GLCMF Program Book 2025

BLUEPRINTS IN SOUND

Major support provided by:

Wireworks

Fabric Swatch Designed by Ruth Adler Schnee, 1950,

Courtesy of The Henry Ford

WELCOME

Welcome to the 2025 Great Lakes Chamber Music Festival!

Each June, our community of artists and audiences comes together to explore the boundless world of chamber music. This year’s theme, Blueprints in Sound, invites us to discover the foundations and frameworks that shape music across centuries. From the architectural beauty of classical forms to bold contemporary designs, we examine how composers build sonic worlds—and how performers bring them to life.

I am thrilled to collaborate with the extraordinary musicians and composers who join us this season. Their artistry and imagination breathe new energy into each performance, turning every concert into a shared journey of discovery.

Thank you for being part of this Festival. Whether you are a long-time supporter or joining us for the first time, your presence helps create the vibrant spirit that

TABLE OF CONTENTS

Leila Josefowicz and Paul Watkins

St. Hugo of the Hills

FESTIVAL LEADERSHIP

ARTISTIC DIRECTOR

Paul Watkins

ARTISTIC DIRECTOR EMERITUS

James Tocco

SHOUSE INSTITUTE DIRECTOR

Philip Setzer

CHAIRS

Virginia & Michael Geheb, Board Chairs

Marguerite Munson Lentz

Janelle McCammon & Raymond Rosenfeld

BOARD OF DIRECTORS

Kathleen Block

Nicole Braddock

Cathleen Corken

Christine Goerke

Robert D. Heuer

Judith Greenstone Miller

Gail & Ira Mondry

Bridget & Michael Morin

Frederick Morsches & Kareem George

Sandi & Claude Reitelman

Randolph Schein

Lauren Smith

Jill & Steven Stone

Rev. Msgr. Anthony Tocco

Michael Turala

Gwen & S. Evan Weiner

EX-OFFICIO MEMBERS

Fr. Mark Brauer

Rev. Edwin Estevez

Mitchell Garcia

Cantor Rachel Gottlieb Kalmowitz

Rabbi Mark Miller

Maury Okun

TRUSTEE ADVISORY COMMITTEE

Cecilia Benner

Linda & Maurice Binkow

Cindy & Harold Daitch

Lillian Dean

Nathalie Doucet

Afa Dworkin

Adrienne & Herschel Fink

Jackie Paige-Fischer & David Fischer

Barbara & Paul Goodman

Barbara Heller

Fay B. Herman

William Hulsker & Aris Urbanes

Rayna Kogan

Yuki Mack

Martha Pleiss

Kristin Ross

Franziska Schoenfeld

Marc A. Schwartz

Josette Silver

Isabel & Lawrence Smith

Kimberley & Victor Talia

James Tocco

Beverly & Barry Williams

ARTOPS STAFF

Administration

Maury Okun, President & CEO

Jennifer Laredo Watkins, Director of Artistic Planning

Community Engagement

Jainelle Robinson, PR/Community Engagement Officer

Development

Jocelyn Conselva, Director of Development

Allison Prost, Development Associate

Allison Wamser, Patron Engagement Associate

Muse Ye, Institutional Giving Manager

Marketing

Bridget Favre, Director of Marketing

Layla Blahnik-Thoune, Multimedia Marketing Associate

Lauren Cichocki, Marketing Associate

Olivia Donnel, Marketing Associate

Shelby Alexander, Marketing Intern

WITH GRATITUDE TO VIRGINIA & MICHAEL GEHEB FOR THEIR YEARS OF LEADERSHIP AND SERVICE

Since late 2016, Virginia and Michael Geheb have led the Festival with vision, generosity, and dedication. Their leadership has guided a period of growth, artistic excellence, and community connection. We are deeply grateful for their years of service as Board Co-chairs.

Please join us in welcoming our new Board Co-chairs: Cathleen Corken, Marguerite Munson Lentz, and Gwen Weiner.

Operations

Nolan Cardenas, Artistic Operations Manager

Lane Warren, Operations Associate

Alexander Lee, Operations Intern

Finance

Triet Huynh, Controller

Phuong Huynh, Finance Assistant

Client Liaison

Lulu Fall, Cabaret 313 Executive Director

FOUNDING MEMBERS

Wendy & Howard Allenberg

Kathleen & Joseph Antonini

Toni & Corrado Bartoli

Margaret & William Beauregard

Nancy & Lee Browning

Nancy & Christopher Chaput

Julie & Peter Cummings

Aviva & Dean Friedman

Patricia & Robert Galacz

Rose & Joseph Genovesi

Elizabeth & James Graham

Susan & Graham Hartrick

Linda & Arnold Jacob

Rosemary Joliat

Penni & Larry LaBute

Emma & Michael Minasian

Beverly & Thomas Moore

Dolores & Michael Mutchler

Nancy & James Olin

Helen & Leo Peterson

Marianne & Alan Schwartz

Leslie Slatkin

Sandra & William Slowey

Wilda C. Tiffany

Rev. Msgr. Anthony Tocco

Debbie & John Tocco

Georgia & Gerald Valente

Thelma & Ganesh Vattyham

Nancy & Robert Vlasic

Gwen & S. Evan Weiner

Barbara & Gary Welsh

Left to Right: Michael Geheb, Jocelyn Conselva, Virginia Geheb

���� SPONSORS & FUNDERS

THANK YOU TO OUR SPONSORS AND FUNDERS OF

THE 2025 GREAT LAKES CHAMBER MUSIC FESTIVAL

Phillip & Elizabeth Filmer Memorial Charitable Trust

Mary Thompson Foundation

Wilda C. Tiffany Trust

Maxine and Stuart Frankel Foundation

Burton A. Zipser & Sandra D. Zipser Foundation

OUR MISSION

The Great Lakes Chamber Music Festival celebrates and advances its art form through extraordinary performance, collaboration, and education, inspiring diverse audiences to share in the intimate dialogue that is unique to chamber music.

ABOUT THE COVER

WIREWORKS, RUTH ADLER SCHNEE

Pioneering designer Ruth Adler Schnee was trained in architecture and first began designing textiles when her architectural projects demanded a more modern aesthetic. This need launched her career in textile design. Both natural and man-made environments inspire her work. This textile on our program cover, Wireworks, was inspired by the fireplace tools she encountered during a trip to the studio of renowned sculptor Alexander Calder.

Ruth and her husband Ed were founding members of the Festival’s board. In many respects, they personified the Festival’s aspirations. The Schnees lived at the crossroads of creativity and practicality. They understood art. They understood business. And they understood the relationship between the two.

This season’s theme, Blueprints in Sound, honors the interweaving of music, architecture, and design. We celebrate the Schnees’ impact in the world of design and how they are so deeply embedded into the fabric of our event’s character. Ruth’s art is both visionary and pragmatic, a duality that the Festival still strives for in every decision that it makes.

This season, as we explore music as an architectural art form, we celebrate the life and legacy of Ruth Adler Schnee. Just as she left an indelible mark on the world of design, her impact on this Festival will forever be etched in our history.

Wireworks

Fabric Swatch Designed by Ruth Adler Schnee, 1950, Courtesy of The Henry Ford

SUNDAY, JUNE 8 | 5 PM

Seligman Performing Arts Center

Sponsored by David Nathanson

OPENING NIGHT: LATTICEWORK

PROGRAM

— CONCERT INTRODUCTION BY SEAN SHEPHERD —

Sean Shepherd Latticework for violin and cello (world premiere) (b. 1979)

Josefowicz, Watkins

Benjamin Britten Six Metamorphoses after Ovid, Op. 49 (1913–76)

Pan

Phaeton

Niobe

Bacchus

Narcissus

Arethusa

Kinmonth

Joseph Haydn Cello Concerto in C major, Hob. VIIb:1 (1732–1809)

Moderato

Adagio

Allegro molto

Watkins, Scott, Detroit Chamber Winds & Strings, The Dolphins Quartet, The Paddington Trio, Trio Dolce

ARTISTS

GLORIA CHIEN, piano

LEILA JOSEFOWICZ, violin

PHILIP SETZER, violin

CHE-YEN CHEN, viola

DILLON SCOTT, viola, Sphinx apprentice

EDWARD ARRON, cello

PAUL WATKINS, cello

ALEXANDER KINMONTH, oboe

DETROIT CHAMBER WINDS & STRINGS THE DOLPHINS QUARTET, Shouse ensemble

MEMBERS OF THE PADDINGTON TRIO, Shouse ensemble

MEMBERS OF TRIO DOLCE, Shouse ensemble

— INTERMISSION —

Ludwig van Beethoven Piano Quartet No. 1 in E-flat major, Op. 16 (1770–1827)

Adagio assai

Allegro con spirito

Theme and variations: Cantabile

Chien, Setzer, Chen, Arron

OPENING NIGHT DINNER

Seligman Performing Arts Center, Octagon Room Sponsored by Honigman LLP

Join the artists for our Opening Night Dinner after the performance to kick off the 2025 Festival, featuring a live auction and wine pull. Catered by Plum Market.

Call (248) 559-2097 for more information. Donation to attend is $100 per person.

PERFORMANCE SPONSORS

Haydn Cello Concerto | Linda & Maurice Binkow

Construction Fabric Swatch Designed by Ruth Adler Schnee, 1950, Courtesy of The Henry Ford

PROGRAM NOTES

There is a rare little word for all this. Its coinage lies buried in a dense architectural treatise (the first of its kind, really), drafted at the behest of Caesar Augustus. In his De architectura, the Roman architect Vitruvius partitions the field of design into three constituent arenas: ichnography, orthography, and scenography. The first—and, for today, the only one that really matters—he takes from ichnos, Greek for print, and defines it as “the representation on a plane of the groundplan of the work, drawn by rule and compasses.” Ichnography, he terms modestly, is the art of the blueprint

The word will remain an oddity until 1712, when Gottfried Leibniz picks it up while writing to the theologian Bartholomew Des Bosses: “the difference between the appearance of a body for us and for God is the difference between scenography and ichnography,” by which he means we see the world from a fixed singularity, in perspective, while God sees ichnography’s plurality: infinite, geometric, omnidirectional. Fast forward, and Michel Serres will read Leibniz reading Vitruvius in his Genesis, and take both men to the following conclusion: “Once more, what is the ichnography? It is the ensemble of possible profiles, the sum of horizons. Ichnography is what is possible, or knowable, or producible, it is the phenomenological well-spring, the pit. It is the complete chain of metamorphoses of the sea god Proteus, it is Proteus himself.”

Serres’s point, mutatis mutandis, will be ours as well: that the privilege of the blueprint is to treat space as absolutely logical and generatively legible under the sign of geometry’s lines, angles, grids, points, figures. The privilege of ichnography, in other words, is an inherent formalism. And so: Blueprints in Sound, our 2025 theme, gives name to both a musical thematics as much as to an intellectual project. In the space of these program notes, we will read, time and again, for form, for the fragile contingencies and the shapes of impasses between structure and material that are always already becoming otherwise.

The four works on our opening concert each problematize the blueprint in opposing and revealing ways. Sean Shepherd has long had a predilection for intricate exactitude. His music’s sonic fragility—hazy, hovering harmonies in endless permutation, glinting textures half-bathed in sun—is borne out on a structure watertight in its unfolding: he has a rigorous bent for proportion, for calculation. Tonight’s Latticework takes, as the title suggests, the cross-hatched pattern as an organizing principle: the invisible structure suggesting material possibilities is that particular interlaced shape. But it is also a curious foundation for labor. This is lattice work: there is exertion and effort in bringing such a detailed shape to audibility. We might, then, sense as though the music itself obeyed a strange obligation to exertion, as if the violin’s material were contractually drawn in these diagonals and hatchings, working to hang its body across so delicate a structure.

Where Shepherd takes an abstract geometric principle and unspools from it a narrative of sound’s material transformation, Benjamin Britten moves in the opposite direction: human narratives become abstract designs for musical transformation. (Note already the overlap with Serres: Protean metamorphoses are always a question of extreme form.) Six stories from the Metamorphoses serve as governing paradigms, but the idea was never that the music would somehow wordlessly “tell the story” of Phaeton, who rode upon the chariot of the sun, or Niobe, who transforms from her grief into a mountain. Instead, the change in state undergone by Ovid’s characters suggest only a form. The final phrase of Niobe, for instance—after nearly a whole page of hilly ascents and descents, an expanding field of arches scaling up towards the mountainous—reads senza espressivo—without expression. The transformation has turned melody from a subjective, pining utterance into pure abstracted harmony: the transformation, after all, was to reprieve her of human expression.

Both Haydn and Beethoven, meanwhile, in different ways, problematize fidelity to the blueprint. Haydn’s first cello concerto is strict as strict can be: three movements, each a meticulous sonata form. The use of sonata was, at the time, eminently modern: it is only just coming into fashion as a major formal discovery, a means for organizing transformation along logical lines. But where Haydn is obedient—his blueprint matches the building absolutely (Mozart will start the trend of breaking those rules)—Beethoven runs rampant, his sonatas a series of fake-outs and excessive ornament. Not to mention he’s twice removed from his ichnography: the Piano Quartet is itself a recasting of his previous Piano Quintet with winds, itself modeled on Mozart’s quintet with the same instrumentation and key. And while the revisionist sutures are expertly covered up, one can still hear in the material an older sensibility and a windy intention: the very first gesture betrays a music once meant to be played on a horn.

There is another ichnographic reading. Louis Marin, too, knew Vitruvius, though his conclusions were more somber: “The outline on the ground at the surface level is nothing but the trace that would be left by the building if it were to be destroyed by time, by the violence of meteors or men… [ichnography] is its ruin.” Leading Eugenie Brinkema, who reads the whole lot of these commentators in her treatise on formalism, to conclude: “Ichnography… names a giving of form that contains every undoing of form: what is there as what is already ravaged.”

These notes will always be the ruins and ravages of the music they address, whose vitality is only in the present of their instantiation. Read, certainly, but more importantly: listen © 2025 Ty Bouque

ONE NOTE AT A TIME

CAPITAL CAMPAIGN

One Note at a Time, the Festival’s Capital Campaign, aims to provide long-term support for Festival activities, with emphasis on artistic and operational excellence, as well as education and engagement.

For three decades, the Great Lakes Chamber Music Festival has thrived at the intersection of intimate friendships and world-class artistic dialogue. Inspired by great artists, great music, and great friends, the Festival has earned its reputation as a forward-thinking and effective institution.

Our extended family of artists, audience, board, and staff share a passion for us to grow, to expand our reach, and embed ourselves more deeply in the cultural fabric of our community. We must continue to evolve, taking pride in our success while not resting on our laurels.

The world has changed dramatically since our birth in the early 1990s. Our opportunity is to leverage our experience and the good will that we have amassed to anticipate, respond to, and thrive in the new environment in which we find ourselves. One Note at a Time foresees a future of exceptional music-making and community engagement as we move forward with open eyes and ears, positioning the Festival for thirty more years of great chamber music.

To date, One Note at a Time has raised approximately $500,000 in cash and pledges toward its $1 million goal. For more information or to participate, contact Jocelyn (Zelasko) Conselva at jocelyn@art-ops.org.

Left to Right: Alvin Waddles, Paul Watkins, Marion Hayden, and David Taylor

We’re never done making health care

TUESDAY, JUNE 10 | 7 PM

Kirk in the Hills

Sponsored by Marguerite Munson Lentz & David Lentz

SOUND BEAMS

PROGRAM

Claude Debussy Sonata in G minor for violin and piano, L. 140 (1862–1918)

Allegro vivo

Intermède: Fantasque et léger

Finale: Très animé

Josefowicz, Chien

Steve Reich Music for Pieces of Wood (b. 1936) Third Coast Percussion

— INTERMISSION —

Johann Sebastian Bach Goldberg Variations, BWV 988 (1685–1750) Frautschi, Chen, Arron arr. Dmitry Sitkovetsky

PROGRAM NOTES

A tension: truss means two things, torn by competing forces.

ARTISTS

GLORIA CHIEN, piano

JENNIFER FRAUTSCHI, violin

LEILA JOSEFOWICZ, violin

CHE-YEN CHEN, viola

EDWARD ARRON, cello

THIRD COAST PERCUSSION

SEAN CONNORS

ROBERT DILLON

PETER MARTIN

DAVID SKIDMORE

The architectural definition has, from the seventeenth century on, signaled a form of beaming, most often wooden, used to brace bridges or buildings. The classic truss is five-beamed, a square bisected into triangles. Triangles are simple but eminently sturdy; you can understand the allure. A truss, according to Engineering Mechanics, “consists of two-force members only, where the members are organized so that the assemblage as a whole behaves as a single object.” It is said that such a rigorous definition allows the truss to take any shape, so long as its connections remain stable. Stable and five and any shape will be important later.

The earlier sense hews closer to etymology. From the Latin torquere, “to twist,” itself from the Proto-Indo-European*terkw- (a root truss shares with torque and torsion but also torture and contort), the 13th-century verb form meant “to load, load up, pack up in a bundle” (relying on the sense of what is wrapped or twisted ‘round). The main residue English has retained of that particular understanding is the phrase trussed up, most often heard around November holidays, referring to what is tightly bound with rope or some such thing.

The conflict at the core of this concert, then, is between a rigid, often planar architectural force, a geometric structure whose job is to hold forever firm, and the twist, what wraps, ensconces, flexes, binds, folds but never along straight lines. A (wooden) truss cannot by definition submit to twisting force, but to truss is precisely what is twisted all around. What both definitions share, however—albeit to opposite ends—is an impulse to stay or bring together. The forces that hold a trussed bird in place restrict its movement into gastro-aesthetic form; the forces of wood that stabilize a bridge lend it rigorous fortitude: trusses, by twist or tightest frame, hold firm.

The Debussy Sonata in G minor for violin and piano is, by the repertoire’s standard, an odd little piece precisely for being so little. At half the length of the Kreutzer, it strikes a diminutive stance among a much beefier canon generally more prone to exhaustive virtuosity. Written as one of an unfinished cycle of six sonatas for instruments, one can understand the brevity: colorectal cancer had given the composer less than a year to live.

PERFORMANCE SPONSORS

Bach Goldberg Variations | Gail & Ira Mondry

Fission Chips

Fabric Swatch Designed by Ruth Adler Schnee, 1957, Courtesy of The Henry Ford

But short is hardly simple. The work is a tightrope, the consequence of an unusually equalized distribution of responsibility (an assemblage, that is, behaving as a single object): the and in the title matters. The music is unusually reactive to itself, binding the two instruments by an invisible string whose elasticity forces them into exposed dependency. Attend to how they catch each other at a hair’s breadth, how they hem each other in here but breathe expansion to the other there, how when one holds the other inevitably torques but how the result is always two as one. In such a confined space, all formal activity is intensely, almost erotically charged: both are vulnerable in their reliance on the other for the security of the work they build together: trust/trussed.

The premiere in May of 1917—with Gaston Poulet and the composer at the piano—would be Debussy’s last performance. He died shortly after, despite numerous attempts at invasive intervention. (A third, archaic definition, from the 1650s: truss, a surgical appliance to support a rupture.)

The implicit materiality of violin and piano—tensile wooden objects brought to audibility—is literalized in Steve Reich. Written in 1973—only a year after Clapping Music (and with the identical rhythm appearing in the second entrance)— Music for Pieces of Wood is a clamorous thing. Five interlocking parts, none of them entirely virtuosic on their own, combine into a dramatic showcase of coordination and endurance. It is percussion quintessence: pure rhythm as music.

But where Debussy’s magic is a breathtaking array of color, the magic of Music for Pieces of Wood is achieved by perfect homogeneity. Because all five players share identical sets of wood, each new layer becomes immediately enfolded in the whole, resulting in a perceptual trick: the experienced pulse of the music appears to change with stunning variety, without the ongoing music changing even a bit. Sameness is never heard the same. There’s something hypnotic about so many cycles all hammered to the beam: five vectors, none exceptionally ornamental but unflappably secure, behaving as a single object, structurally sound in whatever shape they take.

And there is, perhaps, no single work of architectural bondage more immaculate than the Goldberg Variations. Written at the request of a Count Kaiserling who suffered from frequent bouts of insomnia, the Variations—Bach’s first and only foray into a form he otherwise deemed too limiting—were intended as comfort for the sleepless ear, and named for Kaiserling’s staff musician, Johann Gottleib Goldberg, whose responsibility it was to keep the Count entertained in his wee hour wakings. Bach had originally resisted the variation form for what he perceived as its harmonic limitation: for an experimental harmonist, the threat of enchainment to a single set of chords for well-nigh an hour was unthinkable. But it is precisely that limitation that makes Goldberg so satisfying a puzzle to decode. The work takes a richly decorated aria and, treating it as sheer material, explodes it into thirty permutations, each an exercise in formal innovation and technical prowess. There are dances and overtures, toccatas and fugues, even a series of canons every third variation that each time increase the interval between voices. Third, of course, for Bach’s Protestant devotion to the trinity, but also because triangles are simple yet eminently sturdy.

(After all, is it not said that a rigorous definition allows the truss to take any shape, so long as its connections remain stable?)

A formal exercise, then: how many ways can you twist around an impossibly stable frame? © 2025 Ty Bouque

WEDNESDAY, JUNE 11 | 7 PM

Birmingham Unitarian Church

Sponsored by Nancy Duffy in memory of William Duffy

SHOUSE SOUNDSCAPES

PROGRAM

— CONCERT INTRODUCTION BY DANIEL SCHNEE —

W. A. Mozart

Piano Quartet No. 1 in G minor, K. 478 (1756–91) Allegro

Andante

Rondo (Allegro)

Preucil, The Paddington Trio

Dillon Scott A Moment in Time

Scott

The Dolphins Quartet Tales from the Great Lakes (world premiere) The Dolphins Quartet

— INTERMISSION —

Johannes Brahms

Piano Trio No. 1 in B major, Op. 8 (1833–97)

Allegro con brio

Scherzo: Allegro molto

Adagio

Finale: Allegro

Trio Dolce

COMPOSER NOTES

ARTISTS

JAMES PREUCIL, viola, member of The Dolphins Quartet

DILLON SCOTT, viola, Sphinx apprentice

THE DOLPHINS QUARTET, Shouse ensemble

THE PADDINGTON TRIO, Shouse ensemble

TRIO DOLCE, Shouse ensemble

The Dolphins spend each summer at music festivals, where our contrasting personalities invite constant adventure. From quirky people to breathtaking nature, inspiration for music is everywhere. We often improvise together—no rules, just free-flowing, musical conversation. These sessions spark many of our compositions, sometimes yielding fully formed themes or entire sections that make it into our final work.

