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211-043 M03 Program cover.ai 07.13.09 | kh.mm

Dear Friends, The Skaneateles Festival is 30! Like some thirty-year-olds, we feel on top of the world. Of course we would not have reached this milestone without the dream of founders David and Louise Robinson and their children, Lindsay Groves, Beth Boudreau, and the other music lovers who envisioned “music by the lake.” We also wouldn’t be reaching 30 without the support of our many donors and sponsors, our fantastic and capable staff, our fleet of wonderful volunteers, and the enthusiasm of you, our audience. In all of our travels, we have never encountered a festival quite like SkanFest. The special family atmosphere begun by the Robinsons, the intimate concert settings, the lake’s spectacular natural backdrop—all of these qualities make performers and listeners feel close to each other and in tune with the glorious music. Along with all of you, we love to experience the magic of one-of-kind performances, great music new and old, and the chemistry and friendship between all of the wonderful musicians who have shared their talents with us during the past 30 years. The music reminds us that life in the present can be beautiful, meaningful, and immensely satisfying. Like smart thirty year olds, we also realize that the best is yet to come, and here’s where we need your help. We are grateful to those who year-after-year make sure that music and the Skaneateles Festival are a part of our lives; now more than ever we need music and all the arts to feed our souls. So if you haven’t yet become involved in supporting the Festival, please consider joining our family of donors. Together we can make the next 30 years even greater! Enjoy the music,

Elinor and David

Broadway comes to Brook Farm!

Peggy Pearson– pg. 8

Parker Quartet – pg. 24

Jose Franch – pg. 38 Ballester

Broadway – pg. 46

Michi Wiancko – pg. 54

Eliot Fisk – pg. 50

Skaneateles Festival

2009

Board of Directors

Advisory Council

Administration

Dave Birchenough, President Doug Sutherland, Vice President George Bain, Treasurer Madonna Meyer, Secretary

John Angyal Thomas Bersani Ellen Bifano 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) David Rubin Joseph Strodel, Jr.

Susan Mark, Executive Director David Ying and Elinor Freer, Artistic Directors

Patti Carey Susan Dailey Colleen Fisher Steve Frackenpohl Koko Fuller Dane Gist Jean Graham Holly Karker Daniel Labeille Sharon Magee

Fred Marty Dan McCann Margaret Murray Louise Robinson Linda Roche Carol Stokes-Cawley Jack Varney Karen Veverka Doug Whitehouse Kate Youle

Mary Bradly, Bookkeeper Brittany Bird, Internal Communications Manager Ellen Meyer, Internet Communications Manager Maureen Meyer and Caroline Walton, Office Assistants Steve Frackenpohl, Stage Manager Alex Figura, Stage Assistant Nancy Boyce, Program Book Layout and Design Suzi Harriff, MediaMarCon, Media Consultant Sharon Terino, Ad Sales Keith Horner, Program Notes Writer Matt Osika, Music Librarian

A Special Thank You to our 2008 Volunteers Sharon Alley Jane Anderson Henry and Helga Beck Ellen Bifano and John Gazda Tom and Arlene Bloomer Alyssa Blount Bolt and Barbara Bolton-Smith Carol Bryant Judy Bryant Betsy Burton Maryellen Casey and Bruce Keplinger Joan Christy and Tom Bersani Victoria Clark Linda Cline Pat & Bill Conole Susan Dailey Janet Dean Theo Dean

Kim and Charlie Driscoll Colleen & Dan Fisher Paul and Erika Fiutak Steve and Sandi Frackenpohl Koko Fuller Marilyn Giancola Debbie Gist Jean and David Graham Holly Gregg and Patience Brewster Gay Hembach Donna Himelfarb Rob and Claire Howard Ruth Howard Ellie and Joe Hubbard Don Hughes Elisabeth Hurley Joyce and Robin Jowaisas Martha Keppler Mary Knepper

Myron and Luba Kopchynsky Wendy Kopley Kay Kraatz Jo Kress Chris Lego and Jeff Shingleton Andy and Ginny Longacre Sharon and Marshall Magee Bill and Miki Mahood John and Peggy Manring Donna Merchant Madonna and Jeff Meyer Peter Moller Margaret Murray Richard Naughton Bob and Sally Neumann Tim and JoDean Orcutt Jeff Paston Mimi Pierre Nina Pittard

Hana Polachek Mimi Purington Dan and Lisa Riordan Louise Robinson Jean Shook Mona Smalley Lynn and Corinne Smith Peter and Elsa Soderberg Jan Sterling Chacea and Don Sundman Peggy Surdam Peter and Florence Swartz Dale and Rillann Van Epps Suzanne Weitz Bob and Jo Werner Ann Wiles Sheryl Woodmansee Kate and Jeff Youle

Acknowledgements Louise Robinson, Brook Farm – Concert Location & Hospitality Carney & Blumer Trucking – Piano Moving Maryellen Casey & Bruce Keplinger “Cybersolvers” – Webmaster and Computer Coordinators The Falcone Family – A Christmas Suite at Hobbit Hollow

Jim & Julie Moore, Patience Brewster & Holly Gregg, Don & Chacea Sundman, and Dale & Rillan Van Epps – Musician Dinners Joan Christy – Musician Dinners & Guarantor Reception First Presbyterian Church – Concert Location Koko Fuller – Ticket Sales

Many thanks to the generous Skaneateles residents who open their homes to the Festival’s visiting musicians. A special thanks to all the volunteers and cooks who made Villas, Vittles & Fiddles such a great success.

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

www.skanfest.org © The Skaneateles Festival 2009

Summer 2010

Sneak Peak! Hilary Hahn Trio Solisti TF3 Pulitzer Prize-winning composer

Paul Moravec

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.

Watertown Office 400 Washington Street Watertown, NY 13601 315-782-0492 1-800-654-0554

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

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

Thank you to all the Skaneateles Festival Donors! This list reflects gifts received as of July 28, 2009

Guarantor Society Artist Pianos Ltd. George S. Bain Gwen and Bill Birchenough Maryellen Casey and Bruce Keplinger ChaseDesign Joan Christy and Tom Bersani Lynn Cleary and David Duggan The CNY Business Journal CNY Community Foundation Inc. Barb Connor Cybersolvers

Benefactor Henry and Helga Beck Dave Birchenough and Carrie Lazarus Susie Birchenough and Raz Rahman Mark and Leokadia Bitz CNY Fertility Center

Gold Patron Mr. Frank Albanese Bill and Penny Allyn Auburn Public Theater Patti and Bud Carey Ed and Paula Conan Susan T. Dailey Elizabeth and Evan Dreyfuss Ian and Rita Edwards Patti and Steven Ford

Patron

Rudolf and Agnes Benfey Dave and Pat Blackwell Beth Boudreau Mary Bradly Louise Bristol Judith Bryant Corinne and Bill Buterbaugh Elet and John Callahan Edward Castilano Dr. and Mrs. Chung-Taik Chung William and Laurie Clark Dr. and Mrs. George Collins Charles and Margaret Crosman Alan Curle and Andrew London

Donna and Bill Davis The Gladys Krieble Delmas Foundation Gary and Linda Dower Penny Eger and MJ Osborne Ewing Marion Kauffman Foundation Michael and Noreen Falcone Michael P. Falcone Fletcher Foundation Koko Fuller John Gazda and Ellen Bifano Jean and David Graham The Howard L. Green Foundation, Inc.

Hiscock & Barclay, LLP Linda and Bruce Kenan Robert Kiltz, CNY Fertility and CNY Healing Arts John and Peggy Manring John and Kim Mezzalingua National Endowment for the Arts Bob and Sally Neumann New York State Council on the Arts Onondaga County Faye Panasci Past Presidents of the Skaneateles Festival

Andrew and Sherie Ramsgard Louise Robinson Carl Schramm and Ellyn Brown Sherwood Inn Jary and Julie Shimer Skaneateles Journal Peter and Elsa Soderberg Don and Chacea Sundman Doug Sutherland and Nancy Kramer Time Warner Cable WCNY Classic FM Welch Allyn Inc.

Columbian Foundation, Inc. Mary Cotter Cultural Resources Council Senator John DeFrancisco Arts and Cultural Partnership Projects Sid and Suzanne Devorsetz Dan and Colleen Fisher Franklin Properties

Dr. Robert Kiltz Andrea Latchem David and Anne Lee Chris Lego and Jeff Shingleton Fred and Ginny Marty MassMutual Financial Group Sutton Real Estate Company, LLC

Testone, Marshall & Discenza, CPAs James and Salli Tuozzolo Jack and Judy Varney Edward and Marilyn Vespa WRVO WSYR Radio 570 Jeff and Kate Youle

Gilberti, Stinziano, Heintz and Smith, P.C. Holly Gregg and Patience Brewster Bill Hecht Joe and Mary Ellen Hennigan George R. Iocolano Joyce and Robin Jowaisas Ed and Jill Little Marshall and Sharon Magee

Susan Mark Revoir Foundation Linda Roche, RealtyUSA Linda and Dan Roche Fritz and Phyllis Rohrlich David Rubin and Tina Press Buzz and Mary Ann Shaw Skaneateles Area Council for the Arts Skaneateles Rotary Foundation

Mona Smalley Lynn and Corinne Smith Dr. and Mrs. Ken Spitzer Dr. Sandra Sulik Peter and Florence Swartz Dale and Rillann Van Epps Doug and Peg Whitehouse Richard Wight and Jennifer Sutherland

Starke Donnally Steven and Sandi Frackenpohl Mona and Coburn Freer Steve and Ann Hahn William and Karen Havens Sally Holben Rob and Claire Howard Patricia W. Infantine Tom and Gretchen Jeffers Mary Knepper Wendy and John Kopley Daniel and Grace Labeille Lee Wayne Corporation Lou and Merby Lego John MacAllister Clifford and Lucille MacBroom

John and Candace Marsellus Modern Kitchens of Syracuse Madonna and Jeffrey Meyer Margaret and William Murray Chris and Amy Neumann Greg and Debbie Quick Doug and Judy Robertson Terri and Mark Roney Nick and Linda Rossi David and Amy Sander Bob and Lynne Scheer Dr. Steven J. Scheinman Richard and Bonnie Scolaro Kendrick and Gracia Sears Jean Shook and Chris Johnson

Skaneateles Swill & Quill Book Club Rebecca and David Stephenson Judith Stoikov and Richard Miller Frank and Rose Swiskey Paul and Mary Torrisi Margaret Usdansky and Gustav Niebuhr Karen Veverka Leah Weinberg and Paul Barron Elizabeth Weinstein and Steven Shahan Suzanne and Walter Weitz David Ying and Elinor Freer Dr. and Mrs. David P.W. Ying

Contributor Ivan and Mimi Ace Eric Allyn and Meg O'Connell Lew and Dawn Allyn RADM and Mrs. Peter L. Andrus Mr. and Mrs. Sherwood E. Bain John and Kathy Baran Ann Marie Bergold Dr. and Mrs. Frank Bersani Mimi Bliss Bolt and Barbara Bolton-Smith Dr. Donald Boudreau Lila R. Brehm Dan and Theresa Brown Hal and Peggy Brown Carol Bryant Jane Burkhead and Robert Sarason Mr. and Mrs. C. Vincent Byrne Patricia M. Callahan Curt and Joyce Carlson Stephen and Linda Chow Barbara and Goodwin Cooke Paul and Gail Cowley Tim and Margie Creamer Carl and Judith Crosley Mickey Dalton Gretchen and Louis DePaull

Member William Allen Karl Barth Bill Bell Lynne and Richard Bennett Lisa and Scott Blystone Helen Boatwright Bernie and Ona Bregman David Brittain Mildred Cefaratti Nadine Cole Carla and Bob Copeland Anthony and Patricia DeAngelis Carol Delaney Robert and Susan Ellefson Bob and Kay Fagliarone Martha Farnsworth Riche Shirley and Bob Feldmann Aubrey and Carol Garlington Marilyn Giancola Gloria and Joshua Goldberg

Mr. and Mrs. George B. Dowley Marvin and Patricia Druger Anna and Ed Egert Stuart and Barbara Evans Paul and Erika Fiutak Bill and Sharon Fox Judith A. Fox John V. Frank Susan and Frank Freer Karen Gahl-Mills and Larry Mills-Gahl Miggie George Alex and Donna Giambartolomei Dr. Phillip Gioia, Children's Health Specialists Dane and Debbie Gist Heidi and Michael Gogins Henrietta Gottschalk Jane Graves Agnes E. Griffith, Ph.D Josephine and Robert Harris Mary Louise Hartenstein Frank Heath Bob and Peggy Hegel Jim and Pat Hertz Mr. and Mrs. Joseph Hubbard John and Linda Isaac Holly and Jurgen Karker

Barbara Kay and George Bristol Mary J. Keady Richard and Mary Lee Kokosa Lin Kroeger and Alan Johnson Joan and W. Theodore Kuck David and Stacia Landsberg Daniel Larson Marilyn Lerman, In memory of Fred Lerman Dr. and Mrs. Robert Lockwood Marian Loftus Bill and Miki Mahood Melissa Matson and Bob Taylor Col. Edward L. Mazur Dan and Kathleen Mezzalingua Sandi Mulconry Eileen Murphy and CJ Ryan Carole and Lloyd Novick Nancy Oplinger and Richard Freeman Kathy Palmieri Marc and Cristina Pietropaoli Dick and Kim Poppa Mr. and Mrs. Thomas A. Potter Mr. and Mrs. Robert Rodormer Carol A. Rowehl and John D. Kahler, Jr. Jack and Stephanie Rudnick Lawrence and Janet Ruston

Milton Sack Kathy and Jim Scheider Richard and Sandra Schmidt, Fleur de Lis Herbert and Hillery Schneiderman Mr. and Mrs. Bond D. Shaw Susan and Steven Shaw Dr. and Mrs. Michael Shende Mary and Robert Soderberg Mr. and Mrs. James T. Spaulding David and Deirdre Stam Jan Sterling Carol and William Stokes-Cawley Holly Strong John and Jean Vincent Ron and Jane Walsh Mark Watkins and Brenda Silverman Charles and Nancy Williams Mr. and Mrs. Bernhard Wolff Susan Wolstenholme Phillip and Keiko Ying John and Carol Young Linda Zarcone

Mr. and Mrs. James Graham Kenneth and Laurel Grant Bob and Val Gray Josephine M. Gregg Suzi Harriff, MediaMarCon John Herr Bob Hiemenz Robert and Nancy Holcomb Richard and Debbie Hole Stella Maris Stephen and Terry Kline Thomas Kniesner and Deborah Freund Myron and Luba Kopchynsky Barbara Kotula Catherine Lathwell Mr. John D. Legg Edward and Karen Levene Richard and Betty Levy Rev. Frank Lioi Gard Lorey, DDS and Sean Smith, DDS, PC James and Patricia MacKillop

Julian and Charlene McCaull Fran and Kevin McCormack Richard D. McKee II Jean L. McRae Linda Meier Margaret Merli Dr. and Mrs. Bert Mersereau David and Janet Muir Martha Mulroy and David Manfredi Mr. and Mrs. Eldred Myers JoDean and Timothy Orcutt Bruce and Margaret Osborne Dr. and Mrs. Bernard Panner Elizabeth Patton Eleanor K. Peterson Anne Roth and Bob Cook Carol Sears Donald Seibert and Charles Tremper Julie Sharpe Leonard and Margaret Shengold Alberta Shouldice

Sharon and David Slater David Snyder Margaret Sovik Ruth Speiser Jamie Sutphen Barbara Sutton and Elizabeth Kolodney John and Margie Sutton John Tanquary and Caroline Tauxe Nancy E. Tiedemann Linda Van Buskirk Judith and Jerold Warner Richard and Ann Wasiewicz Patty Weisse and George Thomas George and Nancy Wettlaufer Monica and Bruce Williams Carol Wixson Miryam Yardumian Joyce Zadzilka

FamilyFest is sponsored by:

Educational Events are FREE and are held at the First Presbyterian Church

The Panasci Family

Workshops for Music Students and Behind the Scenes are sponsored by:

Free at the Festival

Recommended for ages 5 and up

Workshops

for Music Students Wednesday, August 12, 11:00 am Open to music students of all ages and abilities.* Xak Bjerken and Elinor Freer, piano; Renata Artman Knific, violin; Deborah Chodacki, clarinet; and Rosemary Elliott, cello.

*Please Note: Pre-registration is required – students interested in participating can find the registration form online at www.skanfest.org or call 685-7418.

Behind the Scenes Open Rehearsal

Tuesday, August 25, 2:00 pm Come hear Carter Pann’s new piece, “Summer Songs,” take shape, as he gives input and advice to Festival performers.

FamilyFest!

“Root for the Home Team” Wednesday, August 26, 11:00 am

Join Festival musicians for a rollicking FamilyFest concert featuring music by and about New Yorkers. You’ll also be the first to hear some of composer Carter Pann’s “Summer Songs,” a piece he wrote especially for us about life in Central New York. Don’t miss it!

The Skaneateles Festival is supported in part by an award from the National Endowment for the Arts.

Ways to Support Your

Donate for Music Today Donate today and support the 2009 season. Your gift will be recognized in the next year’s program.

Sponsorship for 2010 Sponsor a concert or musician for the 2010 season. Your gift of $1,000 or more can sponsor a musician or an entire concert in 2010. Your gift will be recognized in next year’s program and you will be invited to “meet the musicians.”

Endowment Forever... Your gift can provide beautiful music forever… when you donate to the Festival endowment fund. Yes, I want to help the Skaneateles Festival. ❏ Donate for music today ❏ Sponsorship for 2010 ❏ Donate to the endowment fund ❏ Please contact me to discuss my gift options. Name ______________________________________ Address ____________________________________ City _______________________________________ State ____________________ Zip_______________ Phone _____________________________________ Email: _____________________________________

I would like to make a tax-deductible gift to the Skaneateles Festival at the following level (all donations received this Summer are recognized in the following year’s program book): ❏ Guarantor Society . . . . . . . . . . . . . . . $2000 and up ❏ Benefactor Society . . . . . . . . . . . . . . . . $1000-1999 ❏ Gold Patron . . . . . . . . . . . . . . . . . . . . . . . $500-999 ❏ Patron . . . . . . . . . . . . . . . . . . . . . . . . . . . $200-499 ❏ Contributor . . . . . . . . . . . . . . . . . . . . . . . $100-199 ❏ Member . . . . . . . . . . . . . . . . . . . . . . . . . . . . $50-99

❏ Check enclosed.

Make checks payable to: Skaneateles Festival ❏ Charge my: ❏ Visa ❏ Mastercard Card # ___________________________________________ Exp. Date ______ /_______ Signature _________________________________________

Mail to: Skaneateles Festival, 97 E. Genesee Street, Skaneateles, NY 13152 For more information call 315-685-7418 Donate online at: www.skanfest.org 7

Tonight’s concert is sponsored by:

Jary & Julie Shimer

Thursday, August 13

Musical Memories

8:00 PM First Presbyterian Church

Peter Child

Tonight’s guest sponsorships:

Rosemary Elliott and Steven Doane are sponsored by The Gladys Kreible Delmas Foundation Elinor Freer is sponsored by Robert Kiltz, CNY Fertility and CNY Healing Arts Mark Kaplan is sponsored by the CNY Business Journal Renata Artman Knific is sponsored by David & Anne Lee Peggy Pearson is sponsored by Chris Lego & Jeff Shingleton

Pantomime: Seven Lyric Scenes for Oboe Quartet* i. Intrada: march-like, swaggeringly ii. Lickety-Split: scurrying iii. Soliloquy: sad, pensive iv. Jitterbug: rhythmic, brisk v. Chorale: gently flowing vi. Chorale Prelude: graceful, light vii. Exeunt: playful, mischievous (oboe); sober, brooding (strings) *co-commissioned by Skaneateles Festival

Mozart

Renata Artman Knific, violin Michelle LaCourse, viola Rosemary Elliott, cello Peggy Pearson, oboe

Quintet in E-flat for Piano and Winds, K. 452 Largo – Allegro moderato Larghetto Rondo: Allegretto

Elinor Freer, piano Peggy Pearson, oboe Deborah Chodacki, clarinet Gregory Quick, bassoon W. Peter Kurau, horn

Intermission

Dvořák

Piano Quartet No. 1 in D Major, Op. 23 Allegro moderato Theme (Andantino) and variations Finale: Allegro scherzando

Mark Kaplan, violin Michelle LaCourse, viola Steven Doane, cello Xak Bjerken, piano

The Skaneateles Festival is made possible with public funds from the New York State Council on the Arts, a state agency.

There seems no more fitting way to begin our 30th anniversary season than with encore performances of some of the wonderful music and musicians heard during the festival’s early years. We are honored to welcome back our distinguished performers this week; each one of them has made an important contribution to the Festival’s history. Some will reprise their roles while others will be presented in different repertoire. In addition to performing wonderful standards from the chamber music repertoire, the Festival has always had a commitment to creating and supporting modern music, and so this week we also present a brand new work, Peter Child’s Pantomime, co-commissioned by SkanFest, and featuring Festival favorite, Peggy Pearson. We close the week with the sublime Bach Double Concerto, last performed here in 1986, and a glorious Bach Cantata featuring Festival founders Louise and David Robinson’s talented granddaughter, Joanna Manring. No one associated with the Festival can forget David’s ringing baritone and his joyous performances of Bach Cantatas at Brook Farm! We hope you enjoy these musical memories along with us.

At a Glance…

Program Notes Pantomime: Seven Lyric Scenes for Oboe Quartet PETER CHILD (B. 1953) Peter Child is professor of music and MacVicar Faculty Fellow at Massachusetts Institute of Technology and currently composer-in-residence with the New England Philharmonic. Pantomime, Seven Lyric Scenes for oboe, violin, viola and cello, is dedicated to oboist Peggy Pearson and was co-commissioned by Skaneateles Festival. Peter Child writes: “This piece has seven short movements with sharply differentiated moods and characters. It begins with swagger and high spirits in the first two movements, touches upon melancholy and regret in the third movement, a jittery, nervously energetic interlude in the fourth, and prayer and devotion in the fifth and sixth movements. At the end, it cycles back to a happy-go-lucky attitude, now with a suggestion of recklessness. The procession of musical scenes suggested to me a wordless serio-comic drama in which the principal character is portrayed mainly by the oboe; hence the title, Pantomime.”

Quintet in E-flat for Piano and Winds, K. 452 WOLFGANG AMADEUS MOZART (1756-1791) “I believe it is the best work I have written in my life. It is composed for one oboe, one clarinet, one horn, one bassoon and the piano.” Mozart’s own critique of his Quintet in E-flat, K. 452 is found in a letter to his father, written April 10, 1784. In it, he tells of the first performance of the quintet at the Court Theater in Vienna, together with a new piano concerto, three symphonies and an improvisation on the piano. Not surprisingly, Mozart adds: “I was exhausted towards the end of the concert from playing so much.” Then, with a characteristic puff of his own feathers, he cannot resist adding: “I only wish you could have heard it—and how beautifully it was performed!” For the classical composer, the string quartet was the ideal medium for blend, range, tone color and the potential for contrast. Wind instruments blended less easily. Composers tried various combinations of winds, but no single solution prevailed. The closest was a sextet combination of pairs of treble instruments (oboes or clarinets or flutes) bound together by the texture of two horns and two bassoons. The players of these instruments formed a harmonie that many members of the aristocracy kept on

staff in their city palaces and summer estates. Mozart wrote harmoniemusik and in doing so, he deepened the emotional range of his writing for wind instruments. This shows not only in the wind serenades and divertimentos, but also in the wind writing in the piano concertos, which were the focus of his energy in the early 1780s. These concertos brought him fame and wealth. In them, he combined symphonic skill with an operatic gift for lyrical writing. He was also pushing the bounds of the string quartet and composing music that grew increasingly intimate. Then, in the early months of 1784, all these skills and interests came together in the E-flat Quintet, over which we know that Mozart labored long and hard. Sketches for all the movements exist. There was no precedent. As far as we know, no one had written a quintet for piano and four single wind instruments. Festival History of Piece The challenges facing Mozart Quintet in E-flat for Mozart were considerable. Piano and Winds, K. 452 He generally keeps his Date Performed melodies short, to accom8/23/85 modate the breathing needs Musicians of the wind players. He Hersh, Henoch, Combs, also gives each melody a Quick, Williams character that is suitable for embellishment by all. Since oboe, clarinet, horn and bassoon do not blend in the way a string quartet blends, he keeps the chordal passages short. Despite all these different considerations, Mozart creates a masterpiece with unity of form, structure and purpose. The piano leads, rather than dominates, the proceedings—the quintet is no piano concerto in miniature. The piano also enters into dialogue with each of the four wind instruments. As each instrument asserts itself, Mozart builds on its separate identity and adds to the variety of the whole. The development section of the opening movement does not overwork themes that are elsewhere elaborated and decorated. It functions essentially as an interlude, a brief reflection, like a question and answer, on a fragment of the opening melody. In the Larghetto, the wind instruments take the lead in announcing the melodies, while the piano weaves elaborately decorated arpeggios around them. The rondo finale concludes with the winds playing a written-out cadenza in tempo, as the piano provides the accompaniment. Doing (continued on page 11)

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8/13 Program Notes (CONTINuED)

this allows Mozart to avoid the improbable scenario of five instruments improvising a cadenza at the same time.

