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Dear Friends and Fellow Music Lovers, It is once again a pleasure and privilege to savor this year’s festival of musical plenty with you! We know that you will enjoy the music created by our wonderful artists, but you are also a very important part of what makes performances here so special. The energy of experiencing and listening to the music is what feeds the magic of the music making here in Skaneateles, and so we thank you for being part of this year’s Festival as well. We also hope you will join us in appreciating our sponsors, donors, and the many people behind the scenes who allow the Festival to run so smoothly. For us, community, in every respect, is what makes the Skaneateles Festival come alive. We hope you feel and enjoy the energy of these four weeks!

Elinor Freer and David Ying Artistic Directors, Skaneateles Festival

FamilyFest! pg. 6

Peter Serkin Imani Winds

ECCO

tf3 pg. 66 pg. 62

pg. 52

Chelsea Chen

pg. 50

pg. 26

Skaneateles Festival

2012

Board of Directors

Advisory Council

Administration

Dave Birchenough, President Patti Carey, Vice President George Bain, Treasurer Sharon Slater and Koko Fuller, Co-Secretaries

Thomas Bersani Ellen Bifano Beth Boudreau Barb Connor Mary Cotter William Davis John DeFrancisco Michael P. Falcone Lindsay Groves Claire Howard Daniel Labeille Andy Latchem Linda Kenan Dan McCann Andrew Ramsgard Doug Sutherland David Robinson (1924-2006)

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

Karin Blute Edward Conan David Duggan Steve Frackenpohl Joseph Grasso Joyce Jowaisas Jackie Keady Sharon Magee Bill Mahood Fred Marty

Madonna Meyer Margaret Murray Amy Neumann Greg Quick Louise Robinson Linda Roche Michael Tutor Arleen Van Riper Jo Werner Doug Whitehouse

Mary Bradly, Bookkeeper Maureen Meyer, Kathryn Magee, Alicia Friedrichs and John Buterbaugh, Office Assistants Steve Frackenpohl, Stage Manager Eric Boyce, Stage Assistant Judy Bryant, Volunteer Coordiantor Carol Bryant, House Manager Nancy Boyce, Graphic Designer Suzi Harriff, MediaMarCon, Media Consultant Outside the Box Business Solutions, Ad Sales Keith Horner, Program Notes Writer

A Special Thank You to our 2011 Volunteers Miki Bangs Henry and Helga Beck Ann Marie Bergold Dave Birchenough and Carrie Lazarus Alyssa Blount Mark Bostick Nancy, Eric and Jessy Boyce Mary Bradly Carol Bryant Judy Bryant Mary and Charlie Buckley Betsy Burton Corinne and Bill Buterbaugh Patti and Bud Carey Maryellen Casey and Bruce Keplinger Joan Christy and Tom Bersani Linda Cline Matt Clymer Dottie Cogswell Betty Congel

Barb Connor Carol Ann Cook Susie Dailey Jeff and Cate Davis Janet DeFalco Evan and Elizabeth Dreyfuss Kim and Charlie Driscoll Zach Driscoll Ian and Rita