Tales From the Great Lakes is a 23-minute rhapsody capturing stories from our time at GLCMF in June 2024. It begins with “Aerial Overview,” a theme portraying a sweeping view of the lakes—expansive yet emotional. This motif meanders throughout the piece, threading the movements together. As the perspective narrows, we see locals and eventually, four musicians playing frisbee in a field. That “Frisbee Field” music, taken straight from an improvisation, returns 3 times in various forms throughout the piece, the frisbee’s flight being portrayed by a playful auxiliary instrument. Next is “Phil’s Waltz,” commemorating how violinist Philip Setzer mistook wasabi for guacamole and enthusiastically ate a full scoop at the opening dinner. A cheerful waltz is interrupted by insidious ponticello bowing, evoking the spicy surprise. After a short interlude, we recall a frightening misadventure at the Canadian border after mistakenly arriving a day early for a concert. Through miscommunications, our violinist Luke was suspected of passport fraud. We illustrate the ensuing interrogation with sliding glissandi lines mimicking the tense dialogue. But nothing matched the terror of our encounter with Sand-Hill cranes. Led by a tip from our host Randy Schein, we searched for and found these large, sharp-beaked birds—only for them to chase us. One voice at a time joins the chase, layered with eerie textures that mimic the cranes’ calls. The piece closes with a calm, nostalgic reflection on our unforgettable time around the Great Lakes. –The Dolphins

Narrow Gauge

Fabric Swatch Designed by Ruth Adler Schnee, 1953, Courtesy of The Henry Ford

PROGRAM NOTES

In our opening concert, we covered the first of Vitruvius’s three arenas of architectural design. The first, ichnography, the art of the blueprint, lends this year’s festival its thrust. Tonight we turn to the second in the series. Orthography is, at least according to De architectura, “the elevation of the front, slightly shadowed, and shewing the forms of the intended building,” which is today an outdated understanding. Virtuvius got to his definition by an imaginative etymologic pirouette: with orthos meaning correct and graphein meaning writing, he took orthography to mean the first sketch of a design in which the building is drafted in relief and with some sense of its optical reality. (Today we now call this orthographic projection.) Ground plans, after all, are hardly indicative of elevation and scale, of how the building will actually look. Nowadays, of course, orthography takes its etymology literally and refers to the conventional spelling systems of a given language (correctly/written); as a field of study, however, it retains Vitruvius’s interest in first glimpses: how a written language first comes into relief.

No matter how we read for the orthographic, whether by language or architectural projection, we turn up a curious throughline tonight. We’ll tease out both in time. But the real unifier here is not what is being played but by whom: the Shouse ensembles, young emerging musicians from around the country, take turns showcasing their interpretive gifts. The real magic tonight, in other words, is what orthography always promises, only this time viewed through living bodies: in young musicians whose groundwork has been laid, one glimpses, in the elevation and scale of their musicality, the future professionals they will one day become.

Not to mention that two works by the players themselves are also on display. Both Dillon Scott and The Dolphins mix composition and improvisation with their performance practice, a healthy activity for any creative. The expansion of a musician’s toolkit can only ever serve them well: sensibility is clarified as it crosses medial boundaries. In both works tonight, the priority is on musical moments: it is in Scott’s title, and in the Dolphins’s characteristic miniature captures of their surroundings. Music here is a capture technique for preserving the aura of life’s unrepeatable flickers.

Now linguistic orthography attends with great detail to—among many other things—the historical moments in which speech enters into writing, when sound first fixes on the paper as a series of recognizable signs, malleable in their order but firm in their signification. Scott and the Dolphins, we might say, are after something of the same moment: this music speaks to the instant when a feeling in an environment crystallizes into something knowable and transmittable: tonight we hear feelings at the moment they becomes legible. Where orthography will tell you the codification of language permits its breakage and extravagant free play, the musical memorialization of these precious moments in time too turns them plastic and tactile, allowing both Scott and the quartet free reign to continue to return to such special memories and splash in their emotional depths. On the architectural side of things, I want to return to Vitruvius and draw out a curious little phrase: slightly shadowed, he says, a characteristic essential to orthography. The relief of space is achieved above all by varying shades of light, themselves a trick of artificial and artistic means.

The Adagio from Brahms’s first Piano Trio is a thing of wonder—the whole trio is, really, but the adagio more than most. It takes a bizarre form, a kind of permanent hovering and rotating in place, alternating between piano and strings. It is a movement which goes nowhere and does nothing. The beauty of the thing—in some ways anticipating more pointed experiments by modern composers—emerges instead in the gradations of light and shadow that every harmony, every texture, every rhythm drawn here in so slow and plaintive a pace, cast upon the whole. The movement’s sectional structure is clarified not by immense contrasts in material but by slowly revealed gradations in how they are shaded: it teaches you to hear its small differences. And when, by the end, the piano begins to walk in tiny steps over the arch of the string chorale, one is not sure whether the light is fading or rising, so enfolded have we become in its many hollows, corners, and rays.

And Mozart—it is no great leap of criticism to point out that he’s an architect first. But you find him at his most attentive when he has to get from one place to another. (He gets this from Bach and passes it down through German lineage; the music of Helmut Lachenmann, the last living inheritor of that legacy, is founded on that principle.) In some ways, Mozart’s dazzling melodies are just blank shapes, lovely and precious and wonderful to the ear but themselves only building blocks. They’re the blueprint. Where Mozart really heats up is when he takes those pure shapes and begins to morph them into an architecture of change. The first movement of the First Piano Quartet is a masterclass in these transformational shadings. Titled in G minor but refusing to stay put, the movement flirts endlessly with its relative major as a means of both destabilizing the home key while making it all the more visceral and fearsome. This constant zig-zag between the major and the minor is played out in a host of transitional gestures—sometimes sequences, sometimes sudden drops, here slow reimaginings, there rapid flight—which are nothing more or less than orthography itself. Mozart, having drawn the geometric blueprint with each pure melody, begins to shade until the architecture begins to rise. He turns the figure to another side, shading as he goes; he rotates again, elevating here. Until at last—in the final minute, the long series of harmonies unable to decide which way to tile—the complete diagram appears like a magical vision before vanishing. It is in these passages of material on their way to becoming otherwise that one can hear Mozart’s architectural pencil hardest at work. © 2025 Ty Bouque

THURSDAY, JUNE 12 | 7 PM

Kirk in the Hills

Sponsored by Plante Moran

TEXTURES

PROGRAM

— PRE-CONCERT TALK WITH JOAN TOWER AT 6:40 PM —

Franz Schubert String Trio in B-flat major, D. 471 (1797–1828) Allegro

Andante sostenuto

Setzer, Neubauer, Arron

Joan Tower To Sing or Dance (premiere) (b. 1938) Frautschi, Third Coast Percussion

To Sing or Dance was commissioned by the Great Lakes Chamber Music Festival, Chamber Music Northwest and Emerald City Music.

ARTISTS

GLORIA CHIEN, piano

JENNIFER FRAUTSCHI, violin

LEILA JOSEFOWICZ, violin

PHILIP SETZER, violin

PAUL NEUBAUER, viola

EDWARD ARRON, cello

PAUL WATKINS, cello

THIRD COAST PERCUSSION

SEAN CONNORS

ROBERT DILLON

PETER MARTIN

DAVID SKIDMORE

— INTERMISSION —

Dmitri Shostakovich

Piano Trio No. 2 in E minor, Op. 67 (1906–75)

Andante - Moderato

Allegro con brio

Largo

Allegretto - Adagio

Chien, Josefowicz, Watkins

COMPOSER NOTES

When I spent some time with the wonderful composer Arvo Pärt, we had a discussion about the origins of music. He felt music came from the voice (or singing) and I had a different idea that it came from the drum (or dancing). Basically, this difference of opinion reflects a longtime split between composers who write mostly for the voice (Pärt, Verdi, Puccini, Wagner, etc.) and those that compose mostly for instruments (me, Beethoven, Brahms, Tchaikovsky, etc.)

When I was asked to write a piece for violin and percussion, that difference became immediately apparent-how to have these two very different instruments in the same space -living fairly comfortably together.

What I discovered was that the pitched percussion (vibraphones, glockenspiels, and crotales) were an easier match to join the violin. So right at the beginning, when the percussion starts alone, there is a dialogue between non-pitched and pitched percussion, which eventually invites the violin in to join the discussion.

And eventually the violin starts picking up on some of the rhythms of the percussion as another interaction.

Occasionally, I gave solo space to both the violin and the percussion group to let them develop forward into their individual and special DNAs without having to adapt to the other one.

I want to thank the Maxine and Stuart Frankel Foundation for helping commission this piece. — Joan Tower

PERFORMANCE SPONSORS

Tower To Sing or Dance | Maxine & Stuart Frankel Foundation

Seedy Weeds

Fabric Swatch Designed by Ruth Adler Schnee, 1953, Courtesy of The Henry Ford

PROGRAM NOTES

Texture is about the particular way things feel; etymology, then, might be thought of as a kind of exercise in historical textures, the way sounds accrue intuitive feeling in the fabric knit by language and the world. Reading across etymology is a way of seeing how texture connects the most unlikely of cohabitants.

One word, then, but three definitions.

Tract is spatial in its first sense: 1) tract, from the Latin trahere, draw, pull: an endless swath of ground. In early 19th century England, however, a bastard derivation of the word tractate (meaning treatise), its root in the Latin tractatus, made tract into a nickname for 2) a short pamphlet on a single subject, the kind passed around by religious fanatics or political hawkers in the streets at Charing Cross. Much earlier (and much less frequently) Roman Catholicism borrowed the Medieval Latin phrase tractus cantus to mean, in the liturgy at least, 3) a drawn-out song. Apt that so protracted a series of definitions can be given for a word whose root means drawn, pulled.

Begin with the shortest of the three, short not by designed concision but by poor attention. Schubert never really had it in him to finish his grand plans, and today the String Trio is missing its last two movements: they’re not lost, he just never wrote them. All we have is the brief first and some twenty-off bars of a sketch for number two. (Schubert had, in fall of 1816, just left his stifling academic post, fled his overcrowded family home, and moved in with Franz Schober, a rather handsome poet with a wide circle of well-to-do artistic friends; there was much to be distracted by.)

This is our short pamphlet on a single subject. The String Trio in B-flat major—or what we have of it—packs into its little space an exceptionally convincing argument: the difference between the arpeggio and the scale. The whole flux of the movement is generated by a tension between competing patterns of motion. Often arpeggios ladder upwards, they’re already in the second bar of the melody. Scales, meanwhile, tumble down, and they pick up pace as they do so until all three strings are scattering in bursts of stepwise descent. And they play to musicians’ strengths (in the same way a religious pamphlet might tap innate morality): what string player has not spent their life practicing three octave scales and arpeggios? So while there are melodies and harmonies between, the entire movement of the trio can be understood as one composer’s intellectual excursus into the varying attractions, directions, and devotions of these two most elemental musical objects.

Joan Tower’s entire career is, to some extent, a long, drawn-out song, but not in that Wagnerian endliche Melodie sense. Tower’s art is to draw song out of earthen materials, to summon and bewitch the natural world to pour forth in sudden lyricism. Her usual recourse to natural metaphors in her titles—attendees of last year’s festival will remember particularly stony music— are overt references to the beginnings of her sonic imagination: her harmonies and sounds mirror phenomena and colors from the wild. This year’s new work, however—co-commissioned by the Great Lakes Chamber Music Festival—harkens toward the arrival: To Sing or Dance is where Tower’s music is always headed: to make the earth sing; to make the sky dance.

A geographical tract is of indefinite extent: it is never given just how far it can stretch. The Shostakovich Piano Trio No. 2 is a work of grief, and as such, faces off against that endless swath of world-without-you that those who’ve lost know all too well. The death of Ivan Sollertinsky, closer friend to Shostakovich than anyone, interrupted the composition of its first movement. He was 41. In the wake of the news, the composer cried out: “it seems to me that I will never be able to compose another note again.” Writing paused accordingly, while grief set in. Work resumed later in the fall, by which time the trio was already dedicated to Ivan.

Though the first movement preceded the precipitous loss, the first notes set an unbearably open space, fragile, hovering— only to fill it in with the Russian folk verve that its composer had originally intended the work contain. It’s not until the second movement—properly written in grief’s wake—that mourning as a spatial phenomenon takes real hold. The immense, unbearable duration between piano attacks gives the key: it is the time of waiting, the stretch of infinite that unfurls without end, that will be the rest of this work’s concern.

Grief always takes the form of a duration. Viewers of Michael Haneke’s cult film Funny Games will remember that the most violent episode of grief involves no camera or physical motion at all: it is a still tableau, the longest in the film. Only the light moves: grief is an illumined duration.

So too in Shostakovich: the two movements written in death’s wake do not go on. There is no catharsis or solution. They do not move. They sit and observe as pain floods like light. In the second: the endless cycle of overlapping melodies, too much emotion to hear clearly, vision wet from mourning. In the third: the unendurable string insistence, the same rhythm hammered out again and again, ceaseless and violent, thick walls of sound whose pressure only gives way to pressure. And the ending: continuous cadence that will not close, refusal to end, inability to stop.

The contradiction: a tract which is intractable, impossible to bear. © 2025 Ty Bouque

FRIDAY, JUNE 13 | 7 PM

Wasserman Projects

Sponsored by Fay Herman

TASTING NOTES AT WASSERMAN PROJECTS

TIME PIECES: THE NEW CLASSICAL

PROGRAM

Danny Clay “Teeth” from Playbook (2016) (b. 1989)

Third Coast Percussion “Niagara” from Paddle to the Sea (2016)

Clarice Assad “The Hero” from Archetypes (2019/2020) (b. 1978)

arr. Third Coast Percussion

Jlin “Obscure” from Perspective (2020) (b. 1987)

Philip Glass Metamorphosis No. 1 (1988/1999/2020) (b. 1937)

arr. Third Coast Percussion

— INTERMISSION —

Jlin Please Be Still (2024)

Jessie Montgomery Lady Justice/Black Justice, The Song (2024) (b. 1981)

Tigran Hamasyan Sonata for Percussion (2024) (b. 1987)

1. Memories from Childhood

2. Hymn

3. 23 for TCP

PROGRAM NOTES

20 Years of Impact and Resonance

Since 2005, Third Coast Percussion has forged a unique path in the musical landscape with virtuosic, energetic performances that celebrate the extraordinary depth and breadth of musical possibilities in the world of percussion. This performance marks the passing of time, both in the diverse approaches to rhythm revealed in each work, and in celebrating the 20-year history of championing this music. The program features works that highlight some important moments of this journey, points to different facets of the organization’s work, and shares exciting new pieces commissioned to celebrate this landmark occasion.

ARTISTS

THIRD COAST PERCUSSION

SEAN CONNORS

ROBERT DILLON

PETER MARTIN

DAVID SKIDMORE

ABOUT TASTING NOTES

Tasting Notes concerts offer a relaxed concert format with a curated tasting of wine and cheese.

Tasting Notes 2024

Playbook was created by composer and educator Danny Clay as part of Third Coast Percussion’s Currents Creative Partnership, an education and mentorship program that provides an opportunity to compose for TCP through a highly collaborative process, for music creators who are early in their careers or are exploring a new artistic direction. Playbook was inspired by musical games that Clay uses with students of different ages, and like all works in the Currents Creative Partnership, was composed through multiple workshops with TCP during the compositional process. Three years later, Danny Clay worked with TCP again to develop a massive education and community performance piece entitled The Bell Ringers. (“Teeth” duration: 6 minutes)

“Niagara” from Paddle to the Sea was one of the pieces Third Coast Percussion performed as part of its NPR Tiny Desk Concert in 2018, a bucket-list performance for any musician. It is a small excerpt of a larger project, Paddle to the Sea, which was one of Third Coast Percussion’s first collaboratively composed works, written together by the four members of the quartet. While pieces written by ensemble members have always been a special part of the TCPs repertoire, co-composing as a group only began about 10 years into the ensemble’s history. Third Coast’s multi-media program Paddle to the Sea, based on the children’s film and book of the same name, was the quartet’s first touring project to feature a collaboratively composed work, and was a staple of the ensemble’s repertoire for years. The film tells the story of a small wooden figure in a canoe, that makes a long journey from the Great Lakes out to the Atlantic Ocean and beyond. Paddle also encounters danger in his journey, as in this passage, when he goes over Niagara Falls. (duration: 3 minutes)

The album of TCP’s Archetypes project with Clarice and Sérgio Assad earned the quartet its first GRAMMY nomination as composers (Best Contemporary Classical Composition), and one of its six nominations as performers to date (Best Chamber Music/Small Ensemble Performance). The twelve movements of this suite are each inspired by a universal character concept that appears in stories and myths across cultures, such as the jester, the ruler, the creator, or the caregiver. Each of the performers chose certain archetypes that sparked their imaginations, with Clarice and Sérgio each composing four of the movements, and each member of Third Coast Percussion composing one. With Clarice’s blessing, TCP arranged her composition “The Hero” from this project for percussion quartet alone, as an additional opportunity to share this bold music with audiences. It has now become a common repertoire piece for percussion ensembles at universities and conservatories. (duration: 4 minutes) Jlin’s seven-moment work for TCP, Perspective, was named a finalist for the Pulitzer Prize in Music. This music also featured prominently in the “Metamorphosis” touring program with Movement Art Is, which TCP brought to Carnegie Hall, as well as other TCP projects, and was recorded on another GRAMMY-nominated album, Perspectives, alongside Philip Glass’s Metamorphosis No. 1 and works by Danny Elfman and Flutronix. The collaborative process for creating Perspective marked an important development in TCP’s work commissioning music from creators of many different genres; after exploring and sampling instruments from TCP’s vast collection of percussion sounds at their studio in Chicago, Jlin created an electronic audio version of each of the work’s seven movements using these samples and other sounds from her own library. The members of Third Coast Percussion then set about notating this music and determining how to realize these pieces in live performance. Jlin named her piece Perspective as a reference to this unique collaborative process: “When I give an ensemble a piece, I don’t want to hear them play it back exactly as I wrote it. I want to hear it from another perspective.” (“Obscure” duration: 5 minutes)

Metamorphosis No. 1 is one of many works by iconic composer Philip Glass that TCP has arranged over the years. This particular piece was part of an important TCP project, “Metamorphosis,” which was a collaboration with Movement Art Is (choreographers Lil Buck and Jon Boogz) and which TCP performed at its Carnegie Hall debut in 2023. TCP’s performance of Metamorphosis No. 1 was also featured as part of “Philip Glass: Three Cities,” a video performance series celebrating Glass’s 85th birthday in 2022. As part of the ensemble’s ongoing relationship with the influential composer, Third Coast Percussion also commissioned Glass’s first work for percussion ensemble, Perpetulum, in 2018. (duration: 10 minutes)

To celebrate Third Coast Percussion’s 20th Anniversary, the quartet is undertaking collaborations with some of its musical heroes as well as favorite partners from past projects, including three works on this program: TCP approached Jlin to compose another work for the occasion, this time adding another layer to the musical chain, by asking her to create a new work that would be a remix or reworking of music by another composer that inspires her. Please Be Still reimagines materials from “Kyrie Elieson” from J.S. Bach’s Mass in B Minor. A lover of Bach’s music since childhood, Jlin focused in on Bach’s rhythmic vocabulary. The creative process with TCP was an extension of the collaboration that yielded Perspective. (duration: 6 minutes)

Third Coast Percussion built an artistic kinship with composer Jessie Montgomery during her time as Composer-in-Residence for the Chicago Symphony Orchestra, arranging some of her existing music and serving as a sort of “percussion laboratory” as she composed her first percussion ensemble piece, Study No. 1. Her new work, commissioned for TCP’s 20th Anniversary, Lady Justice/Black Justice, The Song expands the techniques she developed in Study No. 1, particularly methods of continued on page 18

continued from page 17

pitch-bending metal and drum sounds. This new work is inspired by the artwork of Ori G. Carino and his painting “Black Justice” (2020-2022), which is a rendering of a Romanesque statue of the symbolic sword- and scale-bearing figure of Lady Justice, depicted as a Black woman. The image is airbrushed upon several layers of silk, stretched in staggered alignment across a life-sized canvas to create a holographic effect that reveals the figure’s timelessness and multiple hues. The image is staggering, aspirational, and technically virtuosic. (duration: 12 minutes)

Pianist and composer Tigran Hamasyan has long been a musician that the members of Third Coast Percussion have admired and appreciated. While he has built a career as a performer of his own music — known to his fans as a sort of prog rock version of the modern jazz musician — his work seems a natural choice for composing for a contemporary percussion ensemble. Within an extremely complex rhythmic landscape exists compelling counterpoint, and expressive melodic lines that transcend the mathematics of their complex metric skeletons. His Sonata for Percussion is very classical in some ways, with three distinct movements that echo the classical sonata (fast-slow-fast), lilting dance feels, arpeggiated harmonies, and ornamented melodies. Hamasyan’s distinct voice is present throughout, with the moments of hard-grooving energy or ghostly lyricism winding their way through an asymmetrical rhythmic jigsaw puzzle. The outer movements both explore different subdivisions of 23-beat rhythmic cycles, while the middle movement is in a (relatively) tame seven. (duration: 22 minutes)

Please Be Still was commissioned by Third Coast Percussion for its 20th Anniversary, with support by Carnegie Hall, the Zell Family Foundation, and the Robert and Isabelle Bass Foundation.

