwinter Fireside Concert Humor in the Works of Papa Haydn Franz Joseph Haydn (1732-1809) String Quartet in D Major, Op. 20, No. 4

I. Allegro di molto

II. Un poco Adagio, affettuoso III. Menuetto, Allegretto alla Zingarese

IV. Presto scherzando

String Quartet in E flat Major, Op. 33, No. 2 “Joke”

I. Allegro moderato

II. Scherzo: Allegro III. Largo IV. Presto Intermission String Quartet in C Major, Op. 76, No. 3 “Kaiser”

I. Allegro

II. Poco adagio III. Menuetto

IV. Finale: presto

Hagai Shaham and Xiao-Dong Wang, violin, Dov Scheindlin, viola; Yehuda Hanani, cello Reception following the performance graciously provided by Guido’s

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C l o s e E n c o u n t e r s Wi t h M u s i c Saturday, March 23, 2019 – 6 PM • Mahaiwe Performing Arts Center, Great Barrington

Troika à la Russe Rachmaninoff, Prokofiev, Scriabin Alexander Scriabin (1872-1915) . . . . . . . . . . . . . . . Sonata No. 5 for Piano in F-sharp Major, Op. 53 Sergei Prokofiev (1891-1953) . . . . . . . . . . . . . . . . . . . Sonata for Cello and Piano in C Major, Op. 119

I. Andante Grave – Moderato Animato

II. Moderato – Andante dolce III. Allegro, ma non troppo Intermission

Sergei Rachmaninoff (1873-1943) . . . . . . . . . . . . . . . Sonata for Cello and Piano in G minor, Op. 19

I. Lento – Allegro moderato

II. Allegro scherzando III. Andante

IV. Allegro mosso

Inna Faliks, piano; Yehuda Hanani, cello

Reception following the performance graciously provided by Hawthorne Valley Farm Store, Harlemville, NY

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C l o s e E n c o u n t e r s Wi t h M u s i c Saturday, April 13, 2019 – 6 PM • Mahaiwe Performing Arts Center, Great Barrington

Prestige Performance The American Brass Quintet Victor Ewald (1860-1935) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Quintet No. 2 in E-Flat, Op. 6 Allegro risoluto

Theme and Six Variations Allegro vivace Philip Lasser (b. 1963) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Common Heroes, Uncommon Land

City Hero Hero of the Land Joy Hold Fast to Dreams Epilogue Intermission

Dan Coleman (b. 1972) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daybreak Thomas Stoltzer (1475-1526) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Three Fantasias in Church Modes Hypophrygian Hypodorian Hypolydian Eric Ewazen (b. 1954) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Frost Fire (1990)

Bright and Fast

Gentle and Mysterious Tense and Dramatic

The American Brass Quintet is represented by Kirshbaum Associates, New York.

The American Brass Quintet: Kevin Cobb and Louis Hanzlik, trumpet; Eric Reed, horn; Michael Powell, trombone; John Rojak, bass trombone Reception following the performance

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C l o s e E n c o u n t e r s Wi t h M u s i c Saturday, May 18, 2019 – 6 PM • Mahaiwe Performing Arts Center, Great Barrington

The Art of the Quartet— Escher String Quartet Samuel Barber (1910-1981) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adagio for Strings Wolfgang Amadeus Mozart (1756-1791) . . . . . . . . . . . . . . . String Quartet No. 23 in F Major, K 590

1. Allegro moderato, in F major

II. Andante, in C major III. Menuetto: Allegretto

IV. Allegro, in F major Intermission

Franz Schubert (1797 - 1828) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . String Quintet in C Major, Op. 163

I. Allegro ma non troppo II. Adagio III. Scherzo IV. Allegretto

The Escher String Quartet: Adam Barnett-Hart, violin; Danbi Um, violin; Pierre La Pointe, viola; Brook Spelz, cello, with Yehuda Hanani, cello

Reception following the performance

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C l o s e E n c o u n t e r s Wi t h M u s i c Saturday, June 8, 2019 – 6 PM • Mahaiwe Performing Arts Center, Great Barrington, MA

Like Father-in Law Like Son-in-Law Antonin Dvořák and Josef Suk Josef Suk (1874-1935) Píseň lásky (Love Song) for Violin and Piano Ballade in D Minor No. 3 for Cello and Piano Antonin Dvořák (1841-1904) . . . . . . . . . . . . . . . . . . . . . . . . . Rondo in G minor for Cello and Piano Josef Suk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elegie for Violin, Piano and Cello Op. 23 (“Under the Impression of Zeyer’s Vysehrad”)

Intermission Antonin Dvořák . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Piano Quintet in A Major, Op. 81

I. Allegro ma non tanto

II. Dumka: Andante con moto III. Scherzo (Furiant): Molto vivace

IV. Finale: Allegro

Soyeon Kate Lee, piano; Peter Zazofsky and Irina Muresanu, violin; Michael Strauss, viola; Yehuda Hanani, cello

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Humore

sq u e

examination of our arsenal of jokes will reveal that they fall into a number of categories and all of them, amazingly, can be expressed in music. Here are just a few examples:

photo by peter schaaf

Countless jokes surround the world of classical music. A clown steps onto the stage in concert gear and pushes a large piano from one corner towards a stool that stands at the other far end (highlighting the absurdity of life); Victor Borge extolling the usefulness of Chopin’s “Minute Waltz” as an egg timer; Charlie Chaplin stepping on his violin during an attempted recital (in Limelight), walking around the stage looking for it with the fiddle sitting on his foot like a large shoe.

There are conductor jokes, viola jokes, opera jokes (A Night at the Opera with the Marx Brothers!) and on and on.

By Yehuda Hanani

Peter Schickele marks the 50th anniversary of the first P.D.Q. Bach concert

Harpo Marx in A Night at the Opera

The overlapping proximity of music and comedy is far from new. For centuries minstrels and court jesters mixed music with jokes, tricks and dance in taverns (respectable and otherwise); bawdy songs accompanied ale and rum. The partnership of witty lyrics and music evolved into the operettas of Offenbach, the parodies of Gilbert and Sullivan, Flanders and Swann, burlesque and vaudeville, and composers like Erik Satie and P.D.Q. Bach (Peter Schikele) gave their works zany and outrageous titles: “Bureaucratic Sonatina,” “Flabby Preludes for a Dog” (Satie), “Concerto for Horn & Hardart,” “Chaconne á son gout” (P.D.Q. Bach). All of these forms of musical comedy were aided by props, pantomime, and mostly by words But how does music convey humor on its own, unaided by extra-musical elements? An 14

Surprise-shock You lull the audience to sleep with a gentle, quiet tune ending with an unexpected loud chord (Haydn’s “Surprise” Symphony). Those familiar with the piece have the added pleasure of anticipation.

Imitation-mimicking Bird calls and “The Flight of the Bumblebee” (Rimsky Korsakov). In his “Midsummer Night’s Dream,” Mendelssohn includes braying noises at the moment Bottom is turned into a donkey, and in “Don Quixote”

by Strauss, the Don and Sancho Panza meet a pair of monks impersonated by two bassoons chatting away in a nasal monastic “lingo.” The most popular comical imitations are found in Saint Saëns’ “Carnival of the Animals” and include a beginning piano student practicing his/her scales (an insufferable animal, indeed) and fossils represented by xylophones sounding like dry bones knocking together. The composer, concerned that his buffoonery and frivolity might damage his career, only allowed the publication of the dignified “Swan” during his lifetime. Of

course, History judged differently….A most outrageous imitation is Rossini’s “Ricin” or Castor Oil depicting the result of taking the oil for constipation when runs on the piano turn onomatopoetically into other runs….

Parody In Mahler’s First Symphony (third movement), he makes use of the canon “Frère Jacques” turned into a minor key as a mock funeral march. It is based on the popular German children’s story “The Huntsman Burial” in which all four-legged animals follow the coffin and cats, toads and crows form a Bohemian band of musicians accompanying the procession.

Sarcasm Sardonic humor is Shostakovich’s trademark. In his Fifth Symphony, which was intended to get him back in favor with the regime, he still could not help making the tempo indication for the ending painfully slow. Many conductors consider it an error and finish the piece heroically, not realizing that Shostakovich’s intention was to undermine the climax—to rain on his own parade.

“joke” in Italian. It was introduced by Haydn and adopted by Beethoven, replacing the minuet in symphonies, quartets and elsewhere. With its surprise, caprice and playfulness, it served as a relief between more serious dramatic moments.

How wonderfully versatile and expressive music is, and how­—like all great art in all its forms—illuminating it is of the human condition in all its tragedies and comedies. So as we celebrate the legacy of Rossini, consolidator of Italian opera who shaped it into what it became, let’s ponder some of his tantalizing titles: “Pretentious Prelude and a Nightmare”; “Prelude Inoffensive” and “Prelude Convulsive”; “Tormented Waltz,” “Love without Hope,” “Complaint in Two Voices,” and lest we forget — “Ouf, les petits pois.”

