Issuu

August 8 - September 1

W elcome to the 2007Skaneateles Festival! Dear Friends of the Skaneateles Festival,

It is a special joy to welcome you to the Festival this summer! During the interval since our final concert ended here in Skaneateles last September, we’ve had the incredible privilege of seeing our daughter Alina through her first year of life. As we’ve watched her grow and change, it has struck us that discovery and joy can be powerfully paired experiences in life.Though this pairing probably occurs more frequently for a baby than for us, we all can probably recall recent times when we experienced this combination: the first taste of a wonderful new food or drink, the sight of a beautiful view that unfolds before us for the first time, or the first encounter with a new friend with whom we realize we have much in common.These are some of the most memorable moments in life, and we move through our existence awaiting more. This summer we anticipate that our Festival’s offerings will provide you with many hours of similar pleasure and discovery.We have assembled a wide array of sounds, music and artists that we hope will surprise and delight you. Some of the music will undoubtedly be completely new to you (especially that which has just been conceived!), but our wish is that even that which is familiar will sound newly inspired to your ears. For us, good music, new or old, sums up what life is all about. Enjoy as always the fantastic musicianship that you will hear from our wonderful performers.We are honored that they commit part of their summers to make music for us here in Skaneateles.We are also grateful that you are here with adventurous spirits and ears to join us for our annual journey of musical discovery.

Orchestra rehearsal on the porch at Brook Farm

See you at the concerts!

Lisa Kim - pg. 18

Kevin Puts - pg. 26

Timothy Jones - pg. 12

David Ying and Elinor Freer Artistic Directors, Skaneateles Festival

Janet Brown - pg. 56

Conrad Tao pg. 40

pg. 16

pg. 6

Jon Manasse - pg. 46

S kaneateles Festival BOARD OF DIRECTORS Barb Connor, President Wendy Kopley, Vice President George Bain, Treasurer Jean Shook, Secretary Ellen Bifano Madonna Meyer Dave Birchenough Julie Moore Joan Christy Louise Robinson Susan Dailey David Rubin Colleen Fisher Kathy Scheider Steve Frackenpohl Margaret Sovik Koko Fuller Carol Stokes-Cawley Jean Graham Donald Sundman Joyce Jowaisas Doug Sutherland Holly Karker Jack Varney Dan Labeille

ADVISORY COUNCIL John Angyal Thomas Bersani Helen Boatwright Beth Boudreau Paul Cowley William Davis John DeFrancisco John Driscoll

Michael P. Falcone Lindsay Groves Claire Howard Andy Latchem Linda Kenan David Robinson (1924-2006)

Joseph Strodel, Jr.

ADMINISTRATION Susan Mark, Executive Director David Ying and Elinor Freer, Artistic Directors Mary Bradly, Bookkeeper Carol Bryant, Development & PR Consultant Alyssa Blount, Office Assistant Nicole Pavlas, Public Relations Intern Steve Frackenpohl, Stage Manager Sharon Terino, Ad Sales Nancy Boyce, Program Book Layout/Design Stage Assistants: Adam Connor, Lucas Grob, Alex Kim, Benjamin Kim, Bryan Stokes-Cawley, Owen Stokes-Cawley

Check us out on-line www.skanfest.org

A SPECIAL THANK YOU TO THE MANY FESTIVAL VOLUNTEERS John and Bethany Aust George Bain Ellen Bifano and John Gazda Tom and Arlene Bloomer Don Boudreau Brenton and Mary Bradly Mary Beth Bronk Judith Bryant Patti and Bud Carey Maryellen Casey and Bruce Keplinger Vicky Clark Lynn Cleary and David Duggan Linda Cline Adam Connor Barb Connor Jeff Connor Sue Dailey Paula Douglass Kim and Charlie Driscoll Abby Duggan Joe Duggan Sam Duggan Colleen Fisher Paul and Erika Fiutak Judy Fox Alex Frackenpohl Mary Margaret Freedman

Koko Fuller Elissa Gonsiewski Jean and Dave Graham Hannah Hartman Laurie Hartman Gay Hembach PJ Hoadley Ruth Holben Sally Holben Ellie and Joe Hubbard Don Hughes Corliss Hunter Elisabeth Hurley Tom and Gretchen Jeffers Joyce and Robin Jowaisas Mary Knepper Myron and Luba Kopchynsky Wendy Kopley Kay Kraatz Josephine Kress Chris Lego and Jeff Shingleton Craig Lindsey Jill Little Andy and Ginny Longacre Greta Mangini Peggy and John Manring Joan Marcoccia Donna Merchant

Madonna and Jeffrey Meyer Peter Moller Margaret Murray Bob and Sally Neumann Jeff Paston Mimi Purington Craig Risser Aggie and Dan Robert Louise Robinson Anne Roth and Bob Cook Kathy and Jim Scheider Warren Shingleton Jean Shook Vincent Sicignano Mona Smalley Margaret Sovik Jan Sterling Carol Stokes-Cawley Chacea and Don Sundman Peggy Surdam Judy Varney Suzanne Weitz Eleanor Wilcox Ethan Wilcox Tyler Wilcox Ann Wiles Sheryl Woodmansee

ACKNOWLEDGEMENTS Louise Robinson, Brook Farm – Concert Location & Hospitality Carney & Blumer Trucking – Piano Moving Maryellen Casey and Bruce Keplinger “CyberSolvers” – Webmaster and Computer Coordinators Patti Carey, Chris Lego, Chacea Sundman – Musician Dinners Joan Christy – Musician Dinners & Guarantor Reception The Falcone Family – A Christmas Suite at Hobbit Hollow First Presbyterian Church – Concert Location Koko Fuller – Ticket Sales Rob Howard – Photography ChaseDesign – Brochure & Program Cover Greg and Debbie Quick – Southwest Feast Dan McCann & Five Seasons – A Christmas Suite at Hobbit Hollow Skaneateles High School – Music Stands & Percussion Arthur Nick Smith – Piano Tuning Suzi Hariff – MediaMarCon Onondaga Community College – Percussion Equipment Masterworks Chorale – Risers Many thanks to the generous Skaneateles residents who open their homes to the Festival’s visiting musicians.

Where would

Rodgers be without

Hammerstein, or Schubert without

Goethe? Every composer needs a great librettist, and if you’ve written a poem about summertime, music, musicians, lakes, or life in Skaneateles or Central New York, then we need you!

Are you a writer or poet? If so, the Skaneateles Festival is looking for you. We are holding a poetry contest and seeking poems written by local and area residents of all ages. The winning poems will be set to music in a special commissioned piece of chamber music that will be premiered at the 2009 Skaneateles Festival. Please send your typed poetry submissions to: Skaneateles Festival, Poetry Contest 97 E. Genesee St., Skaneateles, NY 13152 Or you may email them to music@skanfest.org Please include your full name, age, and contact information. Deadline for submissions is Dec. 15, 2007. For more information, please go to www.skanfest.org

Retina-Vitreous Surgeons of CNY, PC proudly supports

The Skaneateles Festival Our Retinal Specialty Group Practice serves Central New York for patients with diabetic retinopathy, macular degeneration, retinal detachment and other retinal-related diseases and injuries.

Syracuse Office 3107 East Genesee Street Syracuse, NY 13224 315-445-8166 • 1-800-654-0554

From left ro right: Bryan K. Rutledge, MD, G. Robert Hampton, MD, Paul F. Torrisi, MD, Sam C. Spalding III, MD

T hank you to all the Skaneateles Festival Donors!

This list reflects gifts received as of July 20, 2007

GUARANTOR SOCIETY

BENEFACTOR

Dr. and Mrs. Leslie Woodcock

Allyn Foundation Artist Pianos Ltd. George S. Bain Maryellen Casey and Bruce Keplinger ChaseDesign CyberSolvers Joan Christy and Tom Bersani The CNY Business Journal CNY Fertility Center Lynn Cleary and David Duggan Barb Connor Donna and Bill Davis The Gladys Krieble Delmas Foundation Gary and Linda Dower Eagle Newspapers Penny Eger and MJ Osborne The Fred L. Emerson Foundation Inc. Michael and Noreen Falcone Michael P. Falcone The Fletcher Foundation Koko Fuller John Gazda and Ellen Bifano Jean and David Graham Green & Seifter CPAs, PLLC The Green Family Foundation, Inc. Hand Held Products Hiscock & Barclay, LLP The Ewing Marion Kauffman Foundation Linda and Bruce Kenan Dr. Robert Kiltz Kinney Drugs John and Peggy Manring Bob and Sally Neumann New York State Council on the Arts News Channel 9 Onondaga County Faye Panasci and family Louise Robinson Carl Schramm and Ellyn Brown Sherwood Inn Skaneateles Press The Soderberg Family Don and Chacea Sundman Time Warner Cable Verizon WCNY Classic FM Welch Allyn Inc. Mrs. Sieglinde Wikstrom WSYR Radio 570 Jeff and Kate Youle

Frank Albanese Henry and Helga Beck Bill and Gwen Birchenough Dave Birchenough and Carrie Lazarus Brookfield Power Al and Connie Coates Columbian Foundation, Inc. Bob and Sue Congel Evan and Elizabeth Dreyfuss Colleen and Dan Fisher Green & Seifter Attorneys, PLLC Jeanne Groves Lindsay Groves Tom and Gretchen Jeffers Chris Lego and Jeff Shingleton Peter and Betsy McKinnell Jim and Julie Moore Pascale’s Andrew and Sherie Ramsgard Skaneateles Area Council for the Arts Mona Smalley Frank and Jan Smith Doug Sutherland and Nancy Kramer James and Salli Tuozzolo Wachovia Securities WRVO

PATRON

GOLD PATRON Brenton and Mary Bradly Pat and Mary Bright Craig and Kathleen Byrum Ed and Paula Conan Susan T. Dailey Sid and Suzanne Devorsetz Ian and Rita Edwards Robert and Nicolena Errico Donald and Jean Eygnor John V. Frank Gilberti, Stinziano, Heintz & Smith, PC Hancock & Estabrook, LLP George R. Iocolano Joyce and Robin Jowaisas Andy Latchem Eloise Luchsinger Lynn Law Office Linda Roche, Realty USA David Rubin and Tina Press John and Carol Shannon Lynn and Corinne Smith Dr. R. Merle Stauffer Dr. Sandra Sulik Peter and Florence Swartz Dale and Rillann Van Epps Jack and Judy Varney Elizabeth Weinstein and Steven Shahan

Ivan and Mimi Ace Bill and Becky Allen Gary and Mary Ann Allen John and Mary Ayer Sherwood and Carol Bain Peter Bay Rudolf and Agnes Benfey Frank and Margaret Bersani Dave and Pat Blackwell Louise Bristol Elet and John Callahan Patricia M. Callahan Andres and Monique Cardenes Dr. and Mrs. Chung-Taik Chung Linda and Lloyd Cline Dr. and Mrs. George Collins Barbara and Goodwin Cooke Paul and Gail Cowley Charles and Margaret Crosman Alan Curle and Andrew London Anthony and Patricia DeAngelis Starke Donnally Myron and Barbara Egtvedt Elderberry Pond Mona and Coburn Freer Dr. and Mrs. Gianfranco Frittelli Kathleen and Marcus Haddock Suzi Hariff, MediaMarCon Bill and Karen Havens Sally Holben Bob Kanasola Dr. Paul Karpinski Wendy and John Kopley Mr. and Mrs. Joseph A. Koziol Daniel and Grace Labeille Susan Mark Fred and Ginny Marty Madonna and Jeffrey Meyer Modern Kitchens of Syracuse Stephen and Melissa Montgomery Jane Ondich Greg and Debbie Quick Mr. and Mrs. Charles Radebaugh Raz Rahman and Susie Birchenough Doug and Judy Robertson Fritz and Phyllis Rohrlich Terri and Mark Roney Bob and Lynne Scheer Kathy and Jim Scheider Richard and Bonnie Scolaro Kendrick and Gracia Sears Buzz and Mary Ann Shaw Mrs. Mary C. Simmons Judith Stoikov and Richard Miller

Barbara Stokes Charles and Barbara Stokes John and Laurine Sutter Tessy Plastics F. Deaver and Mary Jean Thomas Paul and Mary Torrisi Charles and Cynthia Tracy Margaret Usdansky and Gustav Niebuhr Marsha Wooster David and Betty Ying David Ying and Elinor Freer

CONTRIBUTOR Ivan and Mimi Ace William and Lorraine Allen David and Amy Allyn Lew and Dawn Allyn RADM and Mrs. Peter L. Andrus John and Kathy Baran Father Charles J. Beirne, Le Moyne College Walter Benson and Kate Cogswell Barbara and Bolt Bolton-Smith Barbara and Dennis Bowen Lila R. Brehm Dan and Theresa Brown Judith Bryant Jane Burkhead and Robert Sarason Mr. and Mrs. C. Vincent Byrne David and Jennifer Campanile Jack and Nancy Capron Curt and Joyce Carlson William and Laurie Clark Michael and Dottie Cogswell Mickey Dalton, in memory of Aunt Eleanor

Jed and Barbara Delmonico Mr. and Mrs. George B. Dowley Marvin and Patricia Druger Abby, Joe and Sam Duggan Anna and Ed Egert Stuart and Barbara Evans Mr. and Mrs. William J. Fallon Bill and Sharon Fox Steven and Sandi Frackenpohl Susan and Frank Freer Karen Gahl-Mills and Larry Mills-Gahl Gary and Maureen Germain Alex and Donna Giambartolomei Agnes E. Griffith, PhD Josephine and Robert Harris Mary Louise Hartenstein Frank Heath Bob and Peggy Hegel John Herr Jim and Pat Hertz Joan Howland Joe and Ellie Hubbard

Peter and Mary Huntington John and Linda Isaac Ellen Cook Jacobsen, MD Holly and Jurgen Karker Barbara Kay Dr. and Mrs. Anthony Kim Mary Knepper Roger Krieger Robert and Judith Lockwood Robert and Ellen Long Andy and Ginny Longacre Betty Lourie John MacAllister Melissa Matson and Bob Taylor Col. and Mrs. Edward L. Mazur Gardner and Lynn McLean Joseph and Janet McSweeney Madelyn and Roger Mead Merrill Lynch Dan and Kathleen Mezzalingua Sandi Mulconry Douglas and Dorothea Nelson Carole and Lloyd Novick Sean and Laura O’Keefe Nancy Oplinger and Richard Freeman Kathy Palmieri Jeff Paston Jonathan Phillips Arnold and Judith Poltenson Dick and Kim Poppa Adelina Romano Marcy Rosen and Fran Rowell Carol A. Rowehl and John D. Kahler, Jr. Morgan Russell and John McCormick Lawrence and Janet Ruston Milton and Lucille Sack Peggy Savlov Herbert and Hillery Schneiderman

Dr. and Mrs. Stephen Schwartz Bond and Claire Shaw Susan and Steven Shaw Michael and Elaine Shende Richard and Barbara Shineman Jean Shook and Chris Johnson David Simmons, Realty USA Howard Simon and Barbara Feuerstein Mary Soderberg Margaret Sovik Irene L. Stafford Jan Sterling Carol and William Stokes-Cawley Holly Strong Frank and Rose Swiskey John Tanquary and Caroline Tauxe Virginia Thorne Phil and Rose Marie Tierney Margo Tompkins William and Marianna Towler Tranquility Salon John and Jean Vincent Eileen Vitale Dorothy and Jim Wagner Richard and Ann Wasiewicz Mark Watkins and Brenda Silverman Doug and Peg Whitehouse Charles and Nancy Williams Mr. and Mrs. Bernhard Wolff Susan Wolstenholme Jeanne Young Ruta Zarins and George Lejnieks

MEMBER Eric Allyn and Meg O’Connell Mary Ellen Andrews Dr. J. Howland Auchincloss Ellen Avril Michael and Janet Barkun

GIFTS IN MEMORY OF DAVID ROBINSON Ivan and Mimi Ace Rose Ammerman Mary Ellen Andrews Anonymous Dr. J. Howland Auchincloss George S. Bain Peter Bay Beth Boudreau Barbara and Dennis Bowen Bernie and Ona Bregman Robert and Mary Burdick Jane Burkhead and Robert Sarason Jack and Nancy Capron Andres and Monique Cardenes Barb Connor Susan T. Dailey Vitaliy and Janie Darovskikh Donna and Bill Davis

Anthony and Patricia DeAngelis Dept. of Psychiatry Professional Practice Group Mr. and Mrs. George B. Dowley Ralph and Joyce Edmonds Kay Fey Mona and Coburn Freer Mr. and Mrs. Alan Goldberg Michael Gordon and Wendy Evers Gordon Henrietta Gottschalk Josephine M. Gregg Jeanne Groves Lindsay Groves William and Karen Havens Joan Howland Mary Knepper Richard and Mary Lee Kokosa Daniel and Grace Labeille

Karl Barth Roger and Patty Beer Bill Bell Lynne and Richard Bennett Ann Marie Bergold Helen Boatwright Dr. Donald Boudreau Bernie and Ona Bregman David Brittain Dolores Brosnan Bill and Corinne Buterbaugh Jamie and Lori Ciaccio Nancy and Joe Clayton Carla and Bob Copeland Marilyn Darmody Ann M. Davis Carol Delaney Gretchen and Louis DePaull Alan and Linda Dolmatch Paul and Erika Fiutak Judith A. Fox Fran McCormack & Associates Ron and Rose Ann Gay Amandy and Wolfgang Geihe Miggie George Gloria and Joshua Goldberg Henrietta Gottschalk Josephine M. Gregg Roger and Estelle Hahn George and Ann Haux Marcia Herrling Finch Bob Hiemenz Robert and Nancy Holcomb Don Hughes Chip and Lori Jackson Geri Kaluzny Joseph and Jane Kite Sanford and Faye Kline Myron and Luba Kopchynsky Joan and W. Theodore Kuck Catherine Lathwell Fred and Marilyn Lerman

Edward and Karen Levene Margaret Lindsey Rev. Frank Lioi Edward and Carol Lipson Alma and Robert Lyng Jim and Patricia MacKillop Anne Maier Richard McKee Eileen Miller Missouri Hospital Association, in memory of Mary Martha Shute

David and Janet Muir Charles and Kay Lynne Myers, in memory of Mary Martha Shute

Mr. and Mrs. Eldred Myers Eric Allyn and Meg O’Connell Jodean and Timothy Orcutt Bruce and Margaret Osborne Bernard and Molly Panner Elizabeth Patton Howard and Ann Port Jack and Joan Priest Alice Robinson Nick and Linda Rossi Jack and Stephanie Rudnick Carol Sears Regina Setikas Julie Sharpe Mary T. Shayler Alberta Shouldice Alex and Mary Ann Simpson Allen and Ruth Speiser Terrance and Mary Frances Squires Joe and Therese Strodel George Thomas and Patty Weisse George and Nancy Wettlaufer Elinor J. Wilson Don and Mary Anne Winfield David and Deanna Yates Joyce Zadzilka

This list reflects gifts received as of July 13, 2007 Noreen Lannon Andy Latchem Leisure Hour Club of Skaneateles Dr. and Mrs. Robert Lockwood Andy and Ginny Longacre Betty Lourie Anne Maier Susan Mark Masterworks Chorale Inc. Richard McKee Dr. and Mrs. James Megna Microwave Filter Company, Inc. Dr. and Mrs. Stephen Montgomery Ernie and Alice Muzquiz Douglas and Dorothea Nelson John and Laura Neville Carole and Lloyd Novick

Jeff Paston Eleanor K. Peterson Mr. and Mrs. Charles Radebaugh Kathryn Robertson Alice Robinson Marcy Rosen and Fran Rowell Milton and Lucille Sack Sherwood Inn Frank and Jan Smith Dr. R. Merle Stauffer Syracuse Opera F. Deaver and Mary Jean Thomas Mrs. Virginia Thorne Jack and Judy Varney Leah Weinberg and Paul Barron Mrs. Sieglinde Wikstrom David Ying and Elinor Freer 5

FamilyFest IS SPONSORED BY:

Wednesdays Educational Events are FREE and are held at the First Presbyterian Church Recommended for ages 5 and up

The Panasci Family Mike Seeger is sponsored by the Green Foundation Kevin Puts is sponsored by Bob & Sally Neumann Behind the Scenes is sponsored by Jim & Julie Moore & the Fletcher Foundation The Jupiter String Quartet is sponsored by Mirbeau Gilbert Kalish is sponsored by WRVO Workshops for music students are sponsored by The Allyn Foundation

AN OLD TIME CELEBRATION WITH MIKE SEEGER WEDNESDAY, AUGUST 8, 11:00 AM American folk music legend Mike Seeger gives a rousing performance of favorite songs of the young and the young at heart.

MEET A LIVING, BREATHING COMPOSER!

Wednesdays at the Festival

WEDNESDAY, AUGUST 15, 11:00 AM Kids of all ages get to make music in this interactive concert with Kevin Puts, one of America’s brightest young composers.

Behind the Scenes OPEN REHEARSAL

WEDNESDAY, AUGUST 22, 2:00 PM Listen in as the “out of this world” Jupiter Quartet rehearses a quintet with celebrated pianist Gil Kalish. You might pick up a secret or two as Kalish mentors this fantastic young group.

Workshops

FOR M USIC S TUDENTS WEDNESDAY, AUGUST 29, 11:00 AM Open to music students of all ages and abilities.* with: Kathryn Cowdrick, voice; Elinor Freer, piano; Curtis Macomber, violin; David Ying, cello *Please Note: Students interested in participating should go to www.skanfest.org or call 685-7418.

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Thursday, August 9

TONIGHT ’ S CONCERT IS SPONSORED BY:

8:00 PM First Presbyterian Church Mike Seeger is sponsored by the Green Foundation David Ying is sponsored by Dr. Robert Kiltz & the CNY Fertility Center The Ying Quartet is sponsored by George S. Bain

SAMUEL BARBER

String Quartet in B minor, Op. 11 Molto allegro e appassionato Molto adagio Molto allegro

PAQUITO D’RIVERA The Village Street Quartet (2000) Ying Quartet: Timothy Ying, violin Janet Ying, violin Phillip Ying, viola David Ying, cello INTERMISSION

TRADITIONAL

Amazing Grace A selection of American songs Mike Seeger Ying Quartet

JENNIFER HIGDON Southern Harmony (2003)

From Folk to Film

Soft Summers Reel Time Gentle Waltz

WILL RAMSEY

Ying Quartet

Peace Mike Seeger Ying Quartet

TRADITIONAL

Free Little Bird Mike Seeger Ying Quartet

The Skaneateles Festival is made possible in part by funding from the New York State Council on the Arts.

Its composition did not come easily to the 26-yearold composer. He worked on the piece in the late summer of 1936 close to Salzburg, in a picturesque Alpine chalet he and the composer Gian Carlo Menotti had rented.“It

was returned to him without comment from the great conductor. Word later reached Barber that Toscanini was planning to perform it but returned it simply because he had already memorized the entire score.

The quartet was first performed in Rome by the Pro Arte String Quartet in December 1936.“I’ve never been able to manage string quartet writing very well,” he wrote when he began to write a second quartet, a little over a decade later. He never completed that work.