Lady Justice/Black Justice, The Song was commissioned by Third Coast Percussion for its 20th Anniversary, with support from the Zell Family Foundation, Carnegie Hall, Hancher Auditorium at the University of Iowa, Stanford Live, Stanford University, The Robert and Isabelle Bass Foundation, and Third Coast Percussion’s New Works Fund.

Tigran Hamasyan’s Sonata for Percussion was commissioned by Third Coast Percussion for its 20th Anniversary, with support from Elizabeth and Justus Schlichting and the Zell Family Foundation. – Third Coast Percussion Discovery Beauty, History,

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FRIDAY, JUNE 13 | 7:30 PM

Kerrytown Concert House

Sponsored by Pearl Planning

TICKET INFORMATION

To learn more or purchase tickets, please visit kerrytownconcerthouse.com or contact Kerrytown Concert House at (734) 769-2999.

FESTIVAL IN RESIDENCE: ANN ARBOR

PROGRAM

Joseph Haydn Piano Trio No. 25 in E minor, Op. 57, No. 2,

Hob. XV:12 (1732–1809)

Allegro moderato

Andante

Rondo: Presto

Trio Dolce

Johann Sebastian Bach Sonata in G major for Viola da Gamba and Harpsichord, BWV 1027 (played on cello and piano) (1685–1750)

Adagio

Allegro ma non tanto

Andante

Allegro moderato

Arron, Tang

— INTERMISSION —

Dmitri Shostakovich Piano Quintet in G minor, Op. 57 (1906–75)

Prelude: Lento - Poco più mosso - Lento

Fugue: Adagio

Scherzo: Allegretto

Intermezzo: Lento

Finale: Allegretto

Setzer, Scott, The Paddington Trio

PROGRAM NOTES

ARTISTS

STEPHANIE TANG, piano, member of the Paddington Trio

PHILIP SETZER, violin

DILLON SCOTT, viola, Sphinx apprentice

EDWARD ARRON, cello

THE PADDINGTON TRIO, Shouse ensemble

TRIO DOLCE, Shouse ensemble

Tomorrow’s is the program titled Cornerstone, but tonight is the closest to a linchpin. The three composers on offer tonight are ferociously canon-bound, all, by different means but with no less sincerity, foundational to what came in their wake. Bach and Haydn are intuitive choices for the edifice of this thing we call classical music, although it is Shostakovich that tonight appears in his most canonized robes. And it is on such sedimented historical assurances we purchase a mode of listening tonight. This program, which shares no real thematic except good classical music, becomes an exercise in a brief material history. Tonight we use the assumption of good to ask more probing questions about how economic conditions encode themselves in scores, how creativity adapts to market forces, and how the establishment of canons themselves in turn become new conditions for creativity. Much ink has been spilled about the timeline of Bach’s viola da gamba sonatas. For many years, the best musicological guesses placed them somewhere during his years in Köthen, where the court cellist Christian Ferdinand Abel (also a gifted gambist) was presumed as dedicatee. Abel, who was also behind the six suites for cello that have so impacted our musical world, seemed an obvious choice for a less-than-obvious score. And indeed that may still have been the case, but revisions to the timeline came on the discovery of the Trio Sonata for Two Flutes and Basso Continuo, identical in every way but itself bearing equal evidence of having been arranged from something else. That first instrumentation remains lost. And so the revised date and placement put the Sonata newly in Leipzig somewhere in the 1730s. There, Bach was serving as music director for a series of professional chamber music recitals—not unlike the one in which you’re currently sitting—at which a work demanding this technical proficiency would have been perfectly acceptable. In Köthen, where more amateur musicians (excepting Abel) were employed, it would have stuck out as an extreme and indulgent ask.

We tend to treat Bach now as holy, pure music flowing from the fount. But the Sonata in G major for Viola da Gamba and Harpsichord is evidence of the working conditions of professional musicians in the 18th century and, as a result, betrays how the valuation of genius has changed our perception of the notion of work of art with time. This sonata is a copy of a copy; Bach is recycling old material to get a job done. Today we hear it with ears entrained by nostalgia and social cachet and so gasp at divine inspiration; the reality was of a father who, to pay bills, rewrote an old ditty for an instrument on the cusp of archaism because he was asked. The glorious art part was our making, not his.

Haydn more clearly troubles the compositional economy. Tonight’s is the 25th installment in what would ultimately be 45 piano trios—a staggering number of works in a single genre. To that end, number 25 isn’t particularly remarkable, at least not any more so than the rest of the piano trios, or the rest of Haydn for that matter, who is himself generally remarkable. It is a good work but not groundbreaking—Mozart’s K.542 piano trios, written the same year, are the ones credited with actually redrawing the rules of the genre—and as such its listening is eminently pleasurable without being shattering. Such is the consequence of financial arrangements available to composers at the time: Haydn wrote the 25th while still music director at the wealthy house of Esterházy, where his responsibility was to provide continuous freshness. In such an isolated and continuous job, one can understand why simplicity and similarity became second nature.

But dig a little deeper, and the work turns up encoded histories otherwise invisible to the ear. The educational economy for performers in Haydn’s day was exceptionally stratified. Virtuoso pianists were in abundance, but the skills in string departments left much to be desired. Haydn can be here spotted writing to his players. The piano part (particularly crisp, having been written for the 18th century pianoforte’s less resonant attack) bears much of the musical brunt, with the violin tracing out its prominent lines and the cello supporting in the bass. Occasionally—as in the shuddering interjections in the third-movement rondo—the strings provide texture more than timbre, but on the whole they play relatively within the lines. Social priorities—the keyboard as the age’s most respectable instrument, worthy of lifelong study—embed themselves silently but certainly.

The circumstances of the Shostakovich Piano Quintet, meanwhile, bear witness to an age in which the canon of classical music is itself an active force in the compositional economy. Shostakovich was commissioned by a string quartet called the Beethoven Quartet to write a work in which, old-style, the composer could play the piano. History is, already, pregnant here. The result is a work of chamber music in homage to the very history of its form. The quintet practically bleeds reference— the very opening is a prelude and fugue with a knowing nod to Bach, while later, the intermezzo will quote Bach directly, alongside Purcell and Grieg. Much of its arresting thrill for the modern listener is in catching all the echoes of eras past as they refract through Shostakovich’s eye. The audible weight of history is by 1940 measurable as its own value system and paid out as such: the work won Shostakovich the Stalin Prize and 100,000 rubles, often cited as the highest cash award ever given for a work of chamber music.

All of which is to say that the historical edifice we treat as unshakable is itself only the product of a series of happenstances, intuitions, accidents, and invisible social forces well outside the “genius” of the creator. This thing we treat as canon and absolutely fixed could have, a hundredthousand times before, turned out to be any other way. Too often we assume the music we love has always had value, forgetting the fragile and temperamental conditions of material histories through which that value was purchased and renewed over time. We cannot take the preciousness of our classical cathedral for granted: that worth was accrued by circumstances and pressures well beyond the scale of what you or I can ever fully know.

© 2025 Ty Bouque

SATURDAY, JUNE 14 | 7 PM

St. Hugo of the Hills

Sponsored by the Wilda C. Tiffany Trust

CORNERSTONE

PROGRAM

— PRE-CONCERT TALK WITH JAMES O’DONNELL AT 6:40 PM —

Huw Watkins Pièce d’orgue (b. 1976) O’Donnell

George Frideric Handel Organ Concerto No. 5, Op. 7 (HWV 310) (1685–1759)

Allegro ma non troppo, e staccato

Andante larghetto, e staccato (Basso ostinato)

Menuet

Gavotte

O’Donnell, Detroit Chamber Winds & Strings, Shouse Strings, Watkins

Hannah Kendall Tuxedo: Crown; Sun King (b. 1984) Henderson

— INTERMISSION —

Camille Saint-Saëns Violin Sonata No. 1 in D minor, Op. 75 (1835–1921)

Allegro agitato

Adagio

Allegretto moderato

Allegro molto

Frautschi, Vonsattel

Francis Poulenc Organ Concerto in G minor, Op. 36 (1899–1963) Andante

Allegro giocoso

Subito andante moderato

Tempo allegro, molto agitato

Très calme: Lent

Tempo de l’allegro initial

Tempo d’introduction: Largo

O’Donnell, Detroit Chamber Winds & Strings, Shouse Strings, Watkins

PROGRAM NOTES

ARTISTS

JAMES O’DONNELL, organ

GILLES VONSATTEL, piano

JENNIFER FRAUTSCHI, violin

LUKE HENDERSON, violin, member of The Dolphins Quartet

DETROIT CHAMBER WINDS & STRINGS

THE DOLPHINS QUARTET, Shouse ensemble

MEMBERS OF THE PADDINGTON TRIO, Shouse ensemble

MEMBERS OF TRIO DOLCE, Shouse ensemble

DILLON SCOTT, viola, Sphinx apprentice

PAUL WATKINS, conductor

There is a reverence verging on mania endowed upon the cornerstone. Its sacred affection has nothing to do with its structural support or the quality of materials or even its scale. It is, rather, the first site at which the blueprint becomes a reality, and it is from the position of the cornerstone that the remainder of the structure will be mapped. Its placement, then, is a kind of

PERFORMANCE SPONSORS

Poulenc Organ Concerto | David Nathanson

Stretch A Point

Fabric Swatch Designed by Ruth Adler Schnee, 1950, Courtesy of The Henry Ford

key: the position of all form can be traced back to the calculations of that single moment. Tonight we will be looking at small building blocks upon which a whole has been built. They’re not always easy to spot, but composers inevitably engrave their cornerstones with a certain quantity of hands-on love that helps them to stand out.

The twin organ concertos on tonight’s program deserve to be discussed in tandem, for that instrument is (at least logistically speaking) what draws this program together.

Poulenc’s is a study in—the cornerstone, an idea as opposed to an object—what we might call gear changes. The notion of stark contrast as both architecture and drama pervades this concerto, a project over which Poulenc toiled for several years. (He wanted both to fulfill the desire of its commissioner—Winaretta Singer, heiress to the Singer sewing fortune and a lesbian socialite of high taste—for a work she, a decent but amateur organist could play, and his own desire for a work of towering artistic achievement. Ultimately he sided with the latter.) Everything—from dynamics to harmonies to density to range—is calculated to sit adjacent to its polar opposite. It is a work which strives at every possible moment to maneuver extremes without sacrificing coherence. (How else can one explain the shock of the quiet ending in the fourth and fifth movements, or the almost abrasive difference in harmonies that modulate across the second?) What is irreconcilable in extremis becomes the project of the concerto, resulting in a work always on the edge of its seat: it can—no, will, desires to—change on a dime.

Handel’s cornerstone, meanwhile—and this is a bit of an odd reading—was himself. Tonight’s Organ Concerto is built on an eclectic hodgepodge of themes borrowed from elsewhere in his catalogue, from trio sonatas and earlier works in the same genre. (He’s effectively credited with inaugurating the organ concerto as a form.) Accordingly, long sections of the work remain only sparingly notated because Handel—an organist by training (he studied with an organist in Halle, whose oldschool ways were where Handel learned his dazzling fluency in fugues, canons, and counterpoint)—would have improvised the solos. The concerto was one meant to build itself around Handel’s creative mind, a kind of amalgamation of his life and work. (Familiar listeners will, however, spot a not-so-oblique reference to Pachelbel in the second movement.)

Historical curio: Handel’s concerto was published posthumously in a set of six concertos, transcribed in part from barrel organs made by his assistant containing themes and sections of each. These little music-box-like captures allowed later editors to compile these works, once believed to be lost.

And music boxes return as the cornerstone for Hannah Kendall, this week in the role of festival Composer in Residence. Since 2020, the British composer has been accumulating a series of works titled Tuxedo, after the Jean-Michel Basquiat behemoth of the same name. Basquiat’s drawing is immense, fifteen sections of street-art inspired blocks of white text on a black background (the colors inverted from his usual), all of them littered with diagrams and graphics and stacked in columns, topped, at last, with his signature crown. Kendall describes seeing the work in person at New York’s Guggenheim, sitting for two hours in breathless awe before its scale and density. It would be easy, in some ways, to read Tuxedo’s cornerstone as Basquiat himself.

But look closer. In Kendall’s account, Basquiat’s Tuxedo—and the sprawling history of black heritage, resistance, and art contained within it—was Basquiat’s attempt at something “bigger than you and I and it.” Accordingly, Kendall’s series never strives to capture the whole: so gargantuan an undertaking can only really be experienced in snippets and small fragments, glimpses that leave completion to the work of the imagination. Tuxedo: Crown; Sun King continues Kendall’s fascination with small objects of musical-adjacency. Here, a collection of music-boxes—our actual cornerstone—played in overlapping cycles blur the sound field, creating a kind of thick shimmer through which the violin must push to inscribe its rebellious body. The music box as a kind of imperfect memory, an object of hazy nostalgia whose accumulation becomes a kind of dangerous wash, gives the piece its emotional thrust: how the beautiful boxes, through which we interact with our past, often fail to accommodate nostalgia’s violence.

Saint-Saëns’s cornerstone, meanwhile, is not a chord or a key or an object but a texture which encodes a relationship. The cornerstone of the Violin Sonata—written in the Frenchman’s fifties, only a few months before work began on the Carnival of the Animals —is homophony, or unison playing between the two instruments. Reconciliation and togetherness is where the entire Sonata begins, and it is what it’s destined towards, a white-hot blur of unison playing at the very end that crashes into a cadence. Across the work—though especially in the slow movement, where the violin’s hovering line provides static points of reference—the piano chases after the soloist, desperate to reinstate perfect unison if only for an instant. The erotics of touching—of moving in absolute tandem, knowing the other’s every step, thinking two-as-one, when you reach for my hand at the same time I do yours—are at all times what this sonata desires.

Desire is curiously inscribed across all four works tonight. Cornerstones, after all, tilt towards the future: from this here point in time and space, one can just begin to envision how the building might come to feel. It is the point where the abstract touches the real—holy indeed. © 2025 Ty Bouque

SUNDAY, JUNE 15 | 2 PM

Detroit Institute of the Arts, Rivera Court

Sponsored by Barbara Heller

NEGATIVE SPACE PROGRAM

Michi Wiancko Fantasia for Tomorrow (b. 1976) Kennedy, Neubauer

Hannah Kendall Vera for string trio and clarinet (b. 1984) Walters, Kennedy, Scott, Watkins

Maurice Ravel Piano Trio in A minor (1875–1937) Modéré Pantoum. Assez vif Passacaille. Très large Final. Animé

The Paddington Trio

COMPOSER NOTES

ADMISSION INFORMATION

Event is included with museum admission. Visit dia.org or call the Detroit Institute of Arts at (313) 833-7900 for details.

ARTISTS

KIMBERLY KALOYANIDES KENNEDY, violin

PAUL NEUBAUER, viola DILLON SCOTT, viola, Sphinx apprentice

PAUL WATKINS, cello

JACK WALTERS, clarinet

THE PADDINGTON TRIO, Shouse ensemble

The melodic and harmonic material in this piece was generated through a 12‐tone row. In the first instance, the ‘white notes’ (as on the piano) were removed from the series in order and the opening playful section is based on these notes only. These pitches, but in retrograde, also form the basis of the clarinet line when it first enters. The remaining notes of the prime row are introduced for the first time in the following ‘still’ section and as these pitches inflect the harmony in‐turn, a much heavier and darker effect is created. Each instrument is then given a solo before coming back together for a calmer replay of the opening. — Hannah Kendall | January 2008

PROGRAM NOTES

The most fundamental principle of design and form: an attention not to what is there but to what is not. Music is often colloquially understood (though there’s something much deeper behind the impulse) as an art of density: phrases like pitch space indicate a loose acoustic architecture, while textural thickness or harmonic richness signify gradations of saturation. And silence, of course—Cage proposed it most succinctly—is the absence that gives access to such a presence as constitutively identifiable at all: the empty space at the beginning and end and in-between movements of the work are as much a part of the music as the notes. But this afternoon we’re listening not to silence, but to absence or emptiness from within the notes themselves. Think of the music like a series of large rooms and hallways: while we could certainly marvel at the intricacies of their layout, at their ornamental sconces and odd nooks and curious choices of material, we’d be better off to listen for the empty space which the notes carve out: all the empty space these rooms so elegantly enclose.

Hannah Kendall, who this week serves as the festival’s Composer in Residence, has relied on that oldest of modern techniques, the twelve-tone row, to generate the scaffold of Vera’s pitch world: in other words, there’s a compositional apparatus governing which notes get used in which order. But the result is hardly so calculatedly cryptic: with the row as base material, the form of this quartet relies on a gradual process of removal and reintroduction that could not be clearer. At the start, one hears only the “white notes” (as on the piano), maintaining the row’s original order but leaving out all the interceding “black notes.” (Yesterday, we heard about Kendall’s engagement with Basquiat, and in particular in a work which inverted that artist’s usual arrangement of black-on-white, attending to his color schemes as symbolic of racial relations: color symbolism plays a likewise role in Kendall’s imagination.) As the missing notes are introduced, the texture appears to slack, weighted

down by new impasses and harmonic thicknesses that recolor how we hear the opening. One by one, those missing pitches are removed again, but now we can no longer hear the plain “white” material as whole: something from the middle has been taken away, leaving a shadowy void behind it. (N.B. In classical painting, negative space is also referred to as white space.) Ravel, meanwhile, is often cited as the master orchestrator, with a hand for textural magic tricks that never come at the expense of clarity. The same is no less true in the Piano Trio: one can hear, in the armory of drastic color choices, an orchestral composer’s sensibility.

The secret—if there can be said to be one—to Ravel’s hand is in the maintenance of distance. Think back—though Ravel would hate us doing so, its success was his biggest regret—to the first two solos at the opening of Bolero. The low flute against the snare is practically a hollow mold, the strings almost nothing in their plucking beneath it. The clarinet picks up in the identical register of the flute, only the strings have risen to fill a small portion of the space around the solo, slowly but surely fleshing the harmony, slightly higher, slightly closer. It is the same thing again, only marginally more sketched, but already we can hear the trajectory beginning to erect its journey towards the inevitable crash. All it took was a small change in space between.

So too in the trio. The opening octaves between strings hold something like austerity in place, though later they’ll chase each other at the tail. The piano starts mid-register and close at hand, but by the third movement is so far in the basement that it rumbles rather than rings. Overwhelmingly, the voicing Ravel will prefer by default puts the strings at outer limits and the piano somewhere filling out the middle—an ecstasy of independence and architectural care—but then all three will enter the same room (as in the screaming trills at the work’s end) and the ecstasy ramps up. But in any of the infinite gauzy colors we hear across the work, what is actually being heard is an extreme attention to empty space.

(Another story goes that Ravel, in preparing sketches for the trio, quipped: “My Trio is finished. I only need the themes for it.” The harmonic progression and formal designs—pulled from an uncanny mixture of personal sensibility and inherited models for a classic instrumentation—were built in advance. Which is to say that the “negative space” of abstract harmony was conceived of first: the music came later, drawn thin around the empty air while leaving it untouched.)

And Michi Wiancko’s Fantasia for Tomorrow encodes its empty space right there in the title. Tomorrow is always an unknown quantity, a void around which we decorate today in hopes that it arrives with something like beauty. This work, then, might be read as a fantasia for what is here only as a kernel, what will soon be but is not yet. Where Ravel and Kendall both rely on strictly musical parameters in the articulation of negative space, Wiancko’s is more abstract and contemplative. This music—in its deep reliance on connection between players and shared command of musical time (it was written in homage to Wiancko’s mother, a violinist and violist and her earliest duo partner)—holds open a space for the unspoken and the hopeful, a beam of white light around which this ever-changing material congeals.

This afternoon, music itself is after what Jankélévitch called the ineffable, an articulation of something that is not there and cannot be named. All we can do is dance around it, which is, after all, what architecture is: a dance at the peripheries of nothing. © 2025 Ty Bouque

TUESDAY, JUNE 17 | 7 PM

Temple Beth El

Sponsored by Beverly Baker & Dr. Edward Treisman

STRATA ECHO

PROGRAM

Hannah Kendall Network Bed for Piano Quartet (b. 1984) Huang, Trio Dolce

Frank Bridge

Cello Sonata in D minor, H. 125 (1897–1941)

Allegro ben moderato

Adagio ma non troppo

Watkins, Vonsattel

— INTERMISSION —

Antonín Dvořák Piano Quintet No. 2 in A major, Op. 81 (1841–1904) Allegro ma non tanto

Dumka: Andante con moto

Scherzo: Molto vivace, poco tranquillo

Finale: Allegro

Barnatan, The Dolphins Quartet

COMPOSER NOTES

ARTISTS

INON BARNATAN, piano

GILLES VONSATTEL, piano

HSIN-YUN HUANG, viola

PAUL WATKINS, cello

THE DOLPHINS QUARTET, shouse ensemble

TRIO DOLCE, shouse ensemble

Network Bed is inspired by my artist friend Katriona Beales’ sunken black-velvet bed installation of the same name, which was exhibited as part of her ‘Are We All Addicts Now?’ series at Furtherfield Gallery (2017), made in response to her interest in digital culture and online behavioural addictions. More specifically, Network Bed recreated Katriona’s experience of a prolonged period of insomnia both fuelled and soothed by her nocturnal online habits. My musical depiction of the work aims to encapsulate the conflicting hyper-stimulating, yet sometimes calming, sensations of delving into, and becoming lost in the online world. A fluid glass sculpture with an embedded screen showing projections of moths was housed within the structure, and I was particularly drawn to this feature, in the same way that the moths themselves seemed compulsively attracted to the screen’s light. A repetitive single-note phrase, dispersed with grace notes, is immediately presented as a main motif in the piano’s right hand, and returns throughout the piece to represent this. Indeed, grace notes and pizzicato strings feature heavily to recreate the flitting of moths’ wings; particularly adding to the restless and distracted nature of the opening sections. This transitions into a highly-punctuated moment, with inflections of the more driving material to come in the piano, to emulate the piercing and bright glow of the screen, in addition to the generally high tessitura of the piece overall. A contrasting sultry cello solo is introduced to capture the seductive aspect of being drawn into the digital sphere, before eventually culminating with propulsion and tense forward momentum, which is finally released with the return of the initial repeating single-note motif.