Intentional mistakes, getting lost, coming in “wrong” In Strauss’ “Till Eulenspiegel,” we see the deflating of dramatic buildups with a silly clarinet joke, with the composer behind the scenes musically “sticking his tongue out” at the establishment.

In special concerts this season, we’ll examine Haydn’s naughty mischief as well as celebrate Rossini’s sense of humor. The word scherzo means

Caricature of Rossini

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Music Makes You Smarter

H

ow many of us have heard that playing Mozart for a fetus in utero will increase his or her math skills? Or that piano (or other instrument) training increases IQ? Listening to and making music has become a subject of significant interest to neuroscientists over the past decade as it has become clear that studying and playing an instrument has significant positive effect on the brain of the player. Listening to music impacts the brain in a special way as well, although listening alone is unlikely to enhance cognitive strength as much as playing it will. Nonetheless, there appear to be long term physical and mental health benefits for the serious listener, as well as for the player.

Neuroscientists have been studying the effects of music on cognition, brain function and anatomy in real time using Functional Magnetic Resonance Imagining (FMRI), Proton Emission Tomography (PET scan) and other sophisticated technologies. They have also been using various psychological tests to study the observable effects of music making and music listening. If you look at the FMRI while a person is engaged in some intellectual or physical work such as reading a book or hammering a nail, a part of the brain will light up on the scan. If you do an FMRI on someone listening to music, the brain image will light up all over.

If you do the scan while someone is playing music, the brain image looks like a firework display on the 4th of July or Times Square on New Year’s Eve. Several years ago, a group of neuroscientists observed the results of MRIs of normally developing children that had been done at various points in their development, comparing the images and psychological test data of those who were studying and playing instruments to those who were not. They discovered that the rate and degree of cortical 24

BY ARNOLD COHEN, MD

maturation was significantly advanced in the music playing group. Importantly, the psychological test data revealed that the children who played music were better focused and had greater attention and processing speed than their peers. This correlated with greater overall academic achievement in the music group. These findings seemed not to be related to the children’s parents’ economic standing or to their base intelligence. Many studies here and in Europe support the findings that children with musical training are likely to have better language skills, better spelling ability, better grades, and better math skills and altogether make better students. Some go so far as to suggest that music training leads to a higher IQ although others don’t necessarily corroborate this.

Playing an instrument utilizes many brain functions at the same time as it uses the senses of sight, sound and touch. It requires the modulation of attention, rapid processing speed, decoding ability (reading the notes with flats and sharps), motor planning, memorization, use of one’s working memory, impulse regulation, emotional regulation and more. These functions aren’t centralized in one area of the brain; rather they are located in numerous areas, with complex neural pathways keeping them in communication with each other. Playing music is for the brain like going to the gym is for the body. And, as with going to the gym, the longer and more intensely you exercise, the greater the value.

Sadly, music and arts education are disappearing from our schools. Children who play orchestral instruments most often come from the upper socioeconomic group and attend private schools.

It obviously requires money as well as commitment to support a child’s music education and the financially stressed public education system is

unwilling to take this on. Nationwide, only 26% of tenth graders participate in any kind of regular out of school music, dance or art program and only 14% percent of high school seniors participate in any such activity. However, there are many El Sistema-like programs in the U.S. and their outcome effects are significant. Kids 4 Harmony, for example, serves 70 inner city children in Pittsfield, a small but meaningful number. Nationally, children who participate in similar programs are more likely to do better in school, to graduate, go to college and be gainfully employed than their peers who have not participated.

Playing music is good for kids. It’s also good for adults. The cognitive enrichment documented for children has also been documented for adults, those who have continued to play from childhood on and those who began in adulthood. Senility is something we fear as we age and it is something that many of us will suffer. The cause and the cure for Alzheimer’s disease are as of yet unknown. But there are important things we know that may influence cognitive decline and Alzheimer’s. People who have less than an 8th grade education are 2.2 times as likely to develop Alzheimer’s as those with greater educational attainment. Individuals with very high educational attainment, social success and who continue to have ongoing intellectual stimulation may have up to a 46% decreased likelihood of developing Alzheimer’s. In the high attainment group, even if one does develop the disease, it’s likely to become apparent much later in life and more likely to have a shorter course before death. We believe that this difference is due to something called “Cognitive Reserve.”

Imagine planting two small garden plots, one next to the other. You fertilize, water and weed one, neglect the other. Both will grow. If there is blight or a drought, both plots will die. But the plot that had been well tended will remain healthier longer before it succumbs. The well-tended brain develops cognitive reserve in ways similar to the garden plot developing resilience to blight.

As might be expected, playing an instrument and studying music leads to greater cognitive reserve, which, in turn, leads to a diminished or delayed likelihood of becoming clinically ill with

Alzheimer’s. Obviously, playing an instrument is not the only activity that encourages cognitive reserve but it seems to be a powerful one.

There are more people in the audience than there are musicians on stage at a concert. Most members of the audience are consumers of and not makers of music. Beyond the pleasure of hearing good music, what else is in it for them? Music programs in Senior Citizen Centers have been shown to increase cognitive strength, decrease depression and increase social connectivity. An article in the July 2011 Harvard Health Letter summarized the medical literature on the benefits of actively listening to music: the health benefits of listening regularly included reduced blood pressure, increased survival after myocardial infarction, enhanced recovery after a stroke and diminished severity of symptoms in depressive disorder. Most dramatically, the Health Letter summarized a Swedish study of 13,000 adults. The data collected on this large population included health history, social network information and concert and theater attendance. Rather unexpectedly, during the time the study was in progress, people who did not attend concerts and theater regularly were 1.57 times MORE LIKELY TO DIE than were the active concert and theater goers. Of course, association is not necessarily causation. People who are able to attend concerts frequently are likely to have additional advantages over others as well, but even so this statistic is dramatic.

So enjoy doubly the music you are about to hear with the knowledge that it may contribute to your general good health and mental state—and could even extend your life.

Dr. Cohen is in the private practice of Child and Adolescent Psychiatry in New York City. He is on the voluntary faculty of the Mt. Sinai School of Medicine in the Department of Psychiatry. For many years he was also the Medical Director of the Association for Metroarea Autistic Children.

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Thank you for your generous support for the Berkshire High Peaks Festival Here is what some of our scholarship recipients have said…

Muriel Oberhofer

PHOTOGRAPHS BY SCOTT BARROW

Kids 4 Harmony and CHIME Albany visit Berkshire High Peaks Festival on Buddy Day, August 2018

The festival was truly inspirational and supportive in every sense. The faculty was absolutely amazing.

I have learned about so many different aspects of music, not only during the lessons or while talking to the faculty, but also while attending the various master classes and talks. All the participants were really friendly and supportive of each other. “Moonlight Sonatas” at night where we played for each other was something I hadn’t had so far, but I really like the idea of it and it’s really helpful to play through repertory in front of a supportive audience.

—Muriel Oberhofer, 2018, violin, Zurich Switzerland, a freshman at the Royal Academy of Music in London It would be impossible to appraise the value of the time I spent there. The artist faculty provided direct access to centuries of the pinnacle of musical knowledge, which allowed me to broaden my expressive range and artistic comprehension. Having so many opportunities to play publicly has dramatically shaped my understanding of performance. —Jameel Martin, 2016, viola, candidate for MA, The Juilliard School I don’t want to miss the opportunity to express how grateful I am for the experience I had at High Peaks. I had many takeaways from the festival. The lessons and coachings were fantastic. It was also a thrill to play the Brahms Piano Quintet and also be able to watch the faculty rehearse and perform it.

I also loved that we did outreach concerts to connect with the outside community. I had a lesson with Adriane Post, where I got to try a Baroque bow for the first time. Finally, I enjoyed that the summer had a theme, and that the theme was women composers. How cool and deserved! I am eager to know what next year’s theme will be.

—Amalia Zeitlin, 2017, violin, candidate for MA, Boston University I loved my time at High Peaks! Having the opportunity to make music with such talented collaborators in such a beautiful locale…. I learned how to prepare challenging music at a high level in a short amount of time. Also, performing solo repertoire on the Moonlight Sonatas helped me learn the value of putting yourself out there as a performer and sharing your music with an audience. —Anita Graef, 2017, cello, Fellow, Cincinnati Symphony Orchestra University of Cincinnati College-Conservatory of Music 30

Dear Friends of Close Encounters With Music We need you!

You, our audience, are our most important asset. But did you know that annual ticket sales cover less than one-third of our actual cost of producing a Close Encounters With Music season? Our ticket prices are low enough to ensure that the concerts are affordable to virtually everyone. We have only been able to maintain a financially sound, vibrant and artistically vigorous not-for-profit organization thanks to the support of dedicated friends.

Please consider at this time a very special, tax-deductible gift to Close Encounters With Music. Our future is dependent upon our ability to raise funds from friends like you. For 27 years you have continued to be the mainstay of this endeavor.