Piano Quartet No. 1 in D Major, Op. 23 ANTONÍN DVOŘÁK (1841-1904) Dvořák wrote two piano quartets among his 33 chamber works. Both were written with characteristic ease, the first from May 24 to June 10, 1875, and the second, almost 15 years later, in just 10 days from its earliest draft to completed score, August 19, 1889. Neither is interested in showcasing the piano as a virtuoso instrument; Dvořák generally prefers to share the themes among the instruments. Written when the composer was in his mid-30’s and beginning to gain recognition, the D major Piano Quartet sees Dvořák positioning himself as a Czech nationalist, while using all the current musical techniques of the internationalist. Bohemia was still part of the AustroHungarian Empire. In life as well as in music, it was only just beginning to assert its own voice. And in 1875 when Dvořák won a substantial Austrian State stipend for poor and talented artists, even Brahms, who was one of the judges, misguidedly advised his younger colleague to move from “provincial Prague” to a more international city like Vienna, with the clear implication that his music would be the better for it. The musical idiom of the D major Piano Quartet shows how Dvořák was struggling to find his way

between the two musical worlds—a struggle he only was to resoundingly resolve two or three years later with the publication of the Slavonic Dances. The opening theme Festival History of Piece skillfully unfolds from a Dvořák Piano Quartet No. 1 terse, two-bar suggestion of in D Major, Op. 23 a tune to a fuller, more Date Performed expansive melody. It rocks 8/31/95 into B major on the way, in Musicians the sort of magical switch of Collier, Winkler, keys that Schubert relished Schotten, Williams earlier in the century. The more lyrical second theme includes a hint of the Slavonic music that would soon become a distinctive part of Dvořák’s music language. This is even more marked in the pensive, stop-and-go theme of the slow movement. In the third of its five variations, the theme is inverted, goes to a distant key in the fourth, and is expanded into a poignant fifth variation with an unexpectedly melancholy close. Dvořák usually follows a four-movement pattern in his chamber music. Here he marries scherzo with finale, alternating a spirited, quick-tempo waltz with a vigorous finale theme marked Allegro agitato. Accented cross rhythms to the waltz suggest something closer to that distinctively Czech dance known as the furiant and, with the exuberant ending, there’s even a hint of the polka. —Mozart and Dvořák notes © 2009 Keith Horner. Comments welcomed: khnotes@sympatico.ca

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Tonight’s concert is presented in memory of Brenton Bradly and is sponsored by:

Friday, August 14 7:00 PM Prelude Concert

(for ticket holders only)

Musical Memories

8:00 PM First Presbyterian Church

Tonight’s guest sponsorships:

Prelude Concert Featuring this year’s Robinson Award winner Nicholas Hrynyk J.S. Bach Chopin Hrynyk

Toccata in E minor, BWV 914 Etude in C minor, Op. 10, No. 12, “Revolutionary” Ala’s Valse

Dvořák

Slavonic Dance in G minor, Op. 46, No. 8

Nicholas Hrynyk, piano

Nicholas Hrynyk, piano with Elinor Freer, piano

Concert Haydn

Divertimento in E-flat for Horn, Violin and Cello, Hob. IV: 5 Moderato assai Finale: Allegro di molto

Prokofiev

Mark Kaplan, violin Rosemary Elliott, cello W. Peter Kurau, horn

Quintet in G minor for Oboe, Clarinet, Violin, Viola and Bass, Op. 39 Moderato Andante energico Allegro sostenuto, ma con brio Adagio pesante Allegro precipitato, ma non troppo presto Andantino

Peggy Pearson, oboe Deborah Chodacki, clarinet Renata Artman Knific, violin Michelle LaCourse, viola Edward Castilano, bass

Intermission Beethoven

Piano Trio in B-flat, Op. 97 (Archduke) Allegro moderato Scherzo: Allegro Andante cantabile, ma però con moto Allegro moderato – Presto

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Renata Artman Knific, violin Steven Doane, cello Xak Bjerken, piano

The Robinson Award 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. Thirty years ago, 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 continued 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. If you would like to contribute to the Robinson Award Fund, please call 315-685-7418.

2009 Winner Nicholas Hrynyk Nick is a 2009 honors graduate from Auburn High School. In 2009, he has given solo recitals in Syracuse, Auburn, Utica, and most recently a performance of the first movement of Schumann’s Piano Concerto with the Auburn Chamber Orchestra. He is a recipient of the Syracuse Symphony Sally Whittle Scholarship, the Auburn Chamber Orchestra Frank Lentini/Mike Rosa Award and was awarded the Eastman School of Music Howard Hanson Scholarship. Nick has received numerous awards in competitions including first place at the Patricia DeAngelis Youth Piano Festival, first place in the Thousands Islands International Composer’s Competition, second place in the Thousand Islands Chopin International Piano Competition, second place in the Geneseo Youth Concerto Competition, and second place in the CNY Association of Music Teachers Competition. He is a student of John Spradling (Syracuse) and Daniela Mineva (Eastman School of Music). This fall Nick will be attending the Eastman School of Music pursuing a degree in piano performance.

Program Notes

Divertimento in E-flat for Horn, Violin, and Cello, Hob. IV: 5 JOSEPH HAYDN (1732-1809) Horn players held an important role in the music-making of the Esterházy court, 26 miles southeast of Vienna, where Haydn worked for the greater part of his life. For much of the time, there were four players on staff, sometimes five and as many as six on occasion. This was at a time that the orchestra numbered just 16 or 17 players in all, making the four horns that Haydn required in his symphonies 13, 31, 39 and 72 representative of one quarter of the orchestra— a balance rarely heard today. Some of the players were required to play for the hunt as members of the Feldharmonie, and others doubled as violin or viola players. Ignaz Leutgeb, for whom Mozart was to write his concertos, was at the Esterházy court for a few weeks in February 1763, and it was probably then that Haydn wrote his Horn Concerto. Carl Franz was another horn virtuoso at the court for about 12 years, and Haydn is believed to have written this demanding Divertimento a tre for him in 1767. Indeed, so great are the technical demands of the piece that we might be forgiven for thinking that writing for horn was a blood sport at Esterházy—the more so, since the horn as Haydn knew it was the natural horn. This horn lacked the valves players use today and relied on a flexible McGlynn_08.qxd:Layout 6/18/08 1 lip and the use of the left 1hand inserted3:19 in thePMbellPage to stop

the notes beyond those found in the natural series. The theme of the opening movement immediately establishes the virtuoso, solo nature of the horn part, though there are a few passages where the horn also accompanies violin and cello low down in its register. The subsequent three variations are of increasing virtuosity, rising to a high A flat by the last one. The finale includes a cadenza, which affords an opportunity for even more fireworks. Haydn autographed and dated the original manuscript 1767. The manuscript still exists and came up for sale in 2006. It was not published until 1957.

Quintet in G minor for Oboe, Clarinet, Violin, Viola and Bass, Op. 39 SERGEI PROKOFIEV (1891-1953) One of just a handful of chamber works in Prokofiev’s catalog, the Quintet originated in a commission he received while living in Paris in the wake of the Russian revolution. “I’m writing a small ballet for Boris Romanov, former ballet master of the Mariinsky Theater,” he wrote to his friend, composer Nikolai Miaskovsky in Russia. “He will stage it here in Paris in November. I’m orchestrating it for five instruments and actually consider it a quintet, since it consists of six entirely separate and formally distinct movements.” The ballet was about circus life and titled Trapèze. The concert version of the Quintet was given in 1927.

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There’s a droll, bittersweet flavor to the opening Prokofiev Quintet in G minor, movement theme and two Op. 39 variations. It’s somewhat Date Performed reminiscent of Stravinsky’s 9/2/83 The Soldier’s Tale, written Musicians a few years earlier, with Zaplatynsky, Blackburn, Castilano, Heller, Zampino similar pared-back resources. In the short Andante energico, Prokofiev relishes a certain grotesquerie that the choreography would allow. A breezy, march-like movement—with eccentric rhythms—is then followed by a darkly chromatic slow movement. This is just the sort of music that might be expected to create a stir in 1920s Paris. Back home in the USSR, however, Prokofiev felt he had to apologize in 1941 for the modernity of his score. The animated fifth movement returns to the world of clowns and eccentricities, while the finale includes music reminiscent of the opening movement. Festival History of Piece

Piano Trio in B-flat, Op. 97 (Archduke) LUDWIG VAN BEETHOVEN (1770-1828) The Archduke marks the peak of Beethoven’s writing for piano trio. It is virtuoso music written for virtuoso musicians. In the previous two decades he had been known to view the medium of the piano trio—three instruments that were among the most widely taught—as a potential cash crop, when it suited him. That’s why we have pieces like the piano trio arrangements of the Septet and the Second Symphony. The market among amateur musicians was considerable, and Beethoven knew it. With the four movements of the Archduke, though, Beethoven wrote a monumental piece, some 40 minutes in length. It crowns his work in the medium. In it, the traditionally intimate medium of the piano trio bursts at the seams and strives for a concerto-like scale. From the beginning, Beethoven re-thinks the sonority of the medium. The piano writing is thicker, the chords more resonant. The cello carries more of the melodies. The overall sonority is richer. The music looks back to such expansive, lyrical works of Beethoven’s maturity as the Fourth Piano Concerto, while anticipating some of the key developments in his later works. Although the scale of the opening movement is vast and the tone is elevated, we do not encounter Beethoven at his most rhetorical when he first presents his themes. The spacious opening is marked dolce; the movement expresses emotions that can only come through maturity and through having undergone deep personal experiences. As in the Hammerklavier Sonata, Beethoven reverses the middle two movements. The Scherzo is full of dry wit, and its idiom recalls Beethoven’s First Razumovsky quartet. Its many repetitions, shimmering piano writing and darkly mysterious moments also include the loveliest of Viennese waltzes. The ethereal slow movement is one of Beethoven’s most majestic statements. It contains a noble theme with five variations, and, as in the late string

quartets, it forms the emotional heart of the piece. Its profundities are brusquely interrupted by the rustic tones of the finale, a driving movement which has its feet planted firmly on the ground. The abrupt switch of mood mirrors Beethoven’s improvisations on the piano—just when his audience would become caught up in the music, the mood would be shattered when Beethoven would suddenly slam his fist on the keys and burst into laughter. The exuberant music of the finale, broad and expansive like the rest of the work, brings a decisive conclusion. The Archduke of the title was Rudolph Johann Joseph Rainer, the youngest son of Festival History of Piece Emperor Leopold II of Beethoven Piano Trio in B-flat, Austria. A loyal supporter Op. 97 (Archduke) of the composer, he was Date Performed – Musicians an accomplished pianist 8/17/80 Israel, Brady, Stalker and had studied both 8/18/89 Hobson, Winograd, composition and piano with Doane Beethoven. In return, he 8/20/93 Weirich, Winkler, Frame had an impressive number 8/21/98 Karpoff, Macomber, of works dedicated to Rejto him—more than anyone 8/5/04 Hersh, Drucker, else—including the Fourth Cooper and Fifth Piano Concertos, three piano sonatas (Les Adieux, the Hammerklavier and Op. 111), the G major Violin Sonata, Op. 96, the Missa Solemnis, Grosse Fuge and the great trio that he himself nicknamed Archduke. Beethoven wrote the piece, for the most part, in the earlier months of 1811; it was not published until five years later. —Notes: © Keith Horner, 2009. Comments welcomed: khnotes@sympatico.ca

Volunteers Extraordinaire… Jeff and Madonna Meyer 15

Tonight’s concert is sponsored by:

Michael & Noreen Falcone

Saturday, August 15

Tonight’s guest sponsorships:

7:30 PM Brook Farm

Musical Memories

Rain Location: Skaneateles High School

Steven Doane is sponsored by The Gladys Kreible Delmas Foundation Mark Kaplan is sponsored by the CNY Business Journal Renata Artman Knific is sponsored by David & Anne Lee Joanna Manring is sponsored by Koko Fuller Wesley Nance is sponsored by Bruce & Linda Kenan Peggy Pearson is sponsored by Chris Lego & Jeff Shingleton The Festival Orchestra is sponsored by the Skaneateles Journal

J.S. Bach Cantata No. 51, Jauchzet Gott in allen Landen (Praise God in Every Nation), BWV 51 Aria: Jauchzet Gott in allen Landen Recitative: Wir beten zu dem Tempel an Aria: Höchster, mache deine Güte Chorale: Sei Lob und Preis mit Ehren Finale: Alleluja!

J.S. Bach

Joanna Manring, soprano Wesley Nance, trumpet

Concerto in C minor for Oboe, Violin and Orchestra, BWV 1060 Allegro Adagio Allegro

Peggy Pearson, oboe Mark Kaplan, violin

Intermission Beethoven Septet in E-flat for Violin, Viola, Cello, Bass, Clarinet, Bassoon and Horn, Op. 20 Adagio – Allegro con brio Adagio cantabile Tempo di menuetto Tema con variazioni: Andante Scherzo: Allegro molto e vivace Andante con moto alla marcia - Presto

Mark Kaplan, violin Melissa Matson, viola Lindsay Groves, cello Deborah Chodacki, clarinet Gregory Quick, bassoon W. Peter Kurau, horn Edward Castilano, bass

Skaneateles Festival Chamber Orchestra Violin I Linda Case, Concertmaster Nadya Meykson Ainur Zabenova Violin II Renata Knific Sara Mastrangelo Sonya Williams

Viola Melissa Matson Marc Anderson Cello David Ying Lindsay Groves

Bass Edward Castilano Harpsichord Michael Unger

The Donald J. Grout Harpsichord, built by William Dowd, Boston 1988, is provided through the kind courtesy of St. Paul’s Episcopal Cathedral, Syracuse, NY

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

Program Notes Cantata No. 51, Jauchzet Gott in allen Landen, BWV 51 JOHANN SEBASTIAN BACH (1685-1750) Bach’s required resources of soprano, obligato trumpet and strings make Jauchzet Gott (“Praise God in all Lands”) unique among his surviving 200 cantatas. The cantata is one of a dozen scored for solo voice and one among only nine cantatas that does not require a vocal ensemble to sing choruses and chorales. The score does not indicate for which liturgical date it was written, although the wrapper in which Bach kept both parts and score includes a note that it is for the 15th Sunday after Trinity. It also adds, revealingly: “And for any occasion.” Given the virtuoso nature of the writing, the première must have been a special occasion, indeed. The brilliant trumpet soloist is believed to have been Gottfried Reiche, a top civic musician in Leipzig who played principal trumpet in many of Bach’s cantatas. The identity of the singer raises more questions, though. It is possible, if unlikely, that Bach had in mind a truly exceptional choirboy from within the ranks of the choir school in Leipzig’s St. Thomas Church—and the name of 12 year-old Christoph Nichelmann has been raised. But the technical demands of vocal agility, breath control and stamina indicate that he designed the part

with a professional singer in mind, maybe one of the well-trained, often flamboyant Italian castrati from the nearby Dresden opera. The brilliant opening aria “Praise God in all Lands” points to the origin of the work in the Italian cantata tradition of such composers as Alessandro Scarlatti. As a dacapo aria, the opening section is reprised, with vivid word-painting and spectacular coloratura virtuosity. It’s the sort of writing more frequently heard in the opera house than in the Lutheran church. A more reflective recitative and aria (“Almighty God, renew and extend your blessings”) follows. Then Bach inserts a chorale into the cantata, as the soprano punctuates a three-part trio sonata for two solo violins and continuo with the words of a chorale (“May God the Father, Son and Holy Spirit be praised”). This leads directly into the dazzling closing Alleluja, a crowning movement drawn from the Italian Festival History of Piece motet tradition, written in a Bach Aria from Cantata No.51, “Rejoice in the Lord brilliant, florid style soon to in all Lands” be followed by Mozart in his Date Performed Exsultate, jubilate. 9/5/81

Musicians

Addinall, Chalker

World Class

Music by the Lake

Congratulations on the 30th world-class season! Michael and Noreen Falcone 17

8/15 Program Notes (CONTINuED)

Concerto in C minor for Oboe, Violin and Orchestra, BWV 1060 JOHANN SEBASTIAN BACH (1685-1750) With a family of gifted musicians, it is not surprising that Bach wrote concertos for one, two, three and even four harpsichords to showcase their talents. Performances took place at the Leipzig collegium musicum, a kind of mixed professional and gifted amateur concert-giving society that presented weekly concerts in a coffeehouse and, in the summer, also in a coffee garden by the city gate. Bach organized music for the society and his sons Wilhelm Friedemann and Carl Philipp Emanuel were the likely soloists, along with other gifted pupils. Like Bach’s seven solo concertos, all the multi-harpsichord concertos are arrangements of existing music. One of the C minor concertos for two harpsichords (BWV 1062) is an arrangement of the well-known D minor Concerto for two violins. But no model exists for today’s C minor Concerto, BWV 1060. Its two solo parts are clearly written with different instruments in mind, however, since one of them offers such violin-like passages as broken chords and fast alternations—across adjacent strings—around a single note and the other offers more melodic, sustained lines and a range that does not go lower than the oboe’s lowest note. So Bach experts have long agreed that this C minor terinaad1for 7/9/09 9:36 PM had Page Concerto two harpsichords its 1origins in a lost

concerto for oboe, violin Festival History of Piece and orchestra by Bach and Bach Concerto for Oboe and that this concerto was Violin in C minor, BWV 1060 probably written in Bach’s Date Performed years in Cöthen (1717-23). 5/3/86 Musicians This reconstructed Ross, Genualdi, Ahlbeck concerto follows the pattern of the three-movement Italian concerto. The opening movement presents the main theme in a myriad of variations before returning to its original form toward the end. The slow movement contains some one of Bach’s most poetic, melodically sustained music, heard over gently pulsing chords. The finale presents an elegantly worked-out dialogue on a dancing, Bourée-like theme.

Septet in E-flat for Violin, Viola, Cello, Bass, Clarinet, Bassoon and Horn, Op. 20 LUDWIG VAN BEETHOVEN (1770-1827) Beethoven wrote his Septet, the most famous of his chamber works featuring winds, early in the year 1800. It was first performed in the house of Prince Schwarzenberg. Not long afterward, its public premiere was given at Beethoven’s first benefit concert in Vienna, April 2, 1800. It was the centerpiece of a typically huge program, including the premiere of his First Symphony, one of his piano concertos, an improvisation, a Mozart symphony and an excerpt from Haydn’s Creation. Beethoven promoted, conducted and played piano at this concert at the

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8/15 Program Notes (CONTINuED)

Burgtheater. It was a success, and he is estimated to have been able to live off its proceeds for two years. The popularity of the Septet has never waned. It was written to please, as a six-movement divertimento. It looks back at an estimable tradition when serenades and divertimentos provided the background music for weddings and other outdoor entertainments. This was the pop music of its day, undemanding and immediately gratifying. Schubert, recognizing imitation as the sincerest form of flattery, tipped his hat to Beethoven when writing his Octet as a companion piece to the Septet. The work opens with an introduction which immediately gives notice of the importance of the first violin. Its first performer was Ignaz Schuppanzigh, the foremost violinist in Vienna, a musician who would participate in the premieres of many more of Beethoven’s works in the years to come. Beethoven probably had Schuppanzigh in mind when he turned the second variation (fourth movement) into a miniature concerto, wrote some virtuoso arpeggios in the scherzo movement, and even included a brilliant cadenza for the violin in the finale. The clarinet, too, has time in the limelight, notably in the first two movements. The winds, generally, either support the strings, or work as a group in contrast to the sonority of the strings, or function as soloists. Beethoven takes the theme of the third movement from his own G major Piano Sonata, Op. 49 No. 2, crisping up

its rhythm and adding Festival History of Piece flamboyant little displays Beethoven Septet in E-flat from horn and clarinet in Major, Op. 20 its central trio section. Date Performed – Musicians The five variations of the 9/4/81 Brady, Smith, Stalker, Castilano, Rabin, fourth movement, on a Quick, Decker melody that is possibly 8/14/86 Cardenes, Patterson, based on a folk tune, lead Hoogeveen, into a jaunty Scherzo. The Killough-Miller, Chodacki, horn sets the mood of this Malkiewicz, Wick movement, while the cello 8/29/97 Cardenes, Micciche, commands the lyrical trio A. Williams, Castilano, section. The finale opens Combs, Quick, with a moment of tongueG. Williams in-cheek humor—an imposing, slow march in the minor key. But the solemnity is short-lived; the Presto positively exudes joie de vivre. —Notes © Keith Horner, 2009. Comments welcomed: khnotes@sympatico.ca

Walt Whitman on Beethoven’s Septet: “Dainty abandon, sometimes as if Nature laughing on a hillside in the sunshine; serious and firm monotonies, as of winds; a horn sounding through the tangle of the forest, and the dying echoes; soothing floating of waves, but presently rising in surges, angrily lashing, muttering, heavy; piercing peals of laughter, for interstices; now and then weird, as Nature herself is in certain moods—but mainly spontaneous, easy, careless…”

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8/15 Program Notes (continued)

Cantata No. 51, Jauchzet Gott in allen Landen, BWV 51 JOHANN SEBASTIAN BACH (1685-1750)

Aria Jauchzet Gott in allen Landen! Was der Himmel und die Welt An Geschöpfen in sich hält, Müssen dessen Ruhm erhöhen, Und wir wollen unserm Gott Gleichfalls itzt ein Opfer bringen, Daß er uns in Kreuz und Not Allezeit hat beigestanden. Recitative Wir beten zu dem Tempel an, Da Gottes Ehre wohnet, Da dessen Treu, So täglich neu, Mit lauter Segen lohnet. Wir preisen, was er an uns hat getan. Muß gleich der schwache Mund von seinen Wundern lallen, So kann ein schlechtes Lob ihm dennoch wohlgefallen. Aria Höchster, mache deine Güte Ferner alle Morgen neu. So soll vor die Vatertreu Auch ein dankbares Gemüte Durch ein frommes Leben weisen, Daß wir deine Kinder heißen. Chorale Sei Lob und Preis mit Ehren Gott Vater, Sohn, Heiligem Geist! Der woll in uns vermehren, Was er uns aus Gnaden verheißt, Daß wir ihm fest vertrauen, Gänzlich uns lass’n auf ihn, Von Herzen auf ihn bauen, Daß uns’r Herz, Mut und Sinn Ihm festiglich anhangen; Drauf singen wir zur Stund: Amen, wir werdn’s erlangen, Glaub’n wir aus Herzensgrund. Aria Alleluja!

Aria Exult in God in every land! Whatever creatures are contained by heaven and earth must raise up this praise, and now we shall likewise bring an offering to our God, since He has stood with us at all times during suffering and necessity. Recitative We pray at your temple, where God’s honor dwells, where this faithfulness, daily renewed, is rewarded with pure blessing. We praise what He has done for us. Even though our weak mouth must gape before His wonders, our meager praise is still pleasing to Him. Aria Highest, renew Your goodness every morning from now on. Thus, before this fatherly love, a thankful conscience shall display, though a virtuous life, that we are called Your children. Chorale Glory, and praise with honor be to God the Father, Son, and Holy Spirit! He will increase in us what He has promised us out of grace, so that we trust fast in Him, abandon ourselves completely to Him, rely on Him within our hearts, so that our heart, will, and mind depend strongly on Him; therefore we sing at this time: Amen, we shall succeed, if we believe from the depths of our hearts. Aria Alleluia!

TonighT’s eVenT is sponsored by:

Wonderful Wednesdays August 19

Special Event

6:30-9:00 PM Reservations Required

Henry & Helga Beck

Constellation Brands Creekside Books & Coffee

Elberberry Pond Fins & Tails Joelle’s French Bistro

Joe’s Pasta Garage P&C Fresh Sherwood Inn

Villas, Vittles, and Fiddles

At the splendid lakeside home of

Henry and Helga Beck Gorgeous home, gourmet food and great music – it doesn’t get any better than this. Join friends for an unforgettable evening of food, & drink, camaraderie, and beautiful music. You will be treated to a sampling of delightful music by the Parker Quartet as you enjoy the magical ambience of the Festival. For more information visit

www.skanfest.org or call 315-685-7418. (Order early – capacity is limited)

The Skaneateles Festival is supported in part by an award from the National Endowment for the Arts.

Picnic Contest Dust off your picnic baskets & blankets, clean-up your candelabras & prepare your best gourmet goodies. Each Saturday at Brook Farm, you’ll have a chance to display your creativity in our new picnic contest. Guest judges will evaluate the contestants’ picnicking prowess and the winner will receive a gift basket filled with Festival goodies.

Pack your picnic and join in the Festival fun!

“Sometimes we musicians joke that we just come back for the food.” – Michelle LaCourse, viola

FANFARE ON SALE NOW! This beautiful 3-ring binder book with stand is just $20. Buy it tonight at the concessions table or at the establishments listed. Get one for yourself and one for a friend. They make great gifts!

Also available online at skanfest.org

Tonight’s concert is sponsored by:

Thursday, August 20

Happy Birthday, Felix!