— Hannah Kendall

PROGRAM NOTES

Tonight we return to that most fundamental of musical and architectural materials, the formal device par excellence: we return to lines. And we return to lines by way of the woman whose visual imagination and material dexterity gave the Great Lakes Festival such a prerogative to think this year about form and structure; one of her textiles lends the title for this concert. Ruth Adler Schnee’s Strata Echo looks, if we have music on the brain (and its title certainly suggests sound), like a cross-section of a wave form. Computer-generated spectral imaging of sound turns up likewise piles of bandwidths, lines of varying thicknesses and curves meant to visually replicate the acoustic fluctuations of frequencies as they move through air. The miracle of Strata

Strata Echo

Fabric Swatch Designed by Ruth Adler Schnee, 1951, Courtesy of The Henry Ford

Echo, however, on closer inspection, is that Adler Schnee’s lines don’t only flow, like a flat spectrogram, left to right, up and down. In small jets of energy, her bands of color—always two, giving each vector its “echo” pair below it—begin to weave in 3D space as well, trading between foreground and background as they cross the z-axis. The visual dimension on the one hand reiterates what is happening in the physical material: strands (in this case cotton and wool) are being woven artfully together.

Hannah Kendall’s Network Bed could not be more apt for such an environment. The work relies a meticulous series of hand-offs to ensure that one member of the quartet is at any given time holding fast to a single note, around which the other three dance in jolting rhythms that echo and rebound in tiny bursts. Like the Adler Schnee, Kendall’s title says much indeed: “Network Bed” calls to mind the anatomical term for the criss-crossing network of vessels bringing blood to various organs in a body. That highly complicated lacing, called a “capillary bed,” works as a decentralized system along which blood flows in all directions to connect distant physical regions with their animating heart. And Kendall, too, connects distant emotional arenas by complex maneuvers of line and space. Kendall’s quartet is the most literal on tonight’s program, erecting horizons (strata) that serve as a kind of fixed spatial reference against which the mirage of 3D space flashes in and out of sight.

Meanwhile, Frank Bridge sets what could be a single layer of Adler Schnee’s strata to music, chasing a thick, slow band as it arcs up, pivots, thins, and curls. While the Cello Sonata bears the unmistakable impressions of war’s outbreak—a heavy futility hangs over its opening movement—despondency fails to restrict its real sense of propulsion, and at every turn one can hear Bridge fleeing from those old formal constrictions and towards something like fantasia, the endless unspooling of a single thread to distant and unexpected ends. Bridge—most famous to historians as the teacher of Benjamin Britten, but a composer of exceptional craftsmanship in his own right—is perhaps responsible for the 20th-century trend in British music towards intense command of linear space (of which Birtwistle and Adès are the most famous inheritors); one can hear why in the audible geometry of the sonata. Attend, for instance, to the spiraling harmonies at the opening of the sonata’s second movement. Where in Wagner those strange sonorities would have most certainly been chords, here Bridge breaks them up into vectors to be stretched, drawn, and pulled: music itself has become an exercise in hearing space itself, full of rich and strange gravities. And Dvořák, finally, enfolds both. Like Bridge, Dvořák treats time as a plastic space (density and pulse changing at a rapid rate). Like Kendall, the difference between static horizons and crossing flashes of verticality (those arpeggio bursts in the piano, but also durable stabilizers holding in the strings) scaffold a multi-dimensional world. Both work together to create that strange combination for which Adler Schnee herself is so famous: there are rules here, strict ones, but they result in an intuitive sense of freshness and revelation whose transformational power feels almost improvisatory.

Accordingly, the Piano Quintet No. 2—originally intended to be an update on the first, which he found utterly unpublishable and disappointing—changes gears on a dime, a virtuosic treatment of pace that buffets material about like so many of Adler Schnee’s z-axis winds. The quintet is quintessential Dvořák that way: a host of found materials—Czech dances and songs, mostly; another of his famous dumka, the Ukrainian laments, grounds the second movement—are stitched through a funhouse of both rigorously formal processes (canons, structures) and intuitively creative affects. The very thing that has made Dvořák so pleasurable to audiences for so many years, his sense of never dwelling too long in a single place, is what makes him so apt for a concert inspired by Strata Echo: one can never quite be sure the direction a line will take, and the endlessly thrilling variety that burgeons from so simple an idea is at once emotionally thrilling and a technical marvel. One can always lose oneself inside it, without ever feeling truly lost.

Lines, in this concert, have a tendency to make hairpin turns: follow them at will, zoom in or zoom out, and hear why time and space in music are never truly opposites.

© 2025 Ty Bouque

RESERVE THE EDGE OF YOUR SEAT. EXTRAORDINARY MUSIC, THEATER, AND DANCE EVENTS RIGHT HERE.

WEDNESDAY, JUNE 18 | 7 PM

Cranbrook Art Museum

Sponsored by Isabel & Lawrence Smith

Swizzles

MUSICAL CHAIRS PLUS: PERFORMANCE & POP-UP

PROGRAM

— CONCERT INTRODUCTION BY BRIDGET BARTAL —

Cranbrook MillerKnoll Design Fellow

Robert Schumann Piano Quintet in E-flat major, Op. 44 (1810–56)

Allegro brillante

In modo d’una marcia

Scherzo

Allegro ma non troppo

Vonsattel, Barnatan, Setzer, Huang, Scott, Watkins, The Dolphins Quartet, Trio Dolce

Felix Mendelssohn Octet in E-flat major, Op. 20 (1809–47)

Allegro moderato

Andante

Scherzo

Presto

Setzer, Huang, Scott, Watkins, The Dolphins Quartet, Trio Dolce

ARTISTS

INON BARNATAN, piano

GILLES VONSATTEL, piano

PHILIP SETZER, violin

HSIN-YUN HUANG, viola

DILLON SCOTT, viola, Sphinx apprentice

PAUL WATKINS, cello

THE DOLPHINS QUARTET, Shouse ensemble

TRIO DOLCE, Shouse ensemble

SCHEDULE

6 PM: Admission to the exhibitions opens 7 PM: Concert begins

STRINGS AND THINGS: THE WHIMSICAL WORKS OF RUTH ADLER SCHNEE

Pop-up Gallery Sponsored by the Cranbrook Art Museum and Kathleen Block

Concert ticket includes a special pop-up exhibition of Ruth Adler Schnee’s textiles and archival materials from the Cranbrook Art Museum permanent collection as well as admission to the museum galleries.

Cranbrook Art Museum’s pop-up exhibition, Strings and Things: The Whimsical Work of Ruth Adler Schnee, showcases the work of textile and interior designer Ruth Adler Schnee (CAA MFA Design ‘46). Curated by MillerKnoll Curatorial Fellow Bridget Bartal and Head Archivist Deborah Rice, this selection of textiles and ephemera highlights Cranbrook Art Museum’s illustrious collection of Adler Schnee’s work, particularly focusing on her textiles from the late-1940s and 1950s. Distinctive for her use of color, pattern, playfulness, and whimsy, Adler Schnee’s textiles helped define mid-century modernism as we now know it.

Born to a German Jewish family in Frankfurt, Germany, her mother’s Bauhaus training and creative circle of friends developed Adler Schnee’s interest in vibrant use of colors, rich textures, modern form, and the thoughtful study of architectural space from an early age. Following the Nazis’ Kristallnacht pogrom of 1938, the Adler family fled to the United States and settled in Detroit. First studying fashion design at Cass Technical High School and interior architecture at the Rhode Island School of Design, Adler Schnee received an MFA in Design from Cranbrook Academy of Art in 1946, becoming one of the first women to receive this degree. She went on to found a design consulting firm and modern design shop in Detroit with her husband Edward Schnee, launching a business which brought good design to American consumers for over half a century. Adler Schnee continued to design well into her nineties, passing away on January 5, 2023 at the age of 99 years old.

Fabric Swatch Designed by Ruth Adler Schnee, 1949, Courtesy of The Henry Ford

EVENTUALLY EVERYTHING CONNECTS: MID-CENTURY MODERN DESIGN IN THE US

June 14–September 21, 2025

Cranbrook Art Museum, Upper Galleries

This large-scale survey of one of the most important and persistent movements of modern design in the United States in the twentieth century shines a light on Cranbrook’s pivotal role in its development and the contributions of additional women, LGBTQ+ individuals, and designers of color during this period. Based on the famous quote by Cranbrook alumnus and teacher Charles Eames, “Eventually everything connects: people, ideas, objects,” the exhibition contains some 200 works by nearly 100 artists, architects, and designers, including Ruth Adler Schnee, that explore the multitude of relationships between these three fundamental pillars.

Ruth Adler Schnee at Opening Preview Party for ‘Ruth Adler Schnee: Modern Designs for Living’, December 2019. Photo: Sarah Blanchette

THURSDAY, JUNE 19 | 7 PM

The Capitol Theatre, Windsor

Sponsored by The Morris & Beverly Baker Foundation

FESTIVAL IN RESIDENCE:

PROGRAM

TICKET INFORMATION

To learn more or purchase tickets, please visit capitaltheatrewindsor.ca or contact The Capitol Theatre at (519) 973-1238.

WINDSOR

Franz Schubert Du Bist die Ruh, D. 776; Op. 59, No. 3 (1797–1828)

Setzer, Vonsattel

arr. Philip Setzer

Bohuslav Martinů Three Madrigals for violin and viola, H. 313 (1890–1959)

Poco allegro - Poco vivo

Poco andante - Andante moderato

Allegro - Moderato - Allegro - Allegro vivo

Setzer, Scott

Ludwig van Beethoven Piano Sonata No. 28, Op. 101 (1770–1827)

Allegretto, ma non troppo

Vivace alla marcia

Adagio, ma non troppo, con affetto

Allegro

Vonsattel

PROGRAM NOTES

GILLES VONSATTEL, piano

PHILIP SETZER, violin

DILLON SCOTT, viola, Sphinx apprentice ARTISTS

I want to return to Vitruvius, whose treatise De architectura began this journey nearly two weeks ago. In the opening week we looked at two of the three arenas of design identified by the Roman architect; tonight we tarry with the third.

Reading scenography as Vitruvius understood it is, like orthography before it, clouded by the word’s contemporary understanding. In conventional parlance, we take “scenography” to mean the decorative backdrops and set pieces in a theater. For Vitruvius, it meant something more elemental and abstract: scenography in architectural design, he says, “exhibits the front and a receding side properly shadowed, the lines being drawn to their proper vanishing points.” Scenography is perspective (which gives its modern theatrical understanding a bit more sense; the details of perspective and space that make a setting feel real). Vitruvius is at the same time proposing a new draughtsman’s concept here, what he calls the “vanishing point.” Think of a pair of train tracks at the center of a photo, running away from the viewer: that impossible, distant speck into which all lines seem to disappear is the vanishing point. All tracks in proper perspective; all roads lead to Rome.

Architectural scenography gives us something of the theme for tonight, a theme which is also the project of musicology writ large. I want to listen for invisible points whose central gravity generates perspective, for shadows and details the ear barely notes, but without whom the whole thing would fall strangely flat. Musicology is the project by which the invisible mathematics of perspective are brought to audibility, with the hope of changing how we hear; each of the pieces tonight encodes a vanishing point, a missing center which draws all these sculpted lines into something like recognizable form.

Without the text in the Schubert—an aching poem from Friedrich Rückert, whose title translates loosely to “You are repose”— it is difficult to hear why so simple a melody should carry such devastating rapture. Without the text, one cannot hear, for instance, the vanishing point of the poet’s Berlin professorship in Eastern languages and literature. Rückert, a formidable polyglot (scholars estimate his language retention numbered in the 30s) specialized in myth and song from East Asia and the Middle East, where the particular literary overlay of eroticism with the sacred left an indelible mark on his own German output.

The central stanzas of the violin’s unspoken text for example—

Full of joy and grief I consecrate to you my eyes and my heart as a dwelling place.

Come in to me and softly close the gate behind you.

—play with the thin line between religious prayer and love song. The erotic physical interiority tilts the scale towards the latter, but the pungency of holy submission here bears the traces of Rückert’s long studies in Eastern religion to which Schubert is musically responding. Likewise, without the text, one cannot know that the fading high notes at the top of that breathtaking scale would belong to the word erhellt, to brighten, after which comes that laden silence: a light that fades this mundane world into darkness.

Behind Martinů’s Three Madrigals is a pair of living bodies, siblings actually. Lillian and Joseph Fuchs, two of the great American string players and pedagogues of their generation, played the Mozart duo (also for violin and viola) in the Berkshires with an admiring Martinů in the audience. Only a few days later, the composer took a spill in the Massachusetts forest, giving himself some serious injuries in the process. Newly confined to limited mobility—and with the memory of that performance freshly in mind—he abandoned the symphony form (he had just finished five of them) and started out on a year’s worth of chamber music; this duo was his first.

For all that the Three Madrigals betray Martinů’s idiosyncratic sensibilities—Czech folk melodies and a vested interest in sonic colors—the piece hinges on sibling dynamics. Prodigies thought they may have been, Joseph and Lillian were once Joe and Lily to each other, and no matter how much of a professional life you share, the childhood bonds (battles?) never fade. It is a music, then, that steps on a brother’s toes, a music that tugs a sister’s hair. The way, in the midst of an almost Mozartian outburst in the third movement, that the viola comes careening up to derail the game; or how, shrouded in the mystery of trills and tremolos in the second, the two instruments without fail chose to move in the opposite direction, culminating in that long glissando agains a scale, combative and contrarian just for the sake of a rise. It’s easy to think the playful nature of this music was a gift from the composer, when in reality it was siblinghood that gave such energy to him.

And, at last, the Beethoven. The absent center around which this music congeals is nothing more or less than audition itself. The Piano Sonata No. 28, Op. 101 is timestamped as the beginning of what we now call “Late Beethoven,” the final years after deafness set in and the music began its bend towards mature Romanticism. There are all the usual hallmarks— hallucinogenic harmonic warp, form dehiscing from the inside, a monstrous canon at the limits of the sustainable—but these themselves are not products of deafness so much as Beethoven’s advanced compositional capacities. No, it is the language of the score and the register most impacted by his hearing. The score is littered with an astonishing array of expressive markings (in German, a radical departure from the traditional Italian), phrases like “with innermost sensitivity” and “gradually with more string.” Beethoven was, by this juncture, restricted to communicating with his friends via notebook; the descriptors are things he wishes he could say aloud. And the 28th sonata sits shockingly low in the piano’s range, the product of two factors: Beethoven had just received a new piano with a novel low E and was using it like a toy, but the low range was also vibration enough that the deaf man could properly feel it, even with his hearing vanished. We, too, might want to feel this music as vibration first.

© 2025 Ty Bouque

THURSDAY, JUNE 19 | 7 PM

333 Midland

Sponsored by Joy & Allan Nachman and Linda Goodman in memory of Dolores Curiel

TASTING NOTES AT ��� MIDLAND

UP SOUTH: REFLECTIONS OF THE GREAT MIGRATION

PROGRAM

Marion Hayden Up South: Reflections of the Great Migration (b. 1956) Hayden, Waddles, Barefield, Gardner, Elster

Prose and original music and arrangements for quintet celebrating the spirit of African American migrants through the lens of Hayden’s family.

ARTISTS

MARION HAYDEN, bass

ALVIN WADDLES, piano

A. SPENCER BAREFIELD, guitar

TARIQ GARDNER, drums

JEAN ALICIA ELSTER, narrator

ABOUT TASTING NOTES

Tasting Notes concerts offer a relaxed concert format with a curated tasting of wine and cheese.

Alvin Waddles

Marion Hayden

FRIDAY, JUNE 20 | 7 PM

Detroit Institute of the Arts, Detroit Film Theatre

Sponsored by Gwen & S. Evan Weiner

ADMISSION INFORMATION

Event is included with museum admission. Visit dia.org or call the Detroit Institute of Arts at (313) 833-7900 for details.

AUDIO/VISUAL WITH ROBYN BOLLINGER

PROGRAM

Robyn Bollinger CIACCONA: The Bass of Time (b. 1991) Bollinger

PROGRAM NOTES

ARTIST

ROBYN BOLLINGER, violin

CIACCONA: The Bass of Time demonstrates a revolutionary concert model designed to stimulate audiences intellectually and engage listeners on a deeply emotional and personal level. Incorporating multi-media historical presentations and live personal narratives with musical performance, CIACCONA tells the story of one of music’s most ancient compositional ideas—the development of a simple repeating bass line—through the lens of solo violin repertoire. The program delves into questions of the meaning of art, the purpose of expression, and the motivations of four remarkable composers spanning from the Baroque to the present day: Biber, Bach, Bartók, and Berio, while simultaneously exploring the personal beliefs and questions of program creator and performer Robyn Bollinger. Recorded at the Shalin Liu Performance Center in Rockport, MA, and produced with generous support from the Leonore Annenberg Fellowship Fund, CIACCONA affirms that even in the twenty-first century, with minimal technological gimmicks and maximum personal impact, classical music can again be meaningful to every audience.

— Robyn Bollinger

Robyn Bollinger

FRIDAY, JUNE 20 | 7:30 PM

Kerrytown Concert House

Sponsored by Thea Glicksman in memory of Gregory Fox

TICKET INFORMATION

To learn more or purchase tickets, please visit kerrytownconcerthouse.com or contact Kerrytown Concert House at (734) 769-2999.

FESTIVAL IN RESIDENCE: ANN ARBOR

PROGRAM

Ethan Soledad Poems from Angel Island (premiere) (b. 1999) Albert, Scott, Trio Dolce

Poems from Angel Island is part of Emerging Voices, a series of works co-commissioned by the Great Lakes Chamber Music Festival, Chamber Music Northwest and the Seattle Chamber Music Society.

Johannes Brahms Sonata in F minor for viola and piano, Op. 120, No. 1 (1833–97)

Allegro appassionato

Andante un poco adagio

Allegretto grazioso

Vivace

Huang, Barnatan

— INTERMISSION —

W.A. Mozart String Quartet No. 16 in E-flat major, K. 428, “Haydn” (1756–91)

Allegro non troppo

Andante con moto

Menuetto - Trio

Allegro vivace

The Dolphins Quartet

COMPOSER NOTES

ARTISTS

INON BARNATAN, piano

MATT ALBERT, violin

HSIN-YUN HUANG, viola

DILLON SCOTT, viola, Sphinx apprentice THE DOLPHINS QUARTET, Shouse ensemble

TRIO DOLCE, Shouse ensemble

Commissioned by the Great Lakes Chamber Music Festival, Chamber Music Northwest and Seattle Chamber Music Society. San Francisco Bay’s Angel Island acted as an immigration station for mostly Chinese immigrants in the beginning of the 20th century during the Chinese Exclusion Act. Many of those coming through would pose as “paper sons or daughters,” forging documents to make it seem like they were related to someone already a citizen of the US. The US was aware of this and as such implemented an intense interrogation process to find out if they were telling the truth. Those held at the station would spend weeks, months, and even years on the island before being released or sent back to their origins. Hundreds of poems are inscribed on the walls telling of their feelings of anxiety, fear, boredom, and despair in the terrible living conditions and grueling questioning by the immigration officers.

Upon reading the poem inspiring the first movement, I had a very vivid image in my mind of a bird trying to escape from its cage and being yanked down violently each time. Just as the poem says, “After leaping into prison, I cannot come out,” the piece opens with the listener being thrust into the fray, evoking a sense of panic and anxiety in the quickly shifting textures. The movement comes to a climax with the cello playing against the other strings and the piano, creating a sense of conflict and violence before slowly fading out into nothing. The second movement evokes the quiet emotions felt by those on the island, as so eloquently expressed by the poet. There’s a sense of loneliness, despair, grief and homesickness as the poet perhaps regrets coming to a foreign land. Through this movement, in addition to portraying the imagery of the poem, I wanted to portray the emotions left unsaid- a sense of hopelessness that may arise from the question “will I ever be released?”

Translations by Genny Lim

1. FROM ENDLESS SORROWS, TEARS AND BLOOD STREAK - LEE GENGBO OF TOISHAN

After leaping into prison, I cannot come out.

From endless sorrows, tears and blood streak.

The jingwei bird carries gravel to fill its old grudge.

The migrating wild goose complains to the moon, mourning his harried life.

When Ziqing was in distant lands, who pitied and inquired after him?

When Ruan Ji reached the end of the road, he shed futile tears.

The scented grass and hidden orchids complain of withering and falling.

When may I be allowed to soar at my own pleasing?

2. RANDOM THOUGHTS, DEEP AT NIGHT - YEE OF TOISHAN

In the quiet of night, I heard, faintly, the whistling of wind.

The forms and shadows saddened me; upon seeing the landscape, I composed a poem. The floating clouds, the fog, darken the sky.

The moon shines faintly as the insects chirp.

Grief and bitterness entwined are heaven sent.

The sad person sits alone, leaning by a window.

3. CAGES OF JADE - POEM 135

Detained in this wooden house for several tens of days, It is all because of the Mexican exclusion law which implicates me. It’s a pity heroes have no way of exercising their prowess. I can only await the word so that I can snap Zu’s whip.

From now on, I am departing far from this building All of my fellow villagers are rejoicing with me. Don’t say that everything within is Western styled. Even if it is built of jade, it has turned into a cage.