For this purpose, we have provided in this program a self-addressed envelope to support our FutureFund. Please take it home with you this evening, write a check to Close Encounters With Music and mail it first thing Monday. You will be making a wonderful contribution to the future of brilliant classical and contemporary music in the Berkshires during the so-called off season­—fall, winter and spring, to new works of music by leading composers, and to the next generation of musicians. We promise you will feel better for it.

In addition to the numerous donor benefits we offer, the most important benefit you will receive is the certain knowledge that your gift has helped to ensure the continuation of our glorious concerts.

Thank you so very much for your support.

With warm wishes, Reid White, Treasurer, Close Encounters With Music

CEWM’s Commissioning Program has supported the creation of, and premiered, the following: 2001 Osvaldo Golijov, How Slow the Wind 2002 John Musto, River Songs

David Parsons, choreography for Le Grand Tango 2003 Lera Auerbach, Last Letter Kenji Bunch, Sonnet No. 128 2004 Jorge Martín, Hollywood Variations Kenneth LaFave, American Avenues 2005 Lera Auerbach, Epilogue: House of Mirth Owen Leech, Wind in the Ash: Homage to Millay

Matthew Guerrieri, The Monkey King 2006 Paul Schoenfield, Refractions for Clarinet, Cello and Piano

Paul Schoenfield

2007 Jorge Martín, Ropa Vieja

Lior Navok, Spring Calls 2008 Stephen Dankner, CEWM Fanfare, Klezmer Quintet 2009 Jonathan Keren, Homage to Bach 2012 Zhou Long, Green for Pipa and Cello 2013 Robert Beaser, Spring Songs

Paul Schoenfield, Shaatnez for Ady 2015 Paul Schoenfield, Zemer 2017 Thea Musgrave, Tamar Muskal, Judith Zaimont, Celebration Quilt

Thea Musgrave

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Meet the Artists yehuda hanani

Yehuda Hanani’s charismatic playing and profound interpretations bring him acclaim and reengagements across the globe. An extraordinary recitalist, he is equally renowned for performances with orchestras such as the Chicago Symphony, Philadelphia Orchestra, Baltimore Symphony, St. Paul Chamber Orchestra, Berlin Radio Orchestra, Israel Philharmonic, BBC Welsh Symphony, Buenos Aires Philharmonic, Belgrade Philharmonic, Honolulu Symphony, Jerusalem Symphony, Lithuanian Chamber Orchestra, and Taipei and Seoul symphonies, among others. He has been a guest at Aspen, Bowdoin, Chautauqua, Marlboro, Yale at Norfolk, Round Top (TX), Great Lakes, and Grand Canyon festivals, Finland Festival, Great Wall (China), Leicester (England), Ottawa, Prades (France), Oslo, and Australia Chamber Music festivals, and has collaborated in performances with preeminent fellow musicians, including Leon Fleisher, Aaron Copland, Christoph Eschenbach, David Robertson, Vladimir Fedoseyev, Itzhak Perlman, Vadim Repin, Dawn Upshaw, Jeremy Denk, Yefim Bronfman, the Tokyo, Vermeer, Muir and Avalon quartets, as well as members of Juilliard, Borromeo, and Emerson. In New York City, Yehuda Hanani has appeared as soloist at Carnegie Hall, the 92nd Street Y, Alice Tully, and the Metropolitan Museum’s Grace Rainey Rogers Auditorium. His pioneering recording of the monumental Alkan Cello Sonata received a Grand Prix du Disque nomination, and his other discs have won wide recognition. On CD and in live performances, he has premiered works of Nicolai Miaskovsky, Lukas Foss, Leo Ornstein, Joan Tower, Paul Schoenfield, Osvaldo Golijov, William Perry and Bernard Rands, among other composers. Mr. Hanani has been committed to extending the range of the cello repertoire and to collaborating with performers in many artistic realms, including actors Jane Alexander, Richard Chamberlain and Sigourney Weaver. Professor of Cello at the University of Cincinnati College-Conservatory of Music, he presents master classes internationally at conservatories and for orchestras, including Juilliard, University of Indiana, New England Conservatory, McGill, Peabody Conservatory, Paris Conservatoire, Berlin Hochschule für Musik, Royal Academy of Music and Guildhall School in London, Tokyo National University, Jerusalem Academy of Music, Central Conservatories of Shanghai and of Beijing, and the New World Symphony in Miami. In recognition of his distinguished teaching, he was given the title of honorary professor of the Tianjin Conservatory, China. His engaging chamber music with commentary series, Close Encounters With Music, has captivated audiences from Miami to Kansas City, Omaha, Calgary, Scottsdale, the Berkshires, and at the Frick Collection in New York City. A three-time recipient of the Martha Baird Rockefeller grant, Mr. Hanani’s studies were with Leonard Rose at the Juilliard School and with Pablo Casals. His best-selling recording of the Unaccompanied Bach Suites has become a standard-setter, and of his Naxos CD with the National Symphony of Ireland Fanfare Magazine wrote: “Renowned cellist Yehuda Hanani, great virtuoso that he is, handles this with astounding aplomb…A splendid release, and should by no means be passed up.” Aimed at outreach for classical music, his weekly program on NPR affiliate station WAMC Northeast Radio, “Classical Music According to Yehuda,” has gained thousands of fans. He is founder and artistic director of the Berkshire High Peaks Festival, a teaching and chamber music residency. Soloist, chamber musician, master teacher, essayist, and ambassador for the arts, Yehuda Hanani illuminates and enlightens audiences on the essence of music.

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The American Brass Quintet

The American Brass Quintet is internationally recognized as one of the premier chamber music ensembles of our time, celebrated for peerless leadership in the brass world. As 2013 recipient of Chamber Music America’s highest honor, the Richard J. Bogomolny National Service Award for significant and lasting contributions to the field, ABQ’s rich history includes performances in Asia, Australia, Central and South America, Europe, the Middle East and all fifty U.S. states; a discography of nearly sixty recordings; and the premieres of over one hundred fifty contemporary brass works. ABQ commissions

by Robert Beaser, William Bolcom, Elliott Carter, Eric Ewazen, David Sampson, Gunther Schuller, William Schuman, Joan Tower, and Charles Whittenberg, among many others, are considered significant contributions to contemporary chamber music and the foundation of the modern brass quintet repertoire. The ABQ’s Emerging Composer Commissioning program has further brought forth brass quintets

by Gordon Beeferman, Jay Greenberg, Trevor Gureckis and Shafer Mahoney.

Among the quintet’s recordings are eleven CDs for Summit Records since 1992 including their 50th release State of the Art—The ABQ at 50 featuring recent works written for them. Committed to the promotion of brass chamber music through education, the American Brass Quintet has been in residence at The Juilliard School since 1987 and the Aspen Music Festival since 1970. Since 2000 the ABQ has offered its expertise in chamber music performance and training to young players with a program of mini-residencies as part of its regular touring.

Caryl Clark

Caryl Clark is Professor of Music History and Culture at the University of Toronto. She studied music history at the University of Western Ontario, McGill University, and Cornell University, and holds diplomas in piano performance and pedagogy from the Guildhall School of Music and Drama, and the Royal College of Music, London. Her research and teaching interests include enlightenment aesthetics, gender and ethnicity in opera, the politics of musical reception, Haydn studies and the social history of keyboard instruments. Author of Haydn’s Jews: Representation and Reception on the Operatic Stage (Cambridge University Press, 2009) and commissioning editor for the Cambridge Companion to Haydn (Cambridge University Press, 2005), she is currently writing a book on Haydn, Orpheus and the French Revolution, and co-editing the Cambridge Haydn Encyclopedia. Clark has held four SSHRC (Social Sciences and Humanities Research Council of Canada) grants for projects on eighteenth-century musical topics, and a Halbert Foundation grant with The Hebrew University of Jerusalem investigating the Jewish diaspora in music, theatre, and culture. She is also a DAAD (Deutsche Akademische Austausch Dienst) alumna. Her current SSHRC Insight Grant explores Joseph Haydn’s interactions with musical, theatrical, political, and visual culture in 1790s London in relation to British anxieties about the revolution in France. As co-chair of The Opera Exchange, a partnership between the Canadian Opera Company and Munk School of Global Affairs at the University of Toronto, she has co-organized over forty educational symposia probing opera from multidisciplinary perspectives. She is a fellow of Trinity College, and holds cross-appointments with the Graduate Centre for Drama, Theatre, and Performance Studies, the Centre for Comparative Literature, the Department of Germanic Languages, and the Centre for Jewish Studies.

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The Escher String Quartet

The Escher String Quartet has received acclaim for its profound musical insight and rare tonal beauty. A former BBC New Generation Artist, the quartet has performed at the BBC Proms at Cadogan Hall and is a regular guest at Wigmore Hall. In its home town of New York, the ensemble serves as Artists of The Chamber Music Society of Lincoln Center, recently presenting the complete Zemlinsky Quartets Cycle in a concert streamed live from the Rose Studio. In 2013, they became one of the very few chamber ensembles to be awarded the prestigious Avery Fisher Career Grant. Within months of its founding in 2005, the ensemble came to the attention of key musical figures worldwide.