The Village Street Quartet (2000) PAQUITO D’RIVERA (b. 1948) Cuban-born Paquito D’Rivera works in a variety of musical genres. In his teens, he was a founding member of the Orquesta Cubana de Musica Moderna and was codirector of the innovative musical group Irakere, whose explosive mixture of jazz, rock, classical and traditional Cuban music had never been heard before.The group toured extensively throughout America and Europe, won several Grammy nominations and a Grammy.With a discography that now includes over 24 solo albums, five more Grammys have followed, together with many other awards.These include the 2004 Clarinet of the Year award from the Jazz Journalists Association; the

EITH HORNER, 2007

SAMUEL BARBER (1910-1981) The slow movement of Samuel Barber’s only string quartet, widely known as the Adagio for Strings, is one of the icons of American music, a piece for occasions of State mourning and many movie soundtracks. Its success in sharing a profound feeling of loss, hope and comfort with its audience dates back to 1938, when it was the first piece of American music to be played by Toscanini and his newly formed NBC Symphony. Barber had sent Toscanini his transcription of the slow movement from the two-year-old string quartet on spec.The very success of the Adagio for Strings had the effect of eclipsing the original version for quartet, so much so that Festival Fact music-lovers might now wonder, from time to A short time after Barber time, what the rest of mailed the score of the the quartet is like. Adagio to Toscanini, it

is a struggle,” Barber said of the piece. In the version he eventually settled on, the quartet has three movements, although the third is, in fact, a much shortened recapitulation of – and coda to – the first. In the middle comes the lovely Adagio, with its repeated probing and questioning and ultimate feeling of resignation. In it, Barber’s genius lies in his ability to tap into a form of universal grief and express it in music.

program notes © K

String Quartet in B minor, Op. 11

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PROGRAM NOTES – continued

2005 NEA Jazz Master award,America’s highest honor in jazz, and a National Medal of Arts, the nation’s highest honor for artistic excellence.And he is a gifted writer. D’Rivera’s My Saxual Life is being published by the Spanish literary house Seix Barral and his novel En Tus Brazos Morenos will soon follow. Paquito D’Rivera writes: When I moved to New York in 1980, taking a walk around a Greenwich Village street fair in the early summer, I was fascinated by the smell of the ethnic foods sold by dozens of peddlers from the most various regions of the world, and especially by the variety of music played on the sidewalks by street musicians. Among them, in the middle of Washington Square Park, I found a string quartet formed by a black cellist, an Asian viola player and a married couple of violinists, she from Eastern Europe and her Puerto Rican husband.They played repertoire from Bach to Gershwin to Piazzolla, by way of Cuban danzas, Brazilian chorinhos, polkas and Middle Eastern music. Even though I have used the string quartet on a few occasions, The Village Street, written especially for the wonderful Ying Quartet, is my first serious approach to this format. In this case, it was my desire This Sunday, August 12, to recreate in the piece the Paquito D’Rivera and multicultural atmosphere his quintet will perform that I breathed for the first at the famous Newport time so many years ago in Jazz Festival in this picturesque New York Newport, Rhode Island. neighborhood.

Festival Fact

Amazing Grace Selection of American songs TRADITIONAL Mike Seeger writes: Sometimes in interviews I’m asked, “Why do you play old-time music?” I suppose they ask that because it’s old and, by implication, non-commercial. I suspect that many of us play this older style music for some of the same reasons that most bluegrass musicians play bluegrass — because we like it and it fits us.We can think of all kinds of reasons such as “I was raised with it,”“I like its sound,”“I like to be able to play the music myself or with friends without plugging in,” and I can add, “It’s timeless, meaningful and I value its continuity with the past.”All of those and more fit me. I can talk on and

Special thanks to the First Presbyterian Church for their generous hospitality.

Thanks for the air-conditioning! 10

on about reasons for liking old-time and bluegrass music but really it all boils down to “it just suits me.” “Old-time music was the old-time name for real mountain-type folk music. One of the nation’s largest Old-time music is the main festivals of traditional foundation for bluegrass music is held each year music. It is the kind of in Mt. Airy, North Carolina, music that Bill Monroe, attracting thousands of Earl Scruggs, the Stanley listeners and performers. Brothers and in fact most rural people prior to the mid-1920s, were raised with. It is the old unaccompanied English ballads like Barbara Allen, new American songs like Wild Bill Jones, old fiddle tunes like Devil’s Dream, and newer banjo tunes like Cumberland Gap. It’s a rich and varied heritage of music — as rich as the roots music of any country. It was played throughout rural America but was extra strong and distinctive in the Southeast, especially in the mountains. It is sung and played on a variety of acoustic instruments including the guitar and mandolin which were newcomers to it in the early 20th century. It used to be played by African-Americans as well as Anglo-, French-, Scottishand Irish-Americans. It nearly died out in the mid-20th century but has found new life and is being played, mostly informally, by people all over the country.”

Festival Fact

“What place can this music play in today’s life? Perhaps I may write more personally here. I would be playing this

Orchestra,Atlanta Symphony, Brooklyn Philharmonic, Pittsburgh Symphony, Baltimore Symphony, National Symphony Orchestra, St. Paul Chamber Orchestra and eighth blackbird. Jennifer is on the composition faculty at The Curtis Institute of Music in Philadelphia.

Jennifer Higdon writes: “Southern Harmony” is a portrait of the South, where I grew up (Georgia and Tennessee). The three movements depict gentle aspects of Southern life: a slower pace, simple living, and an emphasis on traditional, handed-down music.This piece includes some of the techniques that are found in Appalachian-style string playing (open strings and slides).The first movement, Soft Summers, is a musical portrait of long summer evenings, a time for quiet porch-sitting and “fellowshipping” with friends, neighbors and relatives.The second Southern Harmony (2003) movement, Reel Time, is a dance based on the form of JENNIFER HIGDON (b. 1962) the reel (a dance occurring in a moderately quick duple meter).This is a dance that you might witness in a place Described by The Washington Post as “a savvy, sensitive where there is some serious fiddling going composer with a keen ear, an innate sense on.The final movement is Gentle Waltz and of form and a generous dash of pure was probably the result of having heard esprit,” Jennifer Higdon is one of America’s the “Tennessee Waltz” so many times while most frequently performed composers. Southern Harmony was growing up.While this work is much less She receives more than 200 performances commissioned by the complex and moves at a slower pace than a year. Her works are recorded on two Ying Quartet. The Yings most of my music, I like to think that it dozen discs, including a recent release also commissioned doesn’t necessarily reflect the South as on Telarc of her most successful piece, Higdon to arrange being simple, but rather what is for me a blue cathedral, by the Atlanta Symphony Amazing Grace for simpler time.” String Quartet. Orchestra. Recent commissions include works for the Ying Quartet, Philadelphia

PROGRAM NOTES – continued

music whether or not it is my profession. (I’m pleased that it is.) This is the music that I was raised with (though by college-educated parents), and it includes a lot that I have learned more recently from older traditional rural musicians or their recordings. It has those great old love songs and ballads, the story songs. It has blues, topical songs and humorous songs and a world of instrumentals that I enjoy playing when I am alone at home or with my string-band-music friends.This music connects me to the past. It expresses feelings and thoughts about life. It is a pleasure every day, either as I play myself or as I listen to others – usually, these days, to younger musicians, who will be experiencing the same pleasure for many years to come. I hope you experience some of that pleasure, too.”

Festival Fact

Made in America

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Folk music springs from a culture’s very heart; it is the music that people make spontaneously and communicatively even without formal training. Though at times one could argue that America is made up of borrowed cultures, our native folk music is a national treasure. The music of the American South inspires musician Mike Seeger, as well as composer Jennifer Higdon. Other kinds of American music appear on this concert, too: ragtime through the modern ears of William Bolcom, the musical melting pot of Paquito D’Rivera’s New York City, and Samuel Barber’s classic American realization of Western European art music.

check us out on the web at

www.skanfest.org

2007 A.G. Edwards & Sons, Inc. • Member SIPC

TONIGHT ’ S CONCERT IS SPONSORED BY:

Friday, August 10 8:00 PM First Presbyterian Church

Timothy Jones is sponsored by Green & Seifter, Attorneys, PLLC Michael Klotz is sponsored by the Columbian Foundation David Ying & Elinor Freer are sponsored by Dr. Robert Kiltz & the CNY Fertility Center The Ying Quartet is sponsored by George S. Bain

“Reel Music” IRVING BERLIN

I’m Putting All My Eggs in One Basket

JEROME KERN

The Way You Look Tonight

GEORGE GERSHWIN A Woman Is a Sometime Thing I Got Plenty o’ Nuttin’ Timothy Jones, baritone Elinor Freer, piano

JOHN WILLIAMS Three Pieces from Schindler’s List Theme from Schindler’s List Jewish Town (Krakow Ghetto – Winter ’41) Remembrances

Timothy Ying, violin Elinor Freer, piano

From Folk to Film

FRANZ WAXMAN “Auld Lang Syne” Variations for Piano Quartet Eine Kleine Nichtmusik: Rondo Moonlight Concerto: Adagio Chaconne à son gout: Stately Hommage to Shostakofiev: Allegro

Timothy Ying, violin Phillip Ying, viola David Ying, cello Elinor Freer, piano

INTERMISSION

ERICH KORNGOLD String Sextet in D Major, Op. 10 Moderato Adagio Intermezzo: Moderato, con grazia Finale: Presto

Ying Quartet Michael Klotz, viola Elizabeth Simkin, cello

Please join us in welcoming the musicians at a post-concert reception in Dobson Hall.

The Skaneateles Festival is made possible in part by Onondaga County.

IRVING BERLIN (1888-1989)

The Way You Look Tonight JEROME KERN (1885-1945)

A Woman Is a Sometime Thing I Got Plenty o’ Nuttin’

Like Irving Berlin, Jerome Kern divided his time between Broadway and Hollywood in the 1930s.This was after he had jolted Broadway into a new style of production in 1927 with Show Boat, a musical play with words by Oscar Hammerstein II.Tin Pan Alley songs were now no longer merely added to a play, they had to be integrated into the entire production. Like Berlin’s song, Kern wrote The Way You Look Tonight for another Fred Astaire-Ginger Rogers partnership, in the 1936 film score Swing Time.

Festival Fact

EITH HORNER, 2007

GEORGE GERSHWIN (1898-1937) Jerome Kern said: “Irving Berlin has no place in American music; he is American music.” Berlin wrote rags in the early years of the last century, songs about the latest 1920s dances, optimistic songs for the Depression, swing numbers during the 1930s, and show tunes throughout a long career. He wrote songs for film scores, too, including the hit I’m Putting All My Eggs in One Basket, for Fred Astaire, for the 1936 Hollywood musical comedy film Follow the Fleet.

The previous year, after 20 months of work, George Gershwin saw Kern’s father insisted the premiere of his opera Jerome join him in the Porgy and Bess. Although business world, but after recognized today as a confusing an order for the masterpiece, and made company and ordering into a musical film in 200 pianos instead of the 1959, it took 50 years for requested two, Jerome’s Gershwin’s opera to reach father agreed he was not the Met. Its path there suited for retail and allowed was slow and troubled, a him to pursue music. sad tangle of misguided productions and copyright arguments.The love-tangle between the black characters of the opera is a simple tale; Gershwin called it his ‘folk opera.’The bemused fisherman Jake sings the song A Woman Is a Sometime Thing. The banjo song I Got Plenty o‘ Nuttin‘ is another of the great numbers from this American classic. It’s sung by the crippled beggar Porgy and, like many of the selections in this ground-breaking score, it contains a clear – if whimsical – social message.

program notes © K

I’m Putting All My Eggs in One Basket

Three Pieces from Schindler’s List JOHN WILLIAMS (b. 1932) John Williams and Steven Spielberg have collaborated for more than three decades on 22 feature films.Three of Williams’ five Academy Awards are for Spielberg movies,

Touching lives, making a difference. In Central New York and around the world. At Welch Allyn, we’re proud of the fact that the products we make right here in Central New York are at work around the world helping doctors, nurses and other healthcare professionals provide their patients with more effective, efficient and personalized care. And we’re proud to support the Skaneateled Festival—where the magic of performing arts meets the power of the human spirit.

PROGRAM NOTES – continued

including Jaws; E.T.The Extra-Terrestrial; and one of the finest films of the 1990s, Schindler’s List. His music grows out of the tradition of the legendary composers of the golden age of Hollywood movie-making – such Europeans as Waxman and Korngold, and fellow Americans Herrmann and Newman – a number of whom Williams worked with in his early days as an orchestrator in the Hollywood studios.Williams has now written just over 100 film scores. In his 1993 music for Schindler’s List, he chose the sound of the violin as a symbol for the suffering and anguish of the Jewish people as the drama of the story plays out against the horrors of the Holocaust. It first appears in the main theme, in a poignant, darkly scored lyrical phrase, like the slow movement of a concerto. Spielberg speaks of its dignity and compassion and gentle simplicity.Williams refers back to this music throughout the movie, drawing much expressive power from its melancholy, lamenting melody. Jewish Town (Krakow Ghetto – Winter ’41), the second movement of the Three Pieces Williams arranged for violin and piano, at first pursues a similar mood. It soon turns into a slow, mournful dance, colored by the ever-present minor key and Jewish inflections of the melody. Remembrances comes from late in the movie. It is a sad, quiet lament that speaks of both dignity and compassion and grows out of the music for the opening theme.“The film’s ennobling story, set in the midst of the great tragedy of the Holocaust,”Williams says,“offered an opportunity to create not only dramatic music, but also

themes that reflected the more tender and nostalgic aspects of Jewish life during these turbulent years.”

“Auld Lang Syne” Variations for Piano Quartet FRANZ WAXMAN (1906-1967) Franz Waxman arrived in Hollywood in 1934, just as the American movie began to demand significant scores from its house composers. His ability to write memorable, lyrical melodies and evoke time, place and emotion in a fluent manner soon drew him to the front ranks of screen Festival Fact composers. Not yet 30, Waxman studied in Waxman arrived with a Dresden and Berlin. He good reputation for his came to the US in 1934 orchestrating and conductand settled in Hollywood ing of Friedrich Holländer’s where he took lessons music for The Blue Angel, from Arnold Schoenberg. starring Marlene Dietrich in her first role. In Hollywood he went on to write 144 film scores, beginning with The Bride of Frankenstein and later including Dr. Jekyll and Mr. Hyde, Rebecca, Suspicion, Prince Valiant, Humoresque and the two which won Academy Awards – Sunset Boulevard (1950) and A Place in the Sun (1951). Unlike many of his fellow European immigrants,Waxman found both professional and personal success in Hollywood. In 1948 he founded the Los Angeles International Music Festival and, as a conductor gave pre-

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Franz and Alice Waxman often spent New Year’s Eve with Heifetz and music-making was more often than not a part of the evening entertainment. In 1947,Waxman brought his neighbor the gift of a set of variations on the traditional Scottish melody Auld Lang Syne. He scored it for piano quartet. Heifetz played violin and his concert partner was Emanuel Bay, piano.The music is lots of fun.The witty first movement nods in the direction of Eine Kleine Nachtmusik. The second takes the Scottish air for a trip by moonlight, with Beethoven’s Violin Concerto close to hand.Then comes a brilliant and tongue-in-cheek pastiche of the demanding Chaconne from Bach’s Second Partita. The Finale is equally humorous as Waxman takes his Scottish air for a visit to two of the Soviet Union’s bestknown composers.

String Sextet in D Major, Op. 10 ERICH WOLFGANG KORNGOLD (1897-1957) “More corn than gold,” was the cruel putdown of the American critic Irving Kolodin after hearing the premiere of the opulent Violin Concerto by Erich Wolfgang Korngold, played by Heifetz. Korngold was 50 and his life had already mirrored some of the major political and social upheavals of the 20th century.“Fifty is old for a child prodigy,” he said, wryly looking back on the unpredictable and, to him, ultimately unsatisfying course that his life and music had taken. In 1934, with Europe increasingly becoming a dangerous place for a Jewish composer, Korngold had been drawn to Hollywood.“I never drew a distinction between music for films and that for operas or concerts,” he said.A favorable contract with Warner Bros. followed and for the next 12 years, Korngold composed 17 major film scores, including two Academy Award winners. Korngold’s command of the late romantic musical vocabulary and his fluency in underscoring dramatic narrative blossomed from the stage into a medium that reached millions. Nostalgia, fantasy and escape were key ingredients of the Hollywood movies of the 1930s and ’40s, and Korngold’s music captured the mood of the times to an extraordinary degree. Korngold had learned his craft at an early age.At 10, Mahler declared the child prodigy a genius.The middle name of Wolfgang, bestowed by a pushy, over-protective father, seemed inevitable at the time, forward-looking rather than presumptuous.The Vienna Court Opera presented Korngold’s precocious pantomime The Snowman, written when he was 11. Operas and symphonic works flowed from his pen before he was 20. Korngold’s early success was crowned by Die Tote Stadt, which became one of the most performed operas of the 1920s, reaching

more than 80 stages worldwide. Korngold’s accomplishment was defined by his operas and his operatic writing came to define his own musical style – including that of the early chamber works.The String Sextet was written immediately before the First World War at the same time as his opera Violanta. It is generally regarded as his finest chamber work. Korngold was 17 when he wrote it. The first performance had to wait until May 2, 1917, in Vienna, led by Arnold Rosé, concertmaster of the Vienna Philharmonic. The first of its four movements opens with an expansive theme that is rich in potential for development and culminates in a fugato, toward the end.The music casts a glance back at the two Brahms Sextets while pushing at and stretching the frontiers of tonal music.Though Korngold’s musical language was to become increasingly complex and dense in the next decade, he always kept his feet firmly planted in tonality – to the point where, when he died, Korngold was widely viewed as having gasped the last breath of old Vienna.The second theme is shimmering and reflective and the music evolves through multiple changes of key signature.The beautiful slow movement is ultra romantic and shares something of the heady intensity of Schoenberg’s earlier string sextet Verklärte Nacht. The charmingly nostalgic Intermezzo is a musical homage to Korngold’s home city of Vienna and as Viennese as Sacher torte with whipped cream.The Finale both looks back on themes heard earlier and drives purposefully forward in exuberant high spirits. In the richness of its inspiration and the technical skill of its string writing, Korngold’s String Sextet has few equals; many listeners have been reminded of the Octet that Mendelssohn wrote at a similar precocious age.

PROGRAM NOTES – continued

mieres of scores by leading composers of the day. He also took on guest conducting work with American and European orchestras and knew many of the leading performers of the day. For his score to the film Humoresque he wrote a piece based on themes from Bizet’s Carmen. The Carmen Fantasie has taken a place in the repertoire and was recorded by his Beverly Hills neighbor, Jascha Heifetz.

Reel Music It is virtually impossible to imagine a dramatic film without the music that illuminates the action, even expressing what the dialogue cannot. Many of the great film composers also wrote powerful music meant to be enjoyed on its own. Porter, Kern, and Gershwin represent the best of both film and popular music of the 1930’s. The music for Schindler’s List was written by John Williams for the violin virtuoso Itzhak Perlman, and is often performed as concert music. Like Williams, Franz Waxman moved easily between the glitterati of Hollywood and the celebrities of the classical music world; the great musicians Heifetz, Primrose, and Piatigorsky reportedly joined Waxman for the premiere of his delightfully cheeky parody Eine Kleine Nichtmusik at a New Year’s party in 1947. Finally, Erich Korngold’s epic string sextet has all of the drama and passion of the classic silver screen. 15

Saturday, August 11 7:30 PM Brook Farm (Rain location: Skaneateles High School)

TONIGHT ’ S CONCERT IS SPONSORED BY:

The Soderberg Family Mike Seeger is sponsored by the Green Foundation The New Lost City Ramblers are sponsored by the Emerson Foundation

John Cohen, vocals, mandolin, guitar, kazoo, banjo Mike Seeger, vocals, fiddle, mandolin, banjo, autoharp, mouth harp, trumpet Tracy Schwarz, vocals, fiddle, guitar

These “national poets” present our old-time musical heritage with sparkling authenticity. String band classics, ballads, Cajun music, jug-band blues and banjo tunes are spiced with humorous tales of rural life in the imaginary hamlet of New Lost City.

From Folk to Film

The program will be announced from the stage. Selections will be chosen from the following: Choupik Two Step Fishing Creek Blues I'm Gonna Lay Down My Old Guitar I've Always Been a Rambler La Valse du Bambocheur Old Joe Clark Pretty Little Miss Pretty Polly Railroading on the Great Divide Rolling Mills

Rye Cove Saddle Up the Grey Sail Away Ladies So Early in the Spring The All Go Hungry Hash House The Battleship Maine The Cold Bottom Strut The Coo Coo Bird Timbrooks and Molly When First To This Country

Check us out at www.skanfest.org

What is Old-time Music? BY MIKE SEEGER I travel by air quite a bit and as I put my fiddle in the overhead luggage bin someone often asks what kind of music I play. Sometimes I’ve answered “old- time music” but soon learned that means little to the general public, as it could mean any kind of music that occurred before the time of our conversation. Sometimes I try “old-time country” and they might say “oh, like Hank Williams?” or even Merle Haggard.“No,” I say,“it’s acoustic and more backwoods than that.”Then sometimes (if they’re really knowledgeable) they’ll say,“oh, is it bluegrass?” I wish old-time music had such a nice handle.

lyrics and because it filled the needs of the people, who, after all, created it for themselves. These days, as in the old days, old-time music can be heard in people’s homes for the most part; in public the main place is at fiddler’s contests, such as Mt.Airy (NC) or Clifftop (WV), on or off stage.There are probably a few thousand people playing this music now. Probably five and no more than ten musicians make their full-time living playing old-time music, depending on your definitions of “oldtime” and “a living.” Excerpted from Mike Seeger’s website http://mikeseeger.info

Before we had radio and phonographs, folks used the music to entertain themselves; a lot more people played music in those days, before you could push a button and rely on others to make it for you. In the pre-electronic days you always had to make your own music or be real near to some one who was making the music, to hear it when it was actually being made.There wasn’t a music market and not much money around, so except for a few minstrel shows and occasional schoolhouse and medicine shows even exceptional musicians gained only local, informal popularity and retained their “day jobs” in agriculture or small-town mills. The music from these earlier, old times endured through the generations because of its rich and varied sounds and

Louise Robinson and Phillip Ying

New York State Council on the Arts NYSCA is dedicated to preserving and expanding the rich and diverse cultural resources that are and will become the heritage of New York's citizens. NYSCA’s goal is to bring high-quality artistic programs to the citizens of the state through supporting the activities of nonprofit arts and cultural organizations.

The Skaneateles Festival thanks NYSCA for their continued support.