The third movement immediately follows the second without pause, beginning with an extensive violin cadenza. I similarly wanted to portray a sense that the poet has lost all hope before finally being told that they’re going to be released into the US. What follows is a dramatic shift in the harmonic language. The violin solo continues, first echoed by the strings before being joined at the unison by the piano. This represents the poet “rejoicing” with their fellow villagers and the Asian American community as a whole coming together to thrive in spite of the violence, racism, trauma and other hardships they’ve faced. The piece ends with a short lullaby evoking the textures of the first movement, representing that this piece of history- one that is relatable to any immigrant population in the world- is one to live with and to learn from. — Ethan Soledad

PROGRAM NOTES

Tonight I want to dwell upon a decorative element of architecture, ornamental and so not strictly necessary (what art is?) and yet foundational to how we might hear this program. Among sculpture’s oldest techniques is relief, the raising of an image from the raw matter of material by whittling away at its negative space. The Parthenon Frieze is no doubt the most famous of these, but they’re everywhere in ancient architecture (our Vitruvius, who has followed these notes like a Virgil, would have known them intimately). And though the word itself—from the Latin relevere, “to raise up”—suggests that ascendency is the most important quality, I want to propose the opposite. The three works tonight each encode relief in their forms: to hear it, we must for the etymologic counterpoise: what is raised by relief, whether memory or life or song, only ever comes from an equal and opposite sinking down

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Ethan Soledad’s Poems from Angel Island take as their source carvings left by prisoners in the walls of the eponymous San Francisco detention center. One of the primary entry points for Asian immigrants between 1910 and 1940, Angel Island played host to a troubled site of governance: the battle over immigrant rights under the Chinese Exclusion Act meant subjecting American hopefuls to months of interrogative detention in the lonely wooden structures. The texts still carved into the walls, many of them in Mandarin, were left behind by anonymous prisoners, testimony of an indomitable presence the government was working very hard to erase or deport. The result is both an artistic object and a cultural memory, the beautiful texts forever freighted with the history of immigrant abuse and violent border control. Soledad has raised these inscriptions from their sunken wooden refuge to our audibility tonight, and no doubt there is relief—both sculptural and generational—in breathing music into so painful a memory. But the reading I want to offer is that their raised audibility and newly heightened attention involves an opening up beneath: hearing the music of these poems, we also hear down into the contextual soil, listening to the voices of history as much as to notes and rhythms. Relief opens into the depths.

Brahms, too, was after something like relief in the years of those final opuses. The viola sonatas are altered transcriptions of their older clarinet siblings, first written for Richard Mühlfeld after the august Brahms’s return from self-imposed retirement. Writing for the end of life, this is music in preparation for that last raise of the chest in final breath, the body arched as soul flies upwards. But— the strange counterpoise again—that ascendency is never a sonic one. In the second movement of the Sonata in F minor for viola and piano—like the Mozart we’ll soon hear, one of the most dramatic harmonic inventions of his career (though not as much performing its audaciousness)—spiritual ascendency is achieved by an impossibly long harmonic descent. Keys are sinking lower at every turn: in the B section, falling stepwise to an impossible relation, A major in the key of A-flat, creating that unearthly sense of float that only Brahms could pull off. And when at last the primary theme returns, it is in much too high a key, only to slip twice down, landing—with relief—at home.

(I have always searched and failed to find the words to name that particular quality of “fast” music from the end of Brahms’s life. It is different from the vigorous urgency of lust or fury that the symphonies or the fugues in Deutsches Requiem espouse. He stops racing, and one can hear—and this, the part for which words do not adequately account—something much slower and patient underneath all the notes, a sense of nowhere to be but here pervading even the quickest of tempos. I have never been able to find the word for that; although relief, come to think of it, isn’t a bad one.)

And finally: Mozart’s Quartet No. 16 in E-flat major is a fascinating little object, pristine and brittle and impossibly meticulous. The centerpiece in a series of quartets he dedicated to Joseph Haydn (the set that famously prompted the older composer to claim the younger as “the greatest composer known to me, either personally or by reputation”) taking up the instrumentation most associated with elder Austrian. But from the first, all evidence points to a Mozart at the limits of his imagination: the musical material for this quartet is among the most sinuous and chromatic in his output. (And there is no better tribute to the man who revolutionized the string quartet than to take it even further.) Where often—as I said a few nights ago—melodies are just building blocks for Mozart’s structural inventions, here we see him really at his craft in making something idiosyncratic and unpredictable. Which is where relief comes in. With time and a kaleidoscope of shadows—new harmonizations and re-orchestrations— what first appeared as an impossibly disjunct utterance comes to feel like, well, melody. Mozart builds a process of acclimation whereby an awkward surprise grows comfortable enough to serve as home turf. It becomes almost hummable, though on first presentation—in unison all on its lonesome—it was ungainly and erratic. What is raised, in other words— what is brought into relief by Mozart’s dexterous sense of play—is our own hearing. We hear ourselves hear Mozart, noticing how our fluency with formerly foreign things grows with time. We ourselves are cast into relief by Mozart (and this is what his operas do as well, offering us a mirror of startling visibility). He shows us our attention, our comforts and discomforts, and our ability to learn and cohabitate with what once felt like distant strangers, even to love and grow attached where once we felt unsafe. What a relief. © 2025 Ty Bouque

SATURDAY, JUNE 21 | 11 AM & 1:30 PM

Cranbrook Art Museum

Sponsored by JPMorgan Chase

EVENT INFORMATION

Event is included with museum admission. Please visit cranbrookartmuseum.org or call Cranbrook Art Museum at (248) 645-3323.

SUMMER SOLSTICE CELEBRATION

ARTISTS

Inspired by traditional Scandinavian solstice festivities, Cranbrook’s second annual Summer Solstice Celebration embraces art, science, and the beauty of nature on the longest day of the year—when the sun reaches its highest point in the sky. At Cranbrook Institute of Science, explore the wonders of the cosmos by sky-gazing through the observatory telescope, attending solsticethemed planetarium shows, and participating in interactive science activities. At Cranbrook Art Museum, enjoy Cranbrook’s beloved Maypole dance, suninspired music on the peristyle, and hands-on artmaking activities. Educators from The Henry Ford Museum will lead special making activities while guests can enjoy yard games, delicious food, and festive treats on the museum grounds. Celebrate the magic of midsummer with us!

THE DOLPHINS QUARTET, Shouse ensemble

JULY 2-5, 2025

Experience a masterful musical performance in an idyllic setting with 300 years of American history as your backdrop.

TICKETS ARE ON SALE NOW

SATURDAY, JUNE 21 | 7 PM

Seligman Performing Arts Center

Sponsored by Linda & Maurice Binkow

CLOSING NIGHT: WIREWORKS

PROGRAM

Gabriel Fauré Piano Quartet No. 2 in G minor, Op. 45 (1845–1924)

Allegro molto moderato

Allegro molto

Adagio non troppo

Allegro molto

Huang, Trio Dolce

Johannes Brahms Two Songs for Voice, Viola, and Piano, Op. 91 (1833–97)

Gestillte Sehnsucht (Stilled longing)

Geistliches Wiegenlied (Sacred lullaby)

Goerke, Huang, Barnatan

— INTERMISSION —

Leonard Bernstein Symphonic Dances from West Side Story (1918–90) Barnatan, Vonsattel, Duvall, Smith arr. Paul McKibbins and Robert Phillips

CLOSING NIGHT RECEPTION

Park West Museum

Sponsored by Park West Gallery

GLCMF invites you to meet the artists at a special reception at the Park West Museum in Southfield.

Call (248) 559-2097 for more information.

Donation to attend is $50 per person.

PROGRAM NOTES

ARTISTS

INON BARNATAN, piano

GILLES VONSATTEL, piano

HSIN-YUN HUANG, viola

MATTHEW DUVALL, percussion

JONATHAN SMITH, percussion

CHRISTINE GOERKE, soprano

TRIO DOLCE, Shouse ensemble

Tonight—our last night—I want to linger with the presence that has so patiently haunted these last two weeks. Ruth Adler Schnee was a marvel, an inventor of patterns who wielded her pen with a freedom and intuition few textile artists dream of achieving. A work of hers pulsates with that inscrutable logic of inner life by which organisms make fibonacci patterns out of instinct: nature herself organizes in dizzying shapes at Adler Schnee’s command.

The story goes that Adler Schnee, who began her academic life as an architect under Walter Gropius at Harvard in the ‘40s, won the Chicago Tribune’s Design for Better Living competition, whose prompt was to imagine a modern home. Adler Schnee’s contribution—a box of glass and steel—necessarily demanded curtains to provide any source of privacy for the poor residents. She dashed out a pattern, something improvised and hurried and absolutely instinctive—only for an architectural firm to reach out and ask about purchasing those lovely and strange curtains. Only they didn’t exist. So she got

PERFORMANCE SPONSORS

Bernstein Symphonic Dances | Franziska Schoenfeld

Wireworks

Fabric Swatch Designed by Ruth Adler Schnee, 1950, Courtesy of The Henry Ford

to work learning how, and spent the rest of her career printing, weaving, stitching, and sketching all manner of her geometric proliferations.

Wireworks was an extensive series of furnishing fabrics produced in Detroit during the early ‘50s, one of Adler Schnee’s many ongoing collections (among them Construction, orange and green grids gone wild, and Seedy Weeds, decked out with bulbous little shoots). Wireworks took their impetus from a visit to Alexander Calder’s house, where Adler Schnee spotted his collection of fireplace tools—all manner of strange prongs and shovels and pincers—asleep on the mantle. The textile is the place where they come alive, writhing and zigzagging, spreading out in all directions peppered by little dots that almost look like eyes. But their repetitions—and this is Adler Schnee’s gift everywhere—are imperfect, what the composer Morton Feldman calls “crippled” symmetry: iterative without feeling redundant. (Good wallpaper works this way too.)

So tonight, in Brahms and Fauré, we’ll listen at the cellular level to what spreads out its prongs and small eyes in imperfect repetitions across time. The Fauré quartet—his second and mature attempt at the instrumentation, though today less often played than the first—is erected on a series of sinuous building blocks. The most obvious of them appear in the third movement, where figures follow in endless sequence, but it’s true everywhere else: Fauré is a microscopic composer, and the logic of the Piano Quartet follows suit. In the way that two off-kilter square spirals in Wireworks are the same but different every time, small differences in sameness begin to vibrate with their own invisible coherence.

The Brahms Two Songs for Voice, Viola and Piano, meanwhile, trade not in the minutiae of Adler Schnee’s figures— Brahms is, after all, a composer of long line and lurid harmonic sequence—but rather in the very fabric of her textiles. These are knitted songs, woven with impossibly fine strings of melody and light and hand-stitched to retain a kind of natural elasticity. Adler Schnee preferred linen for the Wireworks, cream and a hunter green whose softness refuses to announce itself but instead invites the viewer closer, closer, until your face is pressed to its soft side. The endless weaving of threads in the Brahms—famously of two separate melodies between viola and voice (cream and hunter green?) in the first song—retains a cloth’s integrity, soft and light and whole.

Coda

For all that the Bernstein tonight is recognizable, and pleasurable, and joyous—is there a better way to set a night adrift?—I don’t want us to let slack the bargain of geometry, even at this eleventh hour. The ubiquity of West Side Story has caused the intricacy of its interior logic to go too often overlooked: it is fun, yes, but no less rigorous despite. It proposes—on a cellular, musical level—a singular interpretation of Romeo and Juliet (whose story gives that musical its scaffold) that one can only read by attending to its purely musical thought.

Much critical ink has been spilled debating the power imbalances, gender roles, and social forces that give one or another of the Capulets and Montagues the upper bargaining hand: essentially, criticism has preferred to look for external factors that lead to double death. Julia Reinhardt Lupton, however, in her work on virtue in Shakespeare, has centered the role of dignity (of which two houses are both alike) in that play, tracing the story’s ethical stakes through the generous means by which the titular couple freely recognize each other as fundamentally and devastatingly human, outside the structures of family and society. They offer, in other words, a dignified equality—one that will flow out in all directions with their blood at the end of the play.

Bernstein’s reading—on a microscopic musical level—echoes the same. The entirety of the score—and I do mean the entirety, everything from the overture to “Maria,” from “Cool” to “Something’s Coming”—is wagered on a single interval. The tritone, notorious for splitting (disharmoniously!) the octave into perfect halves, is this music’s basic building block. (Music schools today teach it as the “Maria” interval, so ubiquitous is the association.) The struggle to configure a new musical world from the dissonance of the tritone’s dignified halfness gives West Side Story its curious form—though one must wait for the end to see just how.

The final chords—despite musicology’s many attempts to construe them as tragedy’s unresolved failure to reach wholeness— bring two hours of composition to their conclusion. And still, the tritone remains, finally as grounding bass, reconfigured at last from what has felt like the anticipation of resolve (“Ma-RI-a”) to the serenity of resolve itself. The equalizing tritone is no longer a thorn in this socio-musical world: it is its benevolent law. The love of Tony and Maria is predicated on dignified equality, and the entirety of Bernstein’s score is spent bringing that socially disharmonious equality (the tritone, famously the most dissonant of intervals) into musical coherence. That Tony must die for its fulfillment is, then, the product of form’s inevitable reconciliation. Blueprints, as we said on that very first night, always contain the ruin of their design inside.

What a miracle it has all been to behold: how singular, geometric decisions rush their boundaries to scaffold a world, abstract diagrams alighting into meaning and dignity and hope. Ab uno disce omnes © 2025 Ty Bouque

Brentano String Quartet

Ozel, piano

Michelle Cann, piano

Ensemble

Daniel Hope, violin

Pierre-Laurent Aimard, piano

Israeli Chamber Garth Newel Piano

Israeli Chamber Project

Juilliard String Quartet

Brentano String Quartet

Evren Ozel, piano

Michelle Cann, piano

Relic Ensemble

Daniel Hope, violin

Pierre-Laurent Aimard, piano

Zukerman Trio

Israeli Chamber Project

Garth Newel Piano Quartet

COMMUNITY ENGAGEMENT

The Great Lakes Chamber Music Festival remains dedicated to promoting the arts to its surrounding community through performances, workshops, and collaboration.

SYMPOSIUM AT WSU MEDICAL SCHOOL

Sponsored by the Charles H. Gershenson Trust

Members of the Shouse Institute will present a workshop to students in the Wayne State University School of Medicine and School of Pharmacy. In partnership with WSU faculty, the musicians will perform and demonstrate how they communicate nonverbally. The goal is to create an opportunity for students to observe and learn lessons in nonverbal communication, an “art form” in which chamber musicians must excel to survive.

ACCENT PONTIAC PERFORMANCE AND WORKSHOP

Sponsored by Karen & Robert Heuer

A Shouse ensemble will host a workshop for Accent Pontiac students, helping them realize their own compositions and interpret each other’s works. Accent Pontiac focuses on strengthening Pontiac’s youth and community through equitable access to intensive and consistent music-making.

SENIOR CENTERS OF WAYNE & OAKLAND COUNTY

Sponsored by the Mary Thompson Foundation and the Phillip and Elizabeth Filmer Memorial Charitable Trust

In line with our efforts to expand our Great Lakes family, the Festival is continuing satellite performances at senior centers across Southeast Michigan. During these special events, Shouse ensembles will perform and engage with the seniors in our community.

EDUCATION INITIATIVES

Sponsored by Isabel & Lawrence Smith

The Festival is proud to partner with local school districts, beginning with L’Anse Creuse Public Schools this year, to provide them with in-school sectionals through visits from our artists. This initiative is part of our greater mission to support arts education in our region.

This activity is supported by the Michigan Arts & Culture Council and the National Endowment for the Arts.

FREE ARTISTIC ENCOUNTERS

Sponsored by Barbara Solms

The Catherine Filene Shouse Chamber Music Institute, led by violinist Philip Setzer, provides a platform for emerging professional ensembles. Artistic Encounters are public coachings for Shouse Institute fellows in a setting similar to a masterclass.

You are invited to attend these Artistic Encounters to get a behind-the-scenes look at what it takes to be a professional musician.

Register for free at greatlakeschambermusic.org/artistic-encounters

Bloomfield Township Public Library 1099 Lone Pine Road

Bloomfield Township, MI 48302

MONDAY, JUNE 9 AT 11 AM

Philip Setzer

WEDNESDAY, JUNE 11 AT 11 AM

Jennifer Frautschi with Third Coast Percussion

MONDAY, JUNE 16 AT 11 AM

Gilles Vonsattel

The Edw. C. Levy Group of Companies celebrates the Festival’s mission of bringing together the world’s most celebrated artsts to deliver extraordinary performances for all.

Thank you for your commitment to an inclusive and welcoming culture where di erences are valued so that the community may experience chamber music at its best!

Chase is proud to sponsor the 2025 Great Lakes Chamber Music Festival.

To learn more about Chase, visit jpmorgan.com/commercial-banking

FESTIVAL ARTISTS

PAUL WATKINS

Artistic Director, cello

Sponsored by Gail & Ira Mondry

Paul Watkins enjoys a remarkably varied and distinguished career as soloist, chamber musician and conductor. He is the Artistic Director of the Great Lakes Chamber Music Festival and in 2019, he was appointed Professor of Cello at the Yale School of Music.

He has performed as concerto soloist with prestigious orchestras throughout the world under eminent conductors including Bernard Haitink, Paavo Berglund, Leonard Slatkin, Sakari Oramo, Gianandrea Noseda, Sir Mark Elder, Sir Andrew Davis, Sir Charles Mackerras, Andris Nelsons, Edo de Waart, Hannu Lintu and Vasily Petrenko.

A dedicated chamber musician, Watkins was a member of the Nash Ensemble from 1997 until 2013, when he joined the Emerson String Quartet. With the quartet he traveled extensively, performing at major international festivals including Tanglewood, Aspen, Ravinia, Edinburgh, Berlin and Evian, and has collaborated with artists such as Emanuel Ax, Yefim Bronfman, Evgeny Kissin, Renée Fleming and Barbara Hannigan. He is a regular guest artist of the Chamber Music Society of Lincoln Center.

He took first prize in the 2002 Leeds Conducting Competition, and has held the positions of Music Director of the English Chamber Orchestra and Principal Guest Conductor of the Ulster Orchestra. In recent seasons he made his conducting debuts with the Minnesota Orchestra, Detroit Symphony and Omaha Symphony.

PHILIP SETZER

Shouse Institute Director, violin Sponsored by Isabel & Lawrence Smith

Violinist Philip Setzer, a founding member of the 9-time GRAMMY® Award-winning Emerson String Quartet, was born in Cleveland, Ohio. He began studying violin at the age of five with his parents, both former violinists in the Cleveland Orchestra. He continued his studies with Cleveland Orchestra concertmasters Josef Gingold and Rafael Druian, and later at the Juilliard School with Oscar Shumsky. In 1967, Setzer won second prize at the Merriweather Post Competition in Washington, DC, and in 1976 received a Bronze Medal at the Queen Elisabeth Competition in Brussels.

Setzer is currently serving as Distinguished Professor of Violin and Chamber Music at Stony Brook University and Artistic Director of Strings Chamber Music at the Cleveland Institute of Music. He is the Artistic Director of the Manchester Music Festival in Vermont and is also the Director of the Shouse Institute at the Great Lakes Chamber Music Festival in Detroit.

Setzer continues to tour and record the piano trio repertoire with David Finckel and Wu Han in the Han-Finckel-Setzer trio. He lives in NJ with his wife of 40 years, Linda Setzer, and is the very proud father of daughter Katia Berry and adorable granddaughter Ava Berry.

INON BARNATAN piano

Sponsored by Jill & Steven Stone

Inon Barnatan is widely celebrated for his “uncommon sensitivity” (The New Yorker) and “impeccable musicality and phrasing” (Le Figaro), with The Evening Standard describing him as “a true poet of the keyboard.” A sought-after soloist, Barnatan has performed with many of the world’s leading orchestras, including the New York Philharmonic, BBC Symphony, Los Angeles Philharmonic, and major U.S. orchestras. He was the inaugural Artist-inAssociation with the New York Philharmonic (2014-17) and has played with the Leipzig Gewandhaus, Tokyo Metropolitan, and Royal Stockholm Philharmonics. Notable performances include a complete Beethoven concerto cycle in Marseilles and Copland’s Piano Concerto with the San Francisco Symphony and Michael Tilson Thomas.

Barnatan is also a distinguished chamber musician and curator. He serves as Music Director of the La Jolla Music Society Summerfest and collaborates regularly with renowned artists such as Renée Fleming and Alisa Weilerstein. He performs at major chamber festivals including Seattle, Santa Fe, and Spoleto USA. As a member of the Chamber Music Society of Lincoln Center’s Bowers Program (2006-09), he continues to perform with CMS in New York and on tour.

GLORIA CHIEN piano

Ruth Laredo Endowed Piano Chair

Taiwanese-born pianist Gloria Chien has one of the most diverse musical lives as a noted performer, concert presenter, and educator. She made her orchestral debut at the age of sixteen with the Boston Symphony Orchestra with Thomas Dausgaard, and she performed again with the BSO with Keith Lockhart. She was subsequently selected by The Boston Globe as one of its Superior Pianists of the year, “who appears to excel in everything.” In recent seasons, she has performed as a recitalist and chamber musician at Alice Tully Hall, the Library of Congress, the Phillips Collection, the Dresden Chamber Music Festival, and the National Concert Hall in Taiwan. She performs frequently with the Chamber Music Society of Lincoln Center. In 2009, she launched String Theory, a chamber music series in Chattanooga, Tennessee that has become one of the region’s premier classical music presenters. The following year she was appointed Director of the Chamber Music Institute at Music@Menlo. In 2017, she joined her husband, violinist Soovin Kim, as artistic director of the Lake Champlain Chamber Music Festival in Burlington, Vermont. The duo became artistic directors at Chamber Music Northwest in Portland, OR in 2020. Chien received her B.M., M.M., DMA degrees from the New England Conservatory of Music studying with Wha Kyung Byun and Russell Sherman.