8:00 PM First Presbyterian Church

Handel

Tonight’s guest sponsorships:

Adam Neiman is sponsored by The Fletcher Foundation The Parker Quartet is sponsored by Don & Chacea Sundman

from: Jephtha, HMV. 70 Waft her, angels, through the skies

Felix Mendelssohn

Haydn

Auf Flügeln des Gesanges (On Wings of Song), Op. 34 No. 2 Der Mond (The Moon), Op. 86 No. 5 Venetianisches Gondellied (Venetian Gondola Song), Op. 57 No. Robert Swensen, tenor Adam Neiman, piano

String Quartet in G, Op. 76, No. 1 (Hob. III:75) Allegro con spirito Adagio sostenuto Menuet: Presto Finale: Allegro ma non troppo

Parker Quartet Daniel Chong, violin Karen Kim, violin Jessica Bodner, viola Kee-Hyun Kim, cello

Intermission

Mendelssohn

String Quintet No. 2 in B-flat Major, Op. 87 Allegro vivace Andante scherzando Adagio e lento Allegro molto vivace

Parker Quartet Michael Larco, viola

The Parker Quartet is represented by Opus 3 Artists.

The Skaneateles Festival is made possible with public funds from the New York State Council on the Arts, a state agency.

At a Glance… Since Felix Mendelssohn was one of the greatest musical child prodigies of all time and since his music is infused with so much youthful vigor, it is difficult to believe that he is 200 years old this year! The program selections this week celebrate this magnificent composer’s birthday by inviting some of his musical friends to the party: Bach, Handel, Haydn, Mozart and Gade. Mendelssohn studied and revered the great composers who had preceded him, and they provided one of his best sources of inspiration. So we’ll hear some of their outstanding works that were also favorites of Mendelssohn. You’ll hear Mozart’s great “Jupiter” Symphony, which Mendelssohn often conducted in concert; Bach’s Chromatic Fantasy and Fugue, which was one of Mendelssohn’s favorite recital pieces as a performing pianist; a Haydn string quartet which Mendelssohn admired; and a song by Handel, who wrote oratorios that Mendelssohn edited, published, and championed. We’ll also listen to a work by one of his gifted students and friends, the relatively unknown yet hugely talented Niels Gade. The week closes with a performance of Mendelssohn’s brilliant first Piano Concerto by teenage phenomenon, Conrad Tao, a young pianist who will recreate the virtuosity and elan that Mendelssohn himself reportedly displayed at the piano at a very young age.

Program Notes

Waft Her, Angels, Through the Skies from Jephtha, HWV 70 GEORGE FRIDERIC HANDEL (1685-1759) An aria of great beauty and serenity, Waft Her, Angels, Through the Skies masks drama both in Handel’s final oratorio, Jephtha, and in the life of the composer writing it. Handel was 66 when he completed the oratorio, in bursts of activity determined by failing eyesight and three unsuccessful eye operations. “Had to quit because of the deterioration of sight in my left eye” he was forced to write in the oratorio at the point where Jephtha, an Old Testament military leader, makes a rash promise to God to sacrifice the first thing he sees in exchange for victory. Jephtha leads Iphis, his only daughter, to her death as he sings this aria.

Auf Flügeln des Gesanges (On Wings of Song), Op. 34 No. 2 Der Mond (The Moon), Op. 86 No. 5 Venetianisches Gondellied (Venetian Gondola Song), Op. 57 No. 5 FELIX MENDELSSOHN (1809-1847) Mendelssohn’s more than 100 songs, which he composed throughout his comparatively short career, form a rarely explored corner of his catalog. On Wings of Song is

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8/20 Program Notes (continued)

the best-known of the collection and skillfully captures Heinrich Heine’s radiant love song with its vision of distant India in soaring music of great melodic charm. The Moon is a setting of Emanuel Geibel and, like many of Mendelssohn’s songs, a love song whose melodic beauty serves to highlight and deepen the emotion of the poem. Mendelssohn had already written three piano pieces with the title Venetian Gondola Song by the time he came to write his vocal setting in 1842. This somber song, with its lapping water and barcarolle rhythm, is a setting of a German translation of Thomas Moore’s “When through the Piazzetta.”

String Quartet in G, Op. 76, No. 1 (Hob. III:75) JOSEPH HAYDN (1732-1809) Haydn completed the six groundbreaking Op. 76 quartets in 1797, in his twilight years, when he had been composing for a half-century. The quartets were published at the end of the century in both London and Vienna. In Artaria’s publication in Vienna, Haydn dedicates the set to Count Joseph Erdödy, who commissioned the music. The 18th-century English musician and man of letters Charles Burney heard all six quartets in London in 1799 and wrote to Haydn, saying that instrumental music had never given him more pleasure. “They are full of invention, fire, good taste, and new effects and seem the production, not of a sublime genius who has written so much and so well already, but of one of highly cultivated talents, who had expended none of his fire before.” Burney’s comments reflect the high esteem in which Haydn was held throughout Europe. He was, quite simply, the greatest living composer of the time, and he knew that musicians everywhere were judging his latest compositions by the high standards he himself had established. During his two recent visits to England Haydn had thrived, writing both chamber music and symphonies for

The Imani Winds entertain all ages at FamilyFest.

public concert rooms. He found them different from the intimate, private salons of his wealthy patron at Esterháza. In London, he realized that he could be more demanding of his performers and call for bolder, more orchestral effects in his music. All six Op. 76 quartets speak to a public audience. With them, as with his previous Op. 71 and 74 sets, Haydn said goodbye to the days when string chamber music was designed as a background for wining and dining or for four amateurs to enjoy in the privacy of their own music salon. The G major quartet includes string writing of such richness and sonority that listeners often use the terms “symphonic” and “orchestral” to describe its impact. Its three crisp opening chords are as if to call a public concert audience to attention. The music continues in a concentrated and closely argued manner and it ranges boldly through different keys. It expresses widely contrasted moods—the cheerful, the solemn, the buttoneddown, the unbuttoned—often in close juxtaposition. The focal point of the quartet is a slow movement that expresses the very essence of string quartet writing. Haydn puts heavy demands on the musicians, with striking rhythmic syncopations and a soaring first violin line. The Menuet is forward-looking in the sense that it anticipates the fast one-in-a-bar scherzos that the much younger Beethoven was shortly to compose. Its slower, more deliberate central trio section, on the other hand, looks

Festival Memory… would like to congratulate the Skaneateles Festival upon its 30th season in Central New York. It has been a wonderful thing to be able to enjoy chamber music as it was meant to be heard and played in August in Skaneateles, since 1980! While great-sounding churches and yards, gorgeous Finger Lakes scenery, terrific restaurants, accomplished (ahem) local musicians, and superlatively hospitable people all contribute to the vitality of the Festival, there is another Central New York quality that is probably the most essential: a good audience. We have people in our region who are enthusiastic about classical music, highly educated, discerning, and unafraid to drive long distances for a concert. They solidly support our regional classical music organizations (symphonies, operas, and chamber music series), with their presence and their funds, yearround. These same people climb through snow banks to get into the Civic Center in Syracuse in January, drive the Thruway late at night (listening to WCNY and WXXI) to get to the Kodak Theater and the Stanley Theater, camp in Cooperstown and still dress for Glimmerglass, and find their ways around the campuses of Ithaca, Oswego, and Binghamton to see the great artists appearing at those venues. My hopes for the Skaneateles Festival’s future are that it continues to find ways to build a sense of community within our regional arts environment, and especially, to welcome, cultivate, and grow our beloved audience. –Lindsay Groves

8/20 Program Notes (continued)

back to the rustic peasant dances of Haydn’s youth. The contrasts of mood continue within the finale. With a sudden key change to the minor, the mood is dramatically dark and somber. Then, after a complex sequence of key and mood changes, the sun suddenly shines toward the end, as the major key is re-established. A short coda ends the quartet playfully, with tongue-in-cheek humor.

String Quintet No. 2 in B-flat Major, Op. 87 FELIX MENDELSSOHN (1809-1847) Mendelssohn wrote his first string quintet when he was 17, between the Octet and the overture to A Midsummer Night’s Dream. Two decades later, he put the date July 8, 1845 on the second, in the Frankfurt spa of Bad Soden. Already, ill health had started to be a concern in his busy life. He had declined a generous invitation from the newly formed New York Philharmonic Society to direct an orchestra of 250 and chorus of 500 to provide “the means of stimulating and advancing the musical art” in the United States. Three or four years ago such a journey would have been possible, Mendelssohn said, in reply; now, “it is beyond my reach.” To his brother Paul, he described the prospect as “no more possible than a trip to the moon.” Nevertheless, he was on the point of moving back to resume full duties in Leipzig, directing the Saxon city’s orchestra and teaching at the Conservatory he had estab-

lished there. His fifth child was shortly to be born and the family was planning to move to a handsome new apartment at 12 Goldschmidtstrasse—which still stands today, as a museum. He had completed the Violin Concerto the previous year. The oratorio Elijah was taking shape before its premiere in England the following year. His incidental music to Sophocles Antigone, now all but forgotten, was receiving wide acclaim throughout Germany and had just enjoyed a run of 45 performances at London’s Covent Garden. Mendelssohn was, in other words, at the peak of his career when he wrote the quintet. It is a showcase for virtuosity and musicality, a remarkable and rather neglected work in which the Classical and the Romantic come together. Its exultant opening Allegro vivace moves effortlessly through many keys as the composer skillfully weaves an intricate contrapuntal texture from the five strings—made up from pairs of violins and violas plus cello, as in the Mozart Quintets. The second movement is a gentle, wispy Scherzo, more like an intermezzo, before the deeply felt slow movement that follows. Here, Mendelssohn writes in his most solemn, noble vein, juxtaposing transparent chordal textures with rich orchestral passages and concluding the movement on a serene note. The finale follows closely on its heels and is one of Mendelssohn’s exhilarating moto perpetuo musical rides. Mendelssohn indicated that he was planning to revise this movement, but this never happened. The quintet, which was not performed in his lifetime, was published posthumously. — Notes © Keith Horner, 2009. Comments welcomed: khnotes@sympatico.ca

A Special Thank You to Penny Eger and M.J. Osborne for their planned gift to the Skaneateles Festival

Tonight’s concert is sponsored by:

Friday, August 21 8:00 PM First Presbyterian Church

Carl Schramm & Ellyn Brown and the Ewing Marion Kauffman Foundation

Tonight’s guest sponsorships:

Happy Birthday, Felix!

Adam Neiman is sponsored by The Fletcher Foundation The Parker Quartet is sponsored by Don & Chacea Sundman James VanDemark is sponsored by Bob & Sally Neumann

J.S. Bach-Busoni

J.S. Bach

Chorale Prelude: Nun komm, der Heiden Heiland, BWV 659

Chromatic Fantasia and Fugue in D minor, BWV 903 Adam Neiman, piano

Niels Gade

String Quartet in D Major, Op. 63 Allegro moderato Allegretto vivace Andante, poco lento Finale: Moderato sostenuto – Allegro con brio

Parker Quartet Daniel Chong, violin Karen Kim, violin Jessica Bodner, viola Kee-Hyun Kim, cello

Intermission

Mendelssohn

Sextet in D for Piano and Strings, Op. 110 Allegro vivace Adagio Minuetto: Agitato Allegro vivace

The Parker Quartet is represented by Opus 3 Artists.

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Karen Kim, violin Jessica Bodner, viola Melissa Matson, viola Kee-Hyun Kim, cello James VanDemark, bass Adam Neiman, piano

Program Notes Chorale Prelude: Nun komm, der Heiden Heiland, BWV 659 JOHANN SEBASTIAN BACH (1685-1750), transcribed by BUSONI (1866-1924) Bach-Busoni. It almost sounds like one composer. And, in many ways, to those in sympathy with the aesthetic of Ferruccio Dante Michelangiolo Benvenuto Busoni, it is. As one of the last in a line of 19th-century pianist-composers, Busoni felt he should do more than simply make music from one medium more accessible through another. At the age of 22, he began a series of Bach transcriptions. They eventually totaled seven volumes in all. Fifty years later, he completed an edition of Bach’s keyboard works that ran to 25 volumes. The prelude Nun Komm, der Heiden Heiland, BWV 659 (Come now, savior of the heathen) originally derives from a well known cantata and is found in a hand written collection of 18 chorale preludes (The Eighteen) that Bach made in Leipzig, though probably wrote earlier. Busoni’s transcription is one of a set of 10 that he worked on from 1907 to 1909. The music unfolds like a solemn aria revealing Martin Luther’s Advent chorale.

Chromatic Fantasia and Fugue in D minor, BWV 903 JOHANN SEBASTIAN BACH (1685-1750) With its striking chromatic flights of fancy and bold chromatic adventurousness, Bach’s extraordinary Chromatic Fantasia and Fugue gives us an idea of Bach the renowned improviser. Certainly, Mendelssohn thought so. Of his own larger-than-life performance of the work on February 29, 1840, he wrote to his sister Fanny: “I take the liberty of playing the arpeggios with all possible crescendos, and pianos, and fortissimos, with pedal of course, and doubling the octaves in the bass.” The audience certainly shared Mendelssohn’s enthusiasm for the work and demanded an encore. For Bach’s earliest biographer, Johann Nikolaus Forkel, the piece was “unique, and never had its like.” It was venerated in the 18th century and, in the 19th, more manuscript copies of it existed than any other single work by Bach. The Fantasia and Fugue may not have been composed at the same time and went through several drafts. They are believed to have been written before Bach left Weimar in 1717. The Fantasia is unpredictable and avoids formulas and standard Baroque patterns. We soon lose any sense of home base and the effect is startling when Bach addresses

Special thanks to the

First Presbyterian Church for their generous hospitality

us in free declamatory speech directly from the outfield, as it were, in a recitative. The three-voiced fugue is rooted firmly in D minor and takes a long and highly chromatic subject and develops it with a powerful and cumulative sense of purpose.

String Quartet in D Major, Op. 63 NIELS GADE (1817-1890) “Not for a long time has any piece struck me as livelier or more beautiful,” Mendelssohn wrote to Niels Gade after giving the first performance of the Danish composer’s First Symphony in March 1843. It attracted “the lively, undivided joy of the whole audience, which broke into the loudest applause after each of the four movements,” he reported. The two composers—Mendelssohn at the height of an international career, Gade at the beginning of his—had not yet met. A grant from the Danish government sent the young Dane to Leipzig, where he conducted the first of what would eventually become eight symphonies to further success. Mendelssohn appointed him assistant conductor of the Gewandhaus Orchestra and teacher at the Conservatory he had founded. With Mendelssohn’s early death four years later, Gade became his successor at the head of the Gewandhaus Orchestra, one of the leading orchestras in Europe. The following year, a flare-up in the on-going dispute between Prussia and Denmark over the state of Schleswig led to war and to Gade’s return to Denmark. Although he was to travel in the years to come, he remained based in Denmark, widely recognized as its leading musical figure—as composer, conductor, administrator, violinist, organist and educator. While clearly paying homage to Austro-German tradition, Gade’s music held a touch of the exotic for his Leipzig audience. “A decidedly Nordic strain for the first time shows itself in Gade’s music and especially in his Ossian Overture,” Schumann wrote in his music journal. “But Gade would be the first to acknowledge all that he owes to German masters.” The tension between the mainstream European style of Mendelssohn and a more local Nordic nationalism was to remain with Gade for the rest of his career and provokes debate to this day. The Norwegian Grieg had to deal with the same chanllenge. “One becomes tired of patriotism,” Grieg reported Gade, the father-figure of the Nordic Romantic school, as saying on one occasion. The D Major String Quartet was the only one of Gade’s five surviving quartets to have been published—in Leipzig in 1890, the year of his death. Its four movements show Gade’s fine feeling for musical craft, with the spirit of Mendelssohn a constant presence. After a mellow, somewhat sentimental opening movement, the Allegretto shows a Mendelssohn-like nimbleness and elegance. The solemn slow movement is based on a hymn-like melody. The finale opens with a question and answer and is the most rhetorical and discursive of the four movements. Throughout, Gade, the son of an instrument maker, reveals an artisan’s skill in writing for the strings—as befits a musician with 29

8/21 Program Notes (continued)

four letters to his name (as Schumann was the first to point out) which, appropriately enough, correspond to the four strings of the violin.

Sextet in D for Piano and Strings, Op. 110 FELIX MENDELSSOHN (1809-1847) As an adolescent, growing up in Berlin, Mendelssohn was a gifted all-rounder. He painted, he fenced, he wrote verse as well as a copious quantity of letters. As a musician, he was an accomplished pianist and played both violin and viola tolerably well. By the age of 15, his main teacher, Carl Zelter, considered that he was ready to graduate—and said as much in a letter to Goethe: “I must admit that I can hardly believe how this young man, barely 15 years old, makes such good progress,” he wrote. “Everything comes from within him, and the external things of the day only affect him externally.” On his 15th birthday, Zelter said that Mendelssohn’s apprenticehip had come to an end and declared him “a brother in the name of Mozart, Haydn and in the name of the venerable Bach.” Mendelssohn wrote his Sextet a few weeks after this auspicious day, in a two-week period, between April and early May 1824. (Its high Opus number, 110, was assigned only when the work was published after the composer’s death, in 1868). The opening movement brims with musical ideas, shared between the piano and the strings, though the piano

takes more than its fair share of them. The strings are generally mellow and defer to the piano’s more assertive, virtuoso writing. This is clearly a work that Mendelssohn wrote for his own fingers, as a concerto-like soloist in a chamber-music setting. The piano music recalls that of Karl Maria von Weber, who was one of his role models at the time. It is rich in pearly scales, glittering arpeggios, and always busy in some register of the instrument or another. The Adagio is a quiet interlude, gentle and reflective, in the distant key of F sharp, as though the young composer consciously realized that he needed a moment of calm amid the surrounding turbulence. A minuet follows—it’s too polite for a Beethoven scherzo and too agitated for a Haydn minuet. With the finale, we are back in the company of Weber, or perhaps Johann Nepomuk Hummel. It is a brilliant movement, elegantly written and thoroughly spirited. The music builds and builds until we feel that a piano cadenza is around the corner—only to launch into a wholly unexpected revisiting of the theme of the minuet. It is an unorthodox move, with few precedents. Mendelssohn, however, was always keen to put an individual spin on Classical precedents and did explore the idea of cyclical form in two of his three early piano quartets and the Octet of the following year. His sextet, to all intents and purposes a miniature piano concerto, concludes with a flourish. — Notes © 2009 Keith Horner. Comments welcomed: khnotes@sympatico.ca

Thank you… to the many community members who have served on the Board and have contributed to the Festival’s success these past 30 years. Former Board Laura Allyn Lynne Bennett Janet Besse Ellen Bifano Susie Birchenough David Birnbaum Beth Boudreau Brenton Bradly Diana Brownlie Judith Bryant Angelo Candela Maryellen Casey Joan Christy Lynn Cleary Ed Conan Emily Congel Current Board George Bain Dave Birchenough Patti Carey Susan Dailey Colleen Fisher

Suzanne Weitz Barb Connor Paul Cowley Heidi Cross Mickey Dalton Donna Davis Jeff Davis Meredith Dillon Bill Eberhardt Ian Edwards Richard Evans Lou Everding Michael P. Falcone Roberta Feldgoise Dan Fisher

Mary Margaret Freedman Robinson Gourley Emily Gregg Holly Gregg Lindsay Groves Kathleen Haddock William Havens Bill Hecht Doug Hill Claire Howard Natalie Hurst Joyce Jowaisas Linda Kenan Wendy Kopley David Labourdette

Steve Frackenpohl Koko Fuller Dane Gist Jean Graham Holly Karker

Jim LaRonde Andrea Latchem Ted Lavery Chris Lego Judith Lockwood Patricia Lynn-Ford Caroline Manring John Manring Joan Marcoccia Jennifer Masters Jean McGlynn Jim Moore Julie Moore Richard Morris Carole Novick Karen Pardee

Daniel Labeille Sharon Magee Fred Marty Dan McCann Madonna Meyer

Eleanor Peterson Victoria Phelps Arnold Poltenson Win Pusey Greg Quick Andy Ramsgard David H. Richards David B. Robinson David T. Robinson Lisa Ross Linda Rossi Anne Roth David Rubin Lori Ruhlman Al Sabin Kathy Scheider

Margaret Murray Louise Robinson Linda Roche Carol Stokes-Cawley Doug Sutherland

Rosalind Schwartz Mary Kate Shane Jean Shook CarolAnne Smith Frank Smith Jan Smith Karl Smith Margaret Sovik Joseph Strodel Don Sundman John Sutter Laurine Sutter Margie Sutton Steven Swerdfeger Mary Torrisi Monica Williams

Jack Varney Doug Whitehouse Karen Veverka Kate Youle 31

Tonight’s concert is sponsored by the:

Soderberg Family

Saturday, August 22

Happy Birthday, Felix!

7:30 PM Skaneateles High School

Kodály

Mendelssohn

Tonight’s guest sponsorships:

Jose Franch-Ballester is sponsored by Coburn Design Conrad Tao is sponsored by Jean & David Graham and Fred & Ginny Marty David Ying is sponsored by Robert Kiltz, CNY Fertility and CNY Healing Arts The Festival Orchestra is sponsored by the Skaneateles Journal

Summer Evening

Piano Concerto No. 1 in G minor, Op. 25 Molto allegro con fuoco – Andante – Presto: Molto allegro e vivace

Conrad Tao, piano

Intermission

Mozart

Symphony No. 41 in C, K. 551 (“Jupiter”) Allegro vivace Andante cantabile Menuetto Molto allegro

Skaneateles Festival Chamber Orchestra Robert Moody, conductor Violin I Jeremy Mastrangelo, Concertmaster David Leung Ainur Zabenova Amy Christian Heather Fais Violin II Janet Ying Daniel Kim Janet Milnes Karen Veverka Viola Melissa Matson Phillip Ying Jonathan Larson

Cello David Ying Keiko Ying Lindsay Groves Bass Edward Castilano Flute Anne Harrow Elizabeth Shuhan Oboe John Lathwell Kate Denny Clarinet Jose Franch-Ballester Alan Kolsky

Bassoon Gregory Quick John Hunt Horn Alexander Shuhan Mary Hunt Trumpet John Raschella Barbara Hull Timpani Michael Cirmo

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

Program Notes

Summer Evening [Nyári este] ZOLTÁN KODÁLY (1882-1967) From the ages of 3 to 10, Kodály lived in the small Western Hungarian village of Galánta, now part of Slovakia. He grew up in a musical family, hearing chamber music from his father, an amateur violinist, and piano and vocal music from his mother. Kodály was also intrigued by the folk songs that he heard his village friends sing. Above all, he vividly recalled a famous traveling gypsy band whose home was Galánta and whose exuberant music was to remain with him for the rest of his life. Later, he was to explore an older tradition of music making with his friend Béla Bartók, traveling to villages throughout Hungary, often without a specific itinerary, but always on the lookout for a good folk song. Kodály recalled how he would literally stop people in the street, invite them for a drink and record their singing on wax cylinders. He painstakingly transcribed the folk songs into notation and published from them from 1906 onward, making them the backbone of his life’s work and musical composition. “Individual originality can be rooted only in national originality,” Kodály said. Summer Evening dates from 1906. Kodály wrote the lush tone poem for his diploma concert at the Budapest Academy of Music, where he had gained a doctorate for his studies in folk music. The piece had just two additional performances after its première October 22, 1906, before

Kodály set it aside and used the proceeds of a scholarship it was awarded to travel to Berlin and Paris. He returned to the piece in 1929 when Toscanini, who had championed his Psalmus Hungaricus and Háry János suite, asked his for more. Toscanini performed the revised score in New York and in Europe. Henry Wood also played it in England and Wilhelm Furtwängler introduced it to Germany. The 18-minute highly polished score unfolds expansively, with something of the unhurried, languorous atmosphere of a tone poem by the slightly older English composer Frederick Delius. Its pastoral opening is characteristically modal, shaped by the contours of folk song, with a melancholy English horn set against muted strings. Another fragment is passed from the horns to other instruments. Eventually the memorable opening motif is used to build to a radiant climax, before the music finally dies away. This deeply lyrical music, Kodály said, was “conceived on summer evenings, amidst harvested cornfields, over the rippling Adriatic.”

Piano Concerto No. 1 in G minor, Op. 25 FELIX MENDELSSOHN (1809-1847) Both Mendelssohn and Mozart married serious intent with popular appeal. Both targeted their music at a specific audience and aimed to please. And both were child prodigies. Mendelssohn peaked earlier than Mozart. By the age of 16 he had written his masterly String Octet, a

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8/22 Program Notes (continued)

work that no amount of wisdom and life experience could improve. Like Mozart, whom he revered, Mendelssohn was expert on both piano and violin. Unlike Mozart, he was a fine athlete, a skilled painter and water colorist, and a talented poet. As a pianist, Mendelssohn was a conservative virtuoso. Alone among pianists of his day, he did not play dazzling operatic variations or weepy salon music. He began to play piano at the age of 4. Just four years later, he could play all the Beethoven symphonies on the piano from memory. In his youth, he visited Paris, then the European mecca for pianists, and met popular virtuosos like Henri Herz and Frirdrich Kalkbrenner. A few years later, visiting Paris again, he became a friend of both Chopin and Liszt. His piano writing drew on their varied styles and on the sparkling fingerwork of the German virtuosos Weber and Hummel. He favored brilliance in his right hand work, delicacy in passage—work and a clear, singing cantabile tone in slow movements. Mendelssohn was 22 when he wrote the work he called his Piano Concerto No. 1, building on the experience of having five earlier concertos under his belt. “What a fine thing it is to wake in the morning and have a long allegro to put into score with lots of oboes and trumpets—while, out of doors, it’s the loveliest of weather, tempting you to a nice long ride,” he wrote when he first started work on the piece. The music gets down to serious business right away. There’s no traditional orchestral introduction, just

seven bars of rapidly mounting excitement before the piano announces who’s in charge. The main surprise of the movement is saved for the end, when a series of fanfares builds up expectation that something unusual is about to happen. The main theme of the beautifully scored slow movement is introduced by violas and cellos (indeed the violins are silent until the movement is four-fifths over). It is a tenderly romantic “song without words.” After fantasia-like display from the piano, there is again no break at the end of the movement, as fanfares propel us into the finale. The music is scintillating and glittering, with a glance back to the opening movement to clinch the concerto’s overall unity.