TONIGHT ’ S CONCERT IS SPONSORED BY:

Thursday, August 16 7:00 PM Behind the Scenes

Behind the Scenes is sponsored by Jim & Julie Moore & the Fletcher Foundation Jose Franch-Ballester is sponsored by ChaseDesign Elinor Freer is sponsored by Dr. Robert Kiltz & the CNY Fertility Center Timothy Jones is sponsored by Green & Seifter, Attorneys, PLLC Ayano Kataoka is sponsored by Verizon Lisa Kim is sponsored by Steve & Linda Chow Michael Klotz is sponsored by the Columbian Foundation Kevin Puts is sponsored by Bob & Sally Neumann Astrid Schween is sponsored by the CNY Business Journal

8:00 PM Concert First Presbyterian Church

Behind the Scenes

A pre-concert talk with composer Kevin Puts

KEVIN PUTS

Three Nocturnes (2004) I. Con moto II.Tranquillo III. Adagio

FAURÉ

Lisa Kim, violin Jose Franch-Ballester, clarinet Kevin Puts, piano

Piano Quartet in C minor, Op. 15 Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto

Maria Schleuning, violin Michael Klotz, viola Astrid Schween, cello Elinor Freer, piano

A Modern Master

INTERMISSION

KEVIN PUTS

Einstein on Mercer Street (2002) Part I Part II Part III

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Timothy Jones, baritone Maria Schleuning, violin Astrid Schween, cello Joanna Bassett, flute Wesley Nance, trumpet Ayano Kataoka, percussion Nina Ferrigno, piano Brett Mitchell, conductor

Piano Quartet in C minor, Op. 15 GABRIEL FAURÉ (1845-1924) Fauré managed to blend a deep awareness of musical tradition with a secure independence of thought.At the

He composed the first of his two piano quartets in 1877, on the rebound from his prolonged courtship of Marianne Viardot, the youngest daughter in a musical family. (Her mother, Pauline, was a famous contralto, also a composer and lover of the novelist Turgenev).After five years, Marianne agreed to become engaged.When the two were separated for three weeks in the summer, Fauré wrote a total of 35 letters to her. Less than four months later, she returned the letters and broke off the relationship. Fauré, heartbroken, kept the letters until the end of his life.

EITH HORNER, 2007

KEVIN PUTS (b. 1972) Kevin Puts writes: Three Nocturnes was commissioned by the Verdehr Trio and Michigan State University.The title refers to the various evocations of night in the Festival Fact work; only the third could be called a nocturne in the The Aspen Music Festival legitimate historical sense. commissioned Puts to write The first nocturne features a piece for conductor David a busy, arpeggiated violin Zinman’s 70th birthday in 2006. The resulting part and a soaring, longwork was Vision, a cello breathed melody in the concerto premiered by clarinet, perhaps reminisYo-Yo Ma. cent of Rachmaninoff’s seemingly endless melodies. The violin assumes the melodic role in the second, at least until the clarinet joins in imitation.The last is a piano nocturne in the tradition of Chopin, complete with a widely spaced accompaniment in the left hand. In answer to the constant motion of numbers one and two, the last nocturne is almost excessively slow and deliberate, finally achieving tonal stability in its final bars.

center of his individuality lies a quite daring harmonic inventiveness. His music flows with great fluidity and an apparent effortlessness that – paradoxically – can only have resulted from great concentration of effort and clarity of thought.The whole process of writing music was, as Fauré once said,“like a sticking door that I have to open.” Early in life, he studied plainsong and the early musical modes.This stayed with him throughout his composing career and colored everything he wrote. It is partly why his music avoids the Teutonic rhetoric of Wagner and his admirers, where emotion sweeps everything along in its powerful ebb and flow. Fauré’s music has a sensual beauty. It is Apollonian in its ideal. It avoids the obvious. Its demands are often virtuoso, but virtuosity for its own sake, in the way that Liszt could relish virtuosity, was light years away from Fauré’s musical world.

program notes © K

Three Nocturnes (2004)

Dinner & Concert Package $45 Per Person Dine at the Sherwood Inn overlooking Skaneateles Lake (choice of one Sherwood Inn Classic entrée) and receive a ticket to that night’s concert. Reservations (315) 685-3405. Must present ad.

PROGRAM NOTES – continued

The Piano Quartet, Fauré’s best-known chamber work, begins purposefully. Its Fauré was an illustrious first theme is assertive, teacher, whose famous confident and modally students included Ravel, flavored; the second, more Enseco, and the legendary questioning and lyrical. Nadia Boulanger. His Then a surprising thing teaching career was cut happens as the central short due to ear trouble development section that resulted in a gradual begins. Fauré transforms loss of hearing. his energetic first theme into something much more dreamy and barcarolle-like. The effect, as the music progresses and we hear both versions, is that the music appears to constantly evolve. The elegant Scherzo is a joy. Gossamer light and constantly flickering in the half-light, it displays Fauré’s deftness of touch to its best advantage. (Pianist Emanuel Ax views the movement as the musical counterpart to 19th century ‘cool’). Fauré’s deep emotions rise to the surface in the great slow movement which is marked throughout by a feeling of profound grief – an example of art mirroring life, perhaps.The Finale returns to the energy of the opening.A powerful, galloping movement, it asserts steely determination and is not afraid to wear its heart on its sleeve. Fauré destroyed an earlier closing movement, as he did most of his sketches.The first public premiere of the work took place in Paris at the Société Nationale on

Festival Fact

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February 14, 1880; the revised version followed April 5, 1884, in both cases with Fauré as pianist.

Einstein on Mercer Street (2002) KEVIN PUTS Kevin Puts writes: “In the summer of 2001, I talked to Fleda Brown about the idea of a project involving a set of poems written especially for use in a musical composition. I had just been asked by Kevin Noe to write something for the Pittsburgh New Music Ensemble, and my idea for a vocal piece was as intriguing to him as it was to me. I have set Brown’s poetry in the past. Fishing With Blood, for soprano and orchestra was written as a sort of “senior project” while I was an undergrad at Eastman, and a couple of years later I set two more poems of hers, Arch and Kitty Hawk for mezzo-soprano and piano. But the idea of a real collaboration from the ground up, so to speak, was a new one.” “The current poet laureate of the state of Delaware, Brown is the author of four books of poetry, which include several poems on historical figures such as painters, artists, writers and the like. She has written on O’Keeffe, Edward Hopper, Chagall, Emily Dickinson, and even Elvis Presley, with humor, poignancy, and beautiful lyricism. I wondered what would be the result if she chose a subject for whom her voice was seemingly at odds. I mentioned Einstein (we were limited to male figures, since Kevin Noe had already raved to me about baritone Timothy Jones and then con-

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Festival Fact

Joanna Manring narrates “Peter & the Wolf” at FamilyFest

PROGRAM NOTES – continued

tracted him for the piece!) and she didn’t seem to respond ized that its musical trajectory ought to be something very at once to the idea. So I left for the American Academy in different than that which a set of nine discrete poems Rome (where I spent a year) and a few weeks later I immediately suggests. Perhaps it’s just that I have become learned that she had read several biographies on Einstein so weary of the song cycle, the kind of piece where you and had almost completed the first draft of a manuscript. sit there in the audience and check off the poems as they We talked by phone about the shape of the go by, praying the next one will be set at a piece and I decided it was best to simply fast tempo! Or maybe it’s my current interlet her write and I would worry about the est in broad, expansive musical forms that Puts was commissioned musical form it would take later. I wanted led me to the belief that Einstein on Mercer by the Ying Quartet to her to be able to publish the poems exactly Street was particularly well-suited to a divicompose Dark Vigil as she saw fit in poetry journals or as part sion into three large parts. I heard the first which is included on of a future collection, and I didn’t want her poem as an introduction in every possible their CD LifeMusic. to feel encumbered by the considerations a way, but I didn’t want to interrupt the composer must make with regard to rhythm, flow of the music before carrying on to pacing and proportion. I do remember saying that I hoped the second poem. I imagined the ends of many of the the audience would get the sense of a large-scale narrative poems spilling into the beginnings of others. So there arch and an almost operatic sense of completion by the are only two breaks. end of the work. While a student at the famous Polytechnic at Zurich, “She gave me the complete set of nine poems a few months Albert Einstein fell in love with the only woman in his later.After playing around with it for several weeks, I realclass, a Serbian named Mileva Maric, who at first was able to keep up with his mind.They talked physics and declared they’d never settle for a bourgeois life.Their first child, Lieserl, was born before Albert decided they could marry.They either gave her away or she died. Nothing is known about her.They had two other children before their Stephen Y.L. Chow divorce. By this time, Mileva had given up her career and had sunk into a severe depression.A few years later, EinSenior Vice President – Wealth Management stein won the Nobel Prize and, even though he was marSenior Portfolio Management Director ried by then to his cousin Elsa, he sent Mileva all the prize 100 Madison Street, 17th Floor, Syracuse, NY 13202 money.Twenty-three years later, after Einstein had become a U.S. citizen and a professor at Princeton University, the Tel 315.448.3305 / 800.234.8133 stephen.y.l.chow@smithbarney.com United States dropped the first atomic bomb on Japan. Fax 315.479.8592 Einstein had nothing to do directly with the development Citigroup Global Markets Inc. of the bomb.”

TONIGHT ’ S CONCERT IS SPONSORED BY:

Friday, August 17 7:00 PM Behind the Scenes 8:00 PM Concert First Presbyterian Church

Carl Schramm & Ellyn Brown and the Ewing Marion Kauffman Foundation Behind the Scenes is sponsored by Jim & Julie Moore and the Fletcher Foundation Jose Franch-Ballester is sponsored by ChaseDesign Ayano Kataoka is sponsored by Verizon Lisa Kim is sponsored by Steve & Linda Chow Kevin Puts is sponsored by Bob & Sally Neumann Astrid Schween is sponsored by the CNY Business Journal David Ying & Elinor Freer are sponsored by Dr. Robert Kiltz & the CNY Fertility Center

Behind the Scenes

A pre-concert talk with composer Kevin Puts KEVIN PUTS

Air (2004) David Ying, cello Elinor Freer, piano

HAYDN

Piano Trio No. 23 in E-flat Major, Hob. XV:10 Allegro moderato Presto

KEVIN PUTS

Maria Schleuning, violin David Ying, cello Nina Ferrigno, piano

And Legions Will Rise (2001) Lisa Kim, violin Jose Franch-Ballester, clarinet Ayano Kataoka, marimba

A Modern Master

INTERMISSION

SHOSTAKOVICH Piano Trio No. 2 in E minor, Op. 67 Andante Allegro non troppo Largo Allegretto

Lisa Kim, violin Astrid Schween, cello Nina Ferrigno, piano

Please join us in welcoming the musicians at a post-concert reception in Dobson Hall.

The Skaneateles Festival is made possible in part by funding from the New York State Council on the Arts.

KEVIN PUTS (b. 1972) Kevin Puts wrote Air in 2000 as one of his Four Airs for flute, clarinet, violin, cello and piano.

Festival Fact

Piano Trio No. 23 in E-Flat Major, Hob. XV: 10 FRANZ JOSEPH HAYDN (1732-1809) Haydn ranked the piano trio highly, close in importance to his symphonies and string quartets. His main output of trios – a group of 13 mature trios from the 1780s, together with a further 15 from the mid 1790s – repre-

Haydn wrote his E flat Trio to order for the London publisher William Forster. It was part of a set of three, two of which were new and the third, a re-working of an earlier Divertimento. Contract with Forster the previous year had led Haydn to write one new work and send two others by his pupil Ignaz Pleyel under his own name – a less than honest business practice. Part of the reason was that Haydn’s main attention had been drawn to the operas, symphonies and trios of a different sort that he had to provide for his main employer, Prince Nikolaus Esterházy. Over the 15 year period before he wrote the E flat Keyboard Trio, Haydn wrote more than 100 baryton trios for the baryton-loving prince (the This piece was performed baryton was a relatively by Bob Weirich (piano), rare bass string instrument Laurie Smukler (violin) that evolved from the and Pamela Frame (cello), baroque viola da gamba). as part of a Skaneateles Indeed, he wrote more Festival Benefit concert than 200 works for on February 28, 1993. baryton in all, for the prince’s private pleasure. He only turned his attention to the piano trio once the public demanded it. By 1780, pirate editions of his earliest piano trios were being

EITH HORNER, 2007

Kevin Puts writes: “Air is a meditation on the uncomplicated beauty Puts has been selected of new beginnings.The as the Bravo! Vail Valley pianist plays a simple Music Festival’s 2007 “short-long” rhythm American Composer-inat the opening and – Residence, and will write with the exception of a new orchestral piece to a cadenza for cello – be premiered there by the the pulse never ceases. New York Philharmonic. Garlands of lyricism and passagework gradually emerge from the opening unison and achieve a rather heroic moment before subsiding back into the peace and calm of inward reflection.The work is dedicated to Lisa Kim.”

sents one of the most accomplished bodies of work in the 18th century.A further dozen or so earlier trios makes a total approaching 45, with two lost and several others of uncertain authorship. Many of these trios for keyboard “with the accompaniment of violin and cello” remain little explored. So tonight’s performance of one of his lesser-known trios is a special treat.

program notes © K

Air (2004)

Festival Fact

A proud and talented “Hyperscore” composer!

PROGRAM NOTES – continued

issued throughout Europe. Publishers, sensing a new market, now asked for rights to new trios from Haydn, and Forster was the first. By the mid 1780s, Haydn began to write a steady stream of piano trios under contract to the Viennese publisher Artaria. About half of Haydn’s trios from the 1780s have just two movements.That is the case with the E flat trio.The piano announces the first movement’s main theme and generally is the busiest of the three instruments throughout.The piano trio was still thought of as a keyboard sonata, with the accompaniment of violin and cello at this time. Nevertheless, Haydn does manage to generate much contrapuntal play among the three instruments out of his assertive opening phrase and it often leads through some highly unusual keys.The scurrying Presto rondo theme is a close relative to the first movement’s theme and again leads to some sparkling exchanges between the instruments.

And Legions Will Rise (2001) KEVIN PUTS Kevin Puts writes: “Composed in the summer of 2001, And Legions Will Rise is about the power in all of us to transcend times of tragedy and personal crisis.While I was writing it, I kept imagining one of

Festival Fact Ayano Kataoka is the first percussionist invited to join Lincoln Center’s Chamber Music Society Two.

those war scenes in blockbuster films, with masses of troops made ready before a great battle. I think we have forces like this inside of us, ready to do battle when we are at our lowest moments.The piece was written at the request of Makoto Nakura and commissioned by the Kobe Shinbun. It was premiered in October 2001 at Matsukata Hall, Kobe, Japan, by Mr. Nakura,Yayoi Toda (violin), and Todd Palmer (clarinet).”

Piano Trio No. 2 in E minor, Op. 67 DMITRI SHOSTAKOVICH (1906-1975) Shostakovich wrote the opening movement of his second piano trio in sorrow. He completed it a month later in anger.The initial incentive to write the music came with the death of a close friend, the music historian Ivan Sollertinsky, in February 1944. Sollertinsky was one of the few intellectuals with whom Shostakovich could have an open conversation, without fear of betrayal. He died from a heart attack at the age of 42.“I cannot express in words all the grief I felt when I received the news of the death of Ivan Ivanovich,” Shostakovich wrote to Sollertinsky’s widow. “Ivan Ivanovich was my closest friend. I owe all my education to him. It will be unbelievably hard for me to live without him… His passing is a bitter blow for me.” Shostakovich immediately began to write a piano trio, under the shadow of both death and the war that raged in Europe. He was building on a Russian tradition of elegiac piano trios. More than a half-century earlier, in 1882,

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Festival Fact

PROGRAM NOTES – continued

Tchaikovsky had written his Trio “to the memory of a The brevity of the second movement throws the desolate dear friend,” the composer and pianist Nikolai Rubinstein. landscape of the third movement into stark relief.A threnOn Tchaikovsky’s death a decade later, the 20-year-old ody for the dead evolves over solemn piano chords and it Rachmaninoff followed with a Trio élégique “in memory progresses, through intense questioning, to resignation. (In of a great artist”. Other Russian composers August 1975, a performance of this slow also followed the tradition. Shostakovich’s movement formed one of the more solemn piece is his second piano trio; he judged moments in the political drama of an earlier trio, written when he was 17, Shostakovich’s civic funeral at the Moscow Shostakovich used his a student work and suppressed it. Conservatory.) personal monogram, which in German notation The opening theme of the trio grows out News of the Nazi atrocities in the death translated into the pitches of the stark, eerie notes that are heard in camps of Europe reached Shostakovich as D, E-flat, C and B, in many harmonics high on the cello A-string.The he began work on the Finale. From reports of his scores. mood is one of quiet grief and loneliness. in the Soviet press, he heard how SS guards Shostakovich’s use of the extreme range made their victims dance on their own of all three instruments adds to a feeling of apprehension. graves. He set out to paint a chilling musical representaThe second movement is a frenzied, rustic dance that tion of these atrocities.The Finale of the trio begins seems to be over before it has begun. Shostakovich wrote abruptly as a Jewish (or Jewish-like) tune appears to take this movement – and the rest of the trio – at a country on the characteristics of both executioner and victim.The estate, a former aristocrat’s home that had been turned ironic twists of the music become ever more convoluted into a composer’s retreat called Ivanovo.This was the first and tortured as the music works towards a frenzied cliof a series of “Houses of Rest and Creativity” that were max. But, again, resignation takes over, as echoes of the opened by the Soviet State, even in wartime.They were a bleak slow movement and the opening of the piano trio perk that artists could expect to receive by toeing – or recur. appearing to toe – the party line. Shostakovich was stimuShostakovich’s second piano trio reflects both the horrors lated by the mix of hothouse creativity and social activities of war and the death of a friend.A haunting, disturbing for his young family that he found at Ivanovo. He played work, it embraces both desolation and anguish. It reaches billiards and soccer there. He composed quickly, in a little out to a universal expression of grief at all human suffering, poultry barn.“I compose with diabolical speed,” he wrote so much so that its timeless qualities have established it as (with characteristic ambivalence) a few weeks after coma major chamber work of the past century. Shostakovich pleting the trio.“It is exhausting, rather unpleasant, and, at himself was the pianist in the premiere of the trio, which the end of the day, you lack any confidence in the results. took place in Leningrad on November 9, 1944. Dmitri But I can’t rid myself of the bad habit.” Tziganov and Sergei Shirinsky from the Beethoven Quartet were the strings, in a program that also included the premiere of Shostakovich’s String Quartet No. 2.

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Kevin Puts on Shostakovich The Shostakovich Trio is one of composer Kevin Puts’ favorite pieces, and we are excited to program it together with his own music. Kevin tells us: “As a lover of harmony above all musical elements, I have always found the chord progression in the third movement to be one of the most haunting in all of music. I also love the odd melodic repetitions and obstinate simplicity in the last movement, his insistence on intentionally repeating motives one too many times! And he was a master of finding profundity and power in simple, direct, almost square ideas. Rarely did he feel the need to “dress things up” in layers of ornamentation, texture, or lavish orchestration. Rather he relied on a presentation of material absolutely without pretense, letting the notes and rhythms speak for themselves.” 25

TONIGHT ’ S CONCERT IS SPONSORED BY:

Saturday, August 18

Michael & Noreen Falcone

7:30 PM Brook Farm (Rain location: Skaneateles High School)

Hugh Keelan is sponsored by Bill & Donna Davis Lisa Kim is sponsored by Steve & Linda Chow Peggy Pearson is sponsored by Don & Chacea Sundman Kevin Puts is sponsored by Bob & Sally Neumann David Ying & Elinor Freer are sponsored by Dr. Robert Kiltz & the CNY Fertility Center

BRITTEN

Sinfonietta, Op. 1 Poco presto ed agitato Variations:Andante lento Tarantella

KEVIN PUTS

Concerto for Oboe and Strings (1997) Peggy Pearson, oboe

I.Vigorous II.Tranquil III. Impetuous INTERMISSION

BARBER

Serenade for Strings, Op. 1 Un poco adagio; Allegro con spirito Andante con moto Dance: Allegro giocoso

BEETHOVEN Symphony No. 1 in C Major, Op. 21

A Modern Master

Adagio molto; Allegro con brio Andante cantabile con moto Menuetto. Allegro molto e vivace Adagio; Allegro molto e vivace

SKANEATELES FESTIVAL ORCHESTRA Hugh Keelan, conductor

Violin I Linda Case, Concertmaster Lisa Kim Jeremy Mastrangelo Sara Mastrangelo Elana Klotz

Cello David Ying Astrid Schween Lindsay Groves Bass Edward Castilano

Bassoon Gregory Quick Lee Goodhew Romm

Violin II Maria Schleuning Janet Ying Tigran Vardanyan Emily Vardanyan

Flute Tabatha Easley Elizabeth Shuhan

Horn Alexander Shuhan Mary Hunt

Oboe John Lathwell Amy Mendillo

Trumpet Barbara Hull John Raschella

Viola Melissa Matson Michael Larco Michael Klotz

The Skaneateles Festival is made possible in part by Onondaga County.

Clarinet Allan Kolsky Jose Franch-Ballester

Timpani Mike Cirmo

esting new arrival since Walton, and I feel we should watch his work very carefully.”

EITH HORNER, 2007

BENJAMIN BRITTEN (1913-1976) Britten originally scored the Sinfonietta for wind Britten was about 5 when he began composing. He would quintet and string quintet. (He later added the option compose before breakfast while attending his first school. of wind quintet plus small string orchestra).The 10 solo By the age of 12 he had already written 6 string quartets instruments was modeled on Schoenberg’s Chamber and 10 sonatas for piano in addition to other piano Symphony No. 1 (1906), which uses a somewhat larger pieces and songs. He already played the piano well and combination of winds and strings. Schoenberg’s economy at the age of 9 took up the viola.The drive to compose, of musical thought also left its mark on Britten, to the although supported by his parents, clearly came from point where the main ideas in all three within and his basic skills as a composer movements derive from the five unified and musician had begun to reveal themFestival Fact motifs heard in the opening of the first selves well before he was introduced movement.The music is economical and the to his first composition teacher, Frank Tonight marks the thought processes compact in this opening Bridge, at the age of 14. Britten wrote Festival’s premiere sonata-form movement. Britten’s outlook the Sinfonietta in 1932 while studying performance of and the ‘feel’ of his music is European (with at the Royal College of Music in London. this piece. none of the insularity expected by the It was not a happy time for the gifted British musical establishment – “What is an English composer.When he submitted the Sinfonietta and other public schoolboy doing writing music of this kind?” an works in the hope of wining a scholarship, he received examiner at his school is alleged to have grumbled). only a consolation prize,“so as not to discourage me in The slow movement, however, has more of the pastoral, composing” he wrote, dryly.The Sinfonietta, however, rhapsodic flavor of English music of the time, with was accepted by music publisher Boosey & Hawkes maybe a lark or two ascending from its pages. It leads, and published as his Op. 1. It was also broadcast by without break, into a whirlwind Tarantella finale. This the BBC and reviewed by the national press. The Times technically brilliant movement further develops the main described its 19 year-old composer favorably and said: themes heard in the first movement. Britten himself “He possesses a power of invention, apart from the was quite pleased with the Sinfonietta. “It is absolutely efficiency with which he handles his material.”A BBC genuine, at any rate,” he said at the time. memo to music staff said:“Mr. Britten is the most inter-

program notes © K

Sinfonietta, Op. 1

PROGRAM NOTES – continued

Concerto for Oboe and Strings (1997) KEVIN PUTS (b.1972) Kevin Puts writes: “My Concerto for Oboe and Festival Fact Strings was commissioned by the National Symphony Oboist Peggy Pearson Orchestra for their has been a regular “Prelude” concert series. It performer at the Festival was premiered in January since 1995. 1997 by oboist Rudolph Vrbski and members of the National Symphony Orchestra at the Kennedy Center,Washington D.C. Scored for solo oboe and either single strings or small orchestra, the piece recalls both the spirit and contrapuntal textures of Bach’s Brandenburg Concertos, particularly the Sixth.The first movement opens with a busy canon between the violins. The chords implied by this canon provide the harmonic material of the entire concerto.The oboe is then added by sustaining certain notes the violins play and simply doubling others. Many of the melodies in the piece are derived in this way, by extracting notes from a busy, grid-like texture. “The second movement places the oboe high atop a bed of quietly undulating strings. Eventually the oboe’s melody is reinforced by the first violin, which all the while maintains the accompanimental motion of the opening.The third movement returns to the bustling activity of the first, this time in A minor.The motion of this final movement is virtually relentless, and several ideas from the first two movements are recalled as the music rushes by.The attentive listener will notice the pervasive sound of augmented harmonies.These are used to create a sense of stasis, or to provide a break in the forward motion of the music.This harmonic color is reflected by the key scheme of the entire piece which comprises the notes of an augmented chord: Movement I: F major. Movement II: D-flat major. Movement III:A minor”

Serenade for Strings, Op. 1 SAMUEL BARBER (1910-1981) Both Britten’s Sinfonietta and Barber’s Serenade are student works. Barber’s Op. 1 preceded Britten’s by just four years. He was 18 when he completed it in December 1928 and in his second year of studies at the Curtis Institute.The

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piece started life as a Serenade for String Quartet and is still performed this way. But the arrangement for string orchestra that Barber made in 1943 by adding a bass part is the more frequently performed of the two. At eight or nine minutes, it is a short work, almost a miniature serenade.When the first performance was given by the ominously named Swastika String Quartet in the spring of 1930, there were four movements. But it was published with three (a finale was cut).The manuscript score deposited at the Library of Congress also includes three movements. Barber was studying with the composer Rosario Scalero at the time of composition. He also sought advice from his uncle, the song composer Sidney Homer. “The energy, strength, virility, mastery of form, definite message, clear thought-out intention, taste, freedom from commonplace – all this is astonishing,” Homer wrote.“It seems as though you are going to skip ‘youth’ and jump into the maelstrom and complexities of a young man.” The conservative, but assured score opens with an introduction in which Barber presents the main ideas of the entire piece. Its chromatic, solemn theme is reflective at first, but more relaxed and sprightly when it appears speeded up as the theme of the Allegro con spirito. The slow movement, for muted strings, returns to the darker mood of the opening and is built around sequences of falling motifs from the introduction.The music reveals Barber’s penchant for drawing a long, sustained melodic line – a technique that would shortly blossom into the well-known Adagio for Strings. The ively Dance finale oscillates between major and minor and brings the Serenade to a good natured, almost himsical conclusion. Much like Britten, Barber was well satisfied with his Op. 1. Almost a decade after completing it, he wrote to a cellist:“It is not a bad piece at all, if I ay say so myself!”