PIANO SPONSORSHIP

The use of pianos throughout the Festival is sponsored by Andrea & Woody Leung.

GILLES VONSATTEL piano

Sponsored by Franziska Schoenfeld

Swiss-born American pianist Gilles Vonsattel is the recipient of an Avery Fisher Career Grant and the Andrew Wolf Chamber Music Award, the winner of the Naumburg and Geneva competitions, and a laureate of the Cleveland, Dublin, and Honens competitions. He’s performed with the Munich Philharmonic, the Philharmonisches Staatsorchester Hamburg, and the Boston, Chicago, Detroit, Montreal, and San Francisco symphony orchestras, and he’s appeared in recitals and chamber music concerts at Chamber Music Northwest; Music@Menlo; the Ravinia, Lucerne, Bravo! Vail Music, and Santa Fe Chamber Music festivals; Tokyo’s Musashino Hall; and London’s Wigmore Hall.

Vonsattel has premiered numerous works in the United States and Europe, and he’s worked closely with such notable composers as Jörg Widmann, Heinz Holliger, Anthony Cheung, and George Benjamin. Recent highlights include a performance of Carlos Chávez’s Piano Concerto in Carnegie Hall’s Stern Auditorium with The Orchestra Now, a debut at Mainly Mozart in San Diego, a critically acclaimed recording of music by Richard Strauss and Kurt Leimer with The Bern Symphony Orchestra and Mario Venzago for the Schweizer Fonogramm label. In 2025, Vonsattel begins a three year complete Beethoven piano sonatas cycle for Camerata Pacifica, where he is principal pianist. He will perform the entire cycle over the 2026-27 season for both Music@Menlo and at the Chamber Music Society of Lincoln Center. Vonsattel received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from The Juilliard School. He’s a professor of piano at the University of Massachusetts at Amherst. He makes his home in New York City and western MA.

ALVIN WADDLES piano

Sponsored by Bridget & Michael Morin

Alvin Waddles, an American pianist, singer, composer, and director, began his musical journey at age eight in his hometown of Detroit. He honed his talents at the Interlochen Arts Academy and the University of Michigan School of Music before returning to Detroit, where he immersed himself in the city’s vibrant musical culture.

Waddles has worked with Detroit and Ann Arbor Public Schools and served as the Director of Music at several churches, including the historic New Bethel Baptist Church and Hope United Methodist Church since 1995. He has delighted audiences at events like the Detroit Jazz Fest and the Detroit Festival of the Arts and is the featured piano soloist in the annual productions of Too Hot to Handel in Detroit and Chicago.

A recipient of the 2010 Excellence Award from the Detroit Musicians Association and the 2015 Spirit of Detroit Award, Waddles has performed worldwide in locations such as Barbados, Beijing, Paris, Barcelona, and Ghana. He has collaborated with iconic musicians such as Aretha Franklin,

Placido Domingo, Anita Baker, George Shirley, and Marcus Belgrave. Waddles continues to perform at festivals, jazz clubs, and performing arts venues, spreading his unique musical style.

JAMES O’DONNELL organ

Sponsored by Virginia & Michael Geheb

James O’Donnell is a distinguished concert organist, choral conductor, and liturgical musician, renowned for his leadership at Westminster Abbey and Westminster Cathedral, where he served for over two decades as Organist and Master of the Choristers and Master of Music. Notably, he led music for the 2010 service attended by Pope Benedict XVI and the 2011 wedding of Prince William and Catherine Middleton.

A celebrated concert organist, O’Donnell has performed in major venues worldwide and collaborated with esteemed ensembles like the London Philharmonic and Tokyo Philharmonic Orchestras. He has conducted renowned groups such as the Academy of Ancient Music and Britten Sinfonia, and is currently Music Director of St. James’ Baroque. O’Donnell has over 50 organ and choral recordings, including award-winning works, such as Gramophone’s Record of the Year.

O’Donnell was President of the Royal College of Organists (2011–13) and holds fellowships from the Royal College of Music and the Royal School of Church Music. In 1999, he was knighted by Pope John Paul II. He is currently a Professor at the Yale Institute of Sacred Music and the Yale School of Music, as well as Visiting Professor of Organ and Choral Conducting at the Royal Academy of Music. He is also an Honorary Fellow of Jesus College, Cambridge.

MATT ALBERT

violin

Henry Meyer Endowed Violin Chair

Matt Albert is a violinist and violist and is the Chair of Chamber Music at the School of Music, Theatre & Dance at the University of Michigan. He previously served as the Director of Chamber Music and SYZYGY at the Meadows School of the Arts, Southern Methodist University, and he was a founding member of Eighth Blackbird, with whom he received numerous awards, including first prizes at the Naumburg, Concert Artists Guild, Coleman, and Fischoff Competitions, and three GRAMMY® awards for their recordings on Cedille Records. He has collaborated with Alarm Will Sound, Meredith Monk and Vocal Ensemble, Seraphic Fire, the International Contemporary Ensemble, and Wilco, and his orchestral playing has included work with the Shreveport Symphony (as Concertmaster), the Baltimore Symphony, the Florida Orchestra, and a tenured position as Principal Second Violin of the Cabrillo Festival Orchestra. He has served as a lead mentor for the Banff Centre for the Arts’ Evofest Evolution: Classical and for Nick Photinos’s 1:2:1 online workshop. Other leadership roles include three years as the Artistic Director of the M-Prize International Chamber Arts

FESTIVAL ARTISTS

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Competition and three years as the Artistic Director of the Music in the Mountains Conservatory in Durango, Colorado. Albert holds degrees from Oberlin College and Conservatory, the Cincinnati College-Conservatory of Music, and Northwestern University School of Music.

ROBYN BOLLINGER violin

Sponsored by Kathleen Block

American violinist Robyn Bollinger, appointed Concertmaster of the Detroit Symphony Orchestra by Music Director Jader Bignamini at the end of the 2021-22 season, is currently the youngest female Concertmaster in the U.S. She frequently serves as Guest Concertmaster with the Pittsburgh Symphony and has made appearances with the Indianapolis Symphony and St. Bart’s Music Festival Orchestra. Bollinger is a former member of the chamber orchestra A Far Cry, with whom she earned multiple GRAMMY® nominations.

Bollinger made her Philadelphia Orchestra debut at age twelve and regularly performs as a soloist, recitalist, and chamber musician across the U.S. She is a returning participant at the Marlboro Music Festival and has performed at festivals including Lake Champlain, Orcas Island, and HighlandsCashiers. Her recital appearances have included the Isabella Stewart Gardner Museum, National Sawdust, and venues in Osaka and Tokyo.

A dedicated educator, Bollinger has given masterclasses at institutions such as the Cincinnati Conservatory, Longy School of Music, and the University of California, Bakersfield. She is a former faculty member at New England Conservatory Preparatory School. Bollinger plays a 1697 G. B. Rogeri violin, generously on loan from a private collector.

JENNIFER FRAUTSCHI

violin

Sponsored by Josette Silver

Two-time GRAMMY® nominee and Avery Fisher career grant recipient Jennifer Frautschi has garnered worldwide acclaim as a deeply expressive, musically adventurous violinist with impeccable technique and a wide-ranging repertoire. Equally at home in the classic and contemporary repertoire, her recent seasons have featured performances and recordings of works ranging from Robert Schumann and Lili Boulanger to Barbara White and Arnold Schoenberg.

Frautschi’s concerto appearances have spanned from the Los Angeles Philharmonic under Pierre Boulez, to the Chicago Symphony Orchestra under Christoph Eschenbach. She is an Artist Member of the Boston Chamber Music Society, and has performed at virtually all of the premier chamber music series and festivals in the United States.

Born in Pasadena, California, Frautschi began the violin at age three under the Suzuki Method. She was a student of Robert

Lipsett at the Colburn School for the Performing Arts in Los Angeles. She attended Harvard, the University of Southern California, the New England Conservatory of Music, and finished her studies with Robert Mann at The Juilliard School. She is an Artist-in-Residence at Stony Brook University. She performs on a glorious Antonio Stradivarius violin from 1722, the ‘ex-Cadiz,’ on generous loan to her from a private American foundation with support from Rare Violins In Consortium.

LEILA JOSEFOWICZ violin

Sponsored by Martha Pleiss

Leila Josefowicz is a renowned violinist celebrated for her dedication to contemporary music, premiering works by composers such as John Adams, Luca Francesconi, and Esa-Pekka Salonen. Her exceptional musicianship has earned numerous GRAMMY® nominations, the 2018 Avery Fisher Prize, and a MacArthur Fellowship in 2008, recognizing her unique contributions to contemporary art.

Throughout her distinguished career, Josefowicz has collaborated with top orchestras worldwide, including the Berliner Philharmoniker, Tonhalle-Orchester Zürich, Royal Concertgebouw Orchestra, and orchestras in New York, Oslo, Helsinki, and Los Angeles. She has worked with prominent conductors such as Matthias Pintscher, Esa-Pekka Salonen, and John Adams.

In recent seasons, Josefowicz served as Artist-in-Residence with the Iceland Symphony Orchestra, performing with conductors Daniel Bjarnason and Eva Ollikainen, and giving a solo recital at Harpa Hall. Her career continues to be marked by innovative performances and a commitment to expanding the violin repertoire.

KIMBERLY KALOYANIDES KENNEDY

violin

Sponsored by Cecilia Benner

Kimberly Ann Kaloyanides Kennedy became a violinist with the Detroit Symphony Orchestra at 22 and achieved the position of Associate Concertmaster in 2003. She began studying violin at age 5 in Dayton, OH, and was inspired by her father, a Minister of Music and church organist, to pursue music as a career. Kennedy studied at prestigious programs including Brevard Music Center, Interlochen Arts Camp, Sarasota Music Festival, Aspen Music Festival, and the Harid Conservatory with Sergiu Schwartz. She completed her studies at the University of Michigan under Paul Kantor.

Kennedy won several national competitions, including the Grand Prize in the National MTNA competition, 1st prize in the Greek Women’s National Competition in Chicago, and the Skokie Valley Concerto Competition. She also earned top prizes at the University of Michigan Concerto Competition and the Harid Conservatory Concerto Competition. In 1998, she was one of the few Americans invited to the International Violin Competition of Indianapolis. She frequently performs as a soloist with the Detroit Symphony Orchestra, further showcasing her exceptional talent and dedication to her craft. She is a core artist with Detroit Chamber Winds & Strings.

HSIN-YUN HUANG viola

Sponsored by Beverly Baker & Dr. Edward Treisman

Hsin-Yun Huang, a celebrated violist, is renowned for her performances worldwide, commissioning new works, and mentoring young talents. She has graced prestigious stages, including Carnegie Hall, and collaborated with eminent ensembles such as the Berlin Radio Orchestra and Tokyo Philharmonic. Notable festivals she frequents include Marlboro and Music@Menlo. Alongside the Brentano String Quartet, she has showcased the complete Mozart string quintets at Carnegie Hall. Huang is dedicated to music education and founded VivaViola! to enrich the viola repertoire.

In the 2023-24 season, she performed at renowned venues like the Chamber Music Society of Lincoln Center and debuts James MacMillan’s Viola Quintet. Collaborating with diverse artists, she tours with a program titled “The Music Critic.” Huang’s past endeavors include co-commissioning Lei Liang for Strings of Soul and multidisciplinary projects with Ashkenazy Ballet.

A sought-after soloist, Huang has premiered works by notable composers and released acclaimed albums like Viola Viola and FantaC. She holds degrees from The Juilliard School and The Curtis Institute of Music and teaches at both institutions. A distinguished competition winner, she earned top honors in international competitions.

Huang is esteemed for her contributions to the viola world, her dedication to education, and her vibrant performances. She resides in New York City with her husband, Misha Amory, and their two children, continuing to inspire audiences worldwide with her artistry.

PAUL NEUBAUER viola

Sponsored by Adrienne & Herschel Fink

Paul Neubauer was principal violist of the New York Philharmonic at age 21 and has appeared with the New York, and Los Angeles philharmonics; Chicago, National, St. Louis, Detroit, Dallas, and San Francisco symphonies; and Mariinsky, Santa Cecilia, English Chamber, and Beethovenhalle orchestras. He has premiered viola concertos by Bartók (revised version of the Viola Concerto), Friedman, Glière, Jacob, Kernis, Lazarof, Müller-Siemens, Ott, Penderecki, Picker, Suter, and Tower and been featured on CBS’s Sunday Morning, A Prairie Home Companion, and in Strad, Strings, and People magazines. A two-time GRAMMY® nominee, he has recorded on Decca, Deutsche Grammophon, RCA Red Seal, and Sony Classical.

EDWARD ARRON cello

Paul Katz Endowed Cello Chair in memory of Morris D. Baker

A native of Cincinnati, Ohio, Edward Arron made his New York recital debut in 2000 at the Metropolitan

Museum of Art. Since that time, he has appeared in recital, as a soloist with major orchestras, and as a chamber musician, throughout North America, Europe and Asia. The 2024-25 season marks Arron’s 12th season as the co-artistic director with his wife, Jeewon Park, of the Performing Artists in Residence series at the Clark Art Institute in Williamstown, Massachusetts. Arron tours and records as a member of the renowned Ehnes String Quartet and he is a regular performer at the Boston and Seattle Chamber Music Societies, the Brooklyn Chamber Music Society, the Chamber Music Society of Lincoln Center, Bargemusic, Caramoor, Bowdoin International Music Festival, Charlottesville Chamber Music Festival, Seoul Spring Festival in Korea, Music in the Vineyards Festival, Lake Champlain Chamber Music Festival, Manchester Music Festival, and the Kuhmo Chamber Music Festival in Finland. Other festival appearances include Salzburg, Ravinia, Tanglewood, Mostly Mozart, PyeongChang, Bridgehampton, Spoleto USA, Santa Fe, Evian, La Jolla Summerfest, Chamber Music Northwest, Chesapeake Chamber Music, and the Bard Music Festival. Arron’s performances are frequently broadcast on American Public Media’s Performance Today. In 2021, Arron’s recording of Beethoven’s Complete Works for Cello and Piano with pianist Jeewon Park was released on the Aeolian Classics Record Label. The recording received the Samuel Sanders Collaborative Artists Award from the Classical Recording Foundation. A graduate of the Juilliard School, Arron currently serves on the faculty of the University of Massachusetts Amherst.

MARION HAYDEN bass

Sponsored by Christine Goerke

Marion Hayden is one of the nation’s leading proponents of the acoustic bass, mentored by the legendary Marcus Belgrave. A jazz performer since the age of 15, Hayden has collaborated with jazz luminaries such as Bobby McFerrin, Nancy Wilson, Geri Allen, Regina Carter, Lester Bowie, Sheila Jordan, and many others.

Her creative focus centers around her ensemble Legacy, formed in 2003, which blends original compositions with improvisation, highlighting diasporic music traditions. Hayden is also a cofounder of Straight Ahead, the first all-women jazz ensemble signed to Atlantic Records.

Recognized for her contributions as both performer and educator, Hayden has received numerous accolades, including the prestigious Kresge Artist Fellowship in 2016, the Ron Brooks Award in 2022, and a 2023 New Music USA composition grant. She was also awarded the 2019 Art X Grant and the Creators of Culture Grant for her original works. In addition, she received the Jazz Hero Award from the Jazz Journalists Association for her community impact.

As an arts advocate, Hayden serves as a grant panelist for various cultural organizations and is a passionate educator, teaching at the University of Michigan, Oakland University, and Michigan State University Community Music School Detroit. She also leads the Next Gen Ensemble, showcasing young talent in jazz. She was recently named the 2025 Kresge Eminent Artist.

FESTIVAL ARTISTS

ALEXANDER KINMONTH

oboe

Sponsored by Cecilia Benner

Alexander Kinmonth has been the Principal Oboist (Jack A. and Aviva Robinson Chair) of the Detroit Symphony Orchestra since 2015, after being appointed by Music Director Laureate Leonard Slatkin. He is featured prominently in DSO recordings of Tchaikovsky’s symphonies. A graduate of The Juilliard School, he studied with Nathan Hughes of the Metropolitan Opera. Kinmonth’s performance career includes guest appearances with the Metropolitan Opera and the Charleston Symphony Orchestra. He has also participated in prominent festivals such as the Mainly Mozart Festival, Tanglewood Music Festival, Music Academy of the West, and Aspen Music Festival, where he received a fellowship in 2014. Kinmonth was a participant in the New York String Orchestra Seminar at Carnegie Hall in 2013.

A recipient of the Professional Musicians Club of Boston’s Award for Outstanding Achievement, Kinmonth has performed with the Juilliard Orchestra and the New Juilliard Ensemble under renowned conductors like James Levine and Kurt Masur. Beyond music, Kinmonth has excelled in athletics, competing in the 2010 National Junior Olympics for fencing, as well as enjoying soccer and downhill mountain biking. He is also a National Gold Key Award winner in the Scholastic Art and Writing Awards’ Short Story category. He is a core artist with Detroit Chamber Winds & Strings.

JACK WALTERS clarinet

Sponsored by Cecilia Benner

Jack Walters joined the Detroit Symphony Orchestra in 2017 under the direction of Leonard Slatkin. In 2016, he was awarded the Zarin Mehta Global Academy Fellowship with the New York Philharmonic. After completing his bachelor’s degree from the University of Michigan under the tutelage of Dan Gilbert and Chad Burrow, he attended the Shepherd School of Music at Rice University studying with Richie Hawley. His other principal teachers include Craig Lawrence and Sean Osborn. Walters is a D’Addario artist and plays exclusively on Reserve Classic reeds. He is a core artist with Detroit Chamber Winds & Strings.

MATTHEW DUVALL

percussion

Sponsored by Bridget & Michael Morin

Matthew Duvall | I KNOW NOBLE ACCENTS | Eighth Blackbird: Founder, Artistic Director, and Percussionist | AND LUCID INESCAPABLE RHYTHMS

| Accomplishments: Four Grammy Awards, the MacArthur Award for Creative and Effective Institutions, Musical America Ensemble of the Year, and the Chamber Music America Visionary Award | BUT | Initiatives: Eighth Blackbird, Blackbird IV, The Blackbird Creative Lab, The Chicago Artists Workshop,

Blackbird Productions, Unexpected Outcomes | I KNOW TOO | Recording catalog: Cedille Records, Nonesuch Records, 37d03d | THAT THE BLACKBIRD IS INVOLVED | Education: Interlochen Center for the Arts, Oberlin Conservatory, University of Cincinnati College-Conservatory of Music, Northwestern University | IN WHAT I KNOW

Duvall proudly endorses Pearl Drums and Adams Musical Instruments, Vic Firth Sticks and Mallets, Zildjian Cymbals, and Black Swamp Percussion Accessories. Poem: Wallace Stevens, Thirteen Ways of Looking at a Blackbird. VIII.

JONATHAN SMITH

percussion

Sponsored by Thea Glicksman in memory of Gregory Fox

Percussionist Jonathan D. Smith is an active educator, chamber and orchestral musician and soloist. Since 2015, he has been a member of the Toledo Symphony Orchestra, where he serves as Section Percussion, and the Jackson Symphony Orchestra, serving as Principal Percussion. Smith can also be seen and heard performing with ensembles such as the Detroit Symphony, Ann Arbor Symphony and Lansing Symphony Orchestra.

Smith was born and raised in Lansing. Raised by two musical parents, John Dale and Janine Smith, he had an immense amount of exposure to the arts at a young age. He attended the University of Michigan and the Juilliard School. In 2016 Smith completed his DMA from the University of Michigan, where he was awarded a full tuition scholarship and served as a Graduate Student Instructor teaching percussion methods and coaching U-M’s famed percussion ensemble. He has participated in music programs at Interlochen, Music Academy of the West, and Pacific Music Festival taking him from North America to Asia performing a vast variety of music in different halls. In 2017 Smith joined the faculty at Bowling Green State University as Adjunct Professor of Percussion. In addition to his performing and teaching career, he is the Percussion Coordinator at the University of Michigan where he manages all percussive requirements for the School of Music, Theatre & Dance.

A. SPENCER BAREFIELD guitar

A widely acclaimed guitarist, soloist, composer and ensemble leader, A. Spencer Barefield has performed, toured and recorded extensively for nearly four decades as a ensemble leader, soloist, and with many jazz legends, such as Roscoe Mitchell, Lester Bowie, Oliver Lake, Richard Davis, Andrew Cyrille and Reggie Workman. He has played at hundreds of festivals and concerts in Austria, Germany, France, Italy, Sweden, Switzerland, Turkey, Hungary, Yugoslavia, Belgium, Spain, Portugal, Holland, and throughout the US and Canada, including Alaska and the Yukon.

Barefield has received numerous grants and honors, including the prestigious 2010 Kresge Artist Fellowship. His compositions

have been commissioned by grants from the National Endowment for the Arts, Meet-the-Composer/ Readers Digest/ Lila Wallace Fund, Michigan Council for Arts and Cultural Affairs, Arts Foundation of Michigan, Meet-the-Composer/ Commission USA, Arts International and others.

His works have been debuted and performed at the Detroit Institute of Arts, Montreux-Detroit Jazz Festival and the Art X Festival with members of the Detroit Symphony, New Music America Festival in New York and San Francisco, Nickelsdorf and Leverkusener Jazz Festivals, and at other venues worldwide.

TARIQ GARDNER drums

Tariq Gardner, is an electrifying drummer, composer, educator, and recording artist steeped in the rich music traditions of his home city —Detroit. Reared in an artistic family, his mother, a professional bassist, and father, a renowned visual artist and sculptor, greatly impacted his musical knowledge and artistic vision. His creative practice centers the Black American music traditions of jazz, neo-soul and hip-hop as compositional vehicles with an emphasis on explorative live performance with his group Evening Star.

Gardner is a 2018 graduate of the University of Michigan. He has served as the drummer for the John Douglas Quartet from 2017-19, not to mention performances with various groups at festivals. He also has performed alongside renowned pianist Cameron Graves and international trumpeter Keyon Harrold. His group, Evening Star, also headlines festivals across the nation. Most recently, the group has performed at the 2023 Detroit Jazz Festival.