Championed by the Emerson Quartet, they were invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet in Residence at each artist’s summer festival: the Young Artists Programme at Canada’s National Arts Centre; and the Perlman Chamber Music Programme on Shelter Island, NY. The quartet has since collaborated with artists including Leon Fleischer, Joshua Bell, Vilde Frang and David Shifrin. The Escher has played throughout Europe, in halls such as the Amsterdam Concertgebouw, Berlin Konzerthaus and for the Les Grands Interprètes series in Geneva. Last season also saw debuts at London’s Kings Place, Slovenian Philharmonic Hall in Ljubljana, and festival appearances at Dublin’s Great Music in Irish Houses and the Risør Chamber Music Festival in Norway. Alongside its growing European profile, the Escher continues to flourish in the U.S., performing at Alice Tully Hall in New York, Kennedy Center in Washington DC and the Ravinia and Caramoor festivals. The ensemble made its first Australian appearance at the Perth International Arts Festival in 2012, and last season made its debut at the Hong Kong International Chamber Music Festival. Return engagements took them to the Tel Aviv Museum of Art in Israel and the Campos do Jordão Music Festival in Brazil. Their set of the complete Mendelssohn quartets on the BIS label has been received with the highest critical acclaim; Volume II was hailed for its “sheer finesse” by Gramophone. The Escher Quartet takes its name from Dutch graphic artist M.C. Escher, inspired by Escher’s method of interplay between individual components working together to form a whole.

Inna Faliks “Adventurous and passionate” (The New Yorker) Ukrainian-born American pianist Inna Faliks has established herself as one of the most exciting, communicative and poetic artists of her generation through her commanding performances of standard piano repertoire, as well as genre-bending, interdisciplinary projects.

Following acclaimed teenage debuts at the Gilmore Festival and with the Chicago Symphony Orchestra, she has performed on many of the world’s great stages, with numerous orchestras, in solo appearances, and with conductors such as Leonard Slatkin and Keith Lockhart. Her 2014 all-Beethoven CD release on MSR Classics drew rave reviews: the disc’s pre-viewer on WTTW Chicago called her “High priestess of the piano…as dramatic and subtle as a great stage actor.” Her MSR Classics CD Sound of Verse featured largely unknown music of Boris Pasternak and works of Rachmaninoff and Ravel. Ms. Faliks’ distinguished career has taken her to thousands of recitals and concerti engagements throughout the U.S., Asia, and Europe, performing at Carnegie’s Weill Hall, Metropolitan Museum of Art, Paris’ Salle Cortot, Moscow’s Tchaikovsky Hall 35

and in the festivals of Verbier, Portland International, Music in the Mountains, Brevard, Taos and Chautauqua. Highlights of recent seasons include a 2016 tour of China, with appearances at the Beijing Center for Performing Arts, Shanghai Oriental Arts Theater and Tianjin Grand Theatre; in the Fazioli Series in Italy and Israel’s Tel Aviv Museum. Faliks is founder and curator of the of the Manhattan Arts Council award-winning poetry-music series “Music/ Words,” creating performances in collaboration with distinguished poets. She recently co-starred with Downton Abbey star Lesley Nicol in Admission—One Shilling, a play for pianist and actor about the life of Dame Myra Hess, the great British pianist. She went on to create a one-woman show, performing at Baruch Performance Center’s “Solo in the City—Jewish Women, Jewish Stars” Festival in NYC, and at the Ebell of Los Angeles, where she gave the premiere of “PolonaiseFantaisie, Story of a Pianist,” an autobiographical monologue for pianist and actress. A recent collaboration with WordTheatre features today’s leading screen actors in literary readings. Constantly in dialogue with today’s composers, she is the creator of the “Reimagine: Ravel and Beethoven” project, where composers such as Richard Danielpour, Timo Andres and Paola Prestini are writing works for her in response to Ravel’s Gaspard de la Nuit and Beethoven’s Bagatelles opus 126. Faliks is currently Professor of Piano and Head of Piano at UCLA. David Grossman Double bassist and composer David Grossman enjoys a multifaceted musical career on both the East and West Coasts—as a bassist in the New York Philharmonic (having joined in spring 2000 as its youngest member) and as newly appointed principal bass of the Los Angeles Chamber Orchestra. As a soloist and clinician, Mr. Grossman has given recitals and master classes at prestigious venues and music schools across the country, including the Boston Conservatory, Yale School of Music, Manhattan School of Music, The Hartt School, Penn State University, and the New York Summer Music Festival. He has released two albums—one classical and one jazz—titled The Bass of Both Worlds. An ardent educator, he is a member of the double bass faculty of the Manhattan School of Music, and joined the Mannes School of Music in fall 2017.

Also a passionate chamber musician, he performs in the New York Philharmonic Ensembles series at Merkin Concert Hall and has appeared at 92nd Street Y and with The Chamber Music Society of Lincoln Center. In the field of jazz, Mr. Grossman was a member of the Marcus Roberts Trio and has performed with Wynton Marsalis. As a composer, his compositions include Mood Swings for trombone and double bass, written for New York Philharmonic Principal Trombone Joseph Alessi; Fantasy on “Shall We Gather at the River?”, available on former New York Philharmonic English Horn Thomas Stacy’s recording Plaintive Melody; and two early compositions, Swing Quartet and String Quintet No. 1, which were premiered by The Chamber Music Society of Lincoln Center.

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Soyeon Kate Lee First-prize winner of the 2010 Naumburg International Piano Competition and the 2004 Concert Artist Guild International Competition, Korean-American pianist Soyeon Kate Lee has been lauded by the New York Times as a pianist with “a huge, richly varied sound, a lively imagination and a firm sense of style,” and by the Washington Post for her “stunning command of the keyboard.” Lee has been guest soloist with the Cleveland Orchestra and the London Symphony Orchestra, the Louisiana Philharmonic Orchestra, San Diego Symphony in the U.S.; the Daejeon Philharmonic Orchestra and Ulsan Symphony Orchestra (South Korea), Orquesta de Valencia (Spain) and Orquesta Sinfónica Nacional (Dominican Republic), including performances under the batons of Rafael Frühbeck de Burgos and Otto-Werner Mueller. Recent recital appearances have been at New York’s Zankel, Weill, Merkin and Alice Tully halls; Washington’s Kennedy Center, Cleveland’s Severance Hall, the Ravinia Festival’s “Rising Stars” series, Auditorio de Musica de Nacional in Madrid (part of a 13-city tour of Spain), and Finland’s Mänttä Music Festival. An active chamber musician, she frequently collaborates in festivals throughout the U.S., including Santa Fe and Music Mountain. At Lincoln Center Chamber Music Society Two, her performance of the Mozart Piano Trio was broadcast on PBS “Live from Lincoln Center.” A Naxos recording artist, her discography spans Scarlatti sonatas, Liszt opera transcriptions, and two volumes of Scriabin works, with upcoming releases of Clementi Sonatas. She has worked extensively with Richard Goode, Robert McDonald, Ursula Oppens, and Jerome Lowenthal. A graduate of the Juilliard School, Ms. Lee was awarded every prize given to a pianist at Juilliard, including the William Petschek Piano Debut Award at Lincoln Center and the Arthur Rubinstein Award. She is the co-founder and artistic director of Music by the Glass, a concert series dedicated to bringing together young professionals in New York City. Assistant Professor of Music in Piano at the Cincinnati-College Conservatory of Music, she lives in Cincinnati with her husband, pianist Ran Dank, and their two children, Noah and Ella.

Karine Lethiec

Karine Lethiec holds advanced diplomas from the Conservatoire National Supérieur de Musique of Paris as well as that of Lyon, the Conservatoire de Musique de Genève and the Berne Musikschule Konservatorium. She is an award winner of the Lionel Tertis International Viola Competition and teaches at the Conservatoire de la ville de Paris. With the Stradivari Quartett, she has recorded the complete Mozart quintets (Dynamic). Lethiec encourages new music by commissioning, programming and performing new works, with over 50 world premieres to her credit. She has recorded Kryštof Mařatka’s Astrophonia with both the Orchestre Philharmonique de Radio-France (France Musique) and the Talich Chamber Orchestra (Arion). Performances have taken her around the globe—to the Amsterdam Royal Concertgebouw, Vienna Konzerthaus, Ravinia Festival in Chicago, Théâtre des Champs-Elysées in Paris, Athens Festival at the Odeon of Herod Atticus, Berlin Festival at Tempelhof, Hermitage in Saint Petersburg and the Rudolfinum in Prague. An eclectic artist, she directs the Ensemble Calliopée, currently in residence at the Musée de la Grande Guerre des Pays de Meaux (Museum of the Great War) with programs that bring together the fields of music and history. This project is supported by the Ministry of Defense and Ministry of Culture. The Ensemble also partners with other museums to 37

connect music and painting through thematic programs. This season begins a partnership with the National Museum of Archeology at Saint-Germain-enLaye, the first castle of King Louis IV, with a program connecting the origins of music, from Paleolithic times to the Middle Ages. Lethiec wrote the screenplay for the film H136 on the rediscovery of a score composed by Martinů, a member of the Janáček Movement in France. She created and played the soundtrack of Don Kent’s film Juste avant l’orage. With her friend the astrophysicist Hubert Reeves she conceives performances that intertwine the cosmos and music, one of the most notable of which is “Mozart et les étoiles” (Mozart and the Stars). Ms. Lethiec plays an Italian viola from 1777.