But public concert halls did not exist in Vienna and musicians had to make do with theaters, ballrooms, and recepLUDWIG VAN BEETHOVEN (1770-1827) tion rooms in private palaces.Theaters were the most The symphony was the most prestigious musical genre of conducive to orchestral music. But they were available Beethoven’s day.And when the young composer moved to only the week before Lent, when theatrical productions Vienna “to receive the spirit of Mozart from the hands of were not allowed. So, like Mozart before him, Beethoven Haydn,” as his sponsor Count Waldstein said managed to book one of the two court in his valedictory remarks, memories of theaters – the Burgtheater – for one day, both composers were very much alive Wednesday April 2, 1800. Just one day, mind in Viennese musical circles. Beethoven The Festival’s last perform- you. Just one rehearsal, which was peppered waited seven years before staking his claim by leadership disputes among the 40 to 50 ance of this piece was on to the classical symphonic legacy and he August 19, 2000, with members of the orchestra that Beethoven prepared his offensive with care. By the Hugh Keelan conducting. had engaged – that of the Italian Opera.The beginning of 1800 when he announced program was not for the fainthearted on the First Symphony, he already had many either side of the stage. It included a Mozart symphony, substantial works under his belt.They included the first an aria from Haydn’s Creation, Beethoven’s Septet and his 10 piano sonatas, the Op. 18 string quartets, five string First Piano Concerto.Then came the premiere of the new trios and three piano trios, three sonatas for violin and symphony. Small wonder that the critic from the most two for cello. He had already tested his skills in writing important music magazine of the day, while welcoming for orchestra with the first two piano concertos. He had the subscription concert as “truly the most interesting been drafting a symphony for the past five years, with concert in a long while,” questioned the collective profiother attempts going back even earlier. He was now 30. ciency of the musicians, wondering how even the most Mozart had been dead almost a decade. Haydn, with excellent new composition could be effectively presented whom he had an awkward three-way, student-teacher-rival in these circumstances. Beethoven’s First Symphony marks composer relationship, was inevitably moving towards a cautious, though auspicious, beginning to his symphonic retirement.The time was ripe for a new symphonic voice career. From now on symphonies could no longer pour in Europe’s most important musical centre. off a composer’s conveyor belt. For Beethoven, each subsequent symphony was to become a carefully crafted One immediate problem was that there were few public personal statement of increasing power and vision. concerts in Vienna. Paris and London, on the other hand, had already established traditions of public concert-giving.

Festival Fact

PROGRAM NOTES – continued

Symphony No. 1 in C Major, Op. 21

Opus 1

The Two Peggys… Manring & Pearson… post-concert at Brook Farm

The word “Opus” (“work” in Latin) is used to catalogue a composer’s published pieces. Generally a composer’s first published work will be his/her Opus 1; the lower the opus number, the earlier the work falls in the composer’s output. Tonight we will hear literal or figurative “opus ones” from a variety of composers. Britten’s Sinfonietta is his official Op. 1 and was written at age 19 while he was still a student in London. Barber wrote his Serenade at age 18 also while a student, and it too is his published Op. 1. Both these works show youthful yet clear intentions and foreshadow the composers’ mature voices. Kevin Puts wrote his Oboe Concerto at the ripe old age of 25. Although not by any means his first published work, it displays the energy and relentless driving rhythm of youth. Written at the even more advanced age of 29, Beethoven’s First Symphony took five years to write. It was his first foray into the realm of large orchestral works, and is in essence his symphonic “opus one.” 29

Thursday, August 23

TONIGHT ’ S CONCERT IS SPONSORED BY:

7:00 PM Prelude concert 8:00 PM Concert First Presbyterian Church

The Jupiter String Quartet is sponsored by Mirbeau Gilbert Kalish is sponsored by WRVO Roger Tapping is sponsored by Chris Lego & Jeff Shingleton With additional support from Gilberti, Stinziano, Heintz & Smith

Prelude Concert

Featuring this year’s Robinson Award winner Nina Elhassan RABAUD

Solo de Concours for Clarinet and Piano, Op. 10 Nina Elhassan, clarinet Elinor Freer, piano

BEETHOVEN Duet No. 2, WoO 27 Rondo: Allegretto moderato

Nina Elhassan, clarinet David Ying, cello

BEETHOVEN Trio in B-flat Major, Op. 11 for Piano, Clarinet, and Cello Allegretto:Theme and Variations on Pria ch’io l’impegno

Nina Elhassan, clarinet David Ying, cello Elinor Freer, piano

BRAHMS Sonata in F minor for Viola and Piano, Op. 120, No. 1 Allegro appassionato Andante un poco adagio Allegretto grazioso Vivace

Musical Mentors

MENDELSSOHN

Roger Tapping, viola Gilbert Kalish, piano

String Quartet in F minor, Op. 80 Allegro vivace assai – Presto Allegro assai Adagio Finale: Allegro molto

Jupiter String Quartet Nelson Lee, violin Meg Freivogel, violin Liz Freivogel, viola Daniel McDonough, cello

INTERMISSION

SCHUMANN Quintet for Piano and Strings in E-flat Major, Op. 47 Allegro brillante In modo d’una Marcia. Un poco largamente Scherzo. Molto vivace Allegro ma non troppo

Check us out at www.skanfest.org

Jupiter String Quartet Gilbert Kalish, piano

The

Robinson Award The award will be presented during a special “Prelude Concert” at 7:00 pm on Thursday, August 23.

The Robinson Award is an annual scholarship prize awarded to a young musician who exemplifies the values cherished and embodied by David and Louise Robinson, Festival co-founders. For 26 years, David and Louise opened their hearts and their home to musicians, their families, and the audiences who come to hear them perform.Their lakeside home, Brook Farm, has been a gathering place and rehearsal space for musicians, and the performance venue for the Festival’s outdoor Saturday evening concerts, a tradition Louise has continuted since David’s passing in 2006. Created in 2002, the award is given each year to a young musician whose character, musicianship, and community service reflect the values of David and Louise Robinson – enthusiasm and dedication to music of high quality.

WINNER NINA ELHASSAN

PREVIOUS WINNER – AN UPDATE

This year’s winner is clarinetist, Nina Elhassan, 17, of West Genesee High School. A member of the Syracuse Symphony Youth Orchestra, Nina is also music librarian for the orchestra. Her other musical achievements include being a finalist in the Civic Morning usicals Concerto Competition and performing in the All-State Symphonic Band. Nina excels not only in her musical pursuits, but she also plays varsity soccer and is a member of the National Honor Society, Math League, and Student Government, and is a certified lifeguard. “It is a huge honor to receive this award and to have the opportunity to play with professional musicians. I really enjoy playing chamber music and I am looking forward to working with Elinor Freer and David Ying at the Festival,” said Nina. I am hoping to use the money from the award to help purchase an A-clarinet, which will be needed as I continue my musical studies. I am extremely thankful to my amazing mother and all of my teachers for their love and support.”

Adam Gay, piano, (2002) will be a senior at Cornell University this fall. An economics and management major, he is interning in NYC this summer with Bear Stearns, an investment banking firm. He serves as vice president of Finance for Student Assembly where he assembled a staff to help allocate a $3,000,000 budget for 400 student organizations. He continues to play piano and organ for various churches and events.

– Nina Elhassan

OUR THANKS TO THOSE WHO HAVE CONTRIBUTED TO THE ROBINSON AWARD SINCE ITS INCEPTION. Anonymous Brenton and Mary Bradly Suzanne Weitz Barb Connor

David and Louise Karl and Peggy Robinson Smith Skaneateles Area Diane Walsh and Council for the Arts Dick Pollak Frank and Jan Smith Welch Allyn

Stephanie Cambra, flute, (2003) is a junior at the New England Conservatory of Music in Boston, where she is a member of the NEC Symphony Orchestra and NEC Jordan Winds. She recently participated in the James Pappoutsakis and National Flute Association competitions as well as several master classes.This summer she performed in the Sound Encounters contemporary music workshop in Boston. Matthew Pikarsky, piano, (2004) is a homeschooled graduate of 2004. He is pursuing his baccalaureate degree through online programs in the field of film and cinema. Matt aspires to be a movie director and recently started his own film business, ReelFilm Entertainment. He continues to play the piano as a hobby. Owen Kelley, violin, (2005) will be a junior Economics major at Princeton University this fall. He continues to play the violin with the Princeton University Orchestra. Owen has also remained involved in soccer, playing for the Princeton Men’s Club soccer team. This July he traveled to Kenya to work with children, coaching soccer and spreading awareness of HIV/AIDS. Laura Britton, oboe, (2006) has completed her freshman year at Yale University, where she plays principal oboe and English horn in the Yale Symphony Orchestra, Berkeley College Orchestra, Saybrook College Orchestra, Opera Theater of Yale College, and Bach Society. Laura has performed with the Sinfonietta of the Yale School of Music and recently toured Brazil with the Yale Concert Band.

EITH HORNER, 2007

program notes © K

BRAHMS, MENDELSSOHN, SCHUMANN here was a very close relationship among the three composers on today’s program, Brahms, Mendelssohn, Schumann. In August 1853 when the young Brahms literally arrived on the doorstep of the Düsseldorf home of Robert and Clara Schumann, he was warmly received. Schumann hailed his younger colleague in the musical periodical he published and said it was as though Brahms, with his portfolio of polished compositions, had “sprung like Minerva fully armed from the head of the son of Cronus.”The two composers even collaborated on a sonata.Though Schumann was to die just three years later, Brahms continued to seek advice (and a little TLC) from his widow for the rest of his life. Schumann also frequently supported Mendelssohn’s music in his periodical.“He is the prophet of a glorious future”, he once wrote, comparing the music of Mendelssohn to that of the more popular Meyerbeer. “Mendelssohn’s road leads to happiness, the other (Meyerbeer’s) to evil.” In 1842, at a private play-through of Schumann’s Piano Quintet at the home of Robert and Clara Schumann, Mendelssohn effortlessly sight-read its piano part. Later, Schumann’s success in combining string quartet with piano led Clara Wieck to recommend to Brahms that he rework as a piano quintet one of his own compositions that had been giving him much trouble. That is how the masterly work we know today as the Brahms F minor Piano Quintet, Op. 34 came into being. Like the Schumann Piano Quintet, it is one of the great chamber works of the 19th century.

Sonata in F minor for Viola and Piano, Op. 120, No. 1 JOHANNES BRAHMS (1833-1897) By today’s standards, Brahms thought of retirement relatively early. He was just 57 when he wrote to his publisher:“The time has now come for you to say goodbye to any further compositions of mine.” He drew up a will.With Wagner’s death four years earlier, he was now universally acclaimed as the leading German composer. Honors from many countries, honorary doctorates, and civic awards of all descriptions continued to be showered on him.With fame came pain. Many of his Festival Fact friends had died; he was Brahms developed a close the last living member of friendship with the virtuoso his immediate family.The violinist Joseph Joachim, composers he regarded writing many of his violin highly, including Schuworks specifically for mann and Mendelssohn, Joachim. were long since dead. Musicians were still eager to hear more from the composer whose musical bloodlines reached back through German romanticism and the three great Viennese classical composers to Bach, almost a century and a half earlier. But honorary degrees, medals and elegies to the dead provided no incentive for Brahms to create more.Then, in 1891, on a visit to Meiningen to hear the orchestra, Brahms discovered something new and

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Brahms conceived his F minor and E-flat major sonatas for clarinet but immediately realized that they worked just as well on viola. Indeed, it has been convincingly argued that the viola’s darker, edgier string sound is more suited to probe their fleeting mood changes than the rounder, more burnished sound of the clarinet.The two sonatas are strongly contrasted – like Beethoven before him, Brahms had made a practice of working on two contrasted compositions simultaneously.The First Sonata is the more dramatic of the two and begins with a turbulent Allegro appassionato in F minor, his favorite key for passionate music since his youth. (It was, by way of example, the key of the piano sonata that the 20-year-old Brahms completed while spending a month in the company of a composer he admired above all other living composers, Robert Schumann.) An elegant, dreamy slow movement and more down-to-earth Intermezzo lead into a jubilant, but still businesslike, Finale.The music throughout is compact and concentrated in thought, yet still presents an unhurried, expansive exterior.

Jim Roe, from the Zephyros Winds, lets a young fan take a closer look at his oboe.

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String Quartet in F minor, Op. 80 FELIX MENDELSSOHN (1809-1847) The F minor Quartet by Felix Mendelssohn both opens and closes with anything but a smile. Intense and urgent, its agitated tremolo opening is punctuated only by the suspended agonies of the Festival Fact first violin, often poignantly The music Mendelssohn poised high above the other wrote as a teenager is three strings.This is not the thought to be unparalleled Mendelssohn of the Biederin its perfection. meyer drawing room, the Mendelssohn whose volumes of Songs Without Words were placed – and often played – as ornaments, decorating the pianos of middleclass Europeans.The F minor Quartet is “late period” Mendelssohn. Highly subjective music, it strains at the cnstraints of the medium of the string quartet itself. In May 1847, Mendelssohn heard of the death of his 41-yearold sister Fanny, with whom he had maintained a close and productive relationship since childhood. She collapsed while rehearsing her brother’s music. Mendelssohn was devastated. He, too, collapsed on the spot. He was so distraught that he was unable to attend her funeral.“I cannot think of work, or even music, without feeling the most intense emptiness and barrenness of mind and heart,” he wrote. His wife, Cécile, arranged for him to take the waters at Baden-Baden. His insomnia continued. In Switzerland, he found some relief.“I force myself to be industrious, in the hope that later on I may feel like working and enjoying it,” he wrote in July to his younger sister Rebecca. By September, the F minor Quartet was complete.

PROGRAM NOTES – continued

stimulating in the playing of the court clarinetist Richard Mühlfeld. He wrote the beautiful, autumnal Clarinet Quintet and Clarinet Trio for him during the summer.That might have been the end of it was it not for the fact that three years later, in the spring of 1894, Brahms again heard Mühlfeld.This time the musical fallout was a pair of sonatas that not only provided clarinetists with two of the finest works in the repertoire, but also provided viola players with the very first substantial works for their instrument.

Structurally, Mendelssohn looks back to the classical sonata form of Beethoven in his middle period. But Mendelssohn’s attention is focused on emotion and passion rather than musical form. By the end of the opening movement, after an increasingly intense coda, the anger and fury in the music has not abated. In the second movement, Mendelssohn presses on urgently with more music in the dark, foreboding key of F minor.The movement is a scherzo, but it has none of the lightness and grace of the famous scherzos of the Octet and A Midsummer Night’s Dream. Here, all is sardonic and angry.The biting harmonies are prescient of the scherzos of Mahler. Economy of means is again a hallmark in the slow movement and little respite is offered. In the finale, the music turns back to F minor with a vengeance.The restlessness of the opening movement returns.Again, Mendelssohn works with fragments and motifs rather than full-blown melodies.The anguish and drive continue relentlessly to the end. Mendelssohn does not give himself – or the listener – the consolation of a subdued close.The work ends angrily, despairingly, leaving the listener emotionally drained. A few weeks after he completed the quartet, on October 3, 1847, Mendelssohn wrote:“Now I must gradually begin to put my life and my work together again, with the awareness that Fanny is no longer there; and it leaves 33

PROGRAM NOTES – continued

such a bitter taste that I still cannot see my way clearly or find any peace.” Mendelssohn himself was to die just one month later, November 4, 1847, at the age of 38.

Quintet for Piano and Strings in E-flat Major, Op. 47 ROBERT SCHUMANN (1810-1856) Schumann was the first to combine the medium of the string quartet – a medium he had just begun to explore – with the piano, an instrument that was seldom absent from his compositions. 1842 was the year of chamber music for Schumann.After writing his three string quartets in just five weeks in the spring, his health collapsed. So he spent part of the summer together with Clara, touring Bohemian spas in search of a cure. Rejuvenated, he sketched out the music of his Piano Quintet in just five days.Two weeks later, on October 12, the full score was completed. Many revisions followed, including dropping the idea of a fifth movement. But with the final version of the work, and the clarity of its form, Schumann was to achieve a success with the public that all too frequently eluded him. It is a highly unified work in which the various themes reappear and are transformed with the changing moods. During the course of the first movement, the brilliant opening theme is heard in several transformations, both turbulent and dreamy.Another rather startling transformation comes in the second movement when the stormy, intensely romantic central section evolves out of the

solemn tread of the surrounding funeral march. Similarly, in the Scherzo third movement, after making brilliant play out of what would be to another composer plain old scales, Schumann derives the theme of its first trio section from the inverted main theme of the opening movement. The crowning point of this contrapuntal mastery comes towards the end of the Finale as the main theme of the movement is combined with the opening theme of the quintet as a double fugue, in 50 radiant, virtuoso measures. Throughout the Piano Quintet, Schumann strikes a wonderful balance in his piano writing between the virtuosity of the piano concerto and the intimacy of chamber music. Schumann was fond of The quintet was dedicated personifying his friends to Clara Wieck, who gave through musical notes. hundreds of performances His first opus was a set of the work in both public of variations on the notes and private settings. She ABEGG, spelling the gave the very first private name of Countess Meta performance at the Leipzig von Abegg, to whom he home she shared with was poetically attached. Robert one month after the ink was dry. Early in January 1843, the Quintet received its public premiere at the Leipzig Gewandhaus, with Clara as pianist. It has never left the repertoire.

Festival Fact

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Doubt, a Parable Feb. 13 – Mar. 2

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The Bomb-itty of Errors

Misery Oct. 24 – Nov. 11

mar. 12 – apr. 12

Fiddler on the Roof*

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Friday, August 24

TONIGHT ’ S CONCERT IS SPONSORED BY:

7:00 PM Behind the Scenes 8:00 PM Concert First Presbyterian Church

Behind the Scenes is sponsored by Jim & Julie Moore and the Fletcher Foundation The Jupiter String Quartet is sponsored by Mirbeau Gilbert Kalish is sponsored by WRVO Conrad Tao is sponsored by David & Jean Graham Roger Tapping is sponsored by Chris Lego & Jeff Shingleton

Behind the Scenes –Musical Mentors A pre-concert talk with Gilbert Kalish, Roger Tapping, the Jupiter String Quartet, and Conrad Tao

BEETHOVEN Bagatelles, Op. 119 Gilbert Kalish, piano Allegretto Andante con moto à l’Allemande Andante cantabile Risoluto Andante; Allegretto leggiermente Allegro ma non troppo Moderato cantabile Vivace moderato Allegramente Andante ma non troppo

HAYDN

String Quartet in C Major, Op. 20, No. 2 (Hob. III:32)

Musical Mentors

Moderato Adagio Menuetto. Allegretto Fuga a 4 Soggetti. Allegro

Jupiter String Quartet Nelson Lee, violin Meg Freivogel, violin Liz Freivogel, viola Daniel McDonough, cello

INTERMISSION

MOZART String Quintet in G minor, K. 516 Allegro Minuetto. Allegretto Adagio ma non troppo Adagio; Allegro

Jupiter String Quartet Roger Tapping, viola

Please join us in welcoming the musicians at a post-concert reception in Dobson Hall.

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some of which Beethoven copied out by hand, rather than Haydn himself, that the “spirit” and musical tradition was passed from composer to composer.

Bagatelles, Op. 119

EITH HORNER, 2007

LUDWIG VAN BEETHOVEN (1770-1827) Schubert wrote Moments musicals, Mendelssohn wrote Songs Without Words, Grieg wrote Lyric Pieces. Countless romantic composers penned what they called “Album Leaves” (Albumblätter). All these are essentially the same thing: short character pieces that follow a mood, Festival Fact a melody or a particular inspiration. Before them, From 1980 through this evening’s concert, 86 however, Beethoven wrote different works by bagatelles. These, too, are Beethoven have been short, usually lighthearted performed at the Festival. pieces and he viewed them as occasional pieces, almost aphorisms. In spirit, they are the direct ancestors of the hugely popular 19th century character piece. Beethoven wrote 26 Bagatelles in all, with the best known being the A minor Bagatelle subtitled Für Elise. Most of his Bagatelles are grouped into sets.The middle set includes the 11 that are to be played today. He called this set Kleinigkeiten, which means, literally,“little things” or “trifles.” Still, being Beethoven, there is more to be found in his occasional music than there is in many

program notes © K

BEETHOVEN, HAYDN, AND MOZART he three pillars of Viennese classicism, had an interesting and often complex relationship. Mozart looked to Haydn, the senior composer of the three, as a mentor. In the early 1780s, when Haydn pushed string quartet writing in directions it had never before gone, Mozart knew he had to rise to the challenge and match Haydn’s supreme mastery of four-part writing and his ability to develop a fragment of a theme to its full potential.Three years later, in a famous dedication to Haydn, Mozart said that his own new set of quartets was “the fruit of a long and laborious endeavor.” Haydn returned the compliment by saying to Mozart’s father after hearing a performance of one of the quartets:“I tell you that your son is the greatest composer known to me either in person or by name.” Beethoven’s relationship with Haydn – and everyone he came into contact with, for that matter – was a little more complex. His friend and sponsor Count Waldstein had sent him from his hometown of Bonn in 1792 “to receive the spirit of [the recently dead] Mozart at the hands of Haydn.” Haydn was generous in his openness, though Beethoven took his critique of his own C minor Piano Trio (Op. 1) as jealousy and was less than generous with the truth in other matters. Haydn recognized an unbridgeable generation gap and difference of political and social beliefs between the two of them and, not unkindly, referred to Beethoven as “our Grand Mogul.” In reality, it was through Haydn’s music,

PROGRAM NOTES – continued

another composer’s carefully pondered and grandly titled utterances.Whether it is the longest of the collection at 74 measures (No. 1), or the shortest, at just 13 measures (No. 10), Beethoven’s invention becomes focused on the task in hand.What makes the collection hang together is Beethoven’s knack for making each piece stand alone and sound whole.