Symphony No. 41 in C, K. 551 (“Jupiter”) WOLFGANG AMADEUS MOZART (1756-1791) Mozart did not expect to die early. He kept a hand written catalog of the music he had written and dated its cover into the 19th century. Neither did he know that the “Jupiter” was to be his final symphony. So, although the piece provides an admirable summary of his life’s symphonic work, it’s important to remember that Mozart did not plan it as such. He entered the piece in his catalog August 10, 1788, a little over three years before his death. He did not give it the nickname “Jupiter,” ruler of the gods. This came about roughly three decades later, from the London-based violinist and impresario Johann Peter Salomon.

CONGRATULATIONS! To the Skaneateles Festival for 30 years of World Class Music by the Lake!

Charting the course for our clients’ success for 25 years

MEDIA MAR ON

327 West Fayette Street, Suite 212 Syracuse, New York 13202

8/22 Program Notes (continued)

The “Jupiter” is revolutionary in the way that the finale does not relax the tension built up throughout its four movements. Instead, it brings it to a climax in a precedent that Beethoven and the Romantic composers were eager to follow. The opening movement is one of Mozart’s most powerful. It is a study in contrasts, both between the three main thematic ideas and within each of them. The first juxtaposes an assertive statement with a pleading phrase from the violins. Then, after several variants, comes a gentle, questioning idea from the violins, with its own playful answer. And finally, after an abrupt pause, a direct quotation from Un bacio di mano, K. 541, an aria Mozart had recently written. This melody brings the world of comic opera into the symphony—and, perhaps, with it, an allegory for life itself, where characters from all walks of life are presented as equals. All the world in a symphony, as Mahler was to say, a century later. The two middle movements take the ideas we’ve heard further still. Colored by its muted violins, the sonata form slow movement reaches deep and at length into the public and private thoughts from the opening theme of the first movement. Similarly, the minuet further explores the essential delicacy of the second theme of the opening movement. It introduces much chromatic and contrapuntal writing and comes close to expanding to full sonata form. Mozart reveals his most complex and virtuoso writing in the finale, a movement that represents a dynamic fusion

of Baroque technique with the most up-to-date symphonic thinking. Its six main ideas are woven into one of the most complex symphonic movements ever written, utilizing many fugal devices. In the exhilarating coda, five of these ideas are brought together in a powerful, culminating fugato. —Notes © 2009 Keith Horner. Comments welcomed: khnotes@sympatico.ca

Festival Memory… he world’s finest musicians love to come to Skaneateles where they are welcomed into our homes and given a chance to be with their attentive fans for dinners and conversation. The generous hospitality offered by our residents is one reason we have such wonderful programs. One very hot summer day I turned up the AC and invited Eliot Fisk and cellist, Michael Kannen, to rehearse in my living room. Bud and I were thrilled to listen to their music and have them all to ourselves. We later quietly sneaked away for a celebration lunch out and when I returned I tried to go upstairs without disturbing them. As I slowly walked up each step, I heard, very softly, both were playing “Happy Birthday” to me in time to the cadence of my steps. –Patti Carey

Tonight's concert is made possible with support from:

Wonderful Wednesdays August 26 7:00 PM Everson Museum of Art

Tonight’s guest sponsorships:

401 Harrison St. • Syracuse, NY

I Love New York

The Revoir Foundation, the Cultural Resources Council, Senator John DeFrancisco’s Arts & Cultural Partnerships Projects and Marilyn & Edward Vespa Jose Franch-Ballester is sponsored by Coburn Design Elinor Freer and David Ying are sponsored by Robert Kiltz, CNY Fertility and CNY Healing Arts Jupiter Quartet is sponsored by George S. Bain John Novacek is sponsored by Doug Sutherland & Nancy Kramer Derrick Smith is sponsored by WSYR

Special Event

Casual Concert at the

Everson Museum Tonight’s concert celebrates New York’s musical heritage. The program will be announced from the stage and will feature a wide variety of styles by some of New York’s finest composers including Leonard Bernstein, Nathaniel Dett, and Michael Torke. You’ll also hear an American masterpiece by Dvořák and get a sneak peek at our commissioned piece by Carter Pann, which celebrates life in Central New York. We’ll also step inside the music with commentary from the performers. Jupiter Quartet: Nelson Lee, violin; Meg Freivogel, violin; Jonathan Vinocour, viola; Daniel McDonough, cello Jose Franch-Ballester, clarinet Elinor Freer, piano Derrick Smith, baritone John Novacek, piano David Ying, cello and a special guest appearance by the Style Network’s Thom Felicia

The Skaneateles Festival is supported in part by an award from the National Endowment for the Arts.

E V E R S O N

V E R S O N

M U S E U M

O F

M U S E U M

O F

A R T

Everson Presentation Co-Sponsored by

Everson Presentation Sponsored by

www.everson.org The exhibition is organized by the American Federation of Arts and National Museum Wales. The Exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Funding for Everson presentation provided by education sponsor The Dorothy & Marshall M. Reisman Foundation, and gallery sponsors NationalGrid and The Post-Standard. Additional funding provided by the New York State Office of Parks, Recreation and Historic Preservation grant made possible by Senator John DeFrancisco; the Dormitory Authority of the State of New York grant made possible by Assemblyman William Magnarelli; the Everson Museum of Art Members’ Council; The Gifford Foundation; WCNY-TV; Arthur and Cheryl Grant; Dr. Paul E. Phillips and Ms. Sharon Sullivan; and Syracuse-area businesses, organizations and individuals.

Tonight’s concert is sponsored by:

Thursday, August 27

I Love New York

8:00 PM First Presbyterian Church

Bill & Gwen Birchenough and Dave Birchenough & Carrie Lazarus

Tonight’s guest sponsorships:

Jose Franch-Ballester is sponsored by Coburn Design Elinor Freer is sponsored by Robert Kiltz, CNY Fertility and CNY Healing Arts Jupiter Quartet is sponsored by George S. Bain John Novacek is sponsored by Doug Sutherland & Nancy Kramer Derrick Smith is sponsored by WSYR With additional support from:

Marilyn & Edward Vespa and the Skaneateles Swill and Quill Book Club

R. Nathaniel Dett

Spirituals Zion Hallelujah Somebody’s Knocking at Your Door God Understands Hymn to Parnassus Follow Me

Leonard Bernstein

arr. David J. Elliott

Michael Torke

Derrick Smith, baritone Elinor Freer, piano

Suite from West Side Story for Clarinet and Piano Maria Something’s Coming One Hand, One Heart Somewhere Tonight

Jose Franch-Ballester, clarinet John Novacek, piano

Corner in Manhattan Sixth Ave. in the afternoon Bedford St. at night Houston St. in the morning

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

Intermission

Dvořák

String Quartet in F Major, Op. 96 (“American”) Allegro ma non troppo Lento Molto vivace Finale: Vivace ma non troppo

Jupiter String Quartet

The Skaneateles Festival is made possible with public funds from the New York State Council on the Arts, a state agency.

The state of New York has had a rich musical heritage, and New Yorkers today continue to enjoy life in a cultural hotbed. This week we spotlight music by New Yorkers, and in some cases, music about New York. New York City composers of previous generations are represented by Samuel Barber (his passionate Cello Sonata), Sergei Rachmaninoff (his early and elegiac Piano Trio), Bohemian transplant Antonín Dvořák (his celebrated “American” quartet), and quintessential New Yorker Leonard Bernstein, whose iconic “West Side Story” remains one of the most vivid musical portraits of life in the city. In an interesting connection, Western New Yorker R. Nathaniel Dett was moved when he heard Dvořák’s Quartet (it reminded him of the spirituals his grandmother sang), and Dvořák was inspired by the spirituals that Dett spent his life preserving and arranging. Today’s New York composers reflect the energy and eclecticism of the modern world: enjoy the street sounds in Michael Torke’s Corner in Manhattan, and the witty recasting of earlier American styles in John Novacek’s works. We conclude Friday’s concert with the debut of the Festival’s latest commissioned work, “Summer Songs” by Carter Pann, which celebrates life in Central New York and is based on poetry written by members of our own community. Join us on Saturday for a Festival first when we bring Broadway to Brook Farm! Again, composers of many generations will share the spotlight, from Bernstein and Sondheim to original songs written by this evening’s musical director Paul Sportelli.

At a Glance…

Program Notes Five Spirituals R. NATHANIEL DETT (1882-1943) Nathaniel Dett, who spent his early years in Niagara Falls on both sides of the border, made an early mark, in 1908, as the first African American to graduate in music from Oberlin Conservatory of Music. He earned his Master’s at the Eastman School. Dett’s biggest professional success came at the Hampton Institute (now University), where he revitalized the town-and-gown Hampton Singers into an international touring chorus that specialized in African, American sacred music. During his two decades at Hampton, Dett composed and arranged much of the repertoire, producing sophisticated concert arrangements of material whose origins could often be traced back to communal shouting and chanting. Spirituals and sacred—vocal works have a key place in Dett’s catalog of 100 compositions. Other compositions

The beginning of it all… Lindsay Groves, Claire Howard and the other musicians from the 1st season.

include music for piano and organ, two major choral pieces and an orchestral work No more auction block. Dett’s goals as a composer were clear from the start. “We have this wonderful store of folk music—the melodies of an enslaved people,” he wrote in 1918. “But this store will be of no value unless we utilize it, unless we treat it in such manner that it can be presented in choral form, in lyric and operatic works, in concertos and suites and salon music.”

Suite from West Side Story for Clarinet and Piano LEONARD BERNSTEIN (1918-1990), arranged by David J. Elliott (b. 1948) On September 26, 1957, precisely one week after Leonard Bernstein, not yet 40, was officially announced as the first American-born Music Director of the New York Philharmonic, his musical West Side Story opened at the city’s Winter Garden Theater. It was to be his biggest hit, and would run for 772 performances, with 253 more, after a two-year national tour. Bernstein first had ideas for the musical as early as 1949. Working with choreographer Jerome Robbins and librettist Arthur Laurents, the team conceived a scenario which would update Shakespeare’s classic love story, Romeo and Juliet, to present-day New York. At first, the idea was to explore the tension between the lead characters, one from a Jewish family, the other Catholic. Between them, these three skilled—and highly egotistical—men of the theatre then collaborated and came up with an American musical around the rivalry between New York City’s Hispanic and white gangs. The young Stephen Sondheim was brought in as lyricist. The raw energy of New York’s West Side began to fire Bernstein’s imagination. “I hear rhythms and pulses and—most of all—I can sort of feel the form,” he said. Rather than telling the story of these mid-20th century Montagues and Capulets through words, the action was essentially told through Bernstein’s sophisticated, streetwise music and Robbins’ fast-paced dance.

constant, irregular noise is at first taunting and irritating, but then inspires the day to begin. Coffee brews; overnight faxes are gathered.”

8/27 Program Notes (continued)

Corner in Manhattan MICHAEL TORKE (b. 1961) The three-movement Corner in Manhattan was first performed by the Ying Quartet February 13, 2000. Michael Torke writes: “The corner in Manhattan is a three-way intersection where I live, at the border of Soho and Greenwich village. Sixth Ave., a main thoroughfare, flows one way going north, and is the most efficient way of getting uptown. Bedford St. is an intimate side street that slants to the northwest, and has more of a village feel to it. Houston St. is unfortunately the only way for commercial traffic to get to the West Side Highway and the Holland Tunnel, and is usually jammed with clogged traffic. Sixth Ave. in the afternoon. Sun is reflected off the windshields of traffic as it rushes past in groups. Snow melts by the curbs. Some pedestrians have smiles as they wait for the walk signal to change; others grimace when passing tires spray slush. Occasionally taxi cabs honk their horns, and wheel around stalled traffic. Bedford St. at night. A few street lamps light the way along the narrow street. A lonely person makes his way to rent a video and get Chinese takeout. Thoughts of a departed girlfriend intrude, unwanted. Houston St. in the morning. Underneath the window of a sleeping person, cars and trucks stop and start. The

String Quartet in F Major, Op. 96 (“American”) ANTONÍN Dvořák (1841-1904) “Why did not Dvořák come to us earlier if he can write such music here in America?” asked the critic of the New York Daily Herald after the premiere of Dvořák’s new F major String Quartet. The work soon acquired the nickname American and began to be requested by concert promoters everywhere. Boston’s Kneisel Quartet, who gave the premiere in Boston on New Year’s Day 1894 and repeated the performance 12 days later at Carnegie Hall, were to give the 50th performance of the new quartet just

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8/27 Program Notes (continued)

a year after it had first introduced it. The American immediately became the most popular of Dvořák’s 14 quartets. Dvořák wrote the piece in Spillville, a rural community of Czech immigrants in Iowa, the hometown of the violin student Josef Jan Kovarík, whom Dvořák had employed as his secretary. Dvořák, his wife, six children, sister, maid and Kovarík arrived in Spillville June 5, 1893. What he found was a small settlement of 380 Czechs maintaining the cultural traditions of the old country and

Festival Memory… y favorite memories have to be the ones of our children as toddlers at the outdoor concerts. At one concert I remember Caroline was in a diaper and t-shirt on a hot night and we were “minding the baby” as Andrés Cárdenes took the stage. Earlier that day he had played wild little tunes for Caroline to dance to. So when she saw him with his violin she figured it was her time to dance again and took off after her fiddling friend. Bob Weirich saw what was about to happen. Instead of grabbing the baby he and a friend held her mother back and Caroline got her 30 seconds of dancing before I caught up to her. Andrés loved it and so did some nice folks in A seating! –John Manring

communicating with one another in their native language. Dvořák was happier here than at any other time in his three-year stay in the United States as Director of the National Conservatory in New York. Within three days he was hard at work on the new string quartet. His early morning walks through the woods by the Little Turkey River brought the sounds of bird song—something he had missed in New York—to his ears. He even incorporated the song of a small red bird with scarlet wings (a scarlet tanager) into the third movement of the new quartet. Dvořák sketched the quartet in just three days and wrote it out fully in a further 12 days. Always a quick worker when inspiration was running high, Dvořák began work on a string quintet three days later and completed the work by the beginning of August. It, too, is sometimes referred to as the American. “The influence of America must be felt by everyone who has any ‘nose’ at all,” Dvořák wrote during his summer in Spillville. In the opening movement of the quartet, listeners have heard everything from the melancholy grandeur of the broad plains to the poignancy of plantation songs. The slow movement may combine the intensity of Dvořák’s homesickness with the deep emotion of the spirituals he heard sung by his New York student Henry Burleigh. In the quiet, chorale-like theme in the finale, there are said to be echoes of the little organ that Dvořák used to play in the Spillville church. Above all, though, it’s the contentedness and happiness of being in the countryside among friends that seems to be reflected in the music of the American quartet. — Notes © 2009 Keith Horner. Comments welcomed: khnotes@sympatico.ca

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Friday, August 28 7:00 PM Behind the Scenes

Behind the Scenes is sponsored by:

8:00 PM First Presbyterian Church

Tonight’s guest sponsorships:

(for ticket holders only)

I Love New York

Tonight’s concert is sponsored by:

Jose Franch-Ballester is sponsored by Coburn Design Elinor Freer and David Ying are sponsored by Robert Kiltz, CNY Fertility and CNY Healing Arts Jupiter Quartet is sponsored by George S. Bain John Novacek is sponsored by Doug Sutherland & Nancy Kramer With additional support from:

Marilyn & Edward Vespa

Behind the Scenes Pre-Concert chat with composer Carter Pann. Get a look inside the new piece Carter wrote for us, “Summer Songs.”

Concert Barber

Sonata for Cello and Piano, Op. 6 Allegro ma non troppo Adagio Allegro appassionato

John Novacek

“Cockles” Rag for Violin and Piano

John Novacek Stephen Foster Fantasy for Piano Trio “Intoxication” Rag for Piano Trio

Intermission

Rachmaninoff

David Ying, cello John Novacek, piano

Nelson Lee, violin John Novacek, piano

Meg Freivogel, violin Daniel McDonough, cello John Novacek, piano

Piano Trio No. 1 in G minor, “Élégiaque” Nelson Lee, violin Daniel McDonough, cello John Novacek, piano

Carter Pann “Summer Songs” for Violin, Clarinet, Cello, Piano and Narrator World premiere, commissioned by the Skaneateles Festival

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Thom Filicia, narrator Nelson Lee, violin Jose Franch-Ballester, clarinet David Ying, cello Elinor Freer, piano

Poems for “Summer Songs” by composer Carter Pann* World Premiere in Skaneateles, NY, August 2009 *Commissioned by the Skaneateles Festival to Celebrate Its 30th Anniversary

Dragonflies

m First Swi cock

Hitch by David mer, lmost sum a h g u o h Alt still holds the waterof ice and snow. the cold fine Wading isshing, but there and refre ing of a dare is someth invitation as well as murmur in the softagainst of waves shore, the shaleoding the beach, slowly er into the lake pulling it ader with it, and the wim a swimmer making h again.

by Jeffrey Powell, Jr. Quiet gathers on the be Waiting and awakeningaten path Dragonflies snuggling ab fewer than normal oard the barren tree. Flying ever so lightly be ne Seeking shelter on the wa ath the falling leaves Denying the red color of rm shoulder of the shy quiet boy The freedom found anew their coat. . Growing aboard the endle Nestled ever so vastly in ss banter of the awaiting geese Varying the pattern of ththe shelter of the cold water eir north to south flight Freedom at last.

I Come Do

When The Midnight Musicians Pla by Rose Keady The crickets creep The bats soar, Just wait for a moment, There’s not much more! The cool breeze echoes, The willow trees sway, It’s not much longer… ‘Till the musicians play! Then suddenly a most wonderful sound fills the forest while everyone gathers ‘round. s The raccoons rustle their tiny triangle os cell ir the ing The bats bellow while play es bass ir the ing play le whi The foxes boom es flut ir the ing play le whi t hoo The owls And everyone is quiet when the midnight musicians play! dard.

As originally published in the Post Stan

by David M wn In The Mo rning anfredi I come dow n to sit with in the morning The morninmy expansive friend and the su g breeze refreshes u. The cloud n starts its glorious a s, interruptedless sky adds bluish hscent. mysterious by a strip of green, ues a leaf for e dark and deep Birds sing very untold tale. songs so sw you can alm eet I know this ost taste them. I know this is my place. It is the m is my place. one ripple easure of eternity, rising and at a time lapping at falling drawing my feet, me to its b Harmony. asic truth. Harmony. It’s hard n to realize yot to lose yourself, to discard ou are not, and turn toyour thoughts green and blue.

Showing At T

by Mary Gardn he State Fair er There’s someth in That makes yo g about a rutabaga Let it roll acro u stop, listen, say it again, Musically root ss your tongue like a raga Sliced thin in ed, a rhythmic din a pan in Onon daga. 43

Program Notes Sonata for Cello and Piano, Op. 6 SAMUEL BARBER (1910-1981) “To Orlando. Physician at the birth of this sonata. In appreciation of his help and interest. Samuel Barber. New York, seven years late.” These words are hand written at the top of Orlando’s copy of the printed score of this, one of only a handful of cello sonatas from the first half of the 20th century to enter the repertoire. Orlando Cole was the cellist whose advice Barber sought while writing his only cello sonata. Both were students at the Curtis Institute in Philadelphia in 1932, and this idea of collaborating with a performer was a pattern that Barber would pursue throughout his career. A half-century later, Cole looked back on the collaboration and concluded that the sonata is “very cellistic, very singing… and it takes advantage of the best qualities of the instrument.” It also takes advantage of a good working knowledge of the two cello sonatas of Brahms. We know from his published letters that Barber played both sonatas while crossing the Atlantic a few summers earlier. His music shares intensity and seriousness of purpose with Brahms and the muscular opening of the first movement immediately brings to mind the impassioned opening of the Brahms F minor. Barber started composition while walking in the Austrian Tyrol and over the Italian border to the Menotti family villa, in the summer of 1932. He was 22 at the time and still working under the guidance of Rosario Scalero at Curtis. He returned to Curtis with the first movement completed and already tried out by a cellist from the orchestra at La Scala. After more work on the score with Cole, however, Cole’s manuscript part emerged with crossings-out, pasted over modifications and even passages that are pinned over the original. Barber works with traditional materials throughout the piece. The cello line is primarily lyrical and both instruments are called on to display virtuoso technique. Although an early work, the cello sonata contains many of the characteristics of the later composer. There is an unabashed Romanticism to the language, disciplined by a firm control of Classical structure.

“Cockles” Rag for Violin and Piano Stephen Foster Fantasy for Piano Trio “Intoxication” Rag for Piano Trio JOHN NOVACEK (b. 1964) John Novacek writes: American music may well force upon us the futility of certain distinctions: “popular” and “serious”, “folk” and “cultivated.” Case in point: ragtime, that complex hybrid of black dance tunes filtered through the procedures of the polka, march, and white minstrel song. Classic ragtime flourished from 1895 to 1915 when a number of talented pianists gathered at the Rosebud Cafe in St. Louis. The greatest was Scott Joplin, whose infectiously syncopated marches conceal a solid compositional technique. Inspired 44 by the Joplin revival of the 1970s (itself spurred by the

soundtrack to the film The Sting), I found playing and composing rags habit-forming, and the habit persists. My own rags show various influences: classic ragtime, the classical showpiece, and stride, the highly embellished, virtuosic offshoot of ragtime practiced by Harlem pianists James P. Johnson and Fats Waller. Stephen Foster was the first American able to support himself as a composer. His parlor songs (derived from the English ballad) found a large audience in the emerging industrial society of the 1850’s, while his syncopated numbers (showing a keen awareness of African-American music) became staples of the minstrel repertoire. Foster created melodies of such national resonance that they have become part of our heritage of folk music. My Fantasy freely treats two such immortal Foster songs: the exquisite “I Dream of Jeanie with the Light Brown Hair” and the comic “Camptown Races,” though the attentive listener may detect a few quick references to other Foster tunes.

Piano Trio No. 1 in G minor, Élégiaque SERGE RACHMANINOFF (1873-1943) The Russian tradition of elegiac piano trios was initiated by Tchaikovsky in 1881. His Elegiac Trio was dedicated “to the memory of a dear friend,” the composer and pianist Nikolai Rubinstein. The young Rachmaninoff followed with two of his own, the first of which we are to hear today and the second of which, written just one year later, is dedicated to the memory of Tchaikovsky. Anton Arensky continued the tradition a couple of years later still; Shostakovich, Alfred Schnittke and others carried it through into the 20th century. After the première in 1892, the score of Rachmaninoff’s one-movement G minor Elegiac Trio was believed lost for almost half a century until the second performance in 1945, at the Moscow Conserva tory. According to Rachmaninoff’s sister-in-law, who organized the Rachmaninoff Archive, the work dates from 1891-2. The score, however, indicates January 18-21, 1892. “In my youth, I fell completely under the spell of Tchaikovsky’s music,” Rachmaninoff said later in his life. Tchaikovsky’s A minor Trio is a constant influence on his First Trio, yet Rachmaninoff’s youthful score breathes the same air as his subsequent music. A plangent opening

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8/28 Program Notes (continued)

theme of just three notes plus a jump of a third, marked Lento lugubre, provides a musical cell from which the entire work grows. Accompanied by pulsing strings, the theme also clearly signals that Rachmaninoff’s instrument, the piano, is in charge. There are frequent tempo changes—a dozen in all—but the general outline follows that of traditional sonata form. The emotion is heart-on-sleeve, often somber, and generously lyrical. A short coda, marked Alla marcia funèbre adds a tragic overtone to the elegiac score, though Rachmaninoff never indicated that anyone close to him had recently died. Not yet 20, he was already, as Stravinsky famously put it, “6 feet 4 inches of gloom.”

“Summer Songs” for Violin, Clarinet, Cello, Piano and Narrator CARTER PANN (b. 1972) World premiere, commissioned by the Skaneateles Festival Carter Pann writes: Summer Songs was commissioned by the Skaneateles Music Festival for premiere in August 2009. I have had truly marvelous experiences working with both David Ying and Elinor Freer in the past and approached this project with equal, anxious excitement at the prospect of working with them yet again! The work began as a set of songs using the poetry of several writers from the region, accompanied by a small chamber group of instruments.