Max Levinson Pianist Max Levinson’s career was launched when he won first prize at the Guardian Dublin International Piano Competition, the first American to achieve this distinction. He was awarded the prestigious Avery Fisher Career Grant and in 2005, the Andrew Wolf Award for his chamber music playing. The Boston Globe proclaimed: “The questioning, conviction, and feeling in his playing invariably remind us of the deep reasons why music is important to us, why we listen to it, why we care so much about it.” Levinson has performed as soloist with the San Francisco Symphony, St. Louis Symphony, Los Angeles Philharmonic, Detroit Symphony, Baltimore Symphony, New World Symphony, Indianapolis Symphony, Colorado Symphony, Oregon Symphony, St. Paul Chamber Orchestra, Utah Symphony, Boston Pops, Los Angeles Chamber Orchestra, and National Symphony Orchestra of Ireland among others. He has worked with such conductors as Robert Spano, Neemi Järvi, Uriel Segal, Joseph Swensen, Jeffrey Kahane and Alasdair Neale. Artistic Director of the San Juan Chamber Music Festival (Ouray, Colorado), he has appeared at major music festivals including Mostly Mozart, Santa Fe, Marlboro, Tanglewood, La Jolla, Bravo/Vail, Seattle, Killington, Vancouver, Cartagena, and Switzerland’s Davos Festival. Max Levinson garnered international accolades for his two recordings. Max Levinson, his debut recording, traces the musical lineage between Brahms, Schumann, Schönberg and Kirchner. American Record Guide declared Levinson’s second disc, Out of Doors: Piano Music of Béla Bartók “an important recording and a great one. The disc blew me out of my chair….Hearing performances as riveting as these produces a rare frisson; indeed, this is the most brilliant and exciting Bartók piano disc I have heard. On the basis of only two recordings, Mr. Levinson has created the myth of a pianist with everything.” He has experimented with internet broadcast, served as Artist-in-Residence at Harvard University’s Lowell House for four years, and has been featured on NPR’s “Performance Today” and “A Note to You.” He has also taught master classes at the Royal Irish Academy of Music, Harvard, MIT, Brigham Young University, Rutgers, the University of Washington, UCLA, the Colburn School, and Boston University. Mr. Levinson is chair of the Piano department at the Boston Conservatory, and is also a faculty member at the New England Conservatory.

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Irina Muresanu Praised by the Boston Globe as “not just a virtuoso, but an artist,” Romanian violinist Irina Muresanu has won the hearts of audiences and critics alike with her exciting, elegant and heartfelt performances of the classical, romantic and modern repertoire. She achieved early international acclaim as an outstanding young soloist, recitalist and chamber musician winning top prizes in several prestigious international violin competitions including the Montreal, Queen Elizabeth, Pro Musicis, Presser Music Award, and the Arthur Foote Award from the Harvard Musical Association. Recent solo engagements include appearances with the Boston Pops, Miami Symphony Orchestra, Orchestre de la Suisse Romande (Geneva), Syracuse Symphony, Metropolitan Orchestra (Montreal), Transvaal Philharmonic (Pretoria, S. Africa), Romanian National Orchestra, Orchestre de la Radio Flamande (Brussels), and the Boston Philharmonic. In 2013, Muresanu introduced her “Four Strings Around the World” project, a solo violin recital featuring works of composers inspired by various musical cultures.

In 2015 she received a Creative and Performing Arts Award from the University of Maryland that will allow the commissioning of new works for this project. Her recent recording releases include the complete William Bolcom Violin and Piano Sonatas on the Centaur label with pianist Michael Lewin. An active chamber musician and recitalist, Ms. Muresanu is a member of the Boston Trio. Festival appearances have included Bay Chambers and Bowdoin in Maine, Strings in the Mountains and San Juan Festival in Colorado, Berkshire High Peaks Festival, Maui Chamber Music Festival in Hawaii, Festival van de Leie in Belgium, and the Renncontres des Musiciennes Festival in France. Ms. Muresanu currently serves on the faculties of the University of Maryland and Boston Conservatory and has taught in the Harvard and MIT music departments. She received an Artist Diploma degree and a DMA degree from the New England Conservatory. She plays an 1849 Giuseppe Rocca violin and an Etienne Pajeot bow.

Emily Marvosh American contralto Emily Marvosh has been gaining recognition for her “sterling voice” and “graceful allure,” on the stages of Carnegie Hall, Jordan Hall, Disney Hall, Lincoln Center, Prague’s Smetana Hall, and Vienna’s Stefansdom. Following her solo debut at Boston’s Symphony Hall in 2011, she has been a frequent soloist with the Handel and Haydn Society. Other recent solo appearances include the American Bach Soloists (Messiah), Charlotte Symphony (Messiah), Tucson Symphony Orchestra (Mahler’s 3rd Symphony), Chorus Pro Musica (Stravinsky’s Les Noces), Music Worcester (Beethoven’s Ninth Symphony), L’academie (Vivaldi’s Nisi Dominus), Back Bay Chorale (Bach Magnificat), the Brookline Symphony (Sea Pictures) and the Boston Early Music Festival Fringe. Awards include the prestigious Adams Fellowship at the Carmel Bach Festival (2013) and the American Prize in the Oratorio and Art Song divisions (2013). She is a founding member of the Lorelei Ensemble, which promotes innovative new music for women. With Lorelei, she has enjoyed collaborations with composer David Lang, the Boston Modern Orchestra Project, and the Boston Symphony Orchestra. Of a recent Lorelei performance, one critic wrote, “Marvosh, whose stage presence was a joy to behold, offered a tone that had the velvety soulfulness of a cello...”. A native of Michigan, she has created a recital program that celebrates the history and culture of her home state. The Michigan Recital Project features commissions by emerging composers and performances 39

by fellow Michiganders. Recent ensemble appearances include the Oregon Bach Festival under the direction of Helmut Rilling, the Bachakademie Stuttgart, Portland Baroque Orchestra, True Concord Voices and Orchestra, Boston Camerata, the Skylark Chamber Ensemble, the Yale Choral Artists, and Cambridge Concentus. Miss Marvosh can be heard on two recent Grammynominated recordings: Brahms’s Ein Deutsches Requiem with Seraphic Fire, and Prayers and Remembrances with True Concord Voices and Orchestra. She holds degrees from Central Michigan University and Boston University.

Tamar Muskal Educated both in Israel and the United States, Tamar Muskal’s music harmonizes the unique cultural aspects of both places, writing in carefully structured counterpoint style. Ms. Muskal studied viola, music theory and composition at the Rubin Academy for Music and Dance in Jerusalem and earned her BA in 1991, studying with Mark Kopytman. She subsequently earned her master’s degree from Yale University, where she studied with Jacob Druckman and Martin Bresnick. At the City University of New York, she studied with David Del Tredici and Tania Leon. Recent and future commissions include a double concerto for saxophone and viola for the Williamsport Symphony, an orchestral piece for the Idyllwild Arts Academy, music for a documentary film about finding the cure for blindness narrated by Robert Redford, a song cycle commissioned

by ASCAP, a piece for percussionist Steve Schick and to accompany a visual work by Daniel Rozin. Also noteworthy are music for the historic film La Venganza de Pancho Villa for string quartet and a Mexican musicians band (a collaboration with the Library of Congress), a piano solo piece for Benjamin Hochman for the New York 92nd Street Y, and a piece for Lucy Shelton and the Colorado String Quartet on text by poet Hanoch Levin. Ms. Muskal served as the Westchester Philharmonic’s education composer-in-residence, and in that capacity composed three orchestral pieces based on students’ artwork and poetry. Ms. Muskal also focuses on music for theater. Recent works include Angels in America performed in Cincinnati, The Labor of Life and The Seven Beggars performed at La Mama Theater in New York, and Cristabel and Trojan Women performed in New Haven.