String Quartet in C, Op. 20, No. 2 (Hob. III:32)

FRANZ JOSEPH HAYDN (1732-1809) Haydn wrote his six Op. 20 quartets in 1772 when he was 40 years old.They contain some of his finest chamber music, a fact recognized by both his contemporaries Festival Fact and the composer himself. Haydn has been called With Op. 20, Haydn reached “The Father of the true mastery of the form. String Quartet.” This is music designed to move and stir the emotions, rather than merely please and entertain. It has been said that even if Haydn had written nothing after the six quartets we now know as Op. 20, these alone would have earned him an important place in 18th century musical -)2"%!5?!$?3KANEATELES?&ESTIVAL PDF !history. Haydn is known to have made many sketches for the entire collection of quartets before arriving at the score we will hear today.

Like its companion quartets, the C major is called a Divertimenti a quattro in the composer’s original manuscript. But this is no easy-going divertimento.The sonorous cello solos at the opening of its first two movements not only show independence but also a striving for new harmonic effect.The first of these melodies, moreover, introduces a passage of what amounts to triple invertible counterpoint – a musical version of Sudoku that is to permeate the entire quartet.The slow movement, too, strives for dramatic impact, with recitative-like passages that resolve into a melting arioso melody.This movement is straight out of the opera house and full of the gestures of the recitative and aria. It leads into a wonderful minuet, rich in allusions to folk dances.The Finale bustles with fragments of themes busily passing from one voice to another. “Fuga a 4 soggetti,” Haydn proudly titles his fugue with four themes, which is played sotto voce until its concluding burst of exuberance. When the Op. 20 collection was first printed in Berlin, the publisher put the emblem of a rising sun on the front cover – and this is why they have been known as the Sun quartets ever since. Mozart admired the collection. Beethoven copied them out to better understand their craft.And, at the end of the 19th century, Brahms owned the original manuscripts, which he donated to the Vienna Gesellschaft der Musikfreunde, where they remain to this day.

“Yet none of my acquaintances could say that in company I am morose or disgruntled.”

WOLFGANG AMADEUS MOZART (1756-1791) The first movement is unremittingly despairing and, After wrestling with the challenges of his six “Haydn” exceptionally, in the minor key from beginning to end. Its quartets during the years 1782-86, Mozart turned next to first theme is made up of understated, often fragmented the string quintet. He found that the medium of string sighs and gasps, urgent and poignant in tone.The key of G quartet plus a second viola opened up an altogether new minor had special meaning for Mozart and tonal palette. It gave him an opportunity to the poignancy of the G minor Symphony work on a broader canvas, with new sonoriFestival Fact often comes to mind.There is no let-up in ties and greater opportunity for contrapuntal the emotional intensity when the second interplay among the instruments. Given the Mozart’s baptized name theme appears. Still in the minor, it has a ancestry of the string quintet in the genre of in full was Johannes pleading, yearning character and the wide Chrysostomus Wolfgangus serenade, divertimento and cassation, he also leaps of a minor ninth add an especially Theophilus Mozart. had the opportunity of thinking on a more anguished edge to the discourse.The minor symphonic scale. key minuet, with its off-beat stabs of pain and winding, Mozart took this opportunity and ran with it.The musicoldarkly chromatic theme, invites little dancing. Its trio, in ogist Hans Keller, who loved to stimulate the listener into the major key, offers some consolation. It is a brief glimpse listening afresh to a piece of music by making a provocaof light, however, before the slow movement, with its tive statement, had something interesting to say about the muted strings, internalizes the music ever more.The mood K. 515, K. 516 and K. 593 quintets.“They are the greatest is now poised on a knife edge, the main theme fragmented. and most original string quintets in existence and the Some relief comes with two subsequent themes, but the greatest and most original symphonic structures of music continues to hover precariously close to the Mozart, chamber-musical or otherwise.” It’s hard to disprecipice throughout. agree.The G minor Quintet, K. 516 is the darkest of the Mozart seems reluctant to journey further and the introthree.The duality in Mozart’s personal life is mirrored duction to the Finale keeps us poised anxiously.The first in the duality of its music.“I never lie down at night withviolin sustains a heart-rending melody, while the other out reflecting that – young, as I am – I may not live to see strings sob and protest. Suddenly the music turns a corner another day,” Mozart wrote to his dying father at this time. and all is bright and light.The cumulative tension is lifted and, in a display of brilliance, the quintet turns its back on some of the darkest pages to come from Mozart’s pen.

PROGRAM NOTES – continued

String Quintet in G minor, K. 516

Passing It On The Festival thanks the Skaneateles Area Council for the Arts for commissioning the portrait of David Robinson This portrait, painted by David’s daughter Margaret Manring, will be displayed in Skaneateles the Skaneateles Library hung in the Library Hall, Hall, the original performance the original performance space space the Skaneateles Festival. of the of Skaneateles Festival. David Robinson co-founded the Skaneateles Festival and was a beloved presence at all of our concerts until his passing in 2006.

Everyone owes much to the teachers who have influenced and educated them, but musicians owe a special debt to their mentors. Even in this day and age of hi-tech learning, music remains best taught and received one-on-one, the old fashioned way. Leading the way this week, pianist Gil Kalish has mentored a generation of chamber musicians, including our own artistic director team! And the outstanding young Jupiter Quartet counts the distinguished violist Roger Tapping among its role models. Composers, too, learn from one another. Imagine Haydn and Mozart playing string quartets together, as legend tells us, sharing their latest writing with each other. Schumann and Brahms had a famously close relationship and clearly admired each other’s work. We honor the musical teacher/student connection with this week of special concerts. 39

Saturday, August 25

TONIGHT ’ S CONCERT IS SPONSORED BY:

7:30 PM Brook Farm (Rain location: Skaneateles High School)

Conrad Tao is sponsored by David & Jean Graham Hugh Keelan is sponsored by Bill & Donna Davis David Ying is sponsored by Dr. Robert Kiltz & the CNY Fertility Center

GLUCK

Overture to Iphigénia en Aulide

MOZART Piano Concerto No. 21 in C Major, K. 467 Allegro maestoso Andante Allegro vivace assai

Conrad Tao, piano

Original Cadenzas by Conrad Tao INTERMISSION

IBERT Hommage à Mozart Rondo

HAYDN

Symphony No. 86 in D Major

Musical Mentors

Adagio - Allegro spiritoso Capriccio. Largo Menuet. Allegretto Finale. Allegro con spirito

SKANEATELES FESTIVAL ORCHESTRA Hugh Keelan, conductor

Violin I Jeremy Mastrangelo, Concertmaster Heather Fais Ainur Zabenova David Leung Christine Hauptly Violin II Rebecca Ansel Janet Milnes Elana Klotz Alyssa Blount Viola Melissa Matson Phillip Ying Jason Sah

Cello David Ying Lindsay Groves Keiko Forrey

Bassoon Gregory Quick Lee Goodhew Romm

Bass Edward Castilano

Horn Alexander Shuhan Mary Hunt

Flute Hye Sung Choe Elizabeth Shuhan

Trumpet Kim Dunnick Jane Dunnick

Oboe John Lathwell Amy Mendillo

Timpani John Allis

Clarinet Allan Kolsky Victoria Bullock

The Skaneateles Festival is made possible in part by funding from the New York State Council on the Arts.

Piano Concerto No. 21 in C Major, K. 467 WOLFGANG AMADEUS MOZART (1756-1791) On June 8, 1781, with one kick in the pants from Oberküchenmeister Arco, Mozart quit a secure court position and went freelance. Behind him was a social position that put him somewhere between the court valets and the cooks.Ahead of him, away from the provincialism and petty officialdom of Salzburg, lay the bright lights of the imperial capital of Vienna.Vienna in the 1780s was the musical capital of Europe. From his elegant apartment in the Domgasse (which you can go and see to this day), Mozart threw himself into the social whirl. In Vienna, Mozart landed on his feet, running! For a few years, he was in tune with what the public needed and moved easily in fashionable circles. His name was on everyone’s lips and his success can only be described as spectacular.

EITH HORNER, 2007

CHRISTOPH WILLIBALD GLUCK (1714-1787) In his opera Iphigénia en Aulide, first performed in Festival Fact Paris in April 1774, Gluck was determined to make Gluck taught singing and harpsichord to Marie its overture reflect the Antoinette. drama that is about to unfold.An overture, he said,“ought to apprise the audience of the nature of the action that is to be represented and to form, so to speak, its argument.” Before the early 1770s, the majority of overtures were stand alone pieces – and that was the case with the rest of the operas, which generally consisted of strings of set numbers, loosely linked by simple recitative. Being in the vanguard of 18th century opera reform, Gluck had stronger ideas about dramatic and musical unity within an opera. His overture to Iphigénia, famously, runs straight into the action of the opera, with no break for the curtain to rise, or for latecomers to be seated. Its music foreshadows the widely contrasting emotions found in his three-act tragedy, after Euripides. Wagner, who staged revivals of a number of Gluck’s operas, described its solemn opening as “a motive of appeal from painful gnawing heart sorrow.” He called the second theme “a motive of violence, of commanding, overbearing demand.” It is followed by “a motive of grace, of maidenly tenderness” and, finally, by “a motive of

painful, tormenting pity.”Wagner also solved the problem of what to do when the overture – left by Gluck without a ‘real’ ending – is played in concert.The ending he composed brings back the music of Gluck’s quiet opening and, with it, feelings of the tragedy ahead. In the late 18th century, not long after the premiere of the opera, an unknown composer also wrote a concert ending to Iphigénie. It is more upbeat in mood and it is referred to in a musical novel called Hildegarde von Hohental, published in 1795.This ending was long attributed to Mozart and is the version to be played today.

program notes © K

Overture to Iphigénia en Aulide

PROGRAM NOTES – continued

Mozart realized right away that the piano concerto could provide the means to support himself and his family. He advertised each new concerto he wrote. He raised subscriptions for concerts featuring the new concertos.The Viennese were hungry for new music. In 1784 he began to write an astonishing sequence of piano concertos.There were six in 1784 and three for each of the next two years. Today’s concerto dates from the frenetic period when the newly married Mozart entertained his visiting father, gave countless concerts and continued to teach. Completed March 9, 1785, the work was written during a 27-day period. Its cheerful first movement is based almost entirely on the march-like theme with which it opens, reflecting something of the humor of the opera Don Giovanni, which lay three years in the future.With the scene of an opera buffa set in the first movement, the slow movement – one of Mozart’s most famous and eloquent – offers one of its loveliest arias to reflect on. (Swedish director Bo Widerberg thought so, too, when he built his romantic 1967 movie Elvira Madigan around the music of this movement.) The Finale is back in the world of the opera buffa, with the piano providing much of the high-spirited humor.

Hommage à Mozart JACQUES IBERT (1890-1962) Ibert was born and died in Paris and was French to the core. He was an elegant man by all accounts, sophisticated, well-traveled, and suave. Gallic wit, elegance and virtuosity are hallmarks of his popular Trois pièces brèves for wind

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quintet and the orchestral Divertissement, both from 1930. Ibert was a prolific composer who tackled most of the established musical forms. His style is hard to pin down as he consciously sought to open himself to all influences.“All systems are valid,” he said,“provided Ibert’s symphonic suite that one derives music Escales (Ports of Call) from them.” His music was inspired by a Mediterranean cruise shows characteristically he took while serving French traits of technical in the Navy. polish and clarity of style – qualities he shares with Mozart. His short Hommage to a composer he admired greatly was written in 1956 to a commission by French Radio, RDF, to mark the bicentennial of Mozart’s birth. Its upbeat, elegantly crafted score breathes the spirit of Mozart while preserving the composer’s distinctive wit and piquancy.

Festival Fact

Symphony No. 86 in D Major FRANZ JOSEPH HAYDN (1732-1809) Haydn was among the last of the great composers to be tied down to life at court. By 1785, the year he wrote this symphony, Mozart, his younger colleague and friend, had already quit the Salzburg court he found so restrictive and tried his hand as a freelance composer in Vienna. After enviable early success, Mozart soon ran up against the fickleness of the market place. Haydn, on the other hand,

In 1785, Paris was familiar with a number of his symphonies – and many more that were sold, falsely, under his name by publishing pirates. Six new symphonies were commissioned by an aristocrat, the Count d’Ogny, for a concert series founded by a leading group of liberal Freemasons.This was the Concert de la Loge Olympique, a prominent organization with a large orchestra of 40 violins and 10 double basses at the time, all dressed in bright blue coats, with swords at their side.The fee they offered for the prestige of having a new set of symphonies from the famous composer was unprecedented. Haydn was to receive 25 louis d’or for each of the six symphonies, plus five more gold coins for publication rights.This was five times the amount they usually paid for a symphony and was calculated (a few years ago) to be the equivalent of $60,000 per symphony.This – together with Haydn’s well-paid concerts in London a few years later – was

about as good as it got for the modest, hardworking composer, whose day job was Kapellmeister of the Esterházy household, not far from Vienna. The D major Symphony was one of the first of the six Paris symphonies to be written and is generally regarded as the best of a fine set.A leisurely introduction gradually focuses attention towards the grandeur of the opening movement, resonant with trumpets and drums.The second movement is not as capricious as its title, Capriccio, may lead us to believe; its main theme is, in fact, closely derived from the very opening of the first movement.The movement does have elements of an improvisation and its mood, though solemn at times, is hard to pin down.Then comes an ebullient minuet with a delightful waltz-like trio section that could have come from the pen of one of the Strausses.The finale again resounds with trumpets and drums, not to mention a wind section larger than Haydn had at his disposal in Eisenstadt. It cumulatively builds in energy, spiked with some strikingly bold harmonies.

PROGRAM NOTES – continued

with the security of a court salary behind him and with music-loving employers interested in what he wrote, was relatively free to experiment as he wished. He said that isolation from the mainstream “forced me to become original.” He was also allowed some latitude in getting his music published and showed real entrepreneurial flair in this murky area. Because he already had a catalog of highly original symphonies to his name, Haydn now had a European-wide following. His music was published in several countries.And the music-loving public was keen to hear the latest offering from his pen.

Honoring Mozart This evening honors Mozart and his vast influence on his own and future generations. Gluck wrote the opera “Iphigenia in Aulis,” that includes what was to become a very popular overture. However, since the overture led directly into the opera, it was impossible to perform as a stand-alone piece. Mozart, who was enraptured with Gluck’s opera, reportedly composed an ending so that it could be performed by itself. This is the version you will hear tonight. We combine that work with Mozart’s sublime Piano Concerto, K. 467, and a piece by French composer Jacques Ibert that evokes the spirit of Mozart while retaining Ibert’s characteristically French effervescence and sparkle. The concert closes with Haydn’s spirited Symphony No. 86, written by a composer that had a close relationship with Mozart and the utmost respect and admiration for his music.

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315-685-7733

Wednesday, August 29

TONIGHT ’ S EVENT IS SPONSORED BY:

7:00 - 9:00 PM Reservations Required With additional support from: Bill & Donna Davis, Pascale’s, Michele Gardner,

Bluewater Grill, Creekside Books & Coffee, Fins and Tails, Joelle’s French Bistro, Valentine’s

Special Event

e l t s t i & Fid V , s a dles l l i V

At the beautiful lakeside home of

Bill and Donna Davis Gorgeous homes, gourmet food and great music – it just doesn’t get any better than this. Be a part of our newest event and enjoy all the pleasures of the Skaneateles Festival. Join friends for an unforgettable evening of gourmet food & drink, camaraderie, and beautiful music.

Bon Appetit

You will be treated to a sampling of delightful chamber music as you enjoy the magical ambiance of the Festival. For more information visit www.skanfest.org or call 315.685.7418. (Order early – Capacity is limited.)

The Skaneateles Festival is made possible in part by Onondaga County.

Hiscock & Barclay, LLP

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Festival Foods Join us in creating a Festival Cookbook!

Since the beginning of the Festival many individuals have generously prepared amazing snacks and meals for our wonderful musicians. We wish to celebrate this hard work and dedication by putting together a collection of Festival Foods. This cookbook, beautifully illustrated and bound, is sure to be treasured for years. You are invited to submit up to 4 of your favorite recipes. Your name will be printed with each of your recipes. To submit recipes online, go to ww.skanfest.org and click on “Cookbook” or pick up a submission form at the concession table. All recipes should be submitted by August 15, 2007.

Proceeds from the sale of the cookbook will help fund future seasons of the Skaneateles Festival, a 501(c)(3) non-profit organization.

Thursday, August 30

TONIGHT ’ S CONCERT IS SPONSORED BY:

Bill & Gwen Birchenough and Dave Birchenough & Carrie Lazarus

8:00 PM First Presbyterian Church

Mark Fewer is sponsored by Cybersolvers Curtis Macomber is sponsored by the Gladys Krieble Delmas Foundation Jon Manasse is sponsored by Michael P. Falcone John Novacek is sponsored by the Skaneateles Press David Ying & Elinor Freer are sponsored by Dr. Robert Kiltz & the CNY Fertility Center

COLE PORTER The Tale of the Oyster BERNSTEIN From La bonne cuisine: Four Recipes for Voice and Piano Queues de boeuf (Oxtails) Civet à toute vitesse (Rabbit at Top Speed)

SCHUBERT

Die Forelle (The Trout)

SCHUMANN Vom Schlaraffenland (Cloud Cuckoo Land), Op. 79, No. 5 Kathryn Cowdrick, mezzo-soprano Elinor Freer, piano

BEETHOVEN Trio in B-flat for Clarinet, Cello and Piano, Op. 11 Allegro con brio Adagio Allegretto:Theme and Variations on Pria ch’io l’impegno”

Jon Manasse, clarinet David Ying, cello Elinor Freer, piano

INTERMISSION

Bon Appetit

SATIE

Trois morceaux en forme de poire (Three Pieces in the Shape of a Pear) Manière de Commencement Prolongation du même Morceau I. Lentement Morceau II. Enlevé Morceau III. Brutal En plus Redite

Elinor Freer and John Novacek, piano

PAUL SCHOENFIELD Café Music Allegro con fuoco Andante moderato Presto

Check us out at www.skanfest.org

Mark Fewer, violin David Ying, cello John Novacek, piano

Tonight’s concert appetizers begin with a cautionary tale of an upwardly mobile oyster. Cole Porter first wrote both words and music for “The Tale of the Oyster” for a society charity revue on the Venice Lido in the 1920s. Later, he included it in his 1929 musical Fifty Million Frenchmen, but promptly dropped it when a New York reviewer failed to see the humor in the adventures of his bivalve.The reviewer also failed to spot a great parody of a German lied.

Festival Fact

Robert Schumann made his setting of Hoffmann’s Vom Schlaraffenland (Cloud cuckoo land) in 1849. It was a time of revolution in Dresden, where he was living with his family. Clara Schumann, his wife, wrote to a friend: “Just when everyone thought he [Robert] would be breaking out into the most terrifying battle symphonies, there he is writing dear peaceful little songs.” Schumann’s Song Album for the Young, Op. 79 was a sequel to his piano Album for the Young of the previous year. It includes several settings of the political poet Hoffmann von Fallersleben (1798-1874), whose writings had done much to prepare the way for the Dresden insurrectionists. Hoffmann was also an expert on children’s literature. But his poem Vom Schlaraffenland is a social satire about that unreachable land of plenty that politicians are always promising.To Schumann, already showing signs of enter-

EITH HORNER, 2007

Leonard Bernstein was still in his 20s when curiosity drove him to buy a secondBernstein’s televised hand copy of a 19th censeries Young People’s Concerts with the New tury French cookbook. It York Philharmonic ran was Émile Dumont’s La from 1958 to 1972, bonne cuisine française, introducing an entire one of those bibles of the generation to the joys kitchen that went through of classical music. many reprintings and editions. Bernstein made his own translation of the four short songs he titled La bonne cuisine. In Queues de boeuf (Oxtails), Bernstein’s slithering piano accompaniment nicely captures the texture of this questionable delicacy. Civet à toute vitesse (Rabbit at Top Speed) has both singer and pianist dashing around the kitchen taking apart a rabbit and adding a bottle and a half of claret to the recipe.

On to the fish course now.And on to one of the best known and greatest of Franz Schubert’s songs, Die Forelle (The Trout), first published in a magazine supplement in 1820.The text is by the similarly named poet and composer Christian Friedrich Schubart (1739-1791). Schubert showed the better instinct of the two by omitting the last stanza and moral of the song – a warning to young women to avoid fishy young men. Instead, his masterly song becomes a simple, folk-like tale of a trout darting about in a stream until it is cruelly caught by an unfeeling angler.The rest of this course, Schubert’s Piano Quintet known as The Trout, will be served tomorrow evening.

First Sitting

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comer to chamber music and Beethoven’s trio something of a novelty when he combined clarinet with cello (unlike Mozart’s viola) and piano.The Clarinet Trio was generally well-received by the public and the critics. It is, in fact, one of his most polished earlier compositions.The first movement is bright and breezy and bursting with musical ideas.The slow movement shares a wealth of melodic writing generously between clarinet and cello.The Finale takes Weigl’s song – which had by then become a pop tune of the day – and turns it into a set of nine entertaining variations, plus coda.

Second Sitting David Ying & friends at a FamilyFest concert ing his own version of cloud cuckoo land, Hoffmann’s poem was simply a tale about cakes and buttered buns. And now to the main course. Beethoven’s Trio in B-flat for Clarinet, Cello and Piano, Op. 11 is sometimes known as the Gassenhauer or Street Song Trio because of its attractive, last-movement variations on a perky little popular tune of the day. Its nickname certainly underscores the fact that Beethoven’s only trio for clarinet, cello and piano is designed to please and to entertain.The tune of the variations comes from a comic opera titled L’amor marinaro (The Corsair) by Joseph Weigl (1766-1846) – a composer of many works, whose father was a cellist in Haydn’s orchestra.Titled Pria ch’io L’impegno (Before What I Intended), the song is said to have humorous lyrics stating that, before starting to do anything important, one must eat! When he wrote the trio, in the late 1790s, the young Beethoven was successfully making a name as a piano virtuoso and improviser in aristocratic Viennese circles. His rivals produced music of little consequence. Mozart had died a few years earlier, in 1791. By 1797, Beethoven’s genius was recognized. He played regularly for the Liechensteins, the Van Swietens, the Brownes Beethoven’s Trio in B-flat, and the Scharzenbergs. for Clarinet, Cello and He was given rooms in Piano, Op.11 was perthe palace of Prince Karl formed at the Festival in 1987 and again in 1991. Lichnovsky. Some of these aristocratic families kept full orchestras. Several of them followed the lead of the Imperial court and maintained a small group of wind instruments.This was known as a harmonie band. And it became all the rage in Vienna and beyond.