As an educator, Gardner is a performance facilitator and teaching artist for University Musical Society at the University of Michigan and is a program assistant for the Geri Allen Jazz Camp in Newark, NJ, as well as managing his own private drum studio. He continues to work as a drummer, producer, composer, educator, and bandleader.

JEAN ALICIA ELSTER

narrator/writer

Sponsored by Joy & Allan Nachman and Linda Goodman in memory of Dolores Curiel

Jean Alicia Elster is a 2017 Kresge Artist Fellow in Literary Arts and a former attorney. Her most recent book, How It Happens (Wayne State University Press, 2021), won multiple accolades, including the 2021 Foreword INDIES Silver Winner for Young Adult Fiction and the 2022 Bronze Medal in Young Adult Fiction from the Independent Publisher Book Awards. It was also selected as the 2023 Black History Month Community Read by the Sterling Heights (MI) Public Library.

Elster is also the author of The Colored Car, a Michigan Notable Book and Midwest Book Award Gold Winner, and

Who’s Jim Hines?, named one of the Library of Michigan’s Notable Books. Her children’s series Joe Joe in the City (20012003) earned her the 2002 Governor’s Emerging Artist Award. She is a sought-after speaker, presenting at events like the 2023 How It Happens Black History Month celebration at the Sterling Heights Public Library, the AWP conference panel on Black trauma and joy, and the Michigan Reading Association Conference. In 2022, Elster spoke at the Detroit Historical Museum and keynoted the Warren Consolidated Schools Writing Celebration.

CHRISTINE GOERKE

soprano

Sponsored by

Drs. Ali Moiin & William Kupsky

Soprano Christine Goerke has appeared in many of the most prestigious opera houses of the world including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Royal Opera House, Paris Opera, Teatro alla Scala, Deutsche Oper Berlin, Teatro Real in Madrid, and the Saito Kinen Festival. She has sung much of the great soprano repertoire, beginning with the Mozart and Handel heroines and now moving into dramatic Strauss and Wagner roles.

Goerke has also appeared with a number of leading orchestras including the New York Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Radio Vara, the BBC Symphony Orchestra at the BBC Proms, and both the Hallè Orchestra and the Royal Scottish National Symphony at the Edinburgh International Festival. She has worked with some of the world’s foremost conductors including James Conlon, Sir Andrew Davies, Sir Mark Elder, Christoph Eschenbach, Claus Peter Flor, James Levine, Sir Charles Mackerras, Kurt Masur, Zubin Mehta, Andris Nelsons, Seiji Ozawa, David Robertson, Donald Runnicles, Esa-Pekka Salonen, the late Robert Shaw, Patrick Summers, Jeffery Tate, Christian Thielemann, Michael Tilson Thomas, and Edo de Waart.

Goerke’s recording of Vaughan Williams’ A Sea Symphony with Robert Spano and the Atlanta Symphony Orchestra won the 2003 GRAMMY® Award for Best Classical Recording and Best Choral Performance. Her close association with Robert Shaw yielded several recordings included the Brahms’ Liebeslieder Waltzes, Poulenc’s Stabat Mater, Szymanowski’s Stabat Mater, and the GRAMMY®-nominated recording of Dvorak’s Stabat Mater. Other recordings include the title role in Iphigenie en Tauride for Telarc and Britten’s War Requiem, which won the 1999 GRAMMY® Award for Best Choral Performance.

Goerke was the recipient of the 2001 Richard Tucker Award, the 2015 Musical American Vocalist of the Year Award, and the 2017 Opera News Award.

FESTIVAL ARTISTS

HANNAH KENDALL

Stone Composer-in-Residence

British composer Hannah Kendall is known for her attentive arrangements and immersive world-building. Her work bridges gaps between different musical cultures, both honouring and questioning the contemporary tradition while telling new stories through it. Contrasting fine detail with limitless abandon, she has become renowned both as a composer and a storyteller, confronting our collective history with narratively-driven pieces centred on bold mission statements.

Kendall’s work has been widely celebrated. She has created pieces such as Disillusioned Dreamer (2018), which the San Francisco Chronicle praised for having a ‘rich inner life’, as well as The Knife of Dawn (2016), a chamber opera that received critical acclaim for its involving and claustrophobic representation of the incarceration of Guyanese political activist Martin Carter.

She has worked with ensembles including London Symphony Orchestra, BBC Symphony Orchestra, Boston Symphony Orchestra, LA Phil, New York Philharmonic, San Francisco Symphony, Seattle Symphony Orchestra, The Hallé, Ensemble Modern, Klangforum Wien, and London Sinfonietta. In 2022, she was the recipient of the Hindemith Prize for outstanding contemporary composers, and nominated for an Ivor Novello Award in the Small Chamber category. In 2023, Kendall won the Ivor Novello Award for Best Large Ensemble Composition for shouting forever into the receiver, and Even sweetness can scratch the throat was nominated for Best Chamber Ensemble Composition.

ETHAN SOLEDAD

Stone Composer Fellow

Bold, dramatic, with an exquisite attention to detail, Ethan Soledad is a Filipino-American composer whose work aims to express emotions in their most raw form. An experienced singer, he incorporates drama in his work, emphasizing the importance of silence and one’s perception of time. Ethan’s music draws from a wide palette of compositional styles and colors ranging from impressionism and neoclassicism to post-minimalism and the avant-garde.

His music has been performed and recognized by ensembles such as Musiqa, DACAMERA Houston, the San Francisco Contemporary Music Players, New York Youth Symphony (First Music Commission Honorable Mention), the Greater Miami Youth Symphony, Choral Arts Initiative, Fifth House Ensemble, Bent Frequency, the East Coast Contemporary Ensemble (ECCE), Fear No Music, Crossing Borders Music, True Concord Voices and Orchestra, the Washington Gay Men’s Chorus, The Choral Project, the Beo String Quartet, and the Metropolitan Youth Orchestra of New York.

Soledad graduated with his Bachelor of Arts in Music at Florida State University in 2021 studying under Liliya Ugay and his Master of Music in Composition at Rice University in 2024

studying under Pierre Jalbert, Shih-Hui Chen, and Karim AlZand. He is currently pursuing his Doctorate of Musical Arts in Composition at University of Michigan studying under Kristen Kuster.

SEAN SHEPHERD composer

Sean Shepherd is an acclaimed composer of the new American generation, praised by The New York Times for his exciting voice in contemporary music. His tenure as the Daniel R. Lewis Composer Fellow with the Cleveland Orchestra culminated in the premiere of Tuolumne in 2013. Shepherd’s works have been performed by major ensembles such as the New York Philharmonic, BBC Symphony, National Symphony, and the New World Symphony, as well as at prestigious festivals including Aldeburgh, Tanglewood, and Lucerne. He has collaborated with conductors such as Christoph Eschenbach, Valery Gergiev, and Alan Gilbert.

His recent orchestral work, Magiya, was commissioned by Carnegie Hall’s National Youth Orchestra of the United States of America and premiered in 2013. Other notable premieres include Blue Blazes for the National Symphony, Blur for Ensemble Intercontemporain, and a Quintet for St. Luke’s Chamber Ensemble. Shepherd also composed These Particular Circumstances for the New York Philharmonic’s CONTACT! series in 2010 and continues his relationship with the orchestra as their first Kravis Emerging Composer.

Shepherd served as the Great Lakes Chamber Music Festival’s Stone Composer-in-Residence in 2017, and he contributed a short work to its 25th Anniversary celebration in 2018.

From 2010 to 2012, Shepherd served as Composer-inResidence for the Reno Philharmonic, composing Silvery Rills and Desert Garden. He holds degrees from Indiana University, The Juilliard School, and Cornell University and lives in New York. His music is published by Boosey & Hawkes.

JOAN TOWER composer

Sponsored by Isabel & Lawrence Smith

Joan Tower is an American composer known for her dynamic contributions to contemporary classical music. With a career spanning over 50 years, she has created a vast body of work, ranging from orchestral compositions to chamber pieces, that resonates deeply with both performers and audiences.

In 1990, Tower became the first woman to win the prestigious Grawemeyer Award for her composition Silver Ladders. She also made history as the first composer chosen for the Ford Made in America consortium, a project involving 65 orchestras commissioning new works. Made in America, along with Tambor and Concerto for Orchestra, won three GRAMMY® Awards in 2008, including Best Classical Contemporary Composition.

Tower served as the Great Lakes Chamber Music Festival’s Stone Composer-in-Residence in 1998, and she contributed a short work to its 25th Anniversary celebration in 2018.

A founding member of the Da Capo Chamber Players, Tower has also been commissioned by ensembles like the Emerson and Tokyo String Quartets, and soloists such as Evelyn Glennie. Her Fanfares for the Uncommon Woman have been performed by over 500 ensembles.

Tower has been a dedicated educator as the Asher Edelman Professor of Music at Bard College since 1972. Her works have been featured at festivals like the Deer Valley Music Festival and Yale/Norfolk Chamber Music Festival, and she has been composer-in-residence with the Orchestra of St. Luke’s and the Pittsburgh Symphony Orchestra.

DETROIT CHAMBER WINDS & STRINGS

Sponsored by Geoff Nathan in memory of Margaret E. Winters

Since its founding in 1982, Detroit Chamber Winds & Strings (DCWS) has set the standard for chamber music in Detroit. By bringing together the top musicians from the metro area, most of whom are members of the Detroit Symphony Orchestra and Detroit Opera, DCWS immerses audiences in a chamber music experience that is innovative, entertaining and unsurpassed anywhere in the region.

With chamber music as its foundation, DCWS’ mission has evolved to address the ever-changing, ever-challenging Detroit arts landscape with grand achievements. Some 30 new works have been premiered. Five compact discs have been released. Tours have stretched throughout the United States and as far as Switzerland.

THIRD COAST PERCUSSION

Sponsored by the Maxine and Stuart Frankel Foundation

Third Coast Percussion (TCP) is a GRAMMY® Award-winning Chicago-based percussion quartet and GRAMMY®-nominated composer collective that made history as the first percussion ensemble to win the revered music award in the classical genre. To date they have gathered seven total nominations. Celebrating its 20th anniversary in 2025, TCP is renowned worldwide for its exciting and unexpected performances that constantly redefine the classical music experience and “push percussion in new directions, blurring musical boundaries and beguiling new listeners” (NPR), with a brilliantly varied sonic palette and “dazzling rhythmic workouts” (Pitchfork).

The four members of Third Coast Percussion (Sean Connors, Robert Dillon, Peter Martin, and David Skidmore) met while studying percussion music at Northwestern University with Michael Burritt and James Ross, and formed the ensemble in 2005. Settling in Chicago, the four friends have carefully and thoughtfully built a thriving nonprofit organization – including full-time staff, office/studio space, and a board of directors – to support their vision and facilitate their efforts to bring new works

to life. Members of Third Coast also hold degrees from the Eastman School of Music, Rutgers University, the New England Conservatory, and the Yale School of Music.

TY BOUQUE

program notes

Sponsored by Henry Grix & Howard Israel

Ty Bouque writes about opera: its slippery histories and its sensual bodies. Elsewhere, Bouque sings in various solo, ensemble, and opera settings around the world. Bouque lives in Chicago.

IN MEMORIAM

RUTH ADLER SCHNEE visual artist

Sponsored by the Edw. C. Levy Co.

Ruth Adler Schnee (1923–2023) was a legend of modern design. Arriving to the United States from Germany after escaping the Nazi regime in 1938, Schnee embarked on a pioneering career in textiles and environmental design that would help shape modernism in the 20th century. With masters like Paul Klee, Raymond Loewy, Frank Lloyd Wright and Eliel Saarinen as her teachers, Schnee forged a path through the design world at a time when few American architecture or design firms would hire Jews or women.

SHOUSE INSTITUTE

The Catherine Filene Shouse Institute began in 1997 and has since become the Festival’s major educational program, helping young chamber ensembles bridge the gap between graduate school and their careers. Participating ensembles benefit from professional development activities like coachings, main stage concert appearances, performances with senior Festival artists, and special audience engagement events. Led by Director Philip Setzer, the Shouse Institute’s guiding principle is anchored in offering unique and invaluable learning opportunities for young artists at an important transition in their lives.

The program’s alumni ensembles include the Pacifica, Parker, Jasper, Jupiter, Escher, Calidore, Harlem, and Catalyst string quartets, the Claremont Trio, Eighth Blackbird, and a host of other fine ensembles. Many have gone on to international careers, winning prizes such as GRAMMY®, Naumburg, Fischoff, and the $100,000 M Prize. In 2014, the Festival began a partnership with the Sphinx Organization to host an alumni ensemble as part of Shouse and has since hosted five winds or strings groups and individual musicians.

The Shouse Institute is supported in part by the National Endowment for the Arts.

DILLON SCOTT viola, sphinx apprentice

Sponsored by Lauren & Dwight Smith and Sandi & Claude Reitelman

Dillon Scott (viola), a student at the Curtis Institute of Music is from Montgomeryville, Pennsylvania. He has participated in numerous competitions and was awarded third place at the 24th Annual Sphinx Competition and first place at the Nelly Berman Young Classical Virtuosos of Tomorrow. Scott is currently the principal violist of the Philadelphia Youth Orchestra, and in 2020, he was selected on behalf of the orchestra to perform solo works for the Pennsylvania Historical and Museum Commission. He has performed as a soloist at the Kimmel Center and Carnegie Hall and also was a guest performer at the Academy of Music in Philadelphia. This year, He was the first violist ever to be invited by Young Artists Inc. to give a series of recitals in Hilton Head, South Carolina. He has played in masterclasses for Roberto Díaz, Steven Tenenbom, and Edward Gazouleas. He has also had the privilege to

THE DOLPHINS QUARTET

Sponsored by Taft

Luke Henderson (violin, Beverly Franzblau

Baker Young Artist Chair), Isaac Park (violin), James Preucil (viola), Ian Maloney (cello)

The Dolphins are a premiere Juilliard string quartet committed to adventure, excellence, and accessibility. Formed in Blue Hill, Maine at the 2022 Kneisel Hall Chamber Music Festival, they have frequently featured at Lincoln Center’s Alice Tully Hall, performing the Juilliard premiere of Mieczyslaw Weinberg’s String Quartet No. 4, Villa-Lobos’ String Quartet No. 5, and the world premiere of William Stackpole’s 2021 String Quartet

The trio’s upcoming engagements include performances at Wigmore Hall, King’s Place, and a U.S. and China tour. Tuulia Hero performs on a 1707 Stradivarius violin, generously on loan from the Sibelius Academy, University of the Arts Helsinki.

TRIO DOLCE

Sponsored by Kathleen & Randolph Schein

ATTORNEYS AND COUNSELORS

April Lee (piano, Eugene Istomin Endowed Piano Chair), Célina Béthoux (violin), Lexine Feng (cello)

CKHAM HANLEY PLLC

The Dolphins work closely with living composers, recently performing John Corigliano’s 1995 String Quartet and Daniel Ficarri’s Lessons from the Neighborhood. The Dolphins also presented their first collective composition, The Dolphin Miniatures, at Juilliard and around New York City. The group has studied with Laurie Smukler, Joel Krosnick, Natasha Brofsky, Molly Carr, Nick Mann, Fred Sherry, Paul Neubauer, John Corigliano, and the Juilliard String Quartet. Recently, The Dolphins helped launch the ‘Music for the Future’ educational campaign for Project: Music Heals Us, bringing Juilliard composition curriculums to detention and rehabilitation centers in California. The Dolphins are proud Juilliard Gluck Community Service Fellows and perform outreach concerts throughout NYC.

Boston-based Trio Dolce is comprised of pianist April Lee, violinist Celina Bethoux, and cellist Lexine Feng. Their collective passion for collaborative music making brought them together during their studies at the New England Conservatory. The trio has worked with such noteworthy musicians as Vivian Weilerstein, Kristopher Tong, Soovin Kim, and Max Levinson. Each member of the ensemble has been active in the chamber music scene, participating in rigorous chamber music programs and prestigious chamber music festivals such as Norfolk Chamber Music Festival, Music@Menlo, and Bowdoin International Music Festival, and having been top prize winners in competitions such as the Fischoff Chamber Music Competition and Coltman Chamber Music Competition.

THE PADDINGTON TRIO

Sponsored by James Tocco

Stephanie Tang (piano), Tuulia Hero (violin), Patrick Moriarty (cello)

Recognized as one of the most exciting chamber ensembles of their generation, the Paddington Trio is celebrated for its fresh interpretations, exuberant energy, and deeply communicative performances. Comprised of Finnish violinist Tuulia Hero, Irish cellist Patrick Moriarty, and American pianist Stephanie Tang, the trio has made London their musical home—just as the beloved bear from Paddington Station once did—crafting an identity that is both unique and enduring.

Since their formation in 2020, the Paddington Trio has earned top prizes in international competitions, including First Prize at the 2024 Triomphe de l’Art International Competition, the 2023 Parkhouse Award at Wigmore Hall, and the 70th Royal OverSeas League Competition. They have performed in renowned venues such as Wigmore Hall, LSO St. Luke’s, and St. George’s Bristol, as well as international festivals in the Netherlands, Belgium, Mexico, and the UK.

Passionate about bridging the gap between new audiences and classical music enthusiasts, the trio invites listeners into their “living room” of musical discovery, presenting insightful programs that interweave beloved repertoire with contemporary works. Their mentors include Alfred Brendel, Günter Pichler, and members of the Takács and Ébène Quartets.

ATTORNEYS AND COUNSELORS

KICKHAM HANLEY PLLC

LIVING COMPOSERS

STEVE REICH has been named “among the great composers of the century” (The New York Times).”the most original musical thinker of our time” (The New Yorker), and “America’s greatest living composer” (Village Voice). Starting in the 1960s, his pieces Come Out, Drumming, Music for 18 Musicians, Tehillim, Different Trains, and many others helped shift the aesthetic center of musical composition worldwide away from academic over complexity and towards welcoming back pulsation and tonal attraction in completely new ways. He continues to influence younger composers, musicians, choreographers and even visual artists.

DANNY CLAY is a composer and educator whose work is deeply rooted in curiosity, collaboration, and the sheer joy of making things with people of all ages and levels of artistic experience. Working closely with artists, students, and community members alike, he builds worlds of inquiry, play, and perpetual discovery that integrate elements of sound, movement, theater, and visual design. Children’s games, speculative systems, cognitive puzzles, invented notation, found objects, imaginary archives, repurposed media, microimprovisations, and happy accidents all make frequent appearances in his projects.

A powerful communicator renowned for her musical scope and versatility, Brazilian-American CLARICE ASSAD is a significant artistic voice in the classical, world music, pop, and jazz genres and is acclaimed for her evocative colors, rich textures, and diverse stylistic range. A prolific Grammy Award–nominated composer with more than 70 works to her credit, she has been commissioned by internationally renowned organizations, festivals, and artists and is published in France (Editions Lemoine), Germany (Trekel), Brazil (Criadores do Brasil), and the U.S. (Virtual Artists Collective Publishing). An in-demand performer, she is a celebrated pianist and inventive vocalist who inspires and encourages audiences’ imaginations to break free of often self-imposed constraints.

JLIN (Jerrilynn Patton) has quickly become one of the most distinctive composers in America and one of the most influential women in electronic music. She is a recipient of a 2023 US Artist award and a 2023 Pulitzer Prize nomination. Her minialbum Perspective was released to critical acclaim on Planet Mu 2023. Her much-lauded albums Dark Energy (2015) and Black Origami (2017) have appeared on “Best of” lists in The NY Times, The Wire, LA Times, Rolling Stone, The Guardian, and Vogue. Jlin has been commissioned by the Kronos Quartet, Third Coast Percussion, the Pathos Quartet, choreographers Wayne McGregor and Kyle Abraham, fashion designer Rick Owens and the visual artists Nick Cave and Kevin Beasley.

Performances of works throughout the Festival by the following composers are sponsored by: BACH

Cindy & Harold Daitch and Gail & Ira Mondry BRAHMS

Rayna Kogan in memory of Natalio Kogan SHOSTAKOVICH

Kathleen & Randolph Schein

Through his compositions and his wide-ranging collaborations, PHILIP GLASS has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times. The operas – Einstein on the Beach, Satyagraha, Akhnaten, and The Voyage, among many others – play throughout the world’s leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Awardwinning motion pictures such as The Hours, Martin Scorsese’s Kundun, and Koyaanisqatsi, his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble.

JESSIE MONTGOMERY is an acclaimed composer, violinist, and educator. She is the recipient of the Leonard Bernstein Award from the ASCAP Foundation and the Sphinx Medal of Excellence, and her works are performed frequently around the world by leading musicians and ensembles, including the New York Philharmonic, Orpheus Chamber Orchestra, St. Paul Chamber Orchestra, and Chicago Sinfonietta. In May 2021, she began her three-year appointment as the Mead Composer-in-Residence with the Chicago Symphony Orchestra. Her music interweaves classical music with elements of vernacular music, improvisation, poetry, and social consciousness.

Armenian-born, Los Angeles-raised pianist and composer TIGRAN HAMASYAN is one of the 21st century’s true slipstream musicians. His work crosses boundaries between jazz, crossover classical, electronic, Baroque dance, vocal, and Armenian folk musics atop electronic backdrops and hip-hop beats. Hamasyan was born in 1987 in Gyumri, Armenia. He began playing the family’s piano at three and was enrolled in music school at six. His jazz tastes early on were informed by Miles Davis’s fusion period, and then around the age of 10 his family moved to Yerevan and he came to discover the classic jazz songbook under the aegis of his teacher Vahag Hayrapetyan.