Eventually the commissioned piece was transformed into something more intriguing to me: a suite of instrumental movements that “comment” on the individual poems which are first narrated, and NOT sung. I have never written a work akin to “songs without words.” This became a chance to explore such a stylized artistic freedom. — Barber and Rachmaninoff notes © 2009 Keith Horner. Comments welcomed: khnotes@sympatico.ca

Festival Memory… everal years ago we were helping out at Hobbit Hollow for the Christmas Suite event. We had brought our son Rex, who was about 5 or 6 at the time. We decorated and hung trees and when we were walking through the barn to leave, Rex saw the sleigh and asked if it was Santa’s sleigh. We told him it was and that Santa kept it there for safe keeping. Rex, for years after that, talked about how he saw the secret hiding spot for Santa’s sleigh. The Christmas Suite at Hobbit Hollow has always been the tradition that starts the Christmas season for us, it is just magical in every way. The setting, the decorations, the music, the people, the food. We always leave there like we entered another world for a few hours that is just heavenly. –Andy & Sherie Ramsgard

The Poets of

“Summer Songs” David Forest Hitchcock, a Fayetteville resident, talks about his winning poem. During 2004 I wrote two poems a day, a whimsical project and spiritual journey which resulted in 732 poems and creative exhaustion. First Swim, written on June 16 (poem #335), was about a swim in Skaneateles Lake, but also serves as a metaphor for almost any new or renewed endeavor. Photo not available

Jeff Powell Jr. is a lifelong resident of Baldwinsville. His poetry has been published in The Comstock Review and The Salamander. The poem “Dragonflies” and the like titled watercolor were inspired during a visit to Beaver Lake Nature Center. Jeff is an autistic young man who was one of the first people in the United States to communicate through the use of facilitated communication.

Rose Elizabeth Keady, age 10, began her love of poetry in 2nd Grade with Mrs. Williams. She refined her skills in Mrs. Fagal’s 3rd Grade class, where she wrote this award winning poem, composed specifically for the Festival's contest. An avid reader and wonderful big sister to Emma and Clare, Rose loves to play lacrosse, perform Irish Dance, and has played viola and French horn at State Street Elementary.

Mary Gardner lives in Skaneateles and has returned to writing poetry and essay, inspired by the singular natural beauty of CNY. She is a member of the National League of American Pen Women and chairs that organization’s annual CNY Branch Poetry Contest. Several of her poems have been honored and published. Mary earned her Baccalaureate degree at Nazareth College and her Master’s in Public Health at Johns Hopkins University.

Dr. David Manfredi relocated to Syracuse from New York City after graduating from N.Y.U. and the Univ. of Bologna Italy Medical School. He has been immersed in poetry since reading a copy of “101 Famous Poems” as a child which remains his constant bedside companion. He has been fortunate enough to study with Pulitzer Prize nominee Stellasue Lee, as well as Phil Memmer, of the Downtown Writer’s Center and has been published in several journals. 45

Tonight’s concert is sponsored by:

Saturday, August 29 7:30 PM Brook Farm

Tonight’s guest sponsorships:

I Love New York

Rain Location: Skaneateles High School

Guest Vocalists are sponsored by Bill & Donna Davis Paul Sportelli is sponsored by Mark & Leokadia Bitz and Dan & Colleen Fisher The Festival Orchestra is sponsored by the Skaneateles Journal With additional support from:

Marilyn & Edward Vespa

Broadway

comes to Brook Farm! Little Mercy’s First Murder

Music by Paul Sportelli and Jay Turvey; Lyrics by Morwyn Brebner Overture Elizabeth Ward Land, Sarah Franz, Brian Giebler, Rob Lorey

High Society

Music and Lyrics by Cole Porter You’re Sensational Rob Lorey It’s All Right with Me Elizabeth Ward Land

I nto the W oods

Music and Lyrics by Stephen Sondheim I Know Things Now Sarah Franz Giants in the Sky Brian Giebler No One Is Alone Elizabeth Ward Land, Sarah Franz, Brian Giebler, Rob Lorey

Maria Severa

Music and Lyrics by Paul Sportelli and Jay Turvey Between A Man and A Woman Elizabeth Ward Land

Floyd Collins

Music and Lyrics by Adam Guettel How Glory Goes Rob Lorey

The Light in the Piazza

Music and Lyrics by Adam Guettel Statues and Stories Elizabeth Ward Land, Sarah Franz Say It Somehow Sarah Franz, Brian Giebler Love To Me Brian Giebler Fable Elizabeth Ward Land

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

A Little Night Music

Music and Lyrics by Stephen Sondheim; arr. Michael Starobin Night Music Waltzes The Festival Orchestra

I Love New York

Intermission

Little Mercy’s First Murder

Music by Paul Sportelli and Jay Turvey; Lyrics by Morwyn Brebner The Stars Are All Out Tonight Brian Giebler

Sunday in the Park with George

Music and Lyrics by Stephen Sondheim Finishing the Hat Rob Lorey Move On Elizabeth Ward Land, Rob Lorey

Little Mercy’s First Murder

Music by Paul Sportelli and Jay Turvey; Lyrics by Morwyn Brebner Dress up Sarah Franz

Tristan

Music and Lyrics by Paul Sportelli and Jay Turvey One Face Rob Lorey

Wonderful Town

Music by Leonard Bernstein; Lyrics by Betty Comden and Adolph Green Ballet at the Village Vortex The Festival Orchestra 100 Easy Ways To Lose A Man Elizabeth Ward Land The Wrong Note Rag Elizabeth Ward Land, Sarah Franz, Brian Giebler, Rob Lorey

Skaneateles Festival Chamber Orchestra Paul Sportelli, music director and conductor Violin 1 Airi Yoshioka, Concertmaster David Leung Ainur Zabenova Violin 2 Jeremy Mastrangelo Sara Mastrangelo Sonya Williams Viola Melissa Matson Samantha Rodriguez

Cello David Ying Heidi Hoffman Bass Edward Castilano Terence Squires Trumpet/Flugelhorn Barbara Hull Trombone/Bass Trombone Mark Kellogg Horn Alexander Shuhan

Flute/Piccolo/Clarinet/Bass Clarinet/Alto Saxophone/ Tenor Saxophone Marc Schwartz Flute /Piccolo/Clarinet/ Alto Saxophone Nicholas Brust Tenor Saxophone Michael Pendowski Oboe/English Horn John Lathwell

Bassoon/Contrabassoon Martha Sholl Guitar/Banjo/Mandolin Michael Frederick Piano/Celeste Daniel Kim Harp Hillary Schefter Drums Michael Cirmo Percussion William Quick

Program Notes

Maria encounters Armando, a Portuguese aristocrat, and in “Between A Man and A Woman,” Maria challenges him with her thoughts on love.

LITTLE MERCY’S FIRST MURDER

FLOYD COLLINS

Music by Jay Turvey and Paul Sportelli Lyrics by Morwyn Brebner Premiered at the Tarragon Theatre, Toronto in January 2003. Little Mercy Callahan, who has led a sheltered life, is accused of murdering her mother. But her fugitive night with Weegee, a hard-boiled 1940s Manhattan newspaperman, takes her from a four-alarm fire to a high society gala... and to Sammy’s bar, where she encounters a performer singing a torch song of unrequited love (“The Stars Are All Out”); later, alone, she sings as she is being taken to jail (“Dress Up”).

HIGH SOCIETY

Music and Lyrics by Cole Porter Broadway Opening: April 27, 1998, played 144 performances Based on The Philadelphia Story by Phillip Barry, High Society centers on pretentious Long Island socialite Tracy Lord, who is planning a June 1938 wedding to George, an equally pretentious executive, when ex-husband Dexter Haven arrives to disrupt the proceedings. Additional comic complications arise when tabloid reporter Mike Connor, who is there to cover the wedding, also falls for the brideto-be (“You’re Sensational”). Later Tracy contemplates the situation she finds herself in (“It’s All Right with Me”).

INTO THE WOODS

Music and Lyrics by Stephen Sondeim Broadway opening: November 5, 1987, played 764 performances. Into the Woods intertwines the plots of several Brothers Grimm fairy tales and follows them further to explore the consequences of the characters’ wishes and quests. The main characters are taken from the stories of Little Red Ridinghood, Jack and the Beanstalk, Rapunzel, and Cinderella, tied together by an original story involving a Baker and his wife and their quest to begin a family. After Little Red and her grandmother have been rescued from the confines of the Wolf’s stomach, Little Red sums up her new awareness (“I Know Things Now”). Jack has returned from his first trip up the beanstalk and, with new insight - not to mention stolen gold, with which he hopes to buy back his cow - contemplates what he’s learned (“Giants In the Sky”). After Cinderella, the Baker, Jack, and Little Red Riding Hood suffer the loss of people dear to them, they comfort each other (“No One Is Alone”).

Music and Lyrics by Adam Guettel Off-Broadway Opening: February 9, 1996, played 25 performances Based on a true story, the show follows Floyd Collins after he becomes trapped in a cave. His family and his fellow cavers try to free him; when it become clear that his rescue will not be easy, his brother Homer spends the night in the cave with him. William Burke “Skeets” Miller, a small man, is able to squeeze through and visit with Floyd, relaying stories which were printed in the news. Despite efforts by miners, the National Guard and the Red Cross, attempts at rescue fail, and the crowd grows outside the cave as a media circus ensues. Seventeen days after Floyd had entered the cave, a shaft finally reaches him. He had died three days earlier (“How Glory Goes”).

THE LIGHT IN THE PIAZZA

Music and Lyrics by Adam Guettel Broadway Opening: March 17, 2005, played 504 performances. The Light in the Piazza is set in Florence in the summer of 1953. We meet a mother and daughter, Margaret and Clara Johnson, who are from America and on vacation in Italy (“Statues and Stories”). Clara meets Fabrizio, a young Italian man, and they fall in love; he cannot find the right words in English to express his feelings, and Clara urges

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MARIA SEVERA

Music and lyrics by Jay Turvey and Paul Sportelli Will premiere at the Shaw Festival on September 27, 2009 as a musical reading. In 19th-century Portugal, Maria Severa was the first singer of fado music. But before becoming a celebrated 48 singer, Maria was a prostitute from the slums of Lisbon.

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8/29 Program Notes (continued)

muse-like, acts as a catalyst for George’s creative regeneration (“Move On”).

him to use any other means (“Say It Somehow”). Later, Fabrizio assuages Clara’s fears of marrying him (“Love To Me”). Finally, Margaret examines her thoughts and feelings moments before Clara marries Fabrizio, realizing at last that the chance of love somehow outweighs the terrible risks (“Fable”).

TRISTAN

A LITTLE NIGHT MUSIC

Music and Lyrics by Stephen Sondheim Broadway opening: February 25, 1973, played 601 performances. Based on Ingmar Bergman’s Smiles of a Summer Night, Sondheim captures the whimsy, abandon, and wonder of the characters in A Little Night Music with a score almost entirely in 3/4 time.

SUNDAY IN THE PARK WITH GEORGE

Music and Lyrics by Stephen Sondeim Broadway opening: May 2, 1984, played 604 performances. The story concerns two Georges: Act 1 takes place in 19th-century France and follows a fictionalized version of the life of Georges Seurat and his relationship and break-up with his girlfriend Dot. Georges wrestles with the notions of how to balance life and art (“Finishing the Hat”). In Act 2, we meet another George—an artist in America in the 1980s who may or may not be the greatgrandson of Georges Seurat. Act 2 George is in crisis as an artist and receives a surprising visit from Dot of Act 1 who,

Music and lyrics by Jay Turvey and Paul Sportelli Premiered at the Shaw Festival on July 14, 2007. Adapted from the short story by Thomas Mann, Tristan is a love story set in the German Alps at the beginning of the 20th century. In “One Face,” the writer Spinell sings of his love for Gabrielle, who is a wife and mother.

WONDERFUL TOWN

Music by Leonard Bernstein Lyrics by Betty Comden and Adolph Green Broadway Opening: 1953, played 559 performances. The story follows sisters Ruth and Eileen Sherwood, who travel to New York City from Columbus, Ohio in search of love and fortune. In their attempts to make it in the big city as a writer and an actress, they must overcome hurdle after hurdle to end on top. “Ballet At The Village Vortex” is a jazzy orchestral interlude that takes place while Ruth and Eileen are at the Village Vortex, a nightclub they frequent. In “100 Easy Ways to Lose a Man,” Ruth wonders at her sister Eileen’s ability to attract men and her own talent for repelling them. At the Vortex, Eileen finds herself with a case of stage fright and convinces Ruth to join her on stage to sing the “Wrong Note Rag.”

Tonight’s concert is sponsored by:

Wonderful Wednesdays September 2 8:00 PM First Presbyterian Church

Franklin Properties, Sutton Real Estate and Testone Marshall Discenza CPAs

Tonight’s guest sponsorships:

Viva Latina!

Eliot Fisk is sponsored by Green & Seifter With additional support from:

Lynn & Corinne Smith

Special Event

Eliot Fisk in Recital Agustín Barrios Mangoré

Cueca Una limosna por el amor de Dios Junto a tu Corazon Vals

Agustín Barrios Mangoré

Aire de Zamba Danza Paraguaya Danza Guarani’ Sueño en la Floresta

J. S Bach

arr. Eliot Fisk

Chaconne (from the Partita in D minor for violin, BWV 1004)

Intermission

H. Villa-Lobos

Cadenza from the Guitar Concerto

H. Villa-Lobos

Twelve Études No. 1. Études de arpèges (Prélude): Animé No. 2. Des arpèges: Tres animé No. 3. Des arpèges: Un peu animé No. 4. Des accords repètes: Un peu modere No. 5. Andantino No. 6. Un peu animé No. 7. Tres animé No. 8. Modéré No. 9. Des Ornaments: Un peu animé No. 10. Animé No. 11. Lent No. 12. Un peu animé

The Skaneateles Festival is supported in part by an award from the National Endowment for the Arts.

The final week of our 30th anniversary season features music with spice and spirit. The guitar, perhaps more than any other instrument, is identified with Latin music, so we’ve invited Syracuse native-son and guitarist extraordinaire Eliot Fisk to share his talents with us. First, he presents a recital with special emphasis on music of Latin heritage. The week then continues with some rarely heard guitar chamber music, the Castelnuovo-Tedesco Guitar Quintet, written for the greatest of all Spanish guitarists, and Paganini’s foray into the world of the Spanish guitar in his unusual Quartet for Guitar and Strings. We’ll also visit the subways of Mexico City (Alvarez’s Metro Chabacano) and the stunning landscape of the Central Andes (Ginastera’s Impresiones de la Puna), as well as hear the Latin energy and sultry sounds of the Granados Quintet and the passionate work of a French composer with Spanish roots (Lalo). Contemporary composer Gabriela Lena Frank traces her ancient Peruvian heritage in the evocative sounds of her Four Pre-Inca Sketches. Finally, a double treat from soloists Fisk and Andrés Cárdenes as we close our season with Rodrigo’s elegant Fantasia for a Gentleman on the one hand, and tango master Astor Piazzolla’s earthy Four Seasons in Buenos Aires on the other. Both pieces capture the raw soul and refined passion of Latin music and surely reflect the spirit of 30 magnificent years of the Skaneateles Festival.

At a Glance…

Program Notes Cuatro Piezas Latinas AGUSTÍN BARRIOS MANGORÉ (1885-1944) Paraguayan guitarist and composer Agustín Barrios lived the life of traveling soloist and was based successively in Brazil, Uruguay and El Salvador during his career. He took the name Mangoré (after a notable Guaraní chieftain) during a period when he promoted himself as “The Paganini of the guitar from the jungles of Paraguay.” Self-taught as both guitarist and composer, Barrios worked mainly in Central and South America, making just one ill-timed trip to Europe around the time of the Spanish Civil War. He was one of the earliest guitarists to record, and made many recordings between 1913 and 1929. His current reputation as a leading 20th-century performer and composer for the guitar is based on these recordings and what has been found (or transcribed from recordings) of an estimated 300 original compositions, only one-third of

Concert-goers arrive at Brook Farm.

which survive. Barrios and his colorful, often folkloric but well-crafted music were often ignored by the mainstream and it was only three decades after his death that a serious reappraisal of his music began to take place. The Danza Paraguaya presents two variations on a reflective opening theme. The first is a stately Baroque dance, similar to a pavane, and the second is more like a prelude, with running passagework. The two waltzes are among Barrios’ most frequently played works—the D minor is introspective and the G major more extroverted, with a brilliant theme that threatens to run away each time it reappears. Julia Florida is a lyrical, agreeably sentimental barcarolle that has found favor with many guitarists.

Chaconne (from the Partita in D minor for violin, BWV 1004) JOHANN SEBASTIAN BACH (1685-1750), transcribed by Eliot Fisk Bach’s six Sonatas and Partitas for unaccompanied violin, together with the solo cello suites, are widely viewed as the crowning glory of Baroque polyphonic writing for a string instrument. The magnificent, stately Chaconne that concludes the Second Partita for violin has long fascinated musicians. Its title traditionally refers to a dance movement built over an unvarying bass pattern—the bass line here implied throughout Bach’s remarkable 64 variations. Playwright George Bernard Shaw, in his role as music critic, declared that grating a nutmeg on the sole of a boot would produce more musical results than the scraping of a solo violin in Bach. “Of course, you

Twelve Études

9/2 Program Notes (continued)

cannot play a fugue in three continuous parts on the violin,” Shaw thundered, dismissing the brave attempts of violinist Joseph Joachim to introduce Bach’s polyphony to 19th-century audiences. Small wonder that a tradition of transcribing the Chaconne for other instruments has prevailed. Both Mendelssohn and Schumann composed piano accompaniments to the Chaconne, and Brahms rose to the challenge of writing a series of demanding variations on this work for the left hand alone. In another famous transcription for piano, the Italian composer Feruccio Busoni makes this complex music ever more complex. Guitarists are not alone in wanting to share the beauties of one of the very finest polyphonic movements to come from Bach’s pen.

Cadenza from the Guitar Concerto HEITOR VILLA-LOBOS (1887-1959) It took Villa-Lobos many years to write the guitar concerto Segovia had requested. It took Segovia several more before he gave the work’s premiere in 1956. In the five years between, Villa-Lobos had added the cadenza that Segovia insisted upon and changed the title from Fantasia concertante to Concerto. The cadenza reflects upon themes from the concerto and is frequently played as a solo recital piece.

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HEITOR VILLA-LOBOS (1887-1959) Villa-Lobos composed prolifically in most of the established musical forms. Where the European structures of symphony, quartet and sonata collided with his aims of integrating the spirit of Brazilian music into his compositions, he invented new forms. “I compose in the folk style,” he said, somewhat ingenuously. Still, there are a dozen symphonies and as many concertos, plus 17 string quartets in his huge catalogue. It totals more than 1,500 works by one count, 2,000 by another—the numbers alone showing how little of his music we do really know. Villa-Lobos’ most distinctive music is channelled into a series of chôros, an umbrella term he devised for instrumental combinations that vary tremendously. Here he incorporates the improvisations he associated with Brazilian street musicians, with African and native Amerindian elements, plus aspects of Portuguese and other European folk music. The resulting mix is then filtered through the composer’s imagination—“transformed by the personality of the composer,” as he put it—into “a new form of musical composition.” These works were written in the 1920s, after he had spent two years studying in Europe. Throughout the 1920s, he remained a frequent visitor to Paris, where his “art sauvage” provoked some notoriety but also the attention of leading performers. One of them was a guitarist whose international renown inspired Villa-Lobos to create one of the landmark works for the instrument.

Wishing the Skaneateles Festival a successful 30th season!

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9/2 Program Notes (continued)

Andrés Segovia, the father figure of the modern renaissance of the guitar, acknowledged that Villa-Lobos himself possessed considerable skill as a guitarist, acquired from his days as a guitar-playing street musician in Rio de Janeiro. He commissioned a single etude (study) from the Brazilian and was presented with a set of 12, dedicated to him, in return. Like the piano Études of Chopin or Debussy, each of Villa-Lobos’ Études zeroes in on a particular technical challenge. The first is an homage to Bach, employing a similar broken-chord pattern to that found in the Bach Prelude in this recital. The homage is here implicit; in the nine Bachianas Brasileiras and other Bach transcriptions, it is more explicit. The second Étude poses leaping and plunging arpeggios to challenge the performer. Then it’s the legato phrasing of pairs of consecutive notes in No. 3, repeated chords in No. 4, clarity of the ostinato accompaniment in No. 5, dynamic four-part chords in No. 6, rapidfire scales in the outer sections of the improvisatory No. 7 and rhapsodic, changing moods elsewhere, as in the evocative No. 8. Detailed ornamentation from unfolding chords is the challenge in No. 9, a sustained, recitative-like voice, plus filigree and vibrant rhythms in No. 10, shifting, often plaintive moods in the saudade-like No. 11, and the structuring of increasingly intense ideas into a powerful climax in the final Étude. — Notes © 2009 Keith Horner. Comments welcomed: khnotes@sympatico.ca

Festival Memory… how our lives changed in the summer of 1980! Life in a small town was anything but dull; with its myriad attractions of the Lake and endless houseguests, as well as escapes to Tanglewood, Niagara on the Lake, and Chautauqua. Thanks to a small band of dreamers of seemingly impossible dreams, the Skaneateles Chamber Music Festival was born! It hit Library Hall and Brook Farm like the proverbial Pied Piper of August! Well-planned and well-manned concerts brought many of us who didn’t know we were starving, to the altar of marvelous music (and begging for more)! We soon learned to rule out any interference for those concert evenings; while the feeding, sheltering, and nourishing of the interesting and wonderful musicians became a reciprocal experience for us all. Indeed, our whole yearly schedule was built around the Festival; and other music events were enhanced by our ever-growing appreciation of the many kinds of music to which we were exposed. Each subsequent season was pronounced “The Best Yet”! It seemed impossible to imagine that any of it could be surpassed! Our abiding thanks to those who conceived such a grand design; and stuck with it; along with successive administrative folks who have kept it legitimate, fully-functioning, and inspired! We are proud, happy, and most of all grateful to have grown with it these 30 years! –Bill and Gwen Birchenough

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P R O U D S P O N S O R O F T H E S K A N E AT E L E S F E S T I VA L

Tonight’s concert is sponsored by:

Thursday, September 3

Viva Latina!

8:00 PM First Presbyterian Church

The Howard L. Green Foundation, Inc. and the Columbian Foundation, Inc.

Tonight’s guest sponsorships:

Linda Chesis is sponsored by Michael P. Falcone Eliot Fisk is sponsored by Green & Seifter, CPAs Elinor Freer and David Ying are sponsored by Robert Kiltz, CNY Fertility and CNY Healing Arts Michi Wiancko is sponsored by WRVO

Gabriela Lena Frank

Cuatro Bosquejos Pre-Incaicos (Four Pre-Inca Sketches) Mochica Flautist Bird-Man of Parácas Lambayeque Woman Broken Panpipe from Nazca

Granados

Linda Chesis, flute David Ying, cello

Quintet for Piano and Strings in G minor, Op. 49 Allegro Allegretto quasi andantino Largo. Molto presto

Mauricio Aguiar, violin Michi Wiancko, violin Phillip Ying, viola Keiko Ying, cello Elinor Freer, piano

Intermission

Castelnuovo-Tedesco

Quintet for Guitar and String Quartet, Op. 143 Allegro, vivo e schietto Andante mesto Scherzo: Allegro con spirito, alla Marcia Finale: Allegro con fuoco

Eliot Fisk, guitar Michi Wiancko, violin Mauricio Aguiar, violin Phillip Ying, viola Mimi Hwang, cello

The Skaneateles Festival is made possible with public funds from the New York State Council on the Arts, a state agency.

Program Notes Cuatro Bosquejos Pre-Incaicos (Four Pre-Inca Sketches) GABRIELA LENA FRANK (b. 1972) “Every time I travel in Latin America, I am in this funny ground of being in culture shock and being at home,” says San Francisco Bay-based composer Gabriela Lena Frank. Born to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Frank has pursued an interest in Latin American music. Inspired by the works of both Béla Bartók and Alberto Ginastera, she has traveled throughout South America studying LatinAmerican folklore. “There’s usually a story line behind my music, a scenario or character,” she says, referring to her preference to draw on indigenous musical styles, poetry and mythology and fuse these with a western classical idiom. In 2009, Frank was awarded a Guggenheim Fellowship for stellar achievement and exceptional promise. Frank’s Cuatro Bosquejos Pre-Incaicos reflects an interest in tracking her Peruvian heritage to the pre-Inca period as she travels to small communities throughout the country. “I’m always wondering what lies before the Inca and how much the racial soul of so many past cultures still persists… in me,” she says. “In this composition for flute and cello duo, bosquejos, or sketches, portray four pre-Inca cultures. Indigenous tunes and performance mannerisms found in Peruvian music make brief appearances throughout.”

Gabriela Lena Frank writes: “I. Flautista Mochica (Mochica Flautist): The Moche civilization inhabited the north coast of Peru between approximately 100 and 800 AD. Most of what we have left of this culture exists in ceramics, such as vessels forming shockingly lifelike heads with headdresses somewhat like turbans. Even simple pots are decorated with fine line drawings, and this musical sketch finds its inspiration in one such pot depicting flautists. A typical flute style entails the tenuto pulsing of held notes, which is done here. “II. Hombre-Pájaro de Parácas (Bird-Man of Parácas): This movement is inspired by one of the important artifacts we have of pre-Colombian culture, the ‘bird-man’ mantle from the Parácas (600-175 BC). As a culture that found hospitable the arid climate of the southern coast of Perú, its textiles are brilliantly preserved. The ‘bird-man’ mantle features a dizzying repeating motif of figures that appear to be falling up AND down, the energy of which especially inspires the cello part. “III. Mujer Lambayeque (Lambayeque Woman): A series of sculptures featuring women calling out while striking an hourglass-shaped drum is prominent among what exists of the Lambayeque (700 to 1100 AD), a culture that inherited the northern coast from the Moche. In this movement, the sound of a Lambayeque woman calling in the cello is interrupted by the desert wind of the coast.