Festival Fact

So, with many fine wind instrumentalists around, it’s not surprising that Beethoven was tempted to combine wind instruments with his own instrument, the piano, in a handful of chamber music compositions. Mozart provided the lead for Beethoven’s Quintet for piano and winds with his own E-flat Quintet, K. 452.And then in 1786, Mozart again led the way with a clarinet trio, the so-called Kegelstatt Trio, K. 498.The clarinet itself was still a relative new-

“Everyone will tell you I am not a musician – and that is true,” Erik Satie once said, thereby prolonging a myth which to some extent endures. By cultivating the image of the dilettante through his choice of bizarre titles and by his determination to examine and re-examine every aspect of his life and art, Satie made it difficult to appreciate his true originality. His Trois morceaux en forme de poire (Three Pieces in the Shape of a Pear) is one of his finest and most-performed Despite its summer-soundpieces. Its origins lie ing title, Satie’s Le Tennis in some lessons at the from Sports et divertisseConservatoire that his ments was performed at friend Debussy encouraged A Christmas Suite in 1997. him to attend. Someone, perhaps the instructor Ernest Guiraud, criticized Satie’s music for its formlessness. Satie’s characteristically defensive response was to turn up at the next class with a set of pieces with a less-thanacademic title.The ‘pear’ of the title was also Parisian slang for a ‘mug’, ie. someone (Guiraud, presumably) who could easily be taken in.According to the composer Henri Büsser who was there, Satie never again set foot in the Conservatoire. His Trois morceaux are, in fact, seven pieces in all.The manner of the music is ironic. It sways between the seductively gentle, religious side of Satie’s complex personality and the more raucous Montmartre cabaret side. At moments the listener is drawn closer and closer into the music of a composer Debussy once described as “a gentle medieval musician who has strayed into this century.” Then we are mocked and taunted by the irony of the cabaret music.

Festival Fact

American composer Paul Schoenfield is a musical omnivore. Early 20th century American,Viennese, light classical, gypsy, and Broadway – it’s all present in the 1987 highly caffeinated piano trio he titled Café Music. He thought of the piece while sitting – in for a pianist one night at Murray’s Restaurant in Minneapolis, Minnesota. Schoenfield writes:“Murray’s employs a house trio which plays entertaining dinner music in a wide variety of styles. My intention was to write a kind of high-class dinner music – music which could be played at a restaurant, but might also (just barely) find its way into a concert hall.The work draws on many of the types of music played by the trio at Murray’s.” It also fits into his own belief in taking music of all types wherever he finds it.

A man of many interests, Schoenfield is also an avid scholar of mathematics and Hebrew. He held his first teaching post in Toledo, Ohio, lived on a kibbutz in Israel and was a free-lance composer and pianist in the Minneapolis-St. Paul area. He toured as a pianist with various groups including Musicians from Marlboro. He rarely performs now and currently has homes in both the United States and Israel. Café Music was commissioned by the St. Paul Chamber Orchestra and received its première during a SPCO chamber concert in January 1987.The music of the trio has a comfortable familiarity, yet startles and jolts the imagination at every turn.The first movement is jazzy and puts the three musicians through an exhilarating workout.The ittersweet slow movement araphrases Schoenfield studied piano a beautiful Hassidic melody with Julius Chajes, Ozan Marsh, and Rudolf Serkin and an African-American spiritual.The finale calls for what Schoenfield refers to as some “high class” virtuosity from the trio.At every turn, the music veers off in directions that other trios fear to go, making sure that, café music or not, Café Music makes the listener stop eating and listen.

Festival Fact

The Velvet Gentleman Quirky composer Erik Satie wrote his “Three Pieces in the Shape of a Pear” after being criticized for writing music with no discernable form. He had a lifelong dislike for music critics, and was an outspoken artist who was not afraid to stand up for what he believed in. With oddly titled pieces such as “Dried-up Embryos” and “Genuine Flabby Preludes for a Dog,” his music has a directness and simplicity that reflects his own interest in medieval music and his distaste for the excesses of German Romanticism. Satie was a friend to many of the influential artists of his time, including Debussy, Picasso, Diaghilev, and Cocteau. A private and eccentric man who lived alone for most of his life, he ate only white food, collected umbrellas, and was famous for his everyday outfit, a grey velvet suit.

Die Forelle (The Trout) FRANZ SCHUBERT

In einem Bächlein helle, sa schoß in froher Eil’ die launische Forelle vor über wie ein Pfeil. Ich stand an dem Gestade und sah in süßer Ruh’ des muntern Fischleins Bade im klaren Bächlein zu.

In a clear brooklet in happy haste The impulsive trout dashed past like an arrow. I stood on the bank and watched in sweet repose The bath of the lively small fish in the clear brooklet.

Ein Fischer mit der Rute wohl am dem Ufer stand und sah’s mit klatem Blute, wie sich das Fischlein wand. So lang dem Wasser Helle, so dacht’ ich, nicht gebricht, so fängt er die Forelle mit seiner Angel nicht.

A fisherman with his rod stood on the bank And saw cold-bloodedly how the fish was turning around So long as the water stays clear, I thought, He won’t catch the trout with his fishing rod.

Doch endlich ward dem Diebe. die Zeit zu lang. Er macht das Bächlein tüchisch trübe, und eh’ ich es gedacht. So zuckte seine Rute, das Fischlein zappelt dran, und ich mit regem Blute sa die Betrog’ne an.

At last the thief became impatient. He made the stream muddy maliciously And I thought, his rod quivered The fish, the fish was wriggling on it, And I, with my blood boiling, looked at the duped.

Vom Schlaraffenland (Cloud Cuckoo Land), Op. 79, No. 5 ROBERT SCHUMANN

Kommt, wir wollen uns begeben Jetzo ins Schlaraffenland! Seht, da ist ein ustig Leben Und das Trauernun bekannt!

Come let’s now set out for cloud cuckoo-land! Look, life’s merry there and sorrow’s unknown.

Seht, da läßt sich billig leben Und omsonst recht lustig sein. Milch und Honig fließt in Bächen, Aus den Felsen quillt der Wein!

Look, you can live cheaply there and be happy for nothing at all. Milk and honey flow in streams, and waterfalls are wine.

Und von Kuchen, Butterwecken Sind die Zweige voll und schwer; Feigen wachsen in den Hecken, Ananas im Busch umher.

And the boughs are weighed down with cakes and butter buns. Figs grow in the hedgerows, pineapples in every copse.

Keiner darf sich müh'n und bücken, Alles stellt von selbst sich ein. O wie ist es zum entzücken! Ei, wer möchte dort nicht sein!

No one there must work or slave, everything happens of its own accord. O how delightful it is! Who wouldn’t wish to live there!

Und die straßen aller Orten, Jeder Weg und jede Bahn Sind gebaut aus Zuckertorten Und Bonbons und Marzipan.

And every street, road and path is made of sugarplums And sweets and marzipan.

Und von Brezeln sind die Brücken Aufgeführt gar hübsch und fein. O wie ist es zum Entzücken! Ei, wer möchte dort nicht sein!

And all the bridges are built of crisp, delicate biscuits. O how delightful it is! Who wouldn’t want to live there!

Ja, das mag ein schönes Leben Und ein herrlich Ländchen sein. Mancher hat sich hinbegeben, Aber keiner kam hinein.

Yes, it must be a wonderful life and a splendid little country. Many have set out for it, but no one’s ever entered.

Ja, und habt ihr keine Flügel, Nie gelangt ihr bis ans Tor, Denn es liegt ein breiter Hügel Ganz von Pflaumenmus davor.

And unless you have wings, you will never reach the gate. For outside stands a large hill made entirely of plum jam.

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Friday, August 31

TONIGHT ’ S CONCERT IS SPONSORED BY:

8:00 PM First Presbyterian Church Steven Doane is sponsored by Jack & Judy Varney and Hancock & Estabrook Mark Fewer is sponsored by Cybersolvers Curtis Macomber is sponsored by the Gladys Krieble Delmas Foundation Robert Moss is sponsored by WSYR Jon Manasse is sponsored by Michael P. Falcone John Novacek is sponsored by the Skaneateles Press David Ying & Elinor Freer are sponsored by Dr. Robert Kiltz & the CNY Fertility Center

BRUCE ADOLPHE The Bitter, Sour, Salt Suite for Violin and Narrator Chili Pepper Chocolate Cake Mixed Nuts Meringue Butter Tomatoes Beef Stew Champagne

Mark Fewer, violin Robert Moss, narrator

MARTINU° La Revue de Cuisine Prologue:Allegretto (Marche) Tango Charleston Final:Tempo de Marcia

Curtis Macomber, violin Rosemary Elliott, cello Jon Manasse, clarinet Gregory Quick, bassoon Wesley Nance, trumpet John Novacek, piano

INTERMISSION

Bon Appetit

SCHUBERT

Quintet in A Major, Op. 114, “The Trout” Allegro vivace Andante Scherzo. Presto Andantino (Tema con variazioni) Finale. Allegro giusto

Curtis Macomber, violin Melissa Matson, viola Steven Doane, cello James Vandemark, bass John Novacek, piano

Please join us in welcoming the musicians at a post-concert reception in Dobson Hall.

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The Bitter, Sour, Salt Suite was commissioned by Itzhak Perlman and has been performed at Kennedy Center, Avery Fisher Hall, and on tours of Europe and the U.S. In it, poems about food by Louise Gikow are illustrated by solo violin movements. .

BOHUSLAV MARTINU° (1890-1959) With more than 400 compositions to his name, many of them unpublished, Martinu° is a difficult composer to pigeonhole. His music is written for almost every conceivable combination of instruments and always reveals a strong feeling for technical polish and craft.Throughout his life, Martinu° remained isolated from the mainstream. Even as a child, growing up in the Bohemian village of Policka, he lived in a small room in a church tower, at the top of 193 steps.At the age of 10, after a few lessons from the village tailor, he started to compose. Later, at the Prague Conservatory, Martinu° found he had no desire to train as an organist or choirmaster and was expelled. After five years playing among the second fiddles of the Czech Philharmonic and another failed attempt to study at the Conservatory – this time, with the composer Josef Suk – he left for Paris at the age of 33. Paris in the 1920s and 30s was the place to be. Martinu° took some practical lessons with Albert Roussel and began to find his feet as a composer. In his 17 years there, he worked his way through many of the “isms” that vibrated through the avant-garde, especially Dadaism and Surrealism.An impressionist phase led to a more neo-classical manner in which a distinctive musical voice begins to emerge. Martinu° was now writing prolifically and, like many composers in the 1920s, this cosmopolitan musician was attracted by jazz and ragtime. He used

EITH HORNER, 2007

BRUCE ADOLPHE (b. 1955) Described a few years ago by The New Yorker Magazine as “the unofficial composer-in-residence of Manhattan’s Upper West Side,” composer Bruce Adolphe is the author of several books on music, an innovative educator, and a versatile performer. His multifaceted career is reflected in the positions he holds concurrently: Resident Festival Fact Lecturer and Director of Adolphe’s Little Red Riding Family Concerts for the Chamber Music Society of Hood was performed at the Festival in 2000, Lincoln Center, founding with David Robinson creative director of Pollyas narrator. Rhythm Productions, and comic keyboard quizmaster of NPR’s weekly radio feature “Piano Puzzlers.” His music has been commissioned by many leading performers.“Plainly put,”Adolphe says,“some of my music is darkly obsessive, poetic, and dramatic, while the rest of it is comical, slippery and entertaining.”

La Revue de Cuisine

The Bitter, Sour, Salt Suite for Violin and Narrator

PROGRAM NOTES – continued

elements of both as coloristic devices in his music for over a decade.“Martinu° ’s music is completely free of sauerkraut,” a Russian composer said approvingly. La revue de cuisine of 1927 is the third of five ballets he wrote in the French capital over a three-year period. Martinu° scored his ballet with the trimmed-down instrumentation of Stravinsky’s Histoire du soldat. But he still manages to maintain his own distinctive voice. His pit “orchestra” combines strings (violin, cello) with Martinu° was born in winds (clarinet, bassoon), the bell tower room of a trumpet and piano. Like his church where his family fellow countryman Erwin lived while his father was Schulhoff, Martinu° was able employed as the church’s to draw the essence of jazz bell-ringer and watchfrom what he heard in Paris man. Young Bohuslav and incorporate it into his spent the first twelve own music without it feelyears of his life looking ing contrived (as it can in at his village from this the music of Stravinsky or bird’s-eye perspective. Hindemith). He also incorporated tango and the Charleston and other popular dance tunes of the day.The jazz-inspired ballet was performed by a Czech company in Prague in November 1927 with a plot that could come straight out of a Monty Python episode. It describes how the marriage between a kitchen pot and its lid is threat-

Festival Fact

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ened by the antics of a stick.Aided by a dishcloth, the stick attempts to have its way with the lid.A broom attempts to uncouple the affair, but the lid rolls away. Eventually a giant foot kicks the lid back on stage to sit contentedly on top of the pot.The four-movement score was then performed as a concert suite in Paris in January 1930 and published right away.

Quintet in A Major, Op. 114, “The Trout” FRANZ SCHUBERT (1797-1828) The period around the year 1819, when Schubert wrote his “Trout” Quintet, one of the most endearing works in the repertoire, was a rich one for lovers of chamber music. Beethoven, then in his 50s, was writing his profound late string quartets. Mendelssohn, barely in his teens, was shortly to write his Octet. Schubert, in his early 20s – though also in the last decade of his short life – had ahead of him such masterpieces as the Death and the Maiden Quartet, the Octet and the Great C major symphony. Chamber music was alive and well, and living, above all, in the city of Vienna. It was here that the tradition of hausmusik thrived among the music-loving middle-classes and bourgeoisie.And it was for this tradition of amateur music-making that Schubert wrote his “Trout” Quintet. He was on vacation in the Alpine countryside in the town of Steyr, just outside Vienna, when the commission came. It was the hometown of his friend, the well-known singer

Festival Fact

point of the quintet.The work’s great clarity of texture comes about largely through the way Schubert contrasts the rich, resonant (and potentially bottom-heavy) scoring for the four string instruments with a brighter, more transparent piano line – created by having the pianist frequently play in octaves high in the upper range of the keyboard, much as in Schubert’s own piano duos.Another hallmark of the work is that the piano is usually heard in dialogue with the strings, rather than in a mutual singletexture that develops the work’s themes. Schubert wrote to his brother Ferdinand about the “inconceivably beautiful” countryside around Steyr and it’s not hard to picture the picturesque, sunlit freshness of the Alpine air in the five movements of the quintet.

PROGRAM NOTES – continued

Johann Vogl, for whom Schubert wrote many of his 600 songs. Schubert was Vogl’s guest and together they visited another Steyr resident, Sylvester Paumgartner, a wealthy mining director and keen amateur cellist. Paumgartner asked Schubert to write a chamber work for Schubert loved to host his hausmusik group.The gatherings where he would perform his music, idea of including a movepreferring these “Schubertiment based on Schubert’s ads,” as they came to be song Die Forelle also seems called, to the concert hall. to have been that of Paumgartner.The instruments specified – piano, violin, viola, cello and double bass – are, by today’s conventions, an unusual grouping. But they were the instruments used in a published Viennese arrangement of Hummel’s popular Septet of 1816 which Schubert would have known (and also the exact instrumentation of the Hummel Piano Quintet, which Schubert likely would not have known, since it was only published the following year, 1822). The number of movements in the “Trout” Quintet is also unusual. Four was the convention. But here, a fifth movement, a series of variations on The Trout, was inserted between the Scherzo and the Finale.The movement starts with a simplified version of the opening of the song.As the music progresses, the theme only gradually reveals its full subtleties, culminating in the final variation, the focal

TONIGHT ’ S CONCERT IS SPONSORED BY:

Saturday, September 1

Sieglinde Wikstrom

7:30 PM Brook Farm (Rain location: Skaneateles High School)

Peter Bay is sponsored by John Gazda & Dr. Ellen Bifano Janet Brown is sponsored by Brookfield Power Steven Doane is sponsored by Jack & Judy Varney and Hancock & Estabrook Mark Fewer is sponsored by Cybersolvers Jon Manasse is sponsored by Michael P. Falcone Curtis Macomber is sponsored by the Gladys Krieble Delmas Foundation David Ying is sponsored by Dr. Robert Kiltz & the CNY Fertility Center With additional support from Lynn & Corinne Smith, Sid & Suzanne Devorsetz, and Bruce & Linda Kenan

A Musical Feast

In Memory of David Robinson J.S. BACH

Cantata No. 211, “Schweigt stille, plaudert nicht,” (“Coffee” Cantata), BWV 211 Janet Brown, soprano Robert Swensen, tenor Timothy LeFebvre, baritone

BOCCHERINI Cello Concerto in G Major, G. 480 Allegro moderato Adagio Rondo quasi Menuetto

Steven Doane, cello

INTERMISSION

MOZART Clarinet Concerto in A Major, K. 622 Jon Manasse, clarinet

Bon Appetit

Allegro Adagio Rondo. Allegro

SKANEATELES FESTIVAL ORCHESTRA Peter Bay, conductor

Violin I Mark Fewer, Concertmaster Jeremy Mastrangelo Christine Hauptly Ainur Zabenova Janet Milnes Violin II Curtis Macomber David Leung Angel Ouyang Karen Veverka

Viola Melissa Matson Heather Fais Jason Sah Cello David Ying Rosemary Elliott Heidi Hoffman Bass Edward Castilano

Flute Joanna Bassett Elizabeth Shuhan Bassoon Gregory Quick Lee Goodhew Romm Horn Alexander Shuhan Mary Hunt Harpsichord Jamie Bobb

The Skaneateles Festival is made possible in part by funding from the New York State Council on the Arts.

Festival Fact

Bach mirrors the argument in the music he writes: Schlendrian is given rather stiff, formal baroque recitative; Lieschen, on the other hand, sings in the more modern, galant style, often supported by a graceful flute. Lieschen protests that she will shrivel up like a piece of roast goat without her three bowls of coffee a day.The strength of her desire for coffee is expressed in the following aria (“Ei! wie schmeckt der Coffee süsse”) – you can almost smell the aroma of the coffee curling out of the flute’s elaborately decorated musical line. Schlendrian persists in his opposition, threatening, in a time-honored tradition, to withdraw privileges from the young woman. He launches into an aria about disobedient daughters (“Mädchen, die von harten Sinnen”). Only when he threatens that there will be no wedding does the hapless Lieschen have second thoughts. Fueled by caffeine no doubt, in a jaunty aria (“Heute Noch”), she realizes that a lover may make better company at bedtime than a cuppa java.This is where Picander’s poem ends. But Bach brings back the narrator to tell how Lieschen has let it be known around town that passion #1 (her suitor) will only be allowed into the house if he agrees to passion #2 (unlimited coffee).Together, in a musical and philosophical meeting of the generations, the three characters sing of cats that won’t stop catching mice and girls who won’t give up coffee – just like their mothers and grandmothers before them.

EITH HORNER, 2007

The tradition of coffeehouses was already well established when Bach arrived in Leipzig in 1723. Bach is known to have been a regular visitor to at least one of the city’s coffee-houses since he did so as director of a Leipzig JOHANN SEBASTIAN BACH (1685-1750) collegium musicum – and the Coffee Cantata was certainly written for performance at one of the meetings It’s a story as old as time itself: the generation gap.A of Bach’s collegium, probably in 1734. His music society crusty, dyed-in-the-wool father feels he’s losing authority met for weekly concerts on Friday evenings when his daughter begins to assert her in the winter at Gottfried Zimmermann’s independence. Coffee – of all things – coffeehouse and on Wednesday afternoons is the issue that divides the two.And in the summer at another open-air estabBach treats the outcome with humor In Eisenach, Germany, lishment owned by Zimmerman, just and diplomacy. Bach attended the same outside the city gates.“The participants in grammar school where The Coffee Cantata is a delightful work these musical concerts are chiefly students,” Martin Luther had once and the closest that Bach came to writing an announcement in a periodical of the been a student. an opera.The text was written by his time stated. Bach knew his audience – and friend and frequent collaborator Christian his cantata buffa would have had them Friedrich Henrici, who published poetry under the pseulooking up from their Iced Decaf Triple Grande Vanilla donym Picander. Henrici, who had an enviable position Non-fat with whip Lattes. as assessment and liquor tax collector,Wine Inspector and Vizier in Leipzig, was one of several poets to publish Cello Concerto in G Major, G. 480 a poem about coffee and its dangers. His lighthearted LUIGI BOCCHERINI (1743-1805) story concerns two main characters: Herr Schlendrian Mendelssohn dismissed Boccherini’s music as “a peruke, (Old Fiddle-Sticks) and his daughter Lieschen.The narrabeneath which can be seen the smiling features of a tor (tenor) summons the audience to pay attention.Then, kindly old man.”That’s marginally better than the notoriin the first of four arias in the piece, Schlendrian (bass) ous judgment of one of his friends, Giovanni Puppa. He grumbles about his independent-minded daughter (“Hat compared Boccherini to Haydn, his almost exact contemman nicht”).The root of the problem is revealed in the porary, saying “Boccherini is the wife of Haydn.”With a following recitative (“Du böses Kind”). Schlendrian friend like that, who needs enemies? Puppa’s verdict has wants to ban his daughter from drinking coffee.

Cantata No. 211, Schweigt stille, plaudert nicht, (“Coffee” Cantata), BWV 211

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PROGRAM NOTES – continued

tended to stick.After all, it’s easier to put down a composer than dust off and arrange performances of the hundreds of his manuscripts that remain – well over 100 string quartets and a further 100 string quintets, for string quartet plus second cello, at least 27 symphonies and 11 cello concertos, by the latest count. In 1800, Boccherini received the patronage of There’s also another point Napoleon’s brother, Lucien of view. It could be found Bonaparte, who served when Boccherini was as the French Ambassador alive.An English scholar, to Madrid. Thomas Twining, had a disagreement with the well-traveled music historian Charles Burney.“Haydn, I think, is much oftener more charming than Boccherini,” Twining wrote.“Yet, when Boccherini is at his best, there is a force of serious expression, a pathos that is not so much Haydn’s forte. I never see a smile upon Boccherini’s face. He is all earnestness and tragedy.” Clearly, Boccherini was Twining’s cup of tea.

Festival Fact

Boccherini made his debut as a cellist at 13, in his home town of Lucca, in Italy. He made a living as a cellist in Italy,Vienna, Paris and Spain, all the while composing and building a reputation throughout Europe.At 25, he traveled with the Spanish royal family’s opera company and dined with Casanova, who described him as “celebrated.” Many of his quartets and quintets were written as com-

poser to the Spanish court. Less is known about his cello concertos, particularly since performances until recently were dominated by a notorious arrangement published by the German cellist Friedrich Grützmacher in 1895. Its outer movements used bits and pieces from both a sonata and a concerto by Boccherini, all heavily edited. For the slow movement, Grützmacher turned to the G major Concerto to be played today. Its poignant, sustained slow movement is the finest among a set of four concertos that Boccherini published in Paris in 1770-71.The outer movements of Boccherini’s G major Concerto are lively movements, frequently using the cello’s tenor register, with much use of high thumb positions, bowing across the strings and double stopping. Boccherini relishes detailed passagework in his writing for the cello and often scores the solo instrument in duet with a solo violin line, to striking effect.