Roman Rabinovich The eloquent pianist Roman Rabinovich, a top prizewinner at the Arthur Rubinstein International Piano Master Competition in 2008, has since been highly lauded by the international press. He has performed throughout Europe and the U.S. in venues such as Leipzig’s Gewandhaus, Wigmore Hall in London, Carnegie Hall and Lincoln Center in New York, the Great Hall of Moscow Conservatory, Cité de la Musique in Paris, and the Millennium Stage of Kennedy Center. Rabinovich has participated in such festivals as Marlboro, Lucerne, Davos, Prague Spring, Klavier-Festival Ruhr, and MecklenburgVorpommern. In 2017-18, he made debuts with the Royal Scottish National Orchestra and Sir Roger Norrington, as well as with the NFM Leopoldinum, Szczecin Philharmonic and Radom Chamber Orchestras in Poland, and Sinfonia Boca Raton under James Judd. He also returned to Wigmore Hall twice, both for a solo recital and with violinist Liza Ferschtman, and made his recital debuts for Washington Performing Arts, the Janáček May International Music Festival and the Chamber Music Festival of the Liszt Academy. In 2015, pianist 40

Sir András Schiff chose Rabinovich for the inaugural “Building Bridges” series, created to highlight young pianists of unusual promise. As Artist in Residence at the Lammermuir Festival in Scotland in September 2016, he presented a “Haydn Marathon” performing 25 Haydn sonatas in five days, part of an ongoing exploration of Haydn’s piano music. Roman Rabinovich made his Israel Philharmonic debut under the baton of Zubin Mehta at age ten and appeared again as soloist with the same forces in 1999 and 2003. He has been heard as soloist with all the Israeli orchestras, the Polish Radio Orchestra, Orchestre de Chambre de Paris, Prague Symphony, Dohnányi Orchestra and many others.

Born in Tashkent, he immigrated to Israel with his family in 1994, beginning his studies there with Irena Vishnevitsky and Arie Vardi; he went on to graduate from the Curtis Institute of Music as a student of Seymour Lipkin, and earned his master’s degree at the Juilliard School with Robert McDonald. A gifted visual artist, he often illustrates his programs with his own artwork.

Dov Scheindlin Acclaimed by the New York Times as an “extraordinary violist” of “immense flair,” Dov Scheindlin is a member of Orpheus Chamber Orchestra and an associate member of the Metropolitan Opera Orchestra. He has also been violist of the Arditti, Penderecki and Chester String Quartets. His chamber music career has brought him to 28 countries around the globe and won him the Siemens Prize in 1999. He has appeared as soloist with the Royal Concertgebouw Orchestra of Amsterdam, the Radio Symphony Orchestra of Berlin, the Paris Radio Philharmonic Orchestra and the Munich Philharmonic. Mr. Scheindlin has recorded extensively for EMI, Teldec, Auvidis, and Mode, and won the Gramophone Award in 2002 for the Arditti Quartet’s recording of Sir Harrison Birtwistle’s Pulse Shadows. As a member of the Arditti Quartet, he gave nearly 100 world premières, among them new works by Benjamin Britten, Elliott Carter, György Kurtág, Thomas Adès and Wolfgang Rihm. He has also been broadcast on NPR, BBC, CBC, and on German, French, Swiss, Austrian, Dutch and Belgian national radio networks. Dov Scheindlin was raised in New York City, where he studied with Samuel Rhodes and William Lincer at the Juilliard School. He has taught viola and chamber music at Harvard, Wilfrid Laurier University and Tanglewood. He regularly participates in summer festivals such as Salzburg, Luzern, and Tanglewood, and has performed with the Chamber Music Society of Lincoln Center and the Met Chamber Ensembles. His chamber music partners have included members of the Juilliard, Alban Berg, Tokyo, and Borodin String Quartets, as well as concertmasters of many major symphony orchestras. He plays a viola made by Francesco Bissolotti in 1975.

Hagai Shaham

Hagai Shaham is internationally recognized as one of the astonishing young violinists who have emerged from Israel in recent years. He began studying the violin at the age of six and was the last student of the renowned Professor Ilona Feher. He also studied with Elisha Kagan, Emanuel Borok, Arnold Steinhardt and the Guarneri Quartet. In addition to winning first prize at the ARD International Competition in Munich in the violin-piano duo category with his duo partner Arnon Erez, Shaham’s other awards include first prizes at the Ilona Kornhouser competition, the Israeli Broadcasting Authority Young Artist competition, The Tel-Aviv Rubin Academy competition, four Clairmont Awards, and annual 41

scholarships from the American-Israel Cultural Foundation. As a soloist he has performed with many of the world’s major orchestras, including the English Chamber Orchestra, BBC Philharmonic, Royal Philharmonic Orchestra, Royal Liverpool Philharmonic, RTE National Symphony Orchestra of Ireland, Belgian National Orchestra and Orchestre Symphonique Francais; Taipei, Singapore and Shanghai Symphony Orchestras, SWF Baden-Baden Symphony Orchestra, Slovak and Belgrade Philharmonic, and the Israel Philharmonic Orchestra under Zubin Mehta. In 1985 he was invited to join Isaac Stern and Pinchas Zukerman in a gala concert at Carnegie Hall, following which, Zubin Mehta invited him to perform Brahms’ Double Concerto at Carnegie Hall. Hagai Shaham is a professor at the Buchmann-Mehta School of Music at Tel Aviv University, and his master classes in Europe and Israel attract a great many students. Together with his colleague, violinist Ittai Shapira, he is co-founder of The Ilona Feher Foundation.

Michael Strauss Known for his “rich tone and lyrical acumen” (Chicago Tribune), violist Michael Strauss has performed around the world in chamber music and symphonic settings. Since his debut with the Minnesota Orchestra in 1990, he has appeared as soloist with orchestras across the United States. For 18 years, he served as the Indianapolis Symphony Orchestra principal violist where he was featured as a soloist nearly every season. As a member of the distinguished Fine Arts Quartet, he performed at the Schleswig-Holstein, Bayreuth and Montpellier festivals in Europe. Summer festivals include LaJolla, Caramoor, Banff, Sewanee, Crested Butte, Indiana University Summer Evenings of Music, Eastern Music Festival and the Beijing International Music Festival & Academy. His recordings can be found on the labels of I Virtuosi (debut of Jennifer Higdon’s Viola Sonata with pianist Hugh Sung), CRI, Lyrinx (Mozart’s complete viola quintets with the Fine Arts Quartet), and Centaur (Stamitz’s works for solo viola with orchestra). A sought-out teacher, Strauss serves on the faculty of the Dana School of Music at Youngstown State University and the University of Indianapolis. He regularly presents master classes and coaches students and professionals in orchestral audition preparation. He has previously held faculty positions at Oberlin Conservatory of Music, Indiana University, Roosevelt University, DePauw University, University of Wisconsin-Milwaukee, University of the Arts in Philadelphia and Swarthmore College. A native of Iowa, Strauss studied with William Preucil, John Graham and Karen Tuttle, receiving additional training at Mannes College of Music. He is a graduate of the Curtis Institute of Music and performs on a viola made by Matteo Albani from Bolzano, Italy in 1704.

Sonja DuToit Tengblad Recent highlights for soprano Sonja DuToit Tengblad include Mahler’s 2nd Symphony with the Boston Philharmonic, Barber’s Knoxville: Summer of 1915 with the Boston Landmarks Orchestra, Vivaldi’s Juditha triumphans devicta Holofernis barbarie (Abra and Ozias), Monteverdi’s Il ritorno d’Ulisse in patria (La Fortuna, Giunone; Grammy-nominated recording with Linn Records) and Mozart’s Die Zauberflöte (First Lady) with Boston Baroque. She has made appearances with the Handel and Haydn Society in Bach’s St. John Passion and Purcell’s Fairy Queen; Porpora’s Calcanta ed Achille for A Far Cry; Handel’s Acis and Galatea with the Blue Hill Bach Festival (Galatea); Knussen’s 42

Symphony No. 2 for high soprano with the Boston Modern Orchestra Projects and her Carnegie Hall and Lincoln Center debuts, both with the New York City Chamber Orchestra. Ms. Tengblad has also made appearances with the Boston Gay Men’s Chorus and Minnesota’s Oratory Bach. A champion of new music, she curated Modern Dickinson, a program featuring all 21st century settings of Emily Dickinson’s poetry that was nominated for four Austin, TX Critic’s Table Awards.

She has appeared with the Boston Modern Orchestra Project, and premiered Shirish Korde’s Questions for the Moon with members of the Silk Road Ensemble.

Ms. Tengblad performs with the Grammy-winning ensemble Conspirare in Austin and Boston’s Blue Heron and Lorelei Ensemble, which enjoyed their debut with the Boston Symphony Orchestra in 2017. Other highlights include Caccini’s Alcina with the Boston Early Music Festival, Handel’s Messiah with the Rhode Island Philharmonic, Monteverdi’s L’incoronazione di Poppea (Drusilla, Fortuna) and Handel’s Jeptha (Angel) with Boston Baroque, national tours of Considering Matthew Shepard with Conspirare, as well as Debussy and Puccini with the Lorelei Ensemble and the Boston Symphony Orchestra.