9/3 Program Notes (continued)

“IV. Zampoña Rota de la Nazca (Broken Panpipe from Nazca): At the Cahuachi Temple of southern coastal Peru, broken panpipes have been found, suggesting a ritualistic smashing of instruments by the inhabitants of this region, the Nazca (200 BC-500 AD). A typical panpipe performance style is presented in this movement—glissing tenuto fourths (in the cello part) punctuated by an opening attack of air stream (in the flute part). The ending is somewhat abrupt, suggesting where the last pipe of the panpipe has been broken off.”

Quintet for Piano and Strings in G minor, Op. 49 ENRIQUE GRANADOS (1867-1916) A Catalan by birth, Granados received considerable recognition in his home city of Barcelona but relatively modest success in the rest of Spain and beyond. His reputation today rests largely on his masterpiece Goyescas, whose two volumes explore the theme of love and death, as portrayed in the late 18th-century paintings and tapestries of Francisco Goya. The gentle, melancholy nocturne The Maiden and the Nightingale is the best-known of its six movements. The G minor Piano Quintet on today’s program was written a decade earlier, in 1898, and it is only one of a handful of works by Granados to have been published. It is his main piece of chamber music, together with a violin sonata written for the French violinist Jacques Thibaud, which is occasionally performed. While much of his piano music, 11 stage works and songs include music derived from the rhythms of Spanish

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folk song, Granados could also speak with an independent voice, as in the opening movement of the Piano Quintet. “I consider myself as much a Catalan as anyone,” he once said, “but in my music I want to express what I feel … be it Andalusian or Chinese.” As in the traditional first movement of a chamber composition, two contrasting ideas provide its main material. The first is a driving G minor theme on all four instruments and the second, a more flowing motif from the first violin, in the major key. After some development of these ideas, Granados, always a spontaneous composer and a respected piano improviser, pauses to relish a harmonic idea before continuing the forward momentum. A vigorous fugue then evolves out of the opening theme and a broad expansion of the main motif is soon combined with elements of the second theme in the emotional high point of the movement. The tempo quickens and a coda brings the proceedings to a bright conclusion. It has been claimed that the score, not published until 1973, is an edited version of the original manuscript, which is longer. While the first movement speaks the musical language of a late 19th-century international composer, Granados comes closest to a specific Spanish feel in the remaining two movements. The muted violin theme of the central slow movement, with its lean, somewhat austere harmonies, is reminiscent of folk song. The finale has an improvised feel, with its vigorous gypsy-style rondo theme and rhapsodic, descending reflection on it, shared at first, by violin and then viola.

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9/3 Program Notes (continued)

Quintet for Guitar and String Quartet, Op. 143 MARIO CASTELNUOVO-TEDESCO (1895-1968) With more than 100 works for guitar, Italian composer Mario Castelnuovo-Tedesco made a substantial contribution to the repertoire. His earliest success was an attractive, neo-Classical concerto for Segovia in 1939 which, by skillfully balancing orchestra against guitar, (“more the appearance and the color of the orchestra than the weight,” he said) laid the groundwork not only for his own future works but for those of many other composers too. Castelnuovo-Tedesco’s success in writing the score, in the traumatic year that official state anti-Semitism led him to immigrate with his family to the United States, underlines a confident manner, secure technique and an expert instinct for orchestration. All these qualities were put to immediate use in Hollywood, where he worked for most of the major motion picture studios. Throughout the 1940s and much of the 1950s, he thrived under stringent studio conditions, writing stock soundtracks for the studio libraries (which many producers would then draw on as needed), co-composing scores, orchestrating soundtracks, as well as being credited with original material on many movies. With a Hollywood career of 16 years, CastelnuovoTedesco was associated in one way or another with an impressive 250 projects.

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Castelnuovo-Tedesco was a prolific composer throughout his life. (His name, by the way, is just as much a mouthful in translation—it translates as “NewcastleGerman”). He was well beyond his Op. 200 at the time of his death in 1968 in Beverly Hills, California—and these numbers do not include any of his film work. He was also a sought-after teacher at the Los Angeles Conservatory of Music (later California Institute of the Arts), with Jerry Goldsmith, Henry Mancini, André Previn, Nelson Riddle and John Williams among his pupils. Mario Castelnuovo-Tedesco provided his own short note about his four-movement Quintet: “This was composed in less than a month, between 7th February and 5th March, 1950. It is a melodious and serene work, partly neo-Classic and partly neo-Romantic (like most of my works). I would say it is written almost in a Schubertian vein—Schubert has always been one of my favorite composers. The first of the four movements is in the regular sonata-allegro form. The second movement is of a lyrical character, with Spanish undertones (the second theme is marked Souvenir d’Espagne). The third movement is a scherzo with two trios. The last movement is in rondo form, very brilliant and contrapuntal; again the second theme is in a Spanish mood—what could be more appropriate for Andrés Segovia?” — Notes © 2009 Keith Horner. Comments welcomed: khnotes@sympatico.ca

Festival Memory… hortly after we moved about a mile from the Robinsons, we were asked to house a family whose husband and wife were featured artists. With them came an adorable, bright two-year old. The next year, Louise called to see if we would consider another family, but this time the child was the artist. Without hesitation, after our great first family experience, we agreed. What a pleasure it has been for us to welcome Hilary Hahn and her parents into our home and hearts, year after year. She has touched our out-of-town family members, as well, who have sought out her concerts in New York City, Chicago, and Milwaukee. My final year of teaching State Street School third graders was highlighted by Hilary’s visit when a student asked her to send the class a postcard from her next venue, Paris, to enrich our Geography unit. Twenty-two postcards later, Hilary had provided us all with factual, humorous stories about her world concert tour. We celebrated her successes and generosity of card and words with summer picnics for several Augusts. From her postcard experience, she asked SONY if she could have her own website (HilaryHahn.com) to communicate with her extended world audience. Her postcards with digital pictures can still be read. Our family and community have been blessed by the opportunities made possible by the Skaneateles Festival. –Jean and Dave Graham

Tonight’s concert is sponsored by:

Ellen Bifano & John Gazda

Friday, September 4

Viva Latina!

8:00 PM First Presbyterian Church

Tonight’s guest sponsorships:

Andrés Cárdenes is sponsored by James & Salli Tuozzolo Linda Chesis is sponsored by Michael P. Falcone Eliot Fisk is sponsored by Green & Seifter, CPAs Michi Wiancko is sponsored by WRVO David Ying is sponsored by Robert Kiltz, CNY Fertility and CNY Healing Arts

Quartet No. 15 in A minor, for Violin, Viola, Cello and Guitar, MS 42 Paganini

Maestoso Minuetto a canone: Andantino Recitativo: Andante sostenuto con sentimento Adagio cantabile Rondo: Allegretto

Ginastera

Impresiones de la Puna for Flute and String Quartet Quena Canción Danza

Javier Alvarez

Mauricio Aguiar, violin Andrés Cárdenes, viola David Ying, cello Eliot Fisk, guitar

Linda Chesis, flute Mauricio Aguiar, violin Michi Wiancko, violin Phillip Ying, viola Keiko Ying, cello

Metro Chabacano for String Quartet Michi Wiancko, violin Mauricio Aguiar, violin Phillip Ying, viola David Ying, cello

Intermission

Lalo

Piano Trio No. 3 in A minor, Op. 26 Allegro appassionato Presto Très lent Allegro molto

Andrés Cárdenes, violin David Ying, cello Barry Snyder, piano

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

Program Notes Quartet No. 15 in A minor, for Violin, Viola, Cello and Guitar, MS 42 NICOLÒ PAGANINI (1782-1840) Paganini, the charismatic violinist who revolutionized violin technique, was the first virtuoso to tour Europe, dazzling audiences wherever he appeared. His innovations were legendary. He was 28 when he threw off the security of a court position and turned freelance. A legend began to circulate that Paganini was in league with the devil— and Paganini did nothing to discourage the rumor. Ticket prices doubled when he appeared. His 24 Caprices for violin, published in 1820 as his Op. 1, were considered unplayable by anyone but himself. The 24th Caprice continues to cast its spell on other composers to this day. Many of the pieces he played in public were for the concert platform only. He kept their technical secrets hidden from the eyes of any potential rivals, unpublished. There were other sides to Paganini’s complex personality, including a quieter, private, more intimate side. “The violin is my mistress,” he once said (and he had many), “but the guitar is my master.” Paganini enjoyed playing the guitar and wrote many more than 100 pieces for the guitar, much of them in combination with other chamber music instruments. The last of Paganini’s 15 quartets for violin, viola, cello and guitar also reveals Paganini’s love for the viola as a solo instrument. It was a love that drove him to write his own viola concerto, having been unsatisfied with

Festival Memory… n 1997, when our son Warren was in third grade, Andrés Cárdenes was here. We were playing golf at a par-three course on one very hot day, and Warren began to fade and drag his feet as we approached the 7th hole. “What’s the matter with him?” Andrés asked. I said, “He’s in 3rd grade, and he’s tired and hot.” “We’ll see about that,” Andrés replied. He then proceeded to offer Warren $5 for every hole he parred if he parred two out of the next three. Warren perked right up and parred the next hole. As he was skipping along to the next tee Andrés shouted after him, “Remember, you have to par two out of three!” Warren parred all three! He was thrilled to get $15. The next day when we were leaving Brook Farm headed for the golf course, Louise said to Andrés, “Leave your wallet here!” –Chris Lego and Jeff Shingleton

the original version of Harold in Italy, which he commissioned from Berlioz. Paganini’s writing for viola in the quartet quite upsets any preconceptions we may have as to how a quartet for this combination of violin, viola, cello and guitar might sound. In the previous 14 quartets with guitar, Paganini solved the challenge of balancing three darker, mellowsounding instruments against one violin by focusing on the violin in the musical texture. In the 15th quartet, however, the viola dominates the proceedings and is favored with most of the melodies. It presents the arresting main theme of the opening movement and its more sentimental counterpart. It leads the canon of the minuet, where viola and violin intertwine intricately. The guitar is given the theme of the minuet’s central trio section—and what an extraordinarily original chromatic trio it develops into. But the viola is again front and center in the dramatic recitative that serves to introduce the slow fourth movement. This is essentially an aria between the two voices of the viola, the soprano and tenor voices. The viola again leads the rondo finale. The quartet was composed between 1818 and 1820, the year Paganini published the 24 Caprices and six of the earlier quartets with guitar. Today’s quartet was not published until 1980.

Impresiones de la Puna for Flute and String Quartet ALBERTO GINASTERA (1916-1983) The Argentine Alberto Ginastera took to music from an early age, encouraged by his parents, who were of Catalan and Italian descent. Formal lessons began at 7, conservatory lessons followed in his early teens, with more advanced studies later on. While studying at the Williams Conservatory in Buenos Aires, the youthful Ginastera wrote many works that he subsequently destroyed. Some two—dozen compositions from this period remained in his

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9/4 Program Notes (continued)

archive at his death, however, and the Impresiones de la Puna, written when he was 18, was among them. Scored for flute and string quartet, the colorful music pays homage to the windswept, alpine landscape of the Central Andes, which has long supported an indigenous way of life. The dreamy, impressionist opening movement invokes the traditional bamboo flute of the native people of the region. Its mood is taken up by all five instruments in the gently melancholy Canción (Song). The whirling theme of the Danza transforms to a traditional Andean yarawí, a love-lost song, in its middle section, before ending with a flourish.

Metro Chabacano for String Quartet JAVIER ALVAREZ (b. 1956) Mexican composer Javier Alvarez has specialized in combining the sounds and instruments from a variety of world cultures with technology. He lives in Morelia in Central Mexico where he heads the Conservatorio de las Rosas, the oldest music conservatory on the continent. Born in Mexico City, Alvarez studied and taught composition and computer music technology in England and Sweden for a quarter of a century. Metro Chabacano is one of a set of three pieces for string quartet, each taking its name from stations on one of the lines of the huge Mexico City subway system. The pieces are now collectively known as Linea 2 and have been adapted for string orchestra. Metro Chabacano was commissioned to accompany an installation at the subway station of this name by sculptor Marcos Limenez. It took the form

of a giant, moving escalator containing mannequins, suspended high above the heads of passengers below. Alvarez’s score was played in the station for three months. The pulsing, urban-sounding music can be heard as an aural counterpart to the rotating escalator. Alvarez, however, hears his piece as “a short imaginary cyclical journey across fleeting urban landscapes.” The sprung rhythms of the music add a distinctly Latin sound to the score. Alvarez adds: “Metro Chabacano has a continuous eighth-note movement of moderately driving speed from which short melodic solos emerge from each instrument. The repeated notes give a false sense of simplicity: although the piece is brief and in a single movement, the rhythms, accents and melodic fragments that emerge from the moto perpetuo background are intricately playful.”

Piano Trio No. 3 in A minor, Op. 26 ÉDOUARD LALO (1823-1892) French composer Édouard Lalo came by the Spanish coloring of his most successful work, the Symphonie espagnole (Spanish Symphony), for violin and orchestra, honestly. His genes contain Spanish blood since his ancestry lies in a long-established Spanish family with the Spanish name Lalo. Today, his Cello Concerto is in the repertoire of many cellists. But several other works for violin and orchestra, his Piano Concerto and Symphony are well off the radar and the opera Le roi d’Ys and ballet Namouna, both major successes, are quite neglected. The Symphonie espagnole brought Lalo wide recognition in France when he was 52. Before this, he had concentrated on a musical genre in which he felt most comfortable and which outnumbers other works in his catalog. Chamber music was little played in Paris when Lalo became the founding viola player and later, second violin, of the Armingaud Quartet. The group was established in 1855 to familiarize Parisians with the quartets of Haydn, Mozart and Beethoven in particular and also the more recent works of Schumann and Mendelssohn. Soon, Franck and Saint-Saëns joined Lalo in writing chamber music and the French revival of interest in the medium began in earnest. Lalo’s first two piano trios date from the early 1850s; the third and finest of the three was written at the height of his success, in 1880. After opening, arresting chords, the cello shares the generously lyrical main theme with violin. The piano soon gives a more angular, assertive second theme and the music ebbs and flows between the two ideas, building to powerful climaxes and the tenderest of reflective moments. An exuberant scherzo follows, judiciously balancing buoyancy with driving momentum. A contrasting subdued and somewhat stealthy trio section is French to the core. Lalo had popular success with this fine movement when he orchestrated it in 1884. The trio probes deepest in the slow movement, with its long-spun, surging melodies, carefully structured by a sure hand. Vigorous chords from the piano launch the finale with a feeling of victory. —Notes © 2009 Keith Horner. Comments welcomed: khnotes@sympatico.ca

Tonight’s concert is sponsored by:

Gary & Linda Dower, Barb Connor and Tom Bersani & Joan Christy

Saturday, September 5 7:30 PM Brook Farm

Tonight’s guest sponsorships:

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Rain Location: Skaneateles High School

With additional support from:

Sid and Suzanne Devorsetz

Festival Grand Finale Mozart

Serenade No. 13 in G Major, K. 525, Eine Kleine Nachtmusik Allegro Romanze: Andante Allegretto Rondo: Allegro

Rodrigo

Fantasia Para un Gentilhombre (Fantasia for a Gentleman) Villano y Ricercare (Ricercare and Villano) Españoleta y Fanfare de la caballería de Nápoles (Fanfare for the Cavalry of Naples) Danza de las hachas (Hatchet Dance) Canario (Canario)

Eliot Fisk, guitar

Intermission Piazzolla

Las Cuatro Estaciones Portenas (Four Seasons in Buenos Aires) Verano Porteño (Buenos Aires Summe) Otono Porteño (Buenos Aires Autumn) Invierno Porteño (Buenos Aires Winter) Primavera Porteña (Buenos Aires Spring)

Andrés Cárdenes, violin

Skaneateles Festival Chamber Orchestra Andrés Cárdenes, conductor Violin 1 Michi Wiancko, Concertmaster Linda Case David Leung Jeremy Mastrangelo Ainur Zabenova Violin 2 Mauricio Aguiar Sara Mastrangelo Sonya Williams Emily Vardanyan 62

Viola Melissa Matson Marc Anderson Phillip Ying Cello David Ying Heidi Hoffman Keiko Ying Bass Edward Castilano

Flute Linda Chesis Elizabeth Shuhan Oboe Kate Denny Bassoon Gregory Quick Trumpet Ryan Barwise

The Skaneateles Festival is supported in part by an award from the National Endowment for the Arts.

Program Notes Serenade No. 13 in G Major, K. 525, Eine Kleine Nachtmusik WOLFGANG AMADEUS MOZART (1756-1791) Deh, vieni alla finestra—“look down from your window”— sings Don Giovanni in a famous serenade to a young woman he has taken a fancy to. In this serenade aria, Mozart is following a long-established convention in which the term “serenade” traditionally refers to evening music sung by a lover under the beloved’s window. The purely instrumental serenade was the logical next step, and Mozart contributed many delightful works to the genre, some of which are masterpieces, including the G major Serenade we know as Eine kleine Nachtmusik. Mozart himself was taken by surprise when serenaded on his name day, October 31, 1781. He wrote about it to his father: “At 11 o’clock at night, I was treated to a serenade by two clarinets, two horns and two bassoons playing my own music. These musicians arranged to have the front door opened for them and, having lined up in the center of the courtyard, just as I was about to get undressed, they gave me the most delightful surprise in the world with the opening E flat chord. . .” Mozart was working on the second act of Don Giovanni when he broke off work to write Eine kleine Nachtmusik. The occasion for which he wrote it, however, is undocumented. The serenade is “night music,” too, meaning “a short nocturne (or notturno).” Later generations took the description of his music that Mozart entered in his catalog (“A little Night-Music— consisting of an Allegro, Menuett and Trio, Romanze, Menuett and Trio, and Finale—2 violins, viola and bass instrument”) as its title and it works well enough. It indicates that the music is shorter than the customary hour-long serenade and written for strings alone, rather than winds. It also indicates that Mozart’s manuscript had five movements and not than the four we hear today; the additional minuet and trio movement was literally cut out Festival Memory… will have to start at the beginning. When Lindsay Groves first mentioned her idea of having a Chamber Music Festival in Skaneateles to a few of her friends here, we liked the idea enough to form a small board of directors and were incorporated and ready to plan the first season within 3 months. That was the summer of 1980. David and I, and indeed our whole family, have gotten to know so many very wonderful musicians in the 30 years since then. It has been an inspiration and a pleasure for us to be with such talented, good people and count them as our friends. Over 100 people from this community have served over the years as board members. And many others have hosted musicians, helped with meals, given financial support, and of course enjoyed the concerts. It takes a community to raise a Festival! –Louise Robinson

of the manuscript and has never been found. It’s hard to imagine the extra minuet; the serenade is beautifully proportioned, with the internal balance of a four-movement symphonic work of the time. The grace and elegance of Eine kleine Nachtmusik are complemented by its direct, immediately appealing musical language.

Fantasia Para un Gentilhombre (Fantasia for a Gentleman) JOAQUIN RODRIGO (1901-1999) Spanish composer Joaquin Rodrigo’s music travels well beyond the Aranjuez of his earliest concerto, the Concierto de Aranjuez of 1939. His long journey (he was 98 when he died) took him through 170 compositions in many genres, 11 of which are concertos. After writing his earliest concerto for Segovia in 1939, Rodrigo wrote concertos for piano, violin, cello and harp before again turning to guitar. The new concerto again came at the request of Segovia and the two spent time during the summer of 1951 “exchanging ideas.” The Fantasía Para un Gentilhombre was premiered in 1958 by the dedicatee and San Francisco Symphony Orchestra. Like Isaac Albéniz, Manuel de Falla and Joaquin Turina before him, the young Rodrigo traveled north to the French capital, where he became a favorite pupil of Paul Dukas. Paris had the effect of making them all committed nationalists. Rodrigo confirmed the trend when he said, “I became even more Spanish than I was before.” Still, such typically French characteristics as clarity of texture and form recur in his music, often combined with the piquancy of Spanish dance rhythms. Blind since the age of 3, Rodrigo composed using Braille and the assistance of Victoria Kamhi, his pianist-wife of many years. He wrote and lectured widely in addition to holding the Manuel de Falla Chair of Music at Complutense University, Madrid, and working at Spanish Radio.

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9/5 Program Notes (continued)

Rodrigo’s Spanish roots run deep. Fantasía Para un Gentilhombre (“Fantasia for a Gentleman”) draws on six dances by the 17th-century Spanish baroque guitarist, Gaspar Sanz, themselves based on even older, traditional melodies. Rodrigo remains faithful to the spirit of the originals (neocasticista, or “faithful to a tradition,” to use the composer’s description of the process), while adding color and spice to the harmonies and a twist to the melodic line. In the first movement, a graceful villano dance is followed by a contrapuntal ricercar. In the second, the longest movement of the concerto, a darkly evocative

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Españoleta frames a more active fanfare, titled “Fanfare for the Cavalry of Naples,” and employing the wooden part of the bow of the string instruments to add to the military atmosphere. The short and lively Danza de las hachas (“Hatchet Dance”) leads to the final movement, Canario, an exuberant folk dance from the Canary Islands.

Las Cuatro Estaciones Portenas (Four Seasons in Buenos Aires) ASTOR PIAZZOLLA (1921-1992), arrangement Leonid Desyatnikov The roots of Astor Piazzolla’s music lie in multicultural Buenos Aires, with its exuberant fusion of extrovert cultures: Spanish, indigenous, American, German, Jewish and Italian. His chosen form is a dance, the urban tango of his native Argentina. “I write all kinds of music,” Piazzolla said, “but never happy music.” Eschewing overt commercialism, Piazzola’s music has the stamp of authenticity. He was tremendously prolific, with over more than 1,000 compositions to his name. Piazzolla’s own quintet of bandoneon, violin, guitar, piano and bass lacked percussion and found itself creating innovative sounds to simulate snare drums, guiros, bongos and whips. Similarly, in playing Piazzolla, classically trained musicians are often called on to employ techniques previously associated with new music than the exotic tango. The tone color from the bow ranges from high soaring poignant melodies to harsh, rasping, gutsy “scrubbing.” Percussive sounds are created from the body of the instrument; strings are plucked, scraped, and snapped against the fingerboard. Piazzolla’s Nuevo Tango revolutionized tango as an art form and moved it from the dance floor to the concert hall. Las Cuatro Estaciones Porteñas—which translates loosely as The Four Seasons of Buenos Aires (a porteña—ño is a person from the Argentine capital, the port city)—was developed over a number of years in the late 1960s. In 1970, it formed a highlight of the 10th anniversary concerts of Piazzolla’s Quinteto Nuevo Tango and is now one of his most frequently played works. Echoes of Vivaldi can be heard in the Piazzolla original, albeit to a tango beat, particularly in the closing measures of Invierno Porteño. Like Vivaldi, Piazzolla works his way through the four seasons, giving each movement a programmatic title, beginning with “Buenos Aires Spring.” His main interest, though, was not in describing the weather and nature through the changing seasons, as Vivaldi had done in his Four Seasons, but in portraying the personality of the people of Buenos Aires through the year—their passion, susceptibility, sensuality and so on. In 1991, violinist Gidon Kremer asked his long-time collaborator Leonid Desyatnikov to bring the two works even closer together by casting Piazzolla’s music as a violin concerto and incorporating phrases of Vivaldi’s score into the arrangement. Listen carefully to this inventive arrangement, since the weather in Southern Hemisphere is different from that in our Northern Hemisphere—spring there is autumn here. — Notes © 2009 Keith Horner. Comments welcomed: khnotes@sympatico.ca

Musician Profiles Mauricio Aguiar, violin Mauricio Aguiar has been a violinist with the Cincinnati Symphony Orchestra since 1997, having also served as first violinist of the Amernet String Quartet and as guest concertmaster with the Saint Paul Chamber Orchestra. He holds a bachelor’s degree from the University of Cincinnati and a master’s degree from Yale University. While at Yale, he also finished the construction of his first violin, on which he played his graduation recital and later his successful audition for the Cincinnati Symphony. He has been involved in a variety of chamber music projects, ranging from the Cincinnati-based group concert:nova to Caramoor and Sebago music festivals and occasionally appears as soloist and conductor in his native Brazil. He has also made a cello for his wife, Katrina. Marc Anderson, viola Marc Anderson was the first recipient of the Eastman School of Music’s Robert L. Oppelt Viola Prize. He has performed with members of the Emerson String Quartet, is a member of the Verlaison String Quartet, and is among the youngest members of the Rochester Philharmonic Orchestra. He has performed with the Erie Philharmonic, the New World Symphony in Miami and at the Aspen Music Festival, where he was the assistant principal violist of the chamber symphony. He holds degrees from the Eastman School of Music. Ryan Barwise, trumpet Ryan Barwise, originally from El Paso, Texas, is a member of the Syracuse Symphony Orchestra. A graduate of Northwestern University and the Shepherd School of Music at Rice University, he performed for two seasons with Chicago Civic Orchestra and, in 2004, performed with the New World Symphony on its tour to Rome. During the summers of 2004 and 2005 he was a Fellow at the