Clarinet Concerto in A Major, K. 622 WOLFGANG AMADEUS MOZART (1756-1791) Mozart wrote his Clarinet Concerto, one of the most sublime works in the repertoire, for a musician who played second clarinet in the Vienna court orchestra. He was Anton Stadler (1753-1812), the finest clarinetist of his day and second clarinetist by choice – his brother Johann held the principal clarinet position. Stadler was renowned for the warm tone he produced in the lower, chalumeau register of the instrument. So in love with this darker,

Mozart loved the clarinet. He first heard the instrument in London at the age of 8. Later, it inspired some of his most accomplished chamber music. In 1784, he wrote the superb E flat Quintet for Piano and Winds, with a fine clarinet part for Stadler.Two years later came the Clarinet Trio, first performed with Mozart on viola and Stadler on clarinet.Then in 1789 came the Quintet and, just two months before his death, the Clarinet Concerto.The concerto is Mozart’s valedictory composition, a work that

shares the profundity and depth of the late piano concertos and the autumnal tone of the Requiem that Mozart was working on at his death.The music has a serenity and resignation that is hard to dissociate from Mozart’s own last few weeks of life. The instrumentation of the concerto adds to its generally mellow tone.Avoiding Anton Stadler, the the brighter oboes, Mozart clarinetist for whom this concentrates on pairs of the concerto was written, softer flutes, bassoons and was a fellow freemason horns, together with strings. to Mozart. The bass line is often for cello alone, without bass. From the start, Mozart favors the clarinet’s ability to sustain a singing melodic line. But the opening theme is also carefully designed to accommodate intricate contrapuntal development with the other instruments. Mozart asks for a wealth of tone color from the soloist, together with much passagework, scales, arpeggios and mellifluous phrasing. The melody of the slow movement is one of the simplest, yet most profound, that Mozart wrote, reaching a heightened sense of emotion on each variation. On paper, the finale, with its closely related themes, has the contours of a carefree and spirited rondo movement. It is, moreover, in the major key. But there is an underlying melancholy to its pages and the tonality frequently veers to the minor key. Stadler continued to play the concerto Mozart wrote for him in the years following Mozart’s death.The work was soon recognized as a masterpiece and has never left the concert repertoire.

Festival Fact

PROGRAM NOTES – continued

warmer range was Stadler that he built a special extension to his clarinet to give him a few additional bass notes beyond those of the normal instrument.And it’s the wider range of Stadler’s basset clarinet that Mozart wrote for in both the Quintet and the melancholy Clarinet Concerto he composed a little more than a year later.Although other composers, including Paer and Süssmayr, did write for the extended clarinet, the basset clarinet died when Sienna Sulecki awaits Stadler ceased playing it her turn at the music and no examples of the workshop. instrument survive. Modern reproductions of the instrument have allowed performers to re-instate the lower reaches of the instrument that were omitted when the score was published.

Made in America In addition to being the heart and soul of the Skaneateles Festival, Dr. David B. Robinson was an outstanding singer, an occasional clarinetist, and most of all a friend and supporter to all the musicians who passed through here. For this special concert in his honor, we begin with Bach’s “Coffee” Cantata, a piece which David himself performed many times. Its humorous story of a father and willful, coffee-addicted daughter was one which brought a twinkle to David’s eye, being a father of several daughters! We follow that with Boccherini’s joyous Cello Concerto, played by an artist whom David was most fond of and one who has had a long association with the Festival, cellist Steven Doane. Mozart’s moving and noble Clarinet Concerto, considered by many to be his finest work, closes this tribute to our beloved co-founder. Written two months before Mozart died, this heartfelt and autumnal work is the perfect commemoration of a life richly-lived. 59

M usician P rofiles JOHN ALLIS, timpani/percussion Mr.Allis is a veteran of such styles as pop, rock, swing, jazz, and musical theater. He has held positions and performed with the Syracuse Summer Pops Orchestra, the Syracuse Symphony Orchestra, the Syracuse University Brass Ensemble, the Binghamton Philharmonic, the Utica Symphony Orchestra, the Catskill Symphony Orchestra, and Glimmerglass Opera. His teachers have included Douglas Iglesrud,Alan Pabst, Henry Carey, Ernest Muzquiz, and Larry Luttinger. REBECCA ANSEL, violin Dr.Ansel holds degrees from Rice University and the University of Michigan. She has performed in numerous music festivals including Aspen, Bowdoin, Music Academy of the West, Brandeis and Taos. She has taught at Ohio State University, Blue Lake Fine Arts Camp and the Rocky Mountain Summer Conservatory. Dr.Ansel is Assistant Professor of Violin at Ithaca College and a member of the Ariadne String Quartet. She has performed in many ensembles including Pro Musica Chamber Orchestra, the Columbus Bach Ensemble, and Ensemble X.

JOANNA BASSETT, flute Joanna Bassett is a flutist and teacher, and a member of the Rochester Philharmonic Orchestra. She has been a member of the Hong Kong Philharmonic and an active chamber musician in the Rochester area. Joanna is a graduate of Northwestern University and the Eastman School of Music, and has been on the faculties of Houghton College and the Chinese University of Hong Kong. In her newest endeavor, Joanna is Program Coordinator of Hochstein at Canandaigua, opening in September 2007, which is an extension program of Rochester’s Hochstein School of Music & Dance. PETER BAY, conductor A frequent guest conductor with the Festival, Peter Bay is Music Director of the Austin Symphony Orchestra and the Britt Festival Orchestra in Jacksonville, Oregon. Recent appearances include the Baltimore, Colorado, Dallas, Honolulu, Houston, North Carolina, New Jersey, National, St. Louis, and Syracuse orchestras, the Buffalo, Louisiana, Rhode Island, Rochester, and Bochum Philharmonics, and the Austin Lyric Opera (A Streetcar Named Desire, La Traviata). Summer appearances include the Aspen, Breckenridge, Grant Park, Ravinia, and Round Top Festivals.

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M usician P rofiles ALYSSA BLOUNT, violin Alyssa recently graduated with her Masters Degree in violin performance from Syracuse University where she was a student of James Krehbiel and served as a Teaching Assistant. She holds a Bachelor’s degree from Houghton College, and will be teaching strings in the Fayetteville-Manlius district this year. She has appeared with Syracuse’s Society for New Music and is a grant recipient from the Mr. Holland’s Opus Foundation. JAMES E. BOBB, harpsichord James E. Bobb is Director of Music at the Lutheran Church of the Incarnate Word, where he has served since August of 1994. He is also currently Adjunct Performer of Organ at Nazareth College and Instructor in Sacred Music at the Eastman School of Music. He has appeared as a soloist, conductor, and continuo player with The Publick Musick and Rochester Bach Festival. Bobb is also known for his hymn festivals. He received his Bachelor’s degree from Capital University and his Master’s degree from Eastman. JANET BROWN, soprano Ms. Brown has performed with such prominent musical organizations as the Marlboro Music Festival, New England

Bach Festival, Emmanuel Music of Boston and the Cantata Singers of Boston. Locally she is a frequent performer with the Syracuse Symphony and the Skaneateles Festival. On the operatic stage, she has sung major roles with the American Repertory Theatre in Cambridge, the American Music Theatre Festival in Philadelphia, and Syracuse Opera. Ms. Brown has premiered works by Edward Cohen, Howard Boatwright,Andrew Imbrie, Philip Glass and Gunther Schuller. Ms. Brown is currently on the voice faculty at Syracuse University.

VICTORIA BULLOCK, clarinet A Syracuse native,Victoria Bullock has served since 2001 in the Syracuse Symphony in the position of Second and E-flat Clarinet. Ms. Bullock attended the Curtis Institute of Music in Philadelphia.After receiving a Bachelor’s degree, she earned a Master’s from the Eastman School of Music in Rochester. Ms. Bullock was a frequent substitute in the Philadelphia Orchestra, as well as a member of one of the orchestra’s woodwind quintets. In 1999 she toured the Far East with The Philadelphia Orchestra. She was also a member of the Philadelphia Opera Company Orchestra, Concerto Soloists Chamber Orchestra, and the Delaware Symphony.

M usician P rofiles LINDA CASE, violin Concertmaster of the Cayuga Chamber Orchestra, Linda Case has appeared as soloist and chamber musician throughout the U.S. and abroad. She was a first violinist with the Calagary Philharmonic and on the faculty of the Mount Royal College Academy for Gifted Youth. Ms. Case was Professor of violin at Ithaca College from 1983 to 1996 where she was a founding member of the Accordo Perfetto Piano Quartet and the Ariadne String Quartet. Ms. Case has degrees from Indiana University and the University of Tennessee. EDWARD CASTILANO, double bass Mr. Castilano holds the position of principal double bassist in the Syracuse Symphony and has made numerous solo appearances with the SSO. Graduating in 1976 from the Eastman School of Music, he participated for six seasons in the Spoleto Festival in Italy and in Charleston, SC, and has made several appearances with the Lincoln Center Chamber Players. Mr. Castilano has also played with the Rochester, Philadelphia, Savanna, and Spokane orchestras. HYE SUNG CHOE, flute Korean-born flutist Hye Sung Choe will be a member of Rochester Philharmonic Orchestra for 2007-08 season. She earned her Bachelor’s degree in flute performance at the Seoul National University and her Master of Music degree at the Eastman School of Music. Ms. Choe has won numerous awards and competitions, including Byron Hester International Flute Competition,Aspen Music Festival Woodwind Concerto Competition, Korean National Flute Association Competition and the Korean National Woodwind Competition. She recently received Honorary Mention from the world-renowned Haynes International Competition. MICHAEL CIRMO, percussion Michael Cirmo is the principal percussionist of the Utica Symphony Orchestra and performs regularly with the Glimmerglass Opera, Catskill Symphony and Syracuse Symphony Orchestra. He has taught instrumental music for the past nineteen years at all levels. Currently, he is an

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instrumental music teacher at Marcellus High School and Lecturer in Percussion at Hamilton College in Clinton, New York. Mr. Cirmo has performed at the Skaneateles Festival both as a solo musician and part of the Festival Orchestra.

KATHRYN COWDRICK, mezzo-soprano Kathryn Cowdrick currently serves as an Assistant Professor of Voice at the Eastman School of Music, where she teaches voice and pedagogy in addition to being a member of the Performing Artist faculty.Trained as a speech therapist and educator of the deaf, Ms. Cowdrick’s career began when she was awarded an Adler Fellowship with the San Francisco Opera. Recent engagements include performances with Lincoln Center’s New York City Opera,Arizona Opera, Opera Omaha, Maine’s Portland, and Opera Repertory Theater. STEVEN DOANE, cello Steven Doane is Professor of Cello at the Eastman School of Music in Rochester, where he has received the Eisenhart Award for Excellence in Teaching. Mr. Doane has given master classes and served as guest teacher at the International Cello Festival in Manchester, and other music colleges in England. His international concert schedule has taken him to Scotland, Ireland, Sweden, and London. He

M usician P rofiles has participated in performances with the Rochester Philharmonic, the Buffalo Philharmonic, and many others.

KIM DUNNICK, trumpet A former member of several orchestras and The U.S.Army Band, Kim Dunnick is a member of the Cayuga Chamber Orchestra and the Ithaca Brass. He is Professor of Music at Ithaca College where he has received a Dana Fellowship Award for excellence in teaching. Mr. Dunnick earned his Bachelor’s degree and Doctorate at Indiana University, and his Master’s from Catholic University. He serves on the board of directors for the International Trumpet Guild and was honored with the ITG Award of Merit in 2004. JANE DUNNICK, trumpet Before moving to Ithaca, Jane Dunnick was a member of the Akron, Nashville and Knoxville orchestras, as well as the Brasswind Quintet and the Victoria Bach Festival Orchestra. She has taught trumpet at the University of Tennessee, SUNY Binghamton, and Ithaca College, and now maintains a trumpet studio at the Community School for Music and the Arts in Ithaca, where she also plays in the Cayuga Chamber Orchestra. Mrs. Dunnick holds degrees from Indiana University and Tennessee Tech.

The “Hyperscore” composers and their mentors

ROSEMARY ELLIOTT, cello Rosemary Elliott is Assistant Professor of Cello at the Eastman School of Music, and was on the cello faculty at the Royal College of Music in London. She has guest led the Cayuga Chamber Orchestra and Rochester Chamber Orchestra, and performed with the Rochester Chamber Society. Ms. Elliott has participated in festivals in the United States and the United Kingdom, and has been a member of the performing faculty at the Bowdoin College Summer Music Festival in Maine. HEATHER FAIS, violin Heather Fais is a graduate of Indiana University with a Bachelor of Music in Violin Performance.After participating in the Spoleto Festival, she moved to Germany, where she was a member of the Heilbronn Chamber Orchestra, Bamberg Symphony and Stuttgart State Opera Orchestra. In 1984 she returned to the U.S. to accept a position in the Syracuse Symphony. Ms. Fais is also a member of the Syracuse Camerata and the Seneca String Quartet. NINA FERRIGNO, piano Nina Ferrigno is a founding member of the Boston-based Calyx Piano Trio. She performs and records extensively with the Boston Modern Orchestra Project and Auros Group for New Music. She regularly appears with members of

M usician P rofiles the Boston Symphony Orchestra on the Prelude Concert Series in Symphony Hall Boston, and in Seiji Ozawa Hall at Tanglewood. Nina received degrees with distinction from the New England Conservatory of Music where her principal teachers were Wha Kyung Byun and Randall Hodgkinson. She currently lives in the St. Louis area with her husband, clarinetist Scott Andrews, and their two children,Ava and Zachary.

MARK FEWER, violin Mark Fewer is Artistic Director of the Scotia Festival of Music in Halifax, Nova Scotia, and the SweetWater Music Weekend in Ontario. Mr. Fewer has had several works written for him, including James Rolfe’s Worry for solo violin and eight cellos; Phil Dwyer’s Happy Birthday Variations; and Michael Oesterle’s Green for solo violin, Indonesian Gamelan ensemble and brass choir. Other projects include his own “community-orchestra-friendly” cadenza for the Beethoven Violin Concerto. Outside of the classical field, he has shared the stage with the Chieftains and Spirit of the West, and has recorded with Guido Basso and the Barenaked Ladies. JOSE FRANCH-BALLESTER, clarinet Born in Moncofa, Spain into a family of clarinetists and Zarzuela singers, Jose Franch-Ballester is a member of Lincoln Center’s Chamber Music Society Two, and also performs with the woodwind quintet Astral Winds.As a chamber musician, he has appeared at the Bridgehampton Chamber Music Festival, Music from Angel Fire (NM), and the Usedomer Musikfestival in Germany. Mr. Franch-Ballester began clarinet lessons at the age of nine with Venancio Rius Marti. He came to the U.S. to study at The Curtis Institute of Music in Philadelphia and earned a Bachelor of Music degree in 2005. ELINOR FREER, Co-Artistic Director and piano Elinor Freer currently serves as Co-Artistic Director for the Skaneateles Festival with her husband, David Ying. She has performed across the world, from the Concertgebouw in Amsterdam and the International Musicians’ Seminar in

Prussia Cove, England, to the Akademie Muizicky Chumeni in Prague and the Gnessin Institute in Moscow. She also requently performs at festivals such as Summer Music in Harrisburg PA, the Festival de Música de Cámera in Mexico, and Music in the Vineyards. Ms. Freer is currently on the faculty at the Eastman School of Music and at the Bowdoin International Music Festival. Committed to bringing classical music to new audiences, she continues to present a multitude of educational and community performances across the country in settings ranging from inner city schools to psychiatric hospitals.

LINDSAY GROVES, cello Ms. Groves is Assistant Principal Cellist of the Syracuse Symphony and a member of the DeVere Trio and the Syracuse Symphony String Quartet. She has soloed with the Brighton Symphony, the Onondaga Civic Symphony, and the Kenai Peninsula Festival Orchestra in Alaska. Her festival appearances include Maine, Colorado, California, Switzerland, and Italy, where she was Principal Cellist of the Spoleto Festival. She has performed with Opera House Orchestra of the Kennedy Center and the Baltimore Symphony.An avid chamber musician, she conceived of the

M usician P rofiles Skaneateles Festival in 1980 and was its Music Director for eleven seasons.

CHRISTINE HAUPTLY, violin Christine Hauptly is currently a violinist with the Rochester Philharmonic Orchestra. Originally from Madison,WI, Christine holds a Bachelor of Science from the University of Wisconsin-Madison and a Masters of Music from Rice University. Christine maintains an active teaching career in Rochester and also performs frequently on the baroque violin. HEIDI HOFFMAN, cello Heidi Hoffman has performed with such diverse groups as the American Symphony, the Jupiter Symphony, the Tchaikovsky Chamber Orchestra,Tanglewood Music Center Fellowship Orchestra, the Northwest Sinfonietta, the Pacific Northwest Ballet, Paige and Plant, and Heart. Ms. Hoffman has been a member of the Syracuse Symphony and the Grant Park Symphony Orchestra in Chicago. She studied with Timothy Eddy and Alan Harris, and has served as lecturer in Chamber Music and cello performance at Ithaca College,Wells College, and Cornell University.

MARY HUNT, horn Mary Hunt teaches horn at the State University College at Geneseo and is a member of the Geneseo Wind Quintet, as well as the Antara Winds. She holds degrees from the Eastman School of Music and The Catholic University. Formerly on the faculty of West Virginia University, she has performed with such groups as the Utah Music Festival, Monadnock Music, the Naples Philharmonic, and the Orquesta Sinfonica de Mineria in Mexico City. TIMOTHY JONES, baritone Timothy Jones is rapidly emerging as one of the leading bass-baritones of his generation. He made his New York debut with the Chamber Music Society of Lincoln Center in February 2000. In past seasons, Jones has appeared in productions with the Michigan Opera Theater, the Lake George Opera Festival, the Shreveport Opera, and the San Antonio Lyric Opera, among others. Recent orchestra appearances include performances with the Cleveland Orchestra, the Utah, Jacksonville, Dallas and Syracuse orchestras, as well as the Pittsburgh New Music Festival.

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M usician P rofiles JUPITER STRING QUARTET Nelson Lee, violin; Meg Freivogel, violin; Liz Freivogel, viola; Daniel McDonough, cello The Jupiter String Quartet has recently been awarded the Cleveland Quartet Award by Chamber Music America.They are members of Lincoln Center’s Chamber Music Society Two and have been awarded the Netherlands America Prize, which will sponsor a tour of the Netherlands in the Spring of 2008. In 2004 the quartet captured the Grand Prize in the Fischoff National Chamber Music Competition and First Prize in the 8th Banff International String Quartet Competition. From 2004-06, the Jupiter String Quartet was enrolled in the Professional String Quartet Training Program, earning Master of Music degrees in Chamber Music, at the New England Conservatory. GILBERT KALISH, piano Gilbert Kalish has had a profound influence on the musical community as an educator, and as pianist in myriad performances and recordings, and is established as a major figure in American music making. He has been the pianist of the Boston Symphony Chamber Players since 1969 and was a founding member of the Contemporary Chamber Ensemble. His thirty-year partnership with the great mezzosoprano Jan DeGaetani was universally recognized as one of the most remarkable artistic collaborations of our time. As educator he is Leading Professor and Head of Performance Activities at SUNY Stony Brook, and is renowned for his master class presentations. AYANO KATAOKA, marimba Ayano Kataoka, a native of Japan, began her marimba studies at age five, and percussion at fifteen. She started her performance career as a marimbist with a tour of China at the age of nine. Her recent performances include concert series with Yo-Yo Ma and the Silk Road Ensemble at Carnegie Hall and a debut solo recital at Tokyo Opera City Recital Hall. She received her Bachelor of Music degree from the Tokyo National University of Fine Arts, her Master of Music degree

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from the Peabody Conservatory, and her Artist Diploma degree from the Yale School of Music.

HUGH KEELAN, conductor Born in London, England, Hugh Keelan served as Music Director of the Northeastern Pennsylvania Philharmonic for more than a decade. In recent seasons he has guest conducted the Saint Louis Symphony Orchestra, the Netherlands Radio Philharmonic, the New Zealand Symphony Orchestra, the Herfordshire Chamber Orchestra, the Czech National Orchestra, and the Kitchener-Waterloo Symphony Orchestra. Mr. Keelan was guest conductor at the Skaneateles Festival in the 2000 season and is currently in his fifth season as the Music Director of the Erie Philharmonic. LISA KIM, violin Lisa Kim joined the New York Philharmonic’s violin section in February 2003. An active chamber musician, Ms. Kim has participated in the Taos Chamber Music Festival, and the Aspen and Sarasota music festivals, and has toured with the American Chamber Players and the International Sejong Soloists. She was awarded the top prize in the Yehudi Menuhin International Violin Competition, the Irving M. Klein International String Competition, and the Kingsville International Young Performer’s Competition.

M usician P rofiles As a Presidential Scholar, Ms. Kim performed in recital at the Kennedy Center.

ELANA KLOTZ, violin Violinist Elana Klotz holds a Bachelor’s degree from the Eastman School of Music where she was a student of Mikhail Kopelman. She is also a graduate of the Eastman School’s Preparatory Division, studying with Zvi Zeitlin. She has served as concertmaster for the Eastman Philharmonia and Boca Raton Sinfonia, and has been a member of the Kentucky Symphony Orchestra. Ms. Klotz toured Russia in 2002 with the American Russian Orchestra. She is currently a private Suzuki instructor. Beginning in September she will serve on the violin faculty at the Hochstein School of Music in Rochester. MICHAEL KLOTZ, viola Michael Klotz made his solo debut with the Rochester Philharmonic Orchestra at the age of seventeen. He received his Bachelor of Music degree and Performer’s Certificate from the Eastman School of Music and became one of the few individuals to complete the Master of Music degree in both Violin and Viola Performance from the Juilliard School. Mr. Klotz has performed at the Sarasota Music Festival, Music Academy of the West and the Bowdoin Summer Music Festival, where he was an assistant faculty member for three summers. He is currently artist-inresidence at Florida International University, where he teaches viola and chamber music.

ALLAN KOLSKY, clarinet Born in Providence, RI,Allan Kolsky held positions with the Louisiana Philharmonic (New Orleans) and the Utah Symphony before joining the Syracuse Symphony as Principal Clarinet in 2002. Kolsky holds performance degrees from Temple and DePaul Universities. A co-host and featured performer at the 2001 conference of the International Clarinet Association, Kolsky has also performed with the Glimmerglass Opera Orchestra and the Colorado Music Festival. JOHN LATHWELL, oboe John Lathwell is the Principal Oboist of the Cayuga Chamber Orchestra, the Tri-Cities Opera and the Binghamton Philharmonic. He has also performed with the New York Chamber Symphony, the American Composers Orchestra, the Westchester Philharmonic and the Brooklyn Philharmonic, among many others. Mr. Lathwell is a member of the music faculty at both Binghamton University and the Tennessee Governors School for the Arts. He has also taught at Ithaca College. MICHAEL LARCO, viola Michael Larco’s performances across Europe,Asia, and the United States have taken him to the stages of Carnegie Hall, Alice Tully Hall,Avery Fisher Hall, and the Kennedy Center, among others. He has collaborated in concert with Lynn Harrell, Itzhak Perlman, and Donald Weilerstein. Recent appearances have included performances at the Philadelphia Chamber Music Society, the Kravis Center for the Performing Arts, and Zankel Hall at Carnegie Hall. Mr. Larco was a founding member of New York City based Fountain Ensemble. In 2005, Mr. Larco was appointed Assistant Principal Viola of the Rochester Philharmonic Orchestra. TIMOTHY LEFEBVRE, baritone Baritone Timothy LeFebvre returns to the Skaneateles Festival having recently appeared in San Francisco Opera’s productions of Dead Man Walking, Die Meistersinger and Tosca. LeFebvre’s operatic experience includes leading roles with Sarasota Opera, Chattanooga Symphony and Opera, Indianapolis Opera,Tri-Cities Opera, Opera Theater of Pittsburgh, Central Florida Lyric Opera and Ithaca Opera. LeFebvre is a graduate of Carnegie Mellon University and Binghamton University and is currently an adjunct lecturer in voice at Binghamton University.