Xiao-Dong Wang

Xiao-Dong Wang has been called the most talented violinist to emerge from China. He began his studies at age three with his father, concertmaster of the Shanghai Symphony, then studied with the renowned teacher Zhao Ji-Yang at the Shanghai Conservatory. As first prize winner in the Menuhin International Violin Competition and the Wieniawski-Lipinski International Violin Competition at the ages of thirteen and fifteen, he was brought to the attention of violin pedagogue Dorothy DeLay, who arranged a four-­year scholarship at Juilliard. Mr. Wang has performed as soloist with orchestras around the world, including the London Royal Philharmonic, the London Mozart Players, Adelaide, Perth, Queensland symphony orchestras and Sydney Opera Orchestra. His recording credits include the Bartok Concerto No. 2 and Szymanowski Concerto No. 1 for Polygram.

He has also appeared performing on both violin and viola in chamber music concerts at Lincoln Center, Kennedy Center, Aspen, Ravinia and festivals and music series worldwide. Wang was the resident soloist of the Shanghai Symphony for the 2012-13 Season, during which he also performed as a soloist with other major Chinese orchestras, including the China Philharmonic in Beijing. He is artistic director of the chamber music group Concertante, collaborating with world renowned musicians and producing a vast number of recordings.

Peter Zazofsky Violinist Peter Zazofsky has enjoyed a richly varied career as a soloist, chamber musician and educator that spans thirty years and thirty countries on five continents. He has performed with many of the great orchestras in the U.S. and Europe, including the Boston Symphony, Berlin Philharmonic, Amsterdam Concertgebouw, Philadelphia Orchestra, San Francisco Symphony, Atlanta, Minnsota, and Hong Kong, collaborating with maestros Tennstedt, Ozawa, Ormandy, Kurt Sanderling and Charles Dutoit. As a recitalist, Mr. Zazofsky has given innovative programs in Carnegie Hall, Sala Cecilia Meireles in Rio de Janeiro, Palais des Beaux Arts in Brussels and the Teatro Colon in Buenos Aries. He also tours the world’s music centers as first violinist of the Muir String Quartet, for which he has performed many complete cycles of the Beethoven quartets. A native of Boston, he first studied with Joseph Silverstein before 43

entering the Curtis Institute, where he continued with Ivan Galamian, Dorothy Delay and Jaime Laredo. Graduating in 1976, Zazofsky went on to win top prizes in several international violin contests, including the 1979 Montreal Competition and 1980 Queen Elisabeth in Brussels. He is a frequent visitor to Israel, where he has given over forty performances of concerti, from Beethoven and Sibelius to Bach, Berg and Brahms. In recent years Peter Zazofsky added several new facets to his career. He has given premieres of new works written for him by composers in Holland, Belgium, Denmark and Spain, and he recorded concerti

by Robert Chumbley and Frederick van Rossum in Belgium and Poland. He has also encouraged creation of new works by American composers Joan Tower, Sheila Silver and Richard Danielpour. Long committed to teaching, Zazofsky holds the position of Associate Professor of Violin and Chamber Music at Boston University and serves as a jury member for the violin competitions in Montreal, Brussels and Odense, Denmark.

Itamar Zorman Hailed as a “poet of the violin” and one of the most soulful, evocative artists of his generation, Itamar Zorman is a committed chamber player and recipient of an Avery Fisher Career Grant and a Borletti-Buitoni Trust Award. Since his emergence with the top prize at the 2011 International Tchaikovsky Competition, he has appeared with major orchestras across the world, including the American Symphony Orchestra in Carnegie Hall, the Tokyo Syphony in Japan’s Suntory Hall, the Belgrade Philharmonic, Orchestre National de Capitole de Toulouse in France, the Israel Philharmonic, as well as the St. Petersburg Philharmonic and the Russsian State Symphony Orchestra “Novaya Rossiya.” This season, Zorman will appear with Michael Tilson Thomas and the New World Symphony, IRIS Orchestra with Michael Stern and in his own solo program “Four Seasons around the Globe,” with the Bach Festival Society of Winter Park. As part of an ongoing exploration of the music of Paul Ben-Haim, he is recording a CD of the works for violin and orchestra with BBC National Orchestra of Wales for BIS Records. Zorman is a founding member of the Israeli Chamber Projects and a member of the Lysander Piano Trio, with which he won the 2012 Concert Artists Guild Competition, the Grand Prize in the 2011 Coleman Chamber Music Competition and a bronze medal in the 2010 Fischoff National Chamber Music Competition. Mr. Zorman began his studies at the age of six at the Israel Conservatory of Music in Tel Aviv and received his BM degree from the Jerusalem Academy of Music and Dance as a student of Hagai Shaham, his MM from The Julliard School in 2009, and Artist Diplomas from the Manhattan School of Music in 2010 and from Julliard in 2012. He is also an alumnus of the Kronberg Academy where he studied with Christian Tetzlaff. He plays on a Guarneri Del Jesu from 1734, from the collection of Yehuda Zisapel.

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Close Encounters With Music salutes the many great artists who have joined us for twenty-seven years of splendid and inspired music-making in the Berkshires.

Jane Alexander, actress Acronym Baroque String Band Amernet Quartet Toby Appel, violin Lydia Artymiw, piano Shmuel Ashkenasi, violin Lera Auerbach, composer Avalon String Quartet Lucille Beer, mezzo-soprano Yehonatan Berick, violin Boris Berman, piano Martin Bernheimer, critic Robert Bonfiglio, harmonica Kenji Bunch, composer Richard Chamberlain, actor Chamber Orchestra Kremlin Michael Chertock, piano Catherine Cho, violin Charles Coe, poet Kenneth Cooper, harpsichord Cuarteto Latinoamericano Daedalus String Quartet Arti Dixson, percussion Dover String Quartet eighth blackbird, sextet Liu Fang, pipa Eliot Fisk, guitar Alexander Fiterstein, clarinet Miriam Fried, violin Vadim Gluzman, violin Rivka Golani, viola Osvaldo Golijov, composer

Ralf Gothoni, piano Renee Jolles, violin William Kanengiser, guitar Erin Keefe, violin Phil Kline, composer David Krakauer, clarinet Soovin Kim, violin Soyeon Kate Lee, piano Michel Lethiec, clarinet Ida Levin, violin Michele Levin, piano Cho-Liang Lin, violin Seymour Lipkin, piano Benjamin Luxon, actor Sivan Magen, harp Manhattan String Quartet Jorge Martín, composer Stefan Milenkovich, violin Muir String Quartet Thea Musgrave, composer John Musto, composer Charles Neidich, clarinet Adam Neiman, piano Anton Nel, piano Kelley O’Connor, mezzo-soprano Tara Helen O’Connor, flute Maureen O’Flynn, soprano Sharon Olds, poet Richard O’Neill, viola David Parsons, choreographer Lionel Party, harpsichord Daniel Phillips, violin

Walter Ponce, piano Stephen Prutsman, piano William Purvis, horn Roman Rabinovich, piano Julian Rachlin, violin Desmond Richardson, dancer Jennifer Rivera, mezzo-soprano Seth Rogovoy, author The Rose Ensemble Bill Schimmel, accordion Paul Schoenfield, composer Hagai Shaham, violin William Sharp, baritone Lucy Shelton, soprano James Austin Smith, oboe Arnaud Sussmann, violin Jeffrey Swann, piano Danielle Talamantes, soprano Arve Tellefsen, violin James Tocco, piano Joan Tower, composer Dawn Upshaw, soprano Elina Vahala, violin Sigourney Weaver, actress Calvin Wiersma, violin Carol Wincenc, flute Hugo Wolf String Quartet William Wolfram, piano Judith Zaimont, composer Peter Zazofsky, violin Itamar Zorman, violin

and many more...

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PH O T O B Y PA M EL A DR EY F U S S M I T H

Michael Chertock, piano; Danielle Talamantes, soprano; Kerry Wilkerson, baritone — 2018 Bernstein Gala

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Charles and Deborah Adelman Jamie and Ethan Berg Helene Berger Deborah L. Browning Sue and Arnold Cohen Elizabeth and Jonas Dovydenas Phyllis Ettinger Malka and Eitan Evan Pat and Jim Fingeroth Elizabeth Fontaine Denise and Trevor Forbes Lynn Galler and Hezzy Dattner Lois Ginsberg Dr. Leslie Gold and John Spain Eric and Carol Haythorne Ruth and Hans Heuberger Susan and Pavel Hillel Dr. Magda Gabor-Hotchkiss Daniel Kurtz and Elizabeth Olofson Marcia Levy and Mark Cannon

Dr. Andrea Marks and David Warmflash Dr. Thomas and Michele Levin Naidich Irving and Sharon Picard Karen D. Richards Dorothy and Jerome I. Rosenberg Anne Schnesel Jeannine and Peter Schoeffer Susan and Judd Shoval Marilyn Shulklapper Delanne Stageman Kenneth A. Stark Jonathan Swartz Edith Velmans Dr. Harry and Eileen Weinstein Susan Pettee and Michael O. Wise WMHT-FM Foundations

The Helene and Adolph Berger Family Foundation The Don and Maggie Buchwald Foundation The Howard Gilman Foundation Massachusetts Cultural Council James G. & Purcell Scheu Palmer Foundation The Prospect Hill Foundation, Matching Grant The Scone Foundation The T. Backer Fund The Tavitian Foundation Donors, Special Initiatives