Tanglewood Music Center, where he was awarded the Voisin Trumpet Award. He has also performed with the National Repertory Orchestra, National Orchestral Institute, and Spoleto Festival USA. Xak Bjerken, piano Pianist Xak Bjerken has given solo and chamber music recitals throughout Europe and the United States. Orchestral solo appearances include Edinburgh with the Scottish Chamber Orchestra, Rome with the Spoleto Festival Orchestra and in Disney Hall, Los Angeles, with the Los Angeles Philharmonic. He has performed at the Royal Concertgebouw Hall in Amsterdam, Alice Tully Hall, Weill Hall, and the Kennedy Center and has given recitals in Germany, Switzerland, Spain, and Hungary. He has held chamber music residencies at the Tanglewood Music Center and the Festival of Two Worlds in Spoleto, Italy, performed at the Olympic Music Festival, the Tucson Winter Chamber Music Festival, and served on the faculty of the Eastern Music Festival. He earned degrees from UCLA and the Peabody Conservatory, where he was the teaching assistant of Leon Fleisher. An associate professor of piano at Cornell University, he joined the Los Angeles Piano Quartet in 1998. Nicholas Brust, flute/piccolo/clarinet/alto saxophone Nicholas Brust is a student in jazz studies and music education at the Eastman School of Music. In addition to teaching a few students, he is a member of several jazz ensembles in Rochester, including the Rick Holland/Evan Dobbins Little Big Band. He has also played with the Gap Mangione Swing Orchestra. Andrés Cárdenes, violin and viola Andrés Cárdenes captured the second prize in the 1982 Tchaikovsky International Violin Competition in Moscow and was appointed concertmaster of the Pittsburgh Symphony Orchestra in

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Musician Profiles Festival Memory… ne of my most memorable moments illustrates the extraordinary combination of excitement, suspense, emotional relief, spectacular musical talent and the unexpected which have become a hallmark of the Skaneateles Festival. One among many, to be sure, from dozens of wonderful performances over the years that still prove it does not pay to stay in the house or leave town when the Festival is on. Nobody can explain what you missed if you weren’t in the audience. Many years ago on a Friday night at St. James, a severe thunderstorm struck the village. Along the lake lightning flashed, thunder crashed, suddenly the lights went out. Like a stroboscopic creation, Andrés Cárdenes passionately played on. Fully engrossed when the lights came back, he never missed a beat, concluding his virtuosic solo through a standing, stomping ovation as though nothing out of the ordinary had happened. And it hadn’t. But it had. Nothing and everything. All at once. Magic. That’s how it is here, at the Skaneateles Festival. We know it will happen again. We just never know when. –Judy Bryant

1989. The Cuban-born Cárdenes has appeared with more than 80 orchestras worldwide, including those of Moscow, Pittsburgh, St. Louis, Los Angeles, Houston, Helsinki, Caracas, Barcelona, Brussels, and Shanghai. As a chamber musician, he has toured with the Lincoln Center Chamber Society and has appeared in concert with Christoph Eschenbach, Edgar Meyer, Pinchas Zukerman, Menahem Pressler, Lynn Harrell, Mark O’Conner and Jaime Laredo. He holds the title of Distinguished Professor of Violin Studies and the Dorothy Richard Starling/Alexander Speyer Jr. Endowed Chair at Carnegie Mellon University’s School of Music. He made his Festival debut in 1984, in one evening playing in Brahms’ Piano Quartet No. 1 in G Minor and Dvorak’s Quartet No. 1 in D Major. His most recent appearance was in 2004 as soloist in Vieuxtemps’ Concerto No. 5 for Violin. Linda Case, violin Linda Case began her studies with Josef Gingold and maintains an active career as a violinist and soloist. She has been concertmaster of the Cayuga Chamber Orchestra for more than two decades and has taught violin at Cornell University, the Eastman School of Music, and the University of Tennessee. From 1983 to 1996, she was on the string faculty of Ithaca College, where she was a founder of the Ariadne String Quartet. Edward Castilano, double bass Edward Castilano holds the position of principal double bassist in the Syracuse Symphony Orchestra 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, in Charleston, S.C., and has made several appearances with the Lincoln Center Chamber Players. He has also played with the Rochester, Philadelphia, Savanna, and Spokane symphonies and has performed in Skaneateles since 1981.

Linda Chesis, flute Linda Chesis, founder and artistic director of the Cooperstown Chamber Music Festival, has frequently collaborated with artists such as Jessye Norman, Dawn Upshaw, James Levine and the late

Jean-Pierre Rampal and has performed with orchestras and in solo recitals throughout the United States, France, Britain, Germany, Japan and Korea. The top prize winner at the Paris and Barcelona international competitions, and at the National Flute Association Competition, she has received a Solo Recitalist’s Fellowship from the National Endowment for the Arts. She has been a guest artist at the Salzburg Mozarteum, the Spoleto Festival of Two Worlds, Bravo! Colorado, An Appalachian Summer, and Music from Angel Fire. She is a founding member of the Chesis/Cutler flute and harp duo, and the Broyhill Chamber Ensemble and is on the flute faculty and chair of the woodwind department at the Manhattan School of Music. Deborah Chodacki, clarinet Deborah Chodacki studied clarinet with Stanley Hasty and Robert Marcellus. She has performed in chamber music festivals, in orchestras and as soloist with orchestras in the United States and Western Europe, including the North Carolina and Grand Rapids symphony orchestras, the Colorado Philharmonic, the American Chamber Symphony, the Traverse Symphony Orchestra, the Spoleto Festival and Monterey Summer Music. Before her appointment at the University of Michigan, she taught at the Interlochen Arts Academy, and from 1979 to 1989 she was on the faculty of the East Carolina University School of Music, Theatre and Dance. Michael Cirmo, percussion Michael Cirmo is principal percussionist of the Utica Symphony Orchestra and performs regularly with the Glimmerglass Opera, Catskill Symphony and Syracuse Symphony orchestras. He has taught instrumental music for 19 years at all levels and is an instrumental music teacher at Marcellus High School and lecturer in percussion at Hamilton College. He has performed at the Skaneateles Festival both as a solo musician and part of the Festival orchestra.

Musician Profiles Steven Doane, cello A member of the cello faculty at the Eastman School of Music since 1981, Steven Doane was formerly principal cellist of the Milwaukee Symphony and Rochester Philharmonic Orchestra and a member of the Naumburg Award-winning New Arts Trio during the 1980s. He holds the Eisenhart Award for Excellence in Teaching from the Eastman School and the Piatigorsky Commendation for teaching excellence from the New England Conservatory. He is also a regular professor and participant at the International Musicians Seminar in Cornwall, England. Between 1995 and 1999, he was an associate in cello at the Royal College of Music in London, and, after a series of master classes at the Royal Academy in London, was named visiting professor by that institution. He earned his degrees at Oberlin and the State University of New York at Stony Brook. His Festival appearances stretch as far back as performing Haydn cello concertos in 1984 (No. 1) and 1985 (No. 2). Rosemary Elliott, cello Rosemary Elliott, assistant professor of cello at the Eastman School of Music, is a founding member of the Irish contemporary music group Nua Nos, and for five years was a member of the National Symphony of Ireland. In 1994 she was appointed to the cello faculty of the Royal College of Music and while in London she performed regularly with the London Mozart Players, the City of London Sinfonia and the Orchestra of St John’s Smith Square. Most recently, she was appointed principal cellist of the Cayuga Chamber Orchestra in Ithaca. As a chamber musician, she has participated in festivals in the United States, England, and Ireland. She has been a member of the performing faculty at the Bowdoin Summer Music Festival in Brunswick, Maine. She is director of Morning Chamber Music, a series of concerts at the Eastman School featuring Eastman faculty, and plays regularly with the Eastman Virtuosi.

Heather Fais, violin Heather Fais is a graduate of Indiana University with a bachelor of music degree 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 Orchestra. She is also a member of the Seneca String Quartet. Eliot Fisk, guitar Guitarist Eliot Fisk made his Festival debut Aug. 18, 1983, in Bach’s Sonata in G Minor, originally for violin, and also performed Paganini’s Cantabile for Violin and Guitar with Mark Kaplan. He has expanded the repertoire for the guitar through groundbreaking transcriptions of works by Bach, Scarlatti, Haydn, Mozart, and Paganini, as well as through commissions from composers as varied as Luciano Berio, William Bolcom, and George Rochberg. In 2006, by order of King Juan Carlos of Spain, he was awarded the Cruz de Isabel la Católica for his service to the cause of Spanish music. Last season he premiered Robert Beaser’s Concerto for Guitar and Orchestra, commissioned by the Albany Symphony, the American Composers Orchestra and the Orchestra of the Bruckner Haus of Linz, Austria. He is also founder and director of Boston Guitar Fest, co-sponsored by the New England Conservatory and Northeastern University. A graduate of Jamesville-DeWitt High School and Yale University, he is a professor at the Universität Mozarteum in Salzburg, Austria, where he teaches in five languages, and at the New England Conservatory. He last appeared at the Festival in 2004. Jose Franch-Ballester, clarinet A native of Moncofa (Valencia, Spain) Jose Franch-Ballester is one of the rising stars of his generation. In 2008 he received the

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Musician Profiles Avery Fisher Career Grant, and in 2007 he was one of a handful of participants selected for a Carnegie Hall Professional Training Workshop with Emmanuel Ax and Richard Stoltzman and was selected as one of the year’s “most prominent emerging soloists” by the American Symphony League Magazine. As first-prize winner in both the 2004 Young Concert Artists International Auditions in New York and the Astral Artists 2004 National Audition in Philadelphia, he has joined the roster of both organizations and performed countless concerts throughout the United States, Europe, Asia and South America. He first appeared at the Festival in 2007. Sarah Franz, vocalist Sarah Franz is attending the Eastman School of Music, studying voice with Rita Shane. Last summer she attended the Bel Canto Institute in Florence, Italy, and has performed at the Interlochen Fine Arts Camp in 1998, 2001, 2003, and 2004. She has appeared in a wide variety of productions, including playing Sally Bowles in “Cabaret” and this summer portraying Josephine in “HMS Pinafore” with Class Act Productions. Michael Frederick, guitar Michael started playing guitar at age 12. He earned his B.A. in guitar performance from Whitworth University in Spokane and toured Italy and Hawaii with the Whitworth Jazz Ensemble. He taught and coached at Whitworth and Gonzaga Universities. In 2008 Mike graduated with a master's in Jazz and Contemporary Media from the Eastman School of Music. He currently maintains an active teaching and performing schedule. Elinor Freer, Co-Artistic Director and piano Elinor Freer serves as Co-Artistic Director for the Skaneateles Festival alongside her husband, David Ying. She has performed across the world, from the Concertgebouw in Amsterdam and the International Musicians Seminar in Cornwall, England, to the Akademie Muizicky Chumeni in Prague and the Gnessin Institute in Moscow. She also frequently performs at festivals such as Summer Music in Harrisburg, Pa., the Festival de Música de Cámera in Mexico, and Music in the Vineyards. She is 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 An avid chamber musician, Lindsay Groves was a founder of the Skaneateles Festival in 1980 and was its Music Director for the first 11 seasons. She is assistant principal cellist of the Syracuse Symphony Orchestra 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 a principal cellist of the Spoleto Festival. She has performed with Opera House Orchestra of the Kennedy Center and the Baltimore Symphony. Anne Harrow, flute Anne Harrow is the solo flutist of the Lake Placid Sinfonietta, the orchestra of the Adirondacks. She is an assistant professor of flute at the Eastman School of Music. Formerly the principal flutist of the Florida West Coast Symphony, she has also performed with the Rochester Philharmonic, the Buffalo Philharmonic, the Florida Wind Quintet, and the Spoleto Festival. Heidi Hoffman, cello Heidi Hoffman has been a member of the Syracuse Symphony Orchestra since 1995 and the Grant Park Symphony Orchestra in Chicago since 1998. She has toured the United States, South America, Europe, and Japan with such groups as the American Symphony, Jupiter Symphony, and Tchaikovsky Chamber Orchestra. She received her doctorate of musical arts and master’s in music degrees from the State University of New York at Stony Brook, as well as her bachelor’s in music and performer’s certificate from the Eastman School of Music. Barbara Hull, trumpet Barbara Hull is pursuing a doctorate of musical arts in trumpet performance and literature at the Eastman School of Music. She

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Brian Giebler, vocalist Brian Giebler is a senior at the Eastman School of Music, where he studies both voice and trumpet as a candidate for a bachelor’s of music degree in vocal performance. He spent the fall semester of his junior year studying at the Royal Academy of Music in London. At Eastman, he has performed as the Balladeer and Lee Harvey Oswald in the production of Stephen Sondheim’s “Assassins,” as Toby in “The Medium,” and in Lehár’s “The Merry Widow,” Mozart’s “Le Nozze Di Figaro” and “Cabaret” by Kander and Ebb.

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Musician Profiles was the winner of Eastman’s Phi Mu Alpha Sinfonia Concerto Competition and performed as soloist with the Eastman Wind Ensemble under Donald Hunsberger. She earned her bachelor’s in music degree from Houghton College. She performs with Rochester Philharmonic Orchestra, the Syracuse and Harrisburg symphony orchestras, the Rochester Chamber Orchestra and the Rochester Oratorio Society. John Hunt, bassoon John Hunt is a professor of bassoon at the Eastman School of Music, as well as chair of the department of winds, brass, and percussion. He has previously been a faculty member at Florida State University and West Virginia University. He has played principal bassoon in the Naples Philharmonic and was a member of the Buffalo Philharmonic Orchestra. He has also served as principal bassoonist of the U.S. Army Band and Orchestra. During summers, he has participated in the Aspen, Colorado, Bowdoin, and Monadnock music festivals. 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. Mimi Hwang, cello Mimi Hwang was the cellist and a founding member of the Franciscan String Quartet. The quartet held the position of Wardwell Fellows at the Yale School of Music and was Quartet-in-

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Residence at the Hopkins Center at Dartmouth College, where she was on the faculty of the department of music. First-prize winner of the 1986 Banff International String Quartet Competition, the quartet enjoyed an active career, performing in North America, Europe, and Asia. As a soloist, Hwang has performed with the Beijing Philharmonic, the Los Angeles Philharmonic, and the San Francisco Chamber Orchestra. She received her degrees from the San Francisco Conservatory of Music and the New England Conservatory of Music. She is co-director of Yellow Barn’s Young Artists Program and is assistant professor of chamber music at the Eastman School of Music, joining the faculty in 1994. Jupiter String Quartet Nelson Lee, violin, Meg Freivogel, violin, Jonathan Vincour, viola, Daniel McDonough, cello The Jupiter String Quartet was formed in 2001 when cellist Daniel, violinist Nelson and violinist Meg met at the Cleveland Institute of Music. When they were searching for a violist, Meg suggested they might consider her older sister, Liz, who was at nearby Oberlin College. The quartet finished up its schooling together at the New England Conservatory of Music. (And Daniel is the husband of Meg.) The Jupiters have received first prize in the Banff International String Quartet Competition, grand prize in the Fischoff National Chamber Music Competition, membership in Lincoln Center’s Chamber Music Society Two and Chamber Music America’s Cleveland Quartet Award, which honors and promotes a rising young string quartet whose artistry demonstrates that it is in the process of establishing a major career. The quartet also won the 2005 Young Concert Artists International auditions, now holds YCA’s Helen F. Whitaker Chamber Music Chair and, most recently, received an Avery Fisher Career Grant. Since Liz Freivogel is on

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Musician Profiles maternity leave this summer, Jonathan Vincour, principal violist of the Saint Louis Symphony, is sitting in. Mark Kaplan, violin Violinist Mark Kaplan's career began in Europe in 1975, when he was asked to replace Pinchas Zukerman in a concert in Cologne. He has performed in all the principal cities of Europe, as well as the Far East and Australia. In the United States he has played with nearly every major orchestra, including the New York Philharmonic, Los Angeles Philharmonic, Cleveland Orchestra, Philadelphia Orchestra, the National Symphony Orchestra of Washington, D.C., and the symphony orchestras of Saint Louis, Pittsburgh, Baltimore, Minnesota, Cincinnati, Dallas and Houston. He grew up in Syracuse and studied at the Juilliard School under Dorothy DeLay. He is a professor at Indiana University’s Jacobs School of Music and previously taught at UCLA. In 1983, he was a Festival soloist in Haydn’s Concerto in C Major for Violin. He plays a violin made by Antonio Stradivari in 1685 named “The Marquis” after the Marchese Spinola, whose family owned the violin for several generations. Mark Kellogg, trombone Mark Kellogg has been a member of the Rochester Philharmonic Orchestra since 1989. He also holds the position of associate professor of trombone, euphonium and chamber music at the Eastman School of Music. He has performed with the Eastman Wind Ensemble, Brass Band of Battle Creek, U.S. Army Chamber Orchestra, Music of the Baroque in Chicago, San Francisco’s Chamber Music West, Fortissimo! Festival, Chamber Music Rochester, and Eastman Virtuosi. He was a founding member of the chamber brass groups Rhythm and Brass and Plus One. Daniel Kim, piano and violin Daniel Kim joined the Syracuse Symphony Orchestra’s first violin section in 2001 and in 2007 became the orchestra’s pianist and keyboardist. In 2004, he was appointed a clinical assistant professor of medical physics in the department of radiation oncology at SUNY Upstate Medical University, where his research involves radiation delivery for cancer therapy. He received his doctorate in experimental high-energy physics in 2002 from Harvard University. Renata Artman Knific, violin Renata Knific’s international career began in London, when she joined the English Chamber Orchestra at the age of 21. As violinist of the Merling Trio, she performs 20 to 40 concerts annually throughout the world, including appearances at Merkin Hall, Carnegie Hall, St. John’s in London and the Banff Center for the Arts. She has premiered many works written for the group, which was a finalist for the Naumburg Foundation Chamber Music Award in 1994. She has also appeared in chamber music festivals and as a soloist throughout Europe, the United States and Canada. She is professor of music and chair of the string area at Western Michigan University and has also taught at the Encore School for Strings, the

Cleveland Institute of Music, the Interlochen Arts Academy and the Lancut Festival in Poland. She is a founding member of the contemporary ensemble Opus. Allan Kolsky, clarinet Allan Kolsky, a native of Providence, R.I., held positions with the Louisiana Philharmonic (New Orleans) and the Utah Symphony before joining the Syracuse Symphony Orchestra as principal clarinet in 2002. He holds performance degrees from Temple and DePaul universities. A co-host and featured performer at the 2001 conference of the International Clarinet Association, he has also performed with the Glimmerglass Opera Orchestra and the Colorado Music Festival. W. Peter Kurau, horn W. Peter Kurau joined the Rochester Philharmonic Orchestra as assistant principal horn and was appointed principal horn in 2004. Since 1995, he has served as associate professor of horn at the Eastman School of Music, where he also performs as hornist with Eastman Brass and director of the Eastman Horn Choir. He previously served on the faculties of the University of Missouri-Columbia, the State University of New York at Geneseo, Roberts Wesleyan College, Houghton College, and Nazareth College and has appeared as a clinician and recitalist throughout the United States, Canada, Europe and Asia. He earned his bachelor’s degree and a performer’s certificate from Eastman, an associateship diploma in horn from the Royal College of Music, a certificate of advanced studies in horn from the Guildhall School of Music and Drama and his master’s from the University of Connecticut. Michelle LaCourse, viola Michelle LaCourse has appeared as soloist and chamber musician throughout the United States and Europe and in South America, including recent performances in Italy, Spain, and Brazil. She was

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Musician Profiles formerly a member of the Lehigh Quartet, the Delphic String Trio and the Aeolian Trio, and has performed at numerous music festivals such as Aspen, Eastern, Interlochen, Skaneateles, Musicorda and the Heifetz Institute. As an orchestral musician, she has performed with the Baltimore Symphony and was formerly principal violist of the Chamber Orchestra of Grenoble, France. An enthusiastic advocate for new viola repertoire, she has commissioned and premiered several new pieces for the instrument. Her recent recording, “Chocolates: Music for Viola and Piano by James Grant,” was released by MSR Classics in February. She teaches viola at Boston University’s School of Music, where she is also chair of the string department. She first appeared at the Festival in 1987. Michael Larco, viola Michael Larco has performed at the Aspen Music Festival, Spoleto Festival (Italy), Yellow Barn and Tanglewood Music Center and has served as principal violist of the Juilliard Orchestra and Tanglewood Music Center Orchestra. He has performed with the String Orchestra of New York, New York Philharmonic and Boston Symphony Orchestra. He joined the Rochester Philharmonic Orchestra in 2005 and is also a member of New York City’s Fountain Ensemble. He earned his bachelor’s and master’s degrees from The Juilliard School and lists Heidi Castleman, Thomas Rieble, Samuel Rhodes, and Bruno Giuranna among his influential teachers. He teaches at the School for Strings, Diller-Quaile School of Music, and St. David’s School, all in New York City. Jonathan Larson, viola Jonathan Larson entered the Eastman School of Music as a student of Phillip Ying, completing a bachelor’s degree in 2008. He will continue at Eastman in the fall, pursuing a master’s degree with George Taylor. He has performed in the New York String Orchestra Seminar and Colorado College, Bowdoin, and Agassiz (Winnepeg, Alberta, Canada) summer music festivals, June in Buffalo, the Lucerne Festival Academy, Pacific Music Festival, and the Britten‑Pears Orchestra Program. John Lathwell, oboe John Lathwell is the principal oboist of the Binghamton Philharmonic, the Cayuga Chamber Orchestra, and the Tri-Cities Opera. He also performs regularly with the North Eastern Pennsylvania Philharmonic and has performed with the Orchestra of St. Luke’s, the New York Chamber Symphony, the American

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Composers Orchestra, the Westchester Philharmonic, and the Brooklyn Philharmonic. He is a member of the music faculty at both Binghamton University and the Tennessee Governor’s School for the Arts and has taught at Ithaca College. David Leung, violin David Leung holds a doctorate in violin performance from the Eastman School of Music, where he studied with Mikhail Kopelman and served as the teaching assistant. He graduated from Eastman with a master’s degree and a performer’s certificate in 2004. In addition to violin performance, he studied orchestral conducting at Eastman and is the associate conductor for the Brighton Symphony Orchestra and guest conductor for the Auburn Chamber Orchestra. He is teaching at Roberts Wesleyan College. Rob Lorey, vocalist Rob Lorey has worked with musical director Paul Sportelli as a cast member in the original Broadway production of “Aspects of Love.” His career in musical theater has taken him to London, Paris, Tokyo, Toronto, and Auburn, where he appeared as Lumiere in Merry-Go-Round Playhouse’s production of “Beauty and the Beast.” Other Broadway/national tour credits include “Showboat,” “The King and I,” “Chess,” and most recently “Phantom of the Opera.” He has performed at Seattle Rep, Florida’s Riverside Theatre, and Washington’s Kennedy Center and has sung with symphony and pop orchestras throughout North America, including the recent concert version of “South Pacific” at Carnegie Hall. He has been a featured vocal soloist with the New York City Ballet for more than 10 years. He can be heard on several Disney soundtracks, numerous voiceovers, and lends his voice to several Japanese morning cartoons. In May, he received a master’s in social welfare from New York City’s Hunter College School of Social Work. Joanna Manring, soprano Joanna Manring has appeared with Syracuse Opera, Oswego Opera, Boston’s Winsor Music, and the New York Chorale at Weill Recital Hall. She was a finalist in the Washington, D.C., Vocal Arts Society’s Art Song Discovery Auditions in May. She is pursuing her doctoral degree in voice performance at the Peabody Conservatory, and her teachers include American sopranos Helen Boatwright, Janet Brown, and Phyllis Bryn-Julson. She received her master’s in music from Syracuse University, where she was honored with the Dennis Gilbert Award in Vocal Performance, the Marion Armstrong Award in Music Performance, and the Masters Prize. She also served as director of vocal studies at Le Moyne College for two years. She grew up in what she calls “the profoundly inspiring community of the Skaneateles Festival,” which her grandparents, David and Louise Robinson, helped to found. Jeremy Mastrangelo, violin Since 2001, Jeremy Mastrangelo has served as associate concertmaster of the Syracuse Symphony Orchestra and has been a featured soloist with the orchestra on numerous occasions. He is also an adjunct faculty member at Syracuse University. He has served as concertmaster and soloist for the Bach and Beyond Festival in

Festival Fun Fact… ellist and Festival founder, Lindsay Groves holds the record for the most pieces performed since the beginning of the Festival – 440, starting with the very first piece (Mozart’s Quartet for Flute and Strings in D Minor) of the very first concert (8/16/80). Greg Quick (bassoon) comes in 2nd with 241 and Ed Castilano (double bass) is a close 3rd with 239.