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DAVID LEUNG, violin David holds a Doctorate in Violin Performance from the Eastman School of Music where he studied with Professor Mikhail Kopelman and served as the teaching assistant. He graduated from Eastman with a Masters degree and a Performer’s Certificate in 2004. In addition to violin performance, David Leung also studied orchestral conducting

M usician P rofiles while at Eastman. David is now the associate conductor for the Brighton Symphony Orchestra and guest conductor for the Auburn Chamber Orchestra. David has been teaching violin at SUNY Buffalo since 2006.

CURTIS MACOMBER, violin Violinist Curtis Macomber is a member of Speculum Musicae and a founding member of the Apollo Trio.As first violinist of the award-winning New World String Quartet for 11 years (1982–1993), Mr. Macomber performed the standard repertoire as well as numerous contemporary works in performances in major halls throughout the United States and Europe and, with the Quartet, was appointed artist in residence at Harvard from 1982–1990. Mr. Macomber is presently a member of the chamber music faculty of the Juilliard School, where he earned B.M., M.M., and D.M.A. degrees. JON MANASSE, clarinet The Wall Street Journal calls Jon Manasse “a superb clarinetist.”An avid chamber musician, Manasse has been featured in New York City programs with The Chamber Music Society of Lincoln Center and at Carnegie Hall’s Weill Recital Hall,Alice Tully Hall, and Merkin Concert Hall. He has also been the guest soloist with many of the leading chamber ensembles of the day, including The Amadeus Trio, the American, Borromeo, Colorado, Lark, Manhattan, Moscow, and Ying string quartets, and has collaborated with violinist Joshua Bell and pianist Jon Nakamatsu. JEREMY MASTRANGELO Since 2001, Jeremy Mastrangelo has served as Associate Concertmaster of the Syracuse Symphony Orchestra. During his tenure he has been a featured soloist with the orchestra on numerous occasions. Mr. Mastrangelo is also an adjunct faculty member of Syracuse University. In addition, Mastrangelo has served as concertmaster and soloist for the Bach and Beyond Festival in Fredonia, NY, and, for the past two summers, as concertmaster and soloist for the

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SARA MASTRANGELO, violin Sara Mastrangelo has been a member of the Syracuse Symphony Orchestra since 2001 and began her violin studies at age three in Winnipeg, Manitoba. She holds degrees in music from McGill University, the University of Michigan and Carnegie-Mellon University. Sara is an active chamber musician, performing regularly in upstate New York and in Colorado as Principal Second Violinist of the Breckenridge Music Festival Chamber Orchestra. Mrs. Mastrangelo enjoys collaborating with her husband, violinist Jeremy Mastrangelo, whenever she can. MELISSA MATSON, viola Melissa is currently Principal Violist of the Rochester Philharmonic and has performed at the Skaneateles Festival since 1987. A California native, she received her degrees and Performer’s Certificate from the Eastman School of Music. She was a founding member of the Chester String Quartet, which won prizes at the Munich and Portsmouth (England) International String Quartet competitions. She currently teaches viola orchestra repertoire at Eastman.

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M usician P rofiles AMY MENDILLO, oboe Amy Mendillo is a freelance oboist and performs with the Binghamton Philharmonic and the Syracuse Society for New Music.As an orchestral musician, Ms. Mendillo has played regularly with the Greenwich Village Orchestra in New York, the Milwaukee Symphony Orchestra, the Civic Orchestra of Chicago, and with the Chicago Symphony. As a chamber musician, she has played with the Chicago Contemporary Chamber Players, the ICE Ensemble, and with the Chicago Symphony’s Music Now series. BRETT MITCHELL, conductor Brett Mitchell will begin his tenure as Conducting Fellow of the Houston Symphony in September 2007, and has been Assistant Conductor of the Orchestre National de France since February 2006. Prior to these appointments, he served as Director of Orchestras at Northern Illinois University and Associate Conductor of the Pittsburgh New Music Ensemble. Mitchell received his Masters and Doctoral degrees in Orchestral Conducting from the University of Texas at Austin and his Bachelor of Music in Composition from Western Washington University.

ROBERT MOSS, narrator Robert Moss served for eleven seasons as Artistic Director at Syracuse Stage. His directing credits include Driving Miss Daisy, Spike Heels, Lost in Yonkers, My Fair Lady, Crimes of the Heart,The Wizard of Oz, Hamlet, M. Butterfly, Romeo and Juliet, Born Yesterday, Inherit the Wind, and A Few Good Men, among others. Mr. Moss also founded Playwrights Horizons theatre in New York City in 1971 and served as its producing director for 10 years. THE NEW LOST CITY RAMBLERS Mike Seeger, John Cohen, and Tracy Schwarz Founded in 1958,The New Lost City Ramblers have not only established a lasting place for themselves and their music in the current folk music picture, but they have almost single-handedly sparked a revival of interest in traditional southern mountain music.Their influence on performers such as Bob Dylan and Jerry Garcia is well known.The Ramblers have made over 20 albums and have played concerts throughout the United States, at all major folk festivals, and on foreign tours in Australia, England, Germany, Switzerland, Sweden, Denmark, Canada, and Finland. JOHN NOVACEK, piano The New York Times has called Grammy-nominated artist John Novacek a “wise, nimble, sensitive artist.” Novacek regularly tours the Americas and abroad as a solo recitalist, chamber musician and concerto soloist. Performance venues include Kennedy Center,Avery Fisher Hall,Weill Hall, 92nd Street Y, Hollywood Bowl, Dorothy Chandler Pavilion, Royce Hall, Paris’Theatre des Champs-Elysees, and London’s Wigmore Hall. In addition he has appeared at Lucerne Festival, Mostly Mozart Festival at Lincoln Center,Wolf Trap, SummerFest La Jolla, Seattle Chamber Music Festival, and Ravinia. ANGEL OUYANG, violin Angel OuYang has a Master’s degree in Violin Performance and Literature from the Eastman School of Music and a Bachelor’s degree in Violin Performance from Soochow

M usician P rofiles University in Taipei,Taiwan. Ms. OuYang performs frequently with the Hochstein String Quartet and the Quartersemble for chamber music recitals and educational concerts in the Rochester area. She currently teaches at the Hochstein School of Music and privately at home. She is a member of the Rochester Philharmonic Orchestra.

PEGGY PEARSON, oboe Peggy Pearson is a winner of the Pope Foundation Award for Outstanding Accomplishment in Music. Ms. Pearson has toured internationally and recorded extensively with the Orpheus Chamber Orchestra, and has appeared with the Boston Symphony Orchestra as principal oboist, the Chamber Music Society of Lincoln Center, and Music from Marlboro. She was a founding member of the Emmanuel Wind Quintet, and winner of the Naumburg Award in 1981. She has been on the faculties at the Tanglewood Music Center, Purchase College, the College-Conservatory of Music (University of Cincinnati), the Tanglewood Institute and the Boston Conservatory. KEVIN PUTS, composer Hailed by the press as “one of the best young composers in America,” Kevin Puts has had works commissioned and performed by leading orchestras, ensembles and soloists

throughout North America, Europe and the Far East. Recent compositions include the cello concerto “Vision” commissioned by the Aspen Music Festival and performed by Yo-Yo Ma in honor of David Zinman’s 70th birthday.A native of St. Louis, Missouri, Mr. Puts received his Bachelor’s degree from the Eastman School of Music, his Master’s degree from Yale University, and a Doctor of Musical Arts at the Eastman School of Music. In the fall of 2006, he joined the composition faculty of the Peabody Institute.

GREGORY QUICK, bassoon An honors graduate from the University of Michigan, Mr. Quick joined the Syracuse Symphony as its principal bassoonist in 1977. A frequent performer with the Skaneateles Festival, he has also performed with the Summer Music Festival of Arkansas, Rochester Philharmonic, Orchestra Symphonique de Montreal and the Toledo Zoo Band. LEE GOODHEW ROMM, bassoon Lee Goodhew Romm is Professor of Bassoon at Ithaca College. She performs with the Ithaca Wind Quintet and is principal bassoon of the Cayuga Chamber Orchestra. She received her Doctor of Musical Arts degree from Michigan State University, having received her M.M. from Southern

M usician P rofiles Methodist University and B.M. from the University of North Texas. Formerly, she served as Assistant Professor at Western Michigan University and on the faculties of the University of North Texas and University of Texas at Arlington.

JASON SAH, viola Jason Sah of Port Jefferson, NY, has earned performance degrees from the University of Southern California and Eastman, and has pursued post-graduate work at the Salzburg Mozarteum. He has toured Europe with the Salzburg Camerata and Salzburg Kammerphilarmonie, and has been featured on Eastman’s Rising Stars at Carnegie Hall. Sah’s most recent endeavor is his co-founding of Ten Strings. This exciting viola and guitar collaboration explores the rich yet underplayed music of this repertoire, while also arranging fresh interpretations of classics. MARIA SCHLEUNING, violin A member of the Dallas Symphony since 1994, Maria Schleuning has performed as concerto soloist with that orchestra as well as with the Oregon Symphony, Seattle Symphony, Long Bay Symphony, and the Evian Festival in France. She performs regularly as soloist and chamber musician with the Grammy-nominated Voices of Change and with the Walden Piano Quartet. Ms. Schleuning has performed in Lincoln Center, and also in Carnegie Recital Hall. Schleuning is a faculty member and performer at the Bowdoin Summer Music Festival. ASTRID SCHWEEN, cello The Washington Post has praised cellist Astrid Schween’s “extraordinary musical ability.”As a soloist and a member of the world-renowned Lark Quartet,Astrid has performed extensively throughout the world, including Carnegie Hall, the Kennedy Center,Wigmore Hall, Lincoln Center and many other prestigious venues.With her colleagues in the Lark, she has garnered numerous awards including the Shostakovich Gold Medal in Russia and the Naumburg

A Special Thank You to

Penny Eger and M.J. Osborne for their planned gift to the Festival.

Chamber Music Award. She earned her Bachelors and Masters degrees at the Juilliard School.

MIKE SEEGER, performer “Clean and crisp as any acoustic music now being played…” Rolling Stone. Mike Seeger is a legend in American folk music.“His instrumental technique borders on the astonishing,” says the San Francisco Examiner. A six-time Grammy Award nominee, Mike has recorded almost forty albums, both solo and with others. Billboard magazine states,“In brushing the dust of time from American folk music, Mike Seeger illuminates the roots of contemporary music and champions their strength.” ALEX SHUHAN, horn Alex Shuhan is a founding member (1993) of Rhythm & Brass and is also Associate Professor of Horn at Ithaca College. He is principal horn with the Cayuga Chamber Orchestra and performs frequently with the Rochester Philharmonic Orchestra and the Syracuse Symphony Orchestra. He also performs regularly at the Skaneateles Festival. He has studied at Southern Methodist University, the Eastman School of Music, and the Pre-College Division of the Juilliard School. Shuhan is also an accomplished composer and arranger. ELIZABETH SHUHAN, flute Elizabeth Shuhan is an adjunct lecturer at Ithaca College, a private flute instructor at Cornell University and a Suzuki flute specialist in Ithaca, NY.As the current principal flutist with the Fort Smith Symphony (AR), she has recorded for the Naxos label. She was previously the former director of the University of Arkansas Suzuki Music School, a former music specialist in the Arkansas public school system, a member of the North Arkansas Symphony Orchestra and an active chamber musician in Mississippi,Arkansas, Oklahoma and Missouri before moving to Central New York in 2004. She holds degrees from the University of Arkansas and the University of Southern Mississippi. ROBERT SWENSEN, tenor Tenor Robert Swensen has appeared across the country, including his Carnegie Hall debut in La Dame Blanche with Opera Orchestra of New York, and performances with Santa Fe Opera Festival, Opera Pacific,Arizona Opera and Kentucky Opera. Robert has mentored with Nicolai Gedda and Luciano Pavarotti and is the recipient of several awards, including a Grammy Award for “Best Classical Recording” of Barber ’s Antony & Cleopatra. Robert is currently Associate Professor of Voice at the Eastman School of Music. CONRAD TAO, piano An award-winning pianist, violinist and composer, 12-yearold Conrad Tao first showed interest in music when he was 71

M usician P rofiles found playing children’s songs on the piano at 18 months of age. He started formal piano lessons at age 3, gave his first recital at 4, and performed at the World Piano Pedagogy Conference at 7. At age 8, he made his concerto debut with the Utah Chamber Music Festival Orchestra and was featured on From the Top – Live from Carnegie Hall in September 2006 as violinist, pianist and composer. Conrad is currently enrolled in the Juilliard pre-college division studying violin with Cathy Cho and piano.

ROGER TAPPING, viola Grammy Award winner Roger Tapping played in the Takács Quartet from 1995 until 2005, touring the world and making many award-winning CD’s, including complete sets of the Bartok and Beethoven quartets. Born in England, he was a member of many of England’s finest chamber ensembles, including the Allegri Quartet. Currently on the faculties of the New England Conservatory, the Longy School and the Boston Conservatory, he has an active performing career as a recitalist and chamber musician. JAMES VANDEMARK, bass “Solo double-bass virtuosos may be counted on the fingers of one hand, and James VanDemark, who teaches the instrument at the Eastman School of Music, is now generally reckoned to be among their number.” New York Times. At

17, he left high school to become principal bassist with the Hamilton Philharmonic in Ontario and joined the faculty at Eastman when only 23 years old. His chamber music collaborations include appearances with Yehudi Menuhin, Cleveland Quartet,Aspen Contemporary Chamber Ensemble, Colorado Quartet, Guarneri Quartet, the Los Angeles Piano Quartet, and a duo recital with André Watts.

EMILY VARDANYAN, violin At age three, Emily Vardanyan began studying violin in Alaska. Ms.Vardanyan has won the Waterloo/Cedar Falls Symphony Orchestra Artist Competition and made her solo debut at eighteen. She has attended the Indiana University String Academy,Academy of Music and Music Academy of the West. Emily is a graduate of the Eastman School of Music. TIGRAN VARDANYAN, violin A native of Yerevan,Armenia,Tigran Vardanyan is a member of the Rochester Philharmonic Orchestra. Mr.Vardanyan is a winner of numerous competitions and awards. He earned a Bachelor of Music degree and the Performer’s Certificate at the Eastman School of Music. In addition Mr.Vardanyan is active as a soloist and chamber musician. He has appeared with the RPO and has given many recitals in Rochester, Boston, Los Angeles, Seattle,Armenia, Slovakia and Mexico.

M usician P rofiles KAREN VEVERKA, violin Karen Veverka is the High School Orchestra Director at Skaneateles High School, where she has led her ensemble to “Gold With Distinction” ratings. She has recently joined the faculty at Setnor School of Music, Syracuse University, where she is also pursuing PhD studies.As a professional violinist, previous engagements have included the Syracuse, Omaha,Vermont and Binghamton orchestras, and the Skaneateles Festival. Summer festivals include Aspen and the Los Angeles Philharmonic Institute. Ms.Veverka holds degrees from St. Olaf College, University of Nebraska-Lincoln and Syracuse University. She served on the Festival’s Board of Directors from 1998–2004. DAVID YING, Co-Artistic Director and cello In addition to his role as cellist of the Ying Quartet, David Ying frequently performs as a soloist and serves as Co-Artistic Director of the Skaneateles Festival. He has appeared with such orchestras as the Oakland East-Bay Symphony, the Chicago Civic Orchestra, the String Orchestra of the Rockies and the Rochester Chamber Orchestra. He has won numerous awards as a solo cellist, including prizes in the Naumburg International Cello Competition, the Washington International Competition and a diploma at the Tchaikovsky International Cello Competition.A dedicated and active teacher, Mr.Ying has taught at Interlochen, the Brevard

Music Center and Northwestern University. He is currently on the chamber music and cello faculty of the Eastman School of Music in Rochester.

JANET YING, violin Janet Ying currently serves as Associate Professor of String Chamber Music as well as part-time assistant Professor of Violin at Rochester’s Eastman School of Music. Janet is a member of the Ying Quartet along with her three brothers and is in residence at the Eastman School of Music, planning and directing a rigorous, sequential chamber music curriculum that integrates intensive musical instruction with training in creative presentation and communication skills. PHILLIP YING, viola Phillip Ying, as violist of the Ying Quartet, performs regularly across the United States, Europe and Asia. In addition to enjoying a highly successful performing career, Mr.Ying is committed to presenting the arts in creative, unexpected and diverse ways. He currently serves as President of Chamber Music America and is also on the faculty at Rochester’s Eastman School of Music. He is particularly interested in developing Eastman’s chamber music curriculum in order to produce exceptional and broadly trained musicians for the future.

D.M. & H.E.

Williams Realty Established 1948 13 East Genesee Street Skaneateles, NY 13152 Office: (315) 685-7324 Fax: (315) 685-6102 www.skaneatelesrealty.com WilliamsRealty@realtor.com

Elinor Freer coaches Stephen Ciaccio at a student workshop

M usician P rofiles TIMOTHY YING, violin A member of the Ying Quartet, violinist Timothy Ying is currently on the faculty at the prestigious Eastman School of Music in Rochester as assistant professor of Violin,Associate Professor of String Chamber Music and co-chair of the school’s chamber music department.Along with his siblings and colleagues in the Ying Quartet, Mr.Ying prides himself in continuing to develop new ways of making artistic expression an essential part of everyday life. YING QUARTET Timothy Ying, violin; Janet Ying, violin; Phillip Ying, viola; David Ying, cello Now in its second decade, the Ying Quartet has developed an international reputation for its commitment to making artistic and creative expressions an essential part of life. Ensuing this direction, the Quartet participates in initiatives such as a visiting residency at Symphony Space in New York City linking music with other art forms, such as poetry, dance, and film, and collaborations with the Turtle Island String Quartet which explore jazz, improvisation, and the classical string quartet tradition. Last year’s collaborative album with the Turtle Island String Quartet, entitled 4 + Four, won them the Grammy Award for best Classical Crossover

Album.The Ying Quartet is currently in residence at the Eastman School of Music, and since 2001 its members have been the Blodgett Artists in Residence at Harvard University.

AINUR ZABENOVA, violin Ainur began her violin studies at the age of 7 in Almaty, Kazakhstan.At the age of 11 she won three national competitions, and a year later made her solo debut in Paganini’s Concerto No. 1 with the Almaty Philharmonic Orchestra. In 2003 Ainur made her solo debut at Carnegie’s Weill Recital Hall, and later that year made her debut with the Silk Road Ensemble performing in Carnegie Hall along with Yo-Yo Ma, and Pinchas Zukerman, among others.Ainur is currently a Doctoral student at the Eastman School of Music and is a member of the Rochester Philharmonic Orchestra.

check us out on the web at

www.skanfest.org

Hear the world’s great ensembles in our new, more intimate venue. SYRACUSE FRIENDS OF

Tokyo Quartet

MUSIC

Lincoln Middle School, 1613 James Street, Syracuse OCTOBER 13, 2007 – APRIL 12, 2008 • OUR 58TH SEASON

Beaux Arts Trio 74

315-446-3424 • www.syracusefriendsofchambermusic.org

Festival Fare

CDs Posters Tote Bags Mugs Hats T-shirts Polo Shirts Sweatshirts Flash Lights

Don’t let the season end without getting your Commemorative Memorabilia, on sale at the Concession table!

Enjoying the Concert? Want to hear more? Consider making a tax-deductible donation to help us keep this great music coming each year (all donations received this Summer are recognized in the following year’s program book). I would like to make a gift to the Skaneateles Festival at the following level:

❏ Guarantor Society . . . . . . . . . . $2000 and up ❏ Benefactor Society . . . . . . . . . . . $1000-1999 ❏ Gold Patron Club . . . . . . . . . . . . . . $500-999 ❏ Patron Cub . . . . . . . . . . . . . . . . . . . $200-499 ❏ Contributor. . . . . . . . . . . . . . . . . . . $100-199 ❏ Member . . . . . . . . . . . . . . . . . . . . . . . $50-99 Print your name as you would like it to appear in the program. Name ______________________________________________________ Phone______________________________________________________ Email ______________________________________________________ Address ____________________________________________________ ___________________________________________________________ ___________________________________________________________

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❏ Charge my: ❏ Visa ❏ Mastercard Card # _______________________________________ Exp. Date ______ /_______ Signature _____________________________________ Mail to: Skaneateles Festival 97 E. Genesee Street Skaneateles, NY 13152

❏ Donate on-line at: skanfest.org For more information call 315-685-7418 75

A Christmas Suite

Skaneateles Festival CONCERT INFORMATION All summer concerts are held in Skaneateles, August 8 – September 1, 2007.Tickets can be ordered at www.skanfest.org or by calling (315) 685-7418. FamilyFest, Behind the Scenes, Thursday and Friday evenings Held at the First Presbyterian Church, at 97 E. Genesee Street Saturday evening performances Held at 7:30 pm outdoors at Brook Farm. Call (315) 685-7418 after 3:00 pm on Saturdays for rain location announcements. Rain Location Skaneateles High School auditorium, 49 East Elizabeth Street Suggested items to bring Lawn chairs, blankets & flashlights (chairs are provided in A seating only). Ticket exchanges May be made up to 24 hours prior to concerts. Unused tickets returned less than 24 hours before the performance will be acknowledged as a contribution to the Skaneateles Festival. Unused Ticket Exchange Any unused ticket may be exchanged for a 1/2 price ticket to a Syracuse Friends of Chamber Music concert during their 20072008 Season (subject to availability). Doors Open Doors open for all concerts 30-45 minutes prior to concerts. Permission needed Cameras & recording equipment may only be used with the permission of the Skaneateles Festival. Electronic devices Please remember to silence cell phones, beepers and watches. Artists materials Tapes & CDs of the some of the artists featured at the Festival can be purchased at the concession table. Please tell businesses listed in the program that you appreciate their support of the Skaneateles Festival. Skaneateles Festival 97 East Genesee Street Skaneateles, NY 13162 (315) 685-7418 • www.skanfest.org 76

SAVE THE DATE

Saturday, December 8, 2007 A collection of Christmas Stories and Music Reservations will be taken starting November 1st HOSTED BY

PRESENTED BY THE

The Falcone Family

Skaneateles Festival

A Christmas Suite Contributors – 2006 Allure Laura & Scott Allyn Aurora Inn Beads Around Henry and Helga Beck, Tessy Plastics Pat & Mary Bright Cate & Sally Bill and Donna Davis Evan and Elizabeth Dreyfess The Falcone Family Finger Lakes Photography

Dan McCann – Five Seasons George Iocolano Jacobs Press Tom & Gretchen Jeffers Eloise Luchsinger Lynn Law Firm MacKenzie-Childs Mirbeau Inn & Spa Bob and Sally Neumann Pascale’s Sherie and Andy Ramsgard, Ramsgard Architectural Design

Linda Roche, Realty USA Rosalie’s Cucina Saxenian Rug Company John & Carol Shannon Sherwood Inn Skaneateles High School Time Warner Cable James & Salli Tuozzolo Dale and Rillann Van Epps Wachovia Securities Jeff and Kate Youle

2007 Program Book