Anita and Sergio Baranovsky Linda and Alan Englander Deborah and Richard Felder Andrea Yablon

Berkshire High Peaks Festival Major Donors

Nurit and Richard Amdur Anonymous T. Backer Fund Jamie and Ethan Berg Helene Berger Donna Bernstein, The Samuel J. Bernstein Fund Rita Blitt Barbara Cooperman Arthur DeGroat Neisa DeWitt Elizabeth and Jonas Dovydenas Malka and Eitan Evan Sister Fender Dr. Leslie Gold and John Spain Judith B. Grunberg Eric and Carol Haythorne Susan and Pavel Hillel Carole and Gordon Hyatt Marcie and Fred Imberman Malinka and Kenneth Jackson Batya Kahane and Daniel Jusidman Deko Klebanoff Pat and Michael Magdol Penny and Claudio Pincus Foundation Rene Schnetzler and Ruth Ketay Irene Schultz Gail Clott Segal Ann and George Selden Irmgard Sell Shoval Foundation Andrew and Alix Song Ronnie and Alan Streichler Mary and Harvey Struthers Brenda Walker Swords Garen and Stephen Tolkin Total Dollar Insurance Diane Troderman and Harold Grinspoon Michael Wise and Susan Pettee

In-Kind Contributions: Berkshire Homestyle, Blue Sky Multimedia, Domaney’s Fine Wines and Liquors, Guidos Fresh Marketplace, Our Daily Bread Deli, Ward’s Nursery, WFCR & WNNZ, WMHT. SPECIAL THANKS: to Trevor and Denise Forbes, Susan and Pavel Hillel, Beverly and Dave Hosokawa, Pat and Louis Levine, Liz Roberts and Marcie Setlow for hosting guest artists and rehearsals; to Beverly and David Hosokawa and to Alice Kandell for hosting soirees in their homes to benefit the High Peaks Festival; and to Therese Wolfe of Pattison, Koskey, Howe and Bucci, CPA’s.

All Close Encounters With Music concerts are broadcast on WMHT-FM 89.1 Close Encounters With Music performances are made possible in part by the Massachusetts Cultural Council 53

A TRADITION OF EXCELLENCE www.StoneHouseProperties.com

Where Gardeners Grow 600 S. Main St. www.wardsnursery.com Gt. Barrington MA - Open Every Day 413-528-0166

Play on.

WTFESTIVAL.ORG | 413.458.3253 Matthew Broderick and Brooks Ashmanskas in The Closet, 2018, photo by Carolyn Brown.

54

Post Office Box 34, Great Barrington, MA 01230 800.843.0778 • Email: cewmusic@aol.com • www.cewm.org Board of DirectorS Marcie L. Setlow, President Hannah Hanani, Vice President/ Secretary Reid White, Treasurer Richard Amdur Kathleen Chrisman Stanley Cohen Elizabeth Fontaine Trevor M. Forbes Michael Gordon Judith B. Grunberg Yehuda Hanani Eric Haythorne Beverly Hosokawa Fred Imberman Purcell Palmer Claudio Pincus Michael O. Wise Beverley Zabriskie

Staff Pamela Dreyfus Smith, Director of Marketing & Public Relations Alicia Zaludova, Communications Sheila Wood, Communications Vanessa Leikvoll, Production Laurie Werner, Development Consultant

Directors Emeriti: Frederick W. Beinecke Charles Lieber* Jerome Rosenberg Aso O. Tavitian

Joel Patterson, videographer Pamela Dreyfus Smith

Staff Volunteers Robin Goldberg Andrea Minoff Page TurnerS Deborah Morris Dr. Manon Hutton-DeWys Events PhotographerS Alena X. Bergmann

Scott Barrow David Dashielle

Recording Joel Patterson, Sponsored by WMHT Commissioning Advisory Board Eliot Fisk Osvaldo Golijov Judith B. Grunberg Jorge Martín George Minkoff Graphic Design Jane McWhorter, playbill design Hans Heuberger, playbill cover painting Pamela Dreyfus Smith, staff designer Curt Carpenter, brochure design Shadoworks Web Design by Sharon DeWitt *deceased

Follow CEWM on Twitter, Facebook and Instagram

Your Classical Companion Listen 89.1/88.7 | wmht.org 55

Directory of Advertisers RESTAURANTS & FINE FOOD

Retail

Allium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 The Chatham Berry Farm . . . . . . . . . . . . . . . . . . 54 Bizen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Blue Plate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Cafe Adam Restaurant . . . . . . . . . . . . . . . . . . . . 19 Casana T House . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Chocolate Springs Café . . . . . . . . . . . . . . . . . . . . 18 Domaney’s Fine Wine and Liquors . . . . . . . . . . 57 Guido’s Fresh Marketplace . . . . . . . . . . . . . . . . . 49 Hawthorne Valley Farm Store . . . . . . . . . . . . . . .18 Nejaime’s Wine Cellars . . . . . . . . . . . . . . . . . . . . 19 Old Mill Restaurant & Bar . . . . . . . . . . . . . . . . . 49 Our Daily Bread Deli . . . . . . . . . . . . . . . . . . . . . . 22 Tangier Cafe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 The Old Inn On The Green . . . . . . . . . . . . . . . . . 23

Bachetti’s Auto Sales . . . . . . . . . . . . . . . . . . . . . . . 51 Berkshire Baby . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Francis Morris Violins . . . . . . . . . . . . . . . . . . . . . 48 Goldstein Auto Group . . . . . . . . . . . . . . . . . . . . . 23 Insight Computer Center . . . . . . . . . . . . . . . . . . 46 Tiny Hearts Farm . . . . . . . . . . . . . . . . . . . . . . . . . 51 Rewraps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Wards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Windy Hill Farm . . . . . . . . . . . . . . . . . . . . . . . . . 21

REAL ESTATE & Home Services

Alarms of Berkshire County . . . . . . . . . . . . . . . . 28 Clark & Green Architecture . . . . . . . . . . . . . . . . 27 Comalli Electric . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Henry’s Electric . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Herrington’s Building Supplies . . . . . . . . . . . . . . . 2 John F. Graney Metal Design . . . . . . . . . . . . . . . 28 Moran Mechanical Systems, Inc. . . . . . . . . . . . . 21 Okerstrom Lang Landscape Architects . . . . . . . 23 Race Mountain Tree . . . . . . . . . . . . . . . . . . . . . . . 22 Stone House Properties . . . . . . . . . . . . . . . . . . . . 54 Wheeler & Taylor Insurance . . . . . . . . . . . . . . . . 22

Publications, GRAPHICS & ART

The Artful Mind . . . . . . . . . . . . . . . . . . . . . . . . . . 49 The Berkshire Edge . . . . . . . . . . . . . . . . . . . . . . . 17 Berkshire Magazine . . . . . . . . . . . . . . . . . . . . . . . 50 Blue Sky Multimedia . . . . . . . . . . . . . . . . . . . . . . 46 Country and Abroad Magazine . . . . . . . . . . . . . . 2 Homestyle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Scott Barrow Photography Gallery . . . . . . . . . . 29 Qualprint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Rural Intelligence . . . . . . . . . . . . . . . . . . . . . . . . . 20 HEALTH, BEAUTY & TRAVEL

The Barrington . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Fairfield Inn & Suites . . . . . . . . . . . . . . . . . . . . . . 16 Jane Iredale Mineral Cosmetics . . . . . . . . . . . . . 48 Peter Goldberg, Acupuncture . . . . . . . . . . . . . . . 27 South Africa Sun . . . . . . . . . . . . . . . . . . . . . . . . . 27

CULTUral Arts

FINANCIAL & LEGAL SERVICES

Berkshire Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 David M. Lanzan, Attorney . . . . . . . . . . . . . . . . 21 Greylock Federal Credit Union . . . . . . . . . . . . . 12 Kinderhook Bank . . . . . . . . . . . . . . . . . . . . . . . . . 11 Lee Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Pattison, Koskey, Howe & Bucci, PCAs, P.C. . . 29 Renaissance Investment Group . . . . . . . . . . . . . . 2 Salisbury Trust . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

56

Barrington Stage Company . . . . . . . . . . . . . . . . . 11 Berkshire Opera . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Berkshire Playwrights Lab . . . . . . . . . . . . . . . . . 22 Boston Symphony Orchestra . . . . . . . . . . . . . . . 21 The Clark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Jacob’s Pillow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Mahaiwe Performing Arts Center . . . . . . . . . . . 32 NEPR (WFCR) . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Norfolk Chamber Music Festival . . . . . . . . . . . . 16 PS21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Shakespeare & Company . . . . . . . . . . . . . . . . . . . 12 Williamstown Theatre Festival . . . . . . . . . . . . . . 54 WAMC Northeast Public Radio . . . . . . . . . . . . 18 WMHT FM Radio . . . . . . . . . . . . . . . . . . . . . . . . 55

Lenox Club Musicale and the 2017 Gala Celebration

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