Musician Profiles Fredonia and for two summers as concertmaster and soloist for the Breckenridge Music Festival. A native of Liverpool, he holds degrees from the Cleveland Institute of Music and the University of Michigan. Sara Mastrangelo, violin Sara Mastrangelo has been a member of the Syracuse Symphony Orchestra since 2001 and began her violin studies at age 3 in Winnipeg, Manitoba. She holds degrees in music from McGill University, the University of Michigan, and Carnegie-Mellon University. She 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. She enjoys collaborating with her husband, violinist Jeremy Mastrangelo, whenever she can. Melissa Matson, viola Melissa Matson, prizewinner of the Cleveland Quartet Competition (1978-80), earned her degrees at the Eastman School of Music. She is a founding member of the Chester String Quartet and has recorded on CRI, Stolat and Pantheon. In addition to her teaching post at the Eastman School, she is a soloist and principal violist with the Rochester Philharmonic Orchestra and performs with the Society for Chamber Music and the Skaneateles Festival, where she first appeared in 1987. She also is a mentor and coach for the Rochester Philharmonic Youth Orchestra. Janet Milnes, violin Janet Milnes is string chamber music coordinator at the Eastman Community Music School. She is a graduate of the Manhattan School of Music and has served on the faculty at Duke University String School, Hochstein School of Music and Dance, and the

Eastman Community Music School since 1987. She has performed with the Rochester Philharmonic Orchestra, Rochester Chamber Orchestra, and Greensboro, Savannah, and North Carolina sym phonies, the Ciompi Quartet of Duke University, and Mallarme Chamber Players. Robert Moody, conductor Robert Moody holds three permanent conducting positions: music director for the Winston-Salem Symphony in North Carolina since 2005, music director for the Portland Symphony in Maine since 2008 and artistic director for Arizona MusicFest in Phoenix/ Scottsdale since 2007. He is also a frequent guest conductor with orchestras across the United States, including the symphonies of Seattle, Memphis, Tucson, Detroit, Houston, Indianapolis, Fort Worth, Anchorage, and Annapolis. In summer 2007, he served as conductor-in-residence for the Eastern Music Festival in Greensboro, N.C. He received a bachelor’s degree in church music, with performing emphasis in both voice and cello, from Furman University in his hometown of Greenville, S.C., and completed his master’s degree in conducting at the Eastman School of Music. Adam Neiman, piano Pianist Adam Neiman became a member of the Chamber Music Society of Lincoln Center Two in 2004. Recent engagements include performances with the Santa Cruz Symphony and the Mainly Mozart Festival Orchestra and chamber festival appearances in Los Angeles, San Diego, Santa Barbara, Seattle, and Tokyo. In addition to his career as a concert pianist, he devotes time to composition; his Trio for Violin, Cello and Piano was premiered at the Seattle Chamber Music Festival. His live performance of the Brahms Rhapsodies, Op. 79 at the Gilmore International Keyboard Festival on American Public Media’s “Performance Today” was nominated for a Grammy

Music patron Maria Sanches died in 1984. On Friday night, she’ll present a program of Bach, Brahms and Beethoven. A lifelong music lover, Maria never missed a classical concert. The works of the old masters made her heart soar. Other hearts will soar because Maria included a bequest to the symphony in her will. Thanks to Maria, her beloved orchestra won’t miss a beat. Include your favorite cause in your will or estate plan. Contact a charitable organization, attorney, financial advisor or local LEAVE A LEGACY® program to learn how.

Skaneateles Festival

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Musician Profiles Award. At 14 he debuted in Germany at the Ivo Pogorelich Festival and at 15 he won second prize at the Casagrande International Piano Competition in Italy, the youngest winner in the competition’s history. In 1995 he also became the youngest winner of the Gilmore Young Artist Award. John Novacek, piano International concert pianist John Novacek is the winner of the Leschetizky and Joanna Hodges International piano competitions in addition to numerous national competitions. He divides his solo work between recitals and concertos with orchestra. Venues include Kennedy Center, Avery Fisher Hall, Dorothy Chandler Pavilion of the Los Angeles Music Center, Hollywood Bowl, UCLA’s Royce Hall, Irvine Meadows Amphitheater, Ambassador Auditorium (Pasadena, Calif.), the 92nd St. Y (New York City), Ravinia Festival and Tokyo’s Suntory Hall. He has performed on many television and radio programs and is often heard on programs such as American Public Media’s “Performance Today,” “The Record Shelf,” “First Hearing” and “Saint Paul Sunday.” He has performed with Yo-Yo Ma, Joshua Bell, Leila Josefowicz, Julius Baker, Lynn Harell, and the Colorado String Quartet. He has given numerous world premiers and worked closely with John Williams, George Rochberg, and Lalo Schifrin.

Festival Memory… he Show Goes On… even during the Blackout of 2003. When a blackout blanketed many states and parts of Canada on August 14, 2003, the Skaneateles Festival’s evening concert went on as scheduled… sort of. The plan was to shorten the program by eliminating intermission, as well as an 18-minute Hindemith duet, which was to be performed by pianist Andy Russo and violist Kazi Pitelka. The other performances went off without a hitch, on a stage lit with candles and lanterns. But as the abridged evening grew to a close and the musicians took their final bows, the audience announced, with stomping feet and loud voices, that they still wanted to hear the Hindemith. Russo and Pitelka, who had already changed back into her street clothes, agreed to play. At the end the audience jumped to their feet with a standing ovation.

Parker Quartet Daniel Chong, violin, Karen Kim, violin, Jessica Bodner, viola, Kee-Hyun Kim, cello In fall 2008, the Parker Quartet received the Cleveland Quartet Award from Chamber Music America and will hold the honor for the 2009-10 and 2010-11 seasons. The biennial award promotes a rising young string quartet whose artistry demonstrates that it is in the process of establishing a major career. In February, the quartet worked with Hungarian composer György Kurtág as part of Carnegie Hall’s workshop series. In 2005, they gave the North American premiere of Kurtág’s Six Moments musicaux in Weill Hall. The quartet’s 2007-08 season included debut performances at the Mostly Mozart and Caramoor festivals. The group served as the Ernst Stiefel String Quartet-in-Residence of the Caramoor Center, was an ensemble-inresidence at the Yellow Barn Music School and Festival and since September 2008 has been one of the first quartets-in-residence with the Saint Paul Chamber Orchestra. The Parker Quartet was founded at the New England Conservatory of Music.

Peggy Pearson, oboe Peggy Pearson, a winner of the Pope Foundation Award for Outstanding Accomplishment in Music, is a member of the Bach Aria Group and solo oboist with the Emmanuel Chamber Orchestra. She is director of Winsor Music Inc.; artistic director of and oboist with the Winsor Music Chamber Series; a founding member of the chamber group La Fence; and principal oboe with the Boston Philharmonic. She has toured internationally and recorded extensively with the Orpheus Chamber Orchestra and has appeared with the Boston Symphony Orchestra, the Chamber Music Society of Lincoln Center, and Music from Marlboro. She is featured with Dawn Upshaw and Lorraine Hunt on a recording of John Harbison’s music and has premiered and recorded Mario Davidovsky’s “Quartetto,” Harbison’s “Snow Country” and Peter Child's “Sonatina.” She was a founding member of the Naumburg Awardwinning Emmanuel Wind Quintet. Her first appearance with the Festival was in 1995 as soloist in the Strauss Oboe Concerto.

Carter Pann, composer Carter Pann’s music has been performed around the world by ensembles and soloists, including the London Symphony, City of Birmingham Symphony, Seattle Symphony, Budapest Symphony, Irish National Symphony, and the New York and Chicago youth symphonies; the Radio Symphonies of Berlin, Stockholm, and Finland; the National Repertory Orchestra; Richard Stoltzman; the Ying Quartet; pianists Barry Snyder and Winston Choy; and the Antares Ensemble. His honors include the K. Serocki Competition for his Piano Concerto (premiered by the Polish Radio Symphony in Lutoslawski Hall, Warsaw, in 1998), a Charles Ives Scholarship from the Academy of Arts and Letters, and five ASCAP awards, including the Leo Kaplan award. In 2000 his Piano Concerto was nominated for a Grammy Award. His String Quartet No. 1, “Love Letters,” appears on the Ying Quartet’s first “Life Music” CD. He is on the faculty at the University of Colorado in Boulder.

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Mike Pendowski, tenor saxophone Mike Pendowski has worked in the commercial music industry for more than two decades. He has written and produced music for TV and radio commercials and industrials for 15 years. His work has won two Golden Lions and an Eddy. His film projects include the Grammy-winning “Dead Presidents,” Orson Welles’ “Othello” (restored), and “Our Father.” He has worked as composer/arranger/ producer on more than a dozen albums. He is pursuing his doctorate in jazz and teaching classes at the Eastman School of Music. Gregory Quick, bassoon An honors graduate from the University of Michigan, Gregory Quick joined the Syracuse Symphony Orchestra 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. He is a former personnel manager for the SSO and served on the Skaneateles Festival Board of Directors for several years. William Quick, percussion An instrumental music teacher in the Liverpool school district, William Quick has been awarded Craven Crawford Teacher of the Year, Liverpool's Teacher of the Year, WSTM-TV Teacher of the Week and the Syracuse Symphony Orchestra's Outstanding Music Educator honors. He earned a bachelor’s from the Eastman School

Musician Profiles Alex Shuhan, horn Alex Shuhan is a founding member of Rhythm & Brass and is also ssociate professor of horn at Ithaca College. He is principal horn with the Cayuga Chamber Orchestra and performs frequently with the Rochester Philharmonic and Syracuse Symphony orchestras. He has studied at Southern Methodist University, the Eastman School of Music, and the Pre-College Division of the Juilliard School and is also an accomplished composer and arranger. Elizabeth Shuhan, flute Elizabeth Shuhan holds degrees from the University of Arkansas and the University of Southern Mississippi. She lectures in chamber music, music education and music theory at Ithaca College and is a private flute instructor at Cornell University and a Suzuki flute specialist in Ithaca. She is principal flutist with the Fort Smith (Ark.) Symphony and played for the North Arkansas Symphony and Meridian (Miss.) symphony orchestras. She joined the Hochstein School of Music and Dance faculty in 2007.

Marily Lerman and Jack Varney, along with Bill and Miki Mahood of Music and a master’s from Syracuse University. He was timpanist and principal percussionist with the Israel Chamber Orchestra in Tel Aviv and has performed with the Syracuse Symphony Orchestra, Utica Symphony Orchestra and the Society for New Music. John Raschella, trumpet John Raschella is associate principal trumpet with the Syracuse Symphony Orchestra and an adjunct professor of music at Hamilton College. He is a graduate of the Curtis Institute of Music and has performed with the orchestras of Philadelphia, Pittsburgh, and Houston. He has also given master classes at Ithaca College, the Curtis Institute, and the International Trumpet Guild Conference. He was principal trumpet at the Spoleto Festival in Italy and the Eastern Music Festival in North Carolina. Samantha Rodriguez, viola Samantha Rodriguez began playing the viola at the age of 7. Her early musical career brought her to the Juilliard Pre-College Division, and to the stage of Carnegie Hall several times with the New York Youth Symphony. She received her bachelor’s in music and performer’s certificate from the Eastman School of Music. She has played with the National Repertory Orchestra and has served as principal violist for the Colorado College Music Festival for two summers. Hillary Schefter, harp Harpist Hillary Schefter is a graduate student at the Eastman School of Music, where she also received her undergraduate degree. Her love of her home state of Colorado and classical music have come together in the various music festivals she has taken part in, such as the Aspen Music Festival and School, the National Repertory Orchestra, and the Colorado Music Festival. She has also performed with the New World Symphony in Miami, the Syracuse Symphony Orchestra, and the Cayuga Chamber Orchestra. Martha Sholl, bassoon Martha Sholl is a member of the Rochester Philharmonic and Syracuse Symphony orchestras. She has performed with the Buffalo Philharmonic, Rochester Chamber Orchestra, Rochester Oratorio Society, Chamber Music Rochester, Fortissimo, Lake Placid Sinfonietta, the Chautauqua Institution Orchestra, and at Music in the Mountains, in Durango, Colo. She received both the bachelor and master of music degrees at the Eastman School of Music. 76

Derrick Smith, baritone Baritone Derrick Smith sang the role of Joe in “Show Boat” at its 50th anniversary performance at the California Musical Theater in Sacramento. He performed the dual roles of Porgy and Jake in “Porgy and Bess” with the Chicago Sinfonietta at Chicago’s Symphony Hall, Crown in “Porgy and Bess” with the Knoxville Symphony Orchestra and Leporello in “Don Giovanni” with the Malmo Symfoni Orkester in Sweden. He has performed in recital with soprano Renee Fleming and as a soloist with the Rochester Philharmonic Orchestra, the Rochester Oratorio Society, and the Chamber Group of the Toronto Symphony. A graduate of the Eastman School of Music, he has trained and performed with the Glimmerglass Opera Young American Artist Program and the Brereton International Music Symposium in England. He is a senior associate instructor of voice in Eastman’s community education department and directs the vocal curriculum of Eastman’s Music Horizons summer program for gifted teenage musicians. Barry Snyder, piano Barry Snyder’s career with solo, concerto and chamber music appearances spans some 40 years. He won early attention in 1966, when he won the Silver Medal, Pan American Union and chamber music prizes in the Van Cliburn International Piano Competition. Since then, he has made many successful recordings, winning the award of the Diapason d’Or for a recording of the complete cello and piano music of Fauré. Committed to performing new music, he has given several world premieres of contemporary music and is professor of piano at the Eastman School of Music. Paul Sportelli, music director/conductor Musical director/conductor Paul Sportelli is in his 11th season as Music Director of the Shaw Festival at Niagara-on-the-Lake, Ontario, Canada. He has conducted on Broadway (“Aspects of Love”), in Toronto (“Beauty and the Beast,” “Miss Saigon”) and on tour across the U.S. and Canada (“Les Miserables”). He made his Massey Hall conducting debut in Toronto with Colin James and his Little Big Band. He is the co-writer of five musicals to date: “Little Mercy’s First Murder” (premiered at the Tarragon Theatre, Toronto, 2003), “Tristan” (premiered at the Shaw Festival, 2007), “Step Right Up!” (premiered at Theatre Orangeville, 2008), “Maria Severa” (upcoming performances on the Shaw Festival Reading Series 2009), and “nobody told me” a cycle of songs. He received a Bachelor of Music degree and Performer’s Certificate from Eastman School of Music and Master of Music and Doctor of Musical Arts degrees from the Manhattan School of Music.

Musician Profiles Robert Swensen, tenor A noted Mozart and bel-canto specialist, Robert Swensen has appeared as guest artist with major opera companies, including those of Stuttgart, Teatro La Fenice in Venice, Bayreuth, the Bavarian State Opera-Munich, the Berlin State Opera, the Opera Comique Paris, the Grande Theatre Geneva, and the Vienna State Opera. He received his undergraduate education at the University of Arizona, a professional studies diploma at the Juilliard School and his graduate education at the University of Southern California. He was also mentored and closely associated with tenors Nicolai Gedda and Luciano Pavarotti. His honors include first prize, Concert Artists Guild International New York Competition, and first prize, Premio Giuseppe Borgati Concorso, Italy, both in 1987. He is associate professor of voice at the Eastman School of Music. Terrance Squires, double bass Terrence Squires holds degrees from Ithaca College and Potsdam College. From 1969 to 1996, he was assistant principal bass with the Syracuse Symphony Orchestra. He has taught at Onondaga Community and Syracuse University, teaches strings at State Street Elementary School in Skaneateles, and serves as an orchestra contractor for local professional groups. He has been involved with the Skaneateles Festival since its inception. Conrad Tao, piano Conrad Tao, 15, was found playing children’s songs on the piano at 18 months. He started formal piano lessons at age 3. At 8, he made his concerto debut with the Utah Chamber Music Festival Orchestra. His concerto performances include the Aspen Festival Orchestra, the California Symphony, the Corpus Christi Symphony Orchestra, and the Orchestra of St. Luke’s in Carnegie’s family concert in Carnegie Hall. At age 10, his piano composition “Silhouettes and Shadows”

won the BMI Carlos Surinach Prize as the youngest winner of BMI’s prestigious award for young composers in the Western Hemisphere. He is a five-time consecutive winner of the ASCAP Morton Gould Young Composer award and his Sonata for Two Pianos was featured at the 2004 award ceremony and performed at the Aspen Music Festival in 2005. He is enrolled in the Juilliard pre-college division studying violin, composition, and piano. He first played at the Festival in 2007, as soloist in the Mozart Piano Concerto No. 21. Michael Unger, harpsichord Michael Unger is pursuing a doctorate degree in organ performance and a master’s in harpsichord performance at the Eastman School of Music. He has performed recitals in Canada, the United States, and Europe, was the only North American semifinalist in the 2004 International Organ Competition in Odense, Denmark, and was recently a semi-finalist in the 2006 American Guild of Organists’ National Young Artist’s Competition in Organ Performance. He is music director of South Presbyterian Church in Rochester and teaches secondary organ and harpsichord at Eastman. James VanDemark, double bass James VanDemark left high school at 17 to become principal bassist with the Hamilton Philharmonic in Ontario and joined the faculty at the Eastman School of Music in 1976 to teach double bass when he was 23. He has appeared as a soloist with the New York Philharmonic, Saint Paul Chamber Orchestra, Atlantic Symphony, New Mexico Symphony, Netherlands Radio Symphony, Heidelberg Festival Orchestra, and Rochester Philharmonic Orchestra. 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. His is the

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7 concerts October 3 – April 24 Lincoln Middle School James Street, Syracuse 315-446-3424 www.syracusefriendsofchambermusic.org 77

Musician Profiles recipient of numerous commissioned works, including pieces by Joseph Schwantner, Gian-Carlo Menotti, Sydney Hodkinson, Christopher Rouse, Anthony Newman, and Jerod Tate. He received his bachelor’s degree from the State University of New York at Buffalo and won first prize in the Buffalo Philharmonic Young Artist Competition. Emily Vardanyan, violinist, A native of Colorado in 1983, Emily Vardanyan began studying violin in Anchorage, Alaska, at the age of 3. She worked in the Waterloo-Cedar Falls Symphony Orchestra for three years during high school and won its concerto competition, performing Mozart’s Concerto No. 5. She received her undergraduate degree in performance from the Eastman School of Music, where she served as concertmaster of both the Eastman School Symphony Orchestra and the Eastman Philharmonia. She performs occasionally with the Syracuse Symphony Orchestra and plays in a quartet with her husband. Karen Veverka, violin Karen Veverka is the orchestra director at Skaneateles High School, where she has led her ensemble to Gold With Distinction ratings. This year, the Skaneateles High School Orchestra was awarded first place at Heritage Festival’s inaugural competition at George Mason University. As a professional violinist, she has played with the Syracuse, Omaha, Vermont, and Binghamton symphonies, as well as Merry-Go-Round Playhouse and the Society for New Music. She holds degrees from St. Olaf College, the University of Nebraska-Lincoln and Syracuse University and serves on the Festival’s Board of Directors. Michi Wiancko, violin Violinist Michi Wiancko has performed with the New York Philharmonic and Los Angeles Philharmonic and in recital and chamber appearances across the nation. She made her New York solo recital debut at Carnegie Hall’s Weill Recital Hall after winning the 2002 Concert Artists Guild International Competition. She has toured extensively as soloist, recitalist and chamber musician and has appeared at the Kennedy Center, Sydney Opera House, Metropolitan Museum of Art, National Gallery, Library of Congress, New York Town Hall, and Philadelphia Chamber Music Society. A native of Southern California, she began her violin studies at the age of 3, studied with Donald Weilerstein at the Cleveland Institute of Music, and completed her master’s degree at The Juilliard School, working with Robert Mann. Sonya Williams, violin Sonya Williams received both her bachelor’s and master’s of music in violin performance from the Eastman School of Music, where she was active in the quartet program led by the Ying Quartet. She has completed two quartet residencies and her summer studies include the Music Academy of the West, the National Orchestra

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Institute, and the Quartet Program. She has been a member of the Syracuse Symphony Orchestra since 2001. David Ying, Co-Artistic Director and cello In addition to his role as cellist of the Ying Quartet, David Ying frequently performs solo and serves as Co-Artistic Director of the Skaneateles Festival. He has appeared with orchestras such 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, he has taught at Interlochen, the Brevard Music Center, and Northwestern University and is on the chamber music and cello faculty of the Eastman School of Music in Rochester. Janet Ying, violin Janet has enjoyed a wide-ranging career as the second violinist of the Ying Quartet. She has performed across the U.S. in such diverse venues as Weill Recital Hall in New York and a one-room Amish schoolhouse in Iowa, and abroad, in tours to Sweden, Japan, and Australia. She is on the faculty at the Eastman School of Music, where she teaches chamber music. In her spare time, Janet likes to read, especially about food, and practice taiji.

Musician Profiles Keiko Ying, cello Keiko Ying began studying the cello in Boise, Idaho, at age 10. At 14, she joined the Boise Philharmonic. She studied for two years at Albertson College of Idaho, then transferred to the Eastman School of Music, where she received her bachelor’s, master’s, and doctoral degrees. She has spent four summers as an Orchestral Fellow at the Aspen Music Festival, where she served as assistant principal in the festival and chamber orchestras, and was principal cello for the Spoleto Festival Orchestra in 2005. She has served as principal cellist in CityMusic in Cleveland for three years, as a section member in Syracuse Symphony Orchestra and teaches cello at the Eastman Community Music School. Phillip Ying, viola Phillip Ying, as violist of the Ying Quartet, performs regularly across the United States, Europe, and Asia. Recent appearances include engagements in New York, Chicago, Los Angeles, Philadelphia, San Francisco, Houston, Washington, D.C., Australia, France, Mexico, and Taiwan. He has performed at the Marlboro, Tanglewood, Caramoor, Norfolk, Aspen, Colorado, Bowdoin, and Steamboat Springs music festivals. He is a recipient of the Naumburg Award for chamber music. He has also been presented in recital and as a soloist with orchestras such as the Chicago Symphony and the Aspen Festival Chamber Orchestra. He is an assistant professor of viola and an associate professor of chamber music at the Eastman School of Music and serves as president of Chamber Music America, a national service organization for chamber music ensembles, presenters and artist managers.

the festival orchestras at the Aspen Music Festival. An enthusiastic performer of new music, she was one of the original members and concertmasters of the New Juilliard Ensemble. She is a doctoral candidate at Juilliard. Ainur Zabenova, violin Ainur Zabenova, a member of the Rochester Philharmonic Orchestra, received her bachelor’s degree from the Almaty State Conservatory in Kazakhstan. She also held the position of concertmaster of the chamber orchestra Kamerata Kazakhstan from 1997 until 2001. In 2002 she came to the U.S. to pursue her master’s degree at the Eastman School of Music with Oleh Krysa and received her performer’s certificate. She teaches violin at the University of Rochester and is pursuing her doctorate at Eastman.

Airi Yoshioka, violin Airi Yoshioka, a winner of the Juilliard School’s Concerto Competition, is first violinist with the American Sinfonietta and a member of the American Sinfonietta Chamber Music Group. She was a founding member of Yale University’s Wenceslaus Ensemble and the Modigliani Quartet and has served as concertmaster of one of

Festival Fare Don’t let the season end without getting your memorabilia, on sale at the Concession Table!

Festival Memory… treasure the joy of sharing my mother’s love of music and our village. For more than six years her enthusiasm ensured that we would never miss a performance, once even scampering out of the rain to listen from the garage at Brook Farm. A musician herself, Gladys Bryant sometimes wondered aloud “where do the musicians find those notes?” To answer critics who complained about “new” music on the program, she politely compared it to tasting food. “How would I know I didn’t like the music if I hadn’t listened first? Where else would I hear this if I didn’t attend the Skaneateles Festival? We are so lucky!” –Judy Bryant

Fanfare Cookbook Artist CDs Posters Tote Bags Hats T-shirts Polo Shirts Sweatshirts Flash Lights 79

A Christmas Suite

Concert Information All concerts are held in Skaneateles, August 12 – September 5, 2009. Tickets can be ordered at www. skanfest.org or by calling (315) 6857418. FamilyFest, Open Rehearsals, Thursday and Friday evenings are held at the First Presbyterian Church, at 97 E. Genesee Street. Doors open 30-45 minutes prior to start time. Saturday evening performances are held at 7:30 pm outdoors at Brook Farm. Patrons may arrive as early as 6:00 pm and picnic on the lawn. 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 are suggested (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. Any unused ticket may be exchanged for a 1/2 price ticket to a Syracuse Friends of Chamber Music concert during their 20092010 Season (subject to availability). Doors open for all concerts 30-45 minutes prior to start time. Cameras & recording equipment may only be used with the permission of the Skaneateles Festival. Please remember to silence cell phones. Tapes & CDs of 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 80

Save the Date

Saturday, December 12, 2009 A collection of Christmas Stories and Music Reservations will be taken starting November 1st Hosted by

The Falcone Family

Presented by the

Skaneateles Festival

A Christmas Suite Contributors – 2008

Laura Allyn Auburn Public Theater Aurora Inn John and Kathy Baran Henry and Helga Beck Tom Bersani and Joan Christy Mr. and Mrs. Vincent Byrne Barb Connor Bill and Donna Davis Evan and Elizabeth Dreyfuss The Falcone Family Dan McCann – Five Season

Hiscock and Barclay George Iocolano Daniel and Grace Labeille Ed and Jill Little John and Kim Mezzalingua Bob and Sally Neumann Pascale’s Liquor Square Marc and Cristina Pietropaoli Andy and Sherie Ramsgard Ramsgard Architectural Design

Linda Roche – Realty USA Robert Sarason and Jane Burkhead Saxenian Rug Company Buzz and Mary Ann Shaw Sherwood Inn Skaneateles High School Don and Chacea Sundman Dale and Rillann Van Epps Wachovia Securities Doug and Peg Whitehouse Richard Wight and Jennifer Sutherland Jeff and Kate Youle

2009 Program Book