HUW THOMAS WATKINS MBE is a British composer and pianist. Born in South Wales, he studied piano and composition at Chetham’s School of Music in Manchester, where he received piano lessons from Peter Lawson. He then went on to read music at King’s College, Cambridge, where he studied composition with Robin Holloway and Alexander Goehr, and completed an MMus in composition at the Royal College of Music, where he studied with Julian Anderson. Watkins was awarded the Constant and Kit Lambert Junior Fellowship at the Royal College of Music, where he used to teach composition. He is currently Honorary Research Fellow at the Royal College of Music.

WAYS TO GIVE

As we look toward the future of the Festival, it is our strong base of supporters that allows us to take on bigger and more ambitious projects. Your support of the Great Lakes Chamber Music Festival touches all aspects of the Festival—from the quality of our artists and the inventiveness of our programming to the success of our Shouse Institute.

THERE ARE MANY WAYS THAT YOU CAN SUPPORT THE GREAT LAKES CHAMBER MUSIC FESTIVAL:

SPONSOR A CONCERT

Whether you want to sponsor as an individual or as a business, you will receive a host of benefits including tickets, concert signage, online recognition, and private receptions with the artists. You can sponsor on your own or co-sponsor with another individual or entity. This is a wonderful way to invest more fully in our concert programming.

SPONSOR AN ARTIST

Show your support by sponsoring a Festival artist or Shouse ensemble. Our artist sponsors not only help support our organization’s longevity, but get to know their artist(s) at concerts and afterglows.

SUPPORT THE CADENZA CIRCLE

The Cadenza Circle recognizes the vision and confidence of donors that make a gift to the Festival in their estate plans. These gifts include bequests, charitable gift annuities, life insurance beneficiary designations, charitable remainder trusts, and retirement plan beneficiary designations. If you would like to leave the Festival a gift in your estate plan, please contact Jocelyn Conselva at development@art-ops.org.

MAKE A DONATION

Our supporters are members of our larger Festival family, and your investment in us ensures outstanding chamber music as a staple in our community. Every amount counts!

Contact Jocelyn Conselva at development@art-ops.org to create your unique giving package.

BECOME A BENEFACTOR

Great Lakes Chamber Music Festival Benefactors make a gift of $1,800 per year in support of the Festival. Benefactors receive 14 tickets for Festival subscription concerts, private receptions with the artists, and tickets to the Festival’s annual dinner on Opening Night.

INVEST IN THE TOCCO SOCIETY

This is a lifetime giving program for the Festival’s most loyal and generous donors. The Tocco Society recognizes our founding Artistic Director, James Tocco, through his vision and leadership.

TICKET SALES

FESTIVAL BOX OFFICE VENUES

Purchase tickets through the Festival Box Office for the following venues:

333 MIDLAND

BIRMINGHAM

UNITARIAN CHURCH

CRANBROOK ART

MUSEUM

KIRK IN THE HILLS

FAQ

SELIGMAN PERFORMING ARTS CENTER

ST. HUGO OF THE HILLS

TEMPLE BETH EL WASSERMAN PROJECTS

ORDER ONLINE

GreatLakesChamberMusic.org

ORDER BY PHONE

Call: (248) 559-2097

Monday-Friday, 9 a.m. to 5 p.m.

HOW TO ORDER TICKETS

Order by phone at (248) 559-2097 or visit greatlakeschambermusic.org.

WHEN TO ARRIVE

The box office will open on-site 30 minutes prior to the start of the performance. For general admission tickets, we recommend you arrive early to select your seat.

DIRECTIONS & PARKING

Directions can be found for each performance at greatlakeschambermusic.org/tickets. Most of our venues have free on-site parking.

WHAT TO WEAR

There is no dress code for concerts. Formal attire is not required. We recommend bringing a light jacket or sweater if you get chilly. We do not provide coat check at our venues.

TICKET INFORMATION

This year, all tickets are digital and emailed to you. All ticket fees are included in the price of your ticket.

Seligman Performing Arts Center Only: ONLY Reserved Tickets are assigned, General Admission is first come, first served. NO tickets will be mailed. Reserved ticket buyers will be reminded of their seat number at the box office during check-in and will receive a stub to show to the ushers inside the hall.

ACCESSIBILITY

All of our venues are able to accommodate patrons with limited mobility and wheelchairs. If you require special seating due to accessibility, please call the Festival office at (248) 559-2097 so that staff and ushers can properly assist.

PARTNER VENUE BOX OFFICES

Purchase tickets or learn more about event admission through the venue’s box office for the following venues:

BLOOMFIELD TOWNSHIP PUBLIC LIBRARY

248.642.5800 | btpl.org

THE CAPITOL THEATRE, WINDSOR 519.973.1238 ext. 3 | capitoltheatrewindsor.ca

CRANBROOK ART MUSEUM 248.645.3323 | cranbrookartmuseum.org

DETROIT INSTITUTE OF ARTS 313.833.7900 | dia.org

KERRYTOWN CONCERT HOUSE 734.769.2999 | kerrytownconcerthouse.com

TICKET DONATIONS/UNUSED TICKETS

Subscribers may request unused tickets to be used as a donation to the Great Lakes Chamber Music Festival. All ticket exchanges and ticket donations need to be arranged at least 24 hours prior to each concert.

Tickets cannot be exchanged for performances at the Capitol Theatre or Kerrytown Concert House. Please visit greatlakeschambermusic.org/tickets to view eligible performances.

START TIME & LATE COMERS

The Festival makes every effort to start performances at the published start time. Late comers will be asked to wait in the lobby and will be seated by ushers at a predetermined time in the program. The late seating break is determined by artists and will generally occur during a suitable break in the program.

APPLAUSE

Traditionally, applause is held until the end of the piece of music. Composers create a work as a whole, which is often made up of several movements. It is preferred to not disrupt the music by applauding between movements.

HEALTH & SAFETY

We closely follow the guidance and recommendations of the Centers for Disease Control (CDC) and the Michigan Department of Health & Human Services (MDHHS).

RESERVE FUNDS

FESTIVAL RESERVE FUNDS—A HISTORY AND A FUTURE

By supporting the Festival’s reserve funds, you support the future of the Festival and help to ensure that we continue to bring a world-class artistic experience to our patrons for many years to come.

Now in our 32nd year, the Great Lakes Chamber Music Festival is embarking on a journey to grow our reserve funds exponentially. This will allow our Artistic Director to bring bigger musical experiences to you, our patrons. For more information about supporting the Festival, contact Jocelyn Conselva, Development Director, at 248-559-2097 or at development@art-ops.org.

THE JAMES TOCCO FUND FOR ARTISTRY & INNOVATION

The fund was established in 2014 to commemorate the retirement of Founding Artistic Director James Tocco. This endowment allows future Festival artistic directors to pursue excellence and innovation as James did for more than two decades. The creative liberty will allow artistic directors to pursue the artists and programming necessary to advance the Festival’s prominence for years to come.

THE GREAT LAKES CHAMBER MUSIC FESTIVAL FUND

This fund was established in honor of James Tocco with a bequest from Carol Harford, a close friend and colleague of Catherine Filene Shouse (for whom the Shouse Institute is named).

THE STONE COMPOSER ENDOWMENT

The fund was established in memory of Eunice and Joshua (Jim) Stone by their three daughters, Gwen Weiner, Marcy Klein, and Carol DePaul. Its purpose is to support the Festival’s Composer-in-Residence program, and to foster young composers by presenting premieres of their original works. This year, the honorees are Stone Composer-inResidence Hannah Kendall and Stone Composer Fellow Ethan Soledad.

PAUL KATZ ENDOWED CHAIR IN MEMORY OF MORRIS D. BAKER

This fund was established in 2003 by Beverly Franzblau Baker in memory of Morris D. Baker. This year, the fund supports Edward Arron, cellist.

SPONSORS & DONORS

CORPORATE SPONSORS

Major Sponsors

Corewell Health

Culture Traveler and Viking

Principal Sponsors

Cranbrook Art Museum

Edw. C. Levy Co.

Honigman LLP

Park West Gallery

Plante Moran

Taft

Wilda C. Tiffany Trust

Associate Sponsors

JPMorgan Chase

Pearl Planning

CADENZA CIRCLE

The Cadenza Circle recognizes those donors who have included the Great Lakes Chamber Music Festival in their Estate Plans.

Nancy & William† Duffy

Fay B. Herman

Tina Topalian & Maury Okun

Kathleen & Randolph Schein

EUGENE ISTOMIN ENDOWED PIANO CHAIR

A chair established by James Tocco, this fund created an endowed position in the name of Eugene Istomin, one of the greatest pianists of the 20th century. This year, the fund supports April Lee, pianist of Trio Dolce.

RUTH LAREDO ENDOWED PIANO CHAIR

The chair was established in 2005 to honor the late pianist and Detroit native, Ruth Laredo. Returns on the investment are used to underwrite a pianist each year. This year, the fund supports Gloria Chien, pianist.

HENRY MEYER ENDOWED VIOLIN CHAIR

This chair has been established in memory of Henry Meyer, longtime violinist of the LaSalle Quartet and the beloved founding director of the Festival’s Shouse Institute. This year, the fund supports Matt Albert, violinist, who once studied under Henry Meyer.

BEVERLY FRANZBLAU BAKER YOUNG ARTIST CHAIR

This chair was established by a gift from Beverly Franzblau Baker in 2007. Each year, the proceeds from this fund are used to sponsor the appearance of a young professional artist at the Festival. This year, the fund supports Luke Henderson, violinist of The Dolphins Quartet.

REV. MSGR. ANTHONY M. TOCCO ENDOWED COMPOSITION CHAIR

The chair was established in 2005 in honor of Rev. Msgr. Anthony M. Tocco through the estate of the late Festival supporter, Wilda C. Tiffany. This fund’s proceeds will bring new compositions to life.

TOCCO SOCIETY

The Tocco Society recognizes those donors who have made lifetime gifts of $100,000 or more.

Beverly Baker

Cecilia Benner

Kathleen Block

Aviva & Dean Friedman

Virginia & Michael Geheb

Karen Hahn & Claudio Roveroni

Carol Harford†

Gail & Ira Mondry

Nancy† & Donald Pais

Martha Pleiss

Kathleen & Randolph Schein

Franziska Schoenfeld

Isabel & Lawrence Smith

Wilda C. Tiffany†

Rev. Msgr. Anthony Tocco

James Tocco

Gwen & S. Evan Weiner

RESERVE FUND CONTRIBUTORS

$100,000+

Beverly Baker*

Nancy† & Donald Pais*

Kathleen & Randolph Schein*

Wilda C. Tiffany Charitable Trust/Rev. Msgr. Anthony Tocco*

James Tocco

Gwen & S. Evan Weiner*

$25,000–$99,999

Cecilia Benner*

Kathleen Block*

Aviva & Dean Friedman

Virginia & Michael Geheb

Carol Harford†

Gail & Ira Mondry

Franziska & Robert† Schoenfeld*

$10,000–$24,999

Rayna & Natalio† Kogan

Marguerite Munson Lentz & David Lentz*

Nate S. & Ruth B. Shapero Foundation

Renate and Richard† Soulen

$5,000–$9,999

Newcomb-Hargraves Foundation

Deborah Gill

Emilio Rusciano

Dolores Silverstein

$1,000–$4,999

Alzheimer’s Association

Rachel & Billy Ben Baumann

Nancy & William† Duffy*

Patricia & Robert† Galacz

Jane Galantowicz

Deborah Gill

Ann & Norman† Katz*

Tina Topalian & Maury Okun

Joshua J. and Eunice Stone

Philanthropic Fund

GIFTS UP TO $999

Mr. & Mrs.† E. Bryce Alpern

Marian & Gerald Altman

Elizabeth & Brian Bachynski

Chuck Berman

Henri S. Bernard

Betty† & Art† Blair

Joyce & George Blum*

Judith B. Blustein

Dr. & Mrs. Sidney Bolkosky

Denah S. Bookstein

Jerome Bookstein

Dr. & Mrs. Martin Broder

Marilyn & Leonard Brose

Florence Brownfain†

Dr. & Mrs. Morton Cash

Mr. & Mrs.

Anthony P. Checchia

Mr. & Mrs. Robert M. Citrin

Louise Goldstein Cohen & Morris Cohen

Dolores Curiel†

Mary DeMassa

Sylvia Rosenberg Diamond

Karen V. DiChiera*

Carole Edelsky

Haleh Esfandiari*

Mr. & Mrs. Joel I. Feldman

Barry Finestone

Joan Lessen-Firestone & Ira† Firestone*

Carolyn & Dennis Flynn*

Mr. & Mrs. Yehuda Fogel

Susan Frankel

Michael Franzblau

Valerie & John Frederick

CONCERT SPONSORS

Beverly Baker & Dr. Edward Treisman

Linda & Maurice Binkow

Nancy Duffy

Thea Glicksman

Linda Goodman

Barbara Heller

Fay B. Herman

Marguerite Munson Lentz & David Lentz

The Morris & Beverly Baker Foundation

Joy & Allan Nachman

David Nathanson

Isabel & Lawrence Smith

Gwen & S. Evan Weiner

ARTIST SPONSORS

Beverly Baker & Dr. Edward Treisman

Cecilia Benner

Kathleen Block

Adrienne Ruby-Fink & Herschel Fink

Maxine & Stuart Frankel

Foundation

Virginia & Michael Geheb

Thea Glicksman

Christine Goerke

Linda Goodman

Rachel Galazan

Louise Gauthier

Marcia Gershenson &

Ken Robinson*

Mr. & Mrs. Robert Goldman

Merwin Goldsmith

Mr. & Mrs. Harvey A. Gordon

Stephanie & David Greer

Claire Grosberg

Renee Gruskin

Catherine† & John† Guinn

Alice Berberian Haidostian†

Mr. & Mrs. Mitchell Henderson

Mr. & Mrs. Richard J. Hendin

Doreen Hermelin

William Hulsker*

Rochelle Jackier

Gail Katz

Marilyn Katz*

Naomi Katz

Abigail Kellogg

Frances & Jack† King

Sharon & Jerry Knoppow

Susan Knoppow & David Saperstein

Leslie Lazzerin*†

Lorraine & Leonard† Lerner

Dr. & Mrs. Dan Levitsky

Jean Levy

Richard Lewis

Laura Lewison

William Liberson

Seymour Lipkin†

Patricia Loeffler

Phyllis Loewenstein

Rochelle & Aaron Lupovitch

Mr. & Mrs. David Malakoff

Janelle McCammon &

Raymond Rosenfeld

Rhoda Milgrim*

Mr. & Mrs. Harold Milinsky

Mr. & Mrs. Marvin Mintz

Avodah & Sidney Offit

Mr. & Mrs. Abe Pasternak

Mr. & Mrs. Stephen Rayburn

John Redfield*

Mr. & Mrs. Kenneth E. Rochlen

Harriet† & Norman† Rotter

Helen Rowin†

Joan Rubin

Daphna & Sydney Ruby

Godofredo Santiago

Diane & Joseph Savin

Mr. & Mrs.

Michael I. Schuman

Merle Schwartz

Phyllis & Sheldon Schwartz

Marilyn Shapiro

Arthur Shufro†

Marilyn Sivak

Melodie & Alan Solway

Etta Solway†

Nadele Spiro

Kathleen Straus & Walter Shapero*

Deborah & Kenneth Tucker*

Mr. & Mrs. Martin Urban

B.C. Vermeersch

Ruth Widrich

Mr. & Mrs. Taylor Williams

Melba Winer

Mr. & Mrs. Barry Yaker

Mr. & Mrs. Gerald Zahler

Ruth & Avigdor Zaromp*

Ara Zerounian†

Mr.† & Mrs.

Raymond Zimmerman

*Denotes a supporter of the James Tocco Endowed Fund for Artistry & Innovation.

† Deceased

Henry Grix & Howard Israel

Drs. Ali Moiin & William Kupsky

Gail & Ira Mondry

Bridget & Michael Morin

Joy & Allan Nachman

Geoff Nathan

Martha Pleiss

Sandi & Claude Reitelman

Kathleen & Randolph Schein

Franziska Schoenfeld

Josette Silver

Isabel & Lawrence Smith

Lauren & Dwight Smith

Jill & Steven Stone

James Tocco

OTHER SPONSORS

Linda & Maurice Binkow

Kathleen Block

Cindy & Harold Daitch

Maxine & Stuart Frankel Foundation

Karen & Robert Heuer

Rayna Kogan

Andrea & Woody Leung

Gail & Ira Mondry

David Nathanson

Kathleen & Randolph Schein

Franziska Schoenfeld

Isabel & Lawrence Smith

Barbara Solms

SPONSORS & DONORS

INDIVIDUAL DONORS

Benefactors ($1,800+)

Beverly Baker & Dr. Edward Treisman

Rachel & Billy Ben Baumann

Kathleen Block

Cathleen Corken

Cindy & Harold Daitch

Lillian & Walter Dean

Rex Dotson & Max Lepler

Nancy Duffy

Marjory Winkelman Epstein

Aviva & Dean Friedman

Virginia & Michael Geheb

Deborah Gill

Henry Grix & Howard Israel

Karen Hahn & Claudio Roveroni

Barbara Heller

Fay B. Herman

Karen & Robert Heuer

Jane Iacobelli

Deborah & Addison Igleheart

Jeanette Isenhour

Ann Katz

Frances King

Marguerite Munson Lentz & David Lentz

Linda Dresner Levy & Edward C. Levy

Melissa McBrien & Raymond Landes

Janelle McCammon & Raymond Rosenfeld

Judith Greenstone Miller

Gail & Ira Mondry

Bridget & Michael Morin

Frederick Morsches & Kareem George

Donald Pais

Sandi & Claude Reitelman

Kathleen & Randolph Schein

Franziska Schoenfeld

Josette Silver

Dolores Silverstein

Lauren & Dwight Smith

Melodie & Alan Solway

Shoula Stefos & Mark Schumacher

Jill & Steven Stone

Tina Topalian & Maury Okun

Jennifer & Michael Turala

Aris Urbanes & William Hulsker

Gwen & S. Evan Weiner

Grand Patrons

($900–$1,799)

Joanne & John Carter

Valmy & Richard Kulbersh

Edward C. & Linda Dresner

Levy Foundation

Patrick G. McKeever

Lynne Metty

Gale Mondry & Bruce Cohen

Chinyere Neale

Dr. Gerald S. Weintraub

Patrons ($600–$899)

Jeannie & Jack Bourget

Catherine L. Compton

Edward Kickham

Arlene & John Lewis

Kate & Randy Safford

Friends ($300–$599)

Claudia & Patrick Duerr

Valerie & John Frederick

Dana Gill

Anita DeMarco Goor

Connie & Bill Jordan

Renate Klass & Matthew Mason

Ruthanne Okun

Linda & Steven Permut

Jeanne Salathiel

Anthony Tocco

Peggy & Samuel Tundo

Contributors ($150–$299)

Judith & Joel Adelman

Jolie Altman

Colleen & Charles T. Batcheller

Jamie Burstein

Mary Lynn & Edward Callaghan

Janette & Albert Cassar

Katie Coleman

Dedria & Alex Cruden

Pamela & Carroll DeWeese

Barbara & Paul Goodman

Helen & Martin Katz

Robert & Margo Lesser

Yuki Mack

Amy & Christopher Music

Diane Okun

Sharon Robinson & Jaime Laredo

Marilyn Shapiro

Suzanne Share

Marvin & Marci Shulman

Jürgen Skoppek

Deborah & Kenneth Tucker

Gerri & Ronald Vander Molen

Beverly & Barry Williams

Martin G. Wunsch

Jayne & Ted Zellers

Other Donors ($25–$149)

Jill Bader

Judith Balint

Nancy Bechek Bluth & Lawrence N. Bluth

Kathleen Bender

Ty Bouque

Nicole Braddock

Anne Calomeni

Lucinda & Robert Clement

Susan Clinton

Barbara Cohen

Charles Dyer

Joan Emerick & Peter Saldana

Jennifer Ginther†

Robert Glassman & Jennie Lieberman

Erin Marie Hatala

Maria & Ronald Hewson

Thomas D. Hitchman & Keith Hewitt

Velda Kelly

Barbara Konopka

James Labes

Joan Lessen-Firestone

Judith & Douglas M. Light

Laura† & Channing Lipson

Susan Martin

Mary Mazure

Pauline R. McIlrath

Tai Murray

Lawrence Nahigian

Laurie & Darryl Newman

Barbara Prinzi

Claudia & Margo Rosenthal

Tina Sappington

Corey Seeman

Michael Shaw

Linda & Scott Sircus

Melissa Stebbins

Janice Steinhardt

Elaine Tell

Toni & Scott Temple

Judy Tigay

Chloe Tooson

Jennifer Laredo Watkins & Paul Watkins

Arnold J. Weiner†

Elaine L. Weingarden

VIGNETTE HOSTS

Franziska Schoenfeld

Melodie & Alan Solway

Gwen & S. Evan Weiner

RECEPTION HOSTS

Kathleen Block

Karen & Robert Heuer

Marguerite Munson Lentz & David Lentz

Marci & Marvin Shulman

St. Hugo Choir

VOLUNTEERS

Claire Abrams

Amanda Blay

Milena Cankovic

Vickie Edwards

Barbara Heller

Fay Herman

Jolyn Hillebrand

Emily Hogg

Andy Howell

Sandie Landau

Fran Lewis

Ruthanne Okun

Diane Okun

Deanna Prost

Carol Ritchey

Norma Shaw

Richard Shaw

Roger Zielinski

HONORARY GIFTS

Gifts were made in memory of:

Zoe Bourget

William R. Brashear

Dolores Curiel

William Duffy

Gregory Fox

Natalio Kogan

Ellen Labes

Katherine A. Phan

Rosalyn Weintraub

Gifts were made in honor of:

Kathleen Block

Jerry Bookstein

Gail & Ira Mondry

Maury Okun

Dr. Edward Treisman

† Deceased

All donor lists updated as of May 15, 2025. GLCMF regrets any errors or omissions made in this list of contributors. For corrections or if you would like to make a gift, please call (248) 559-2097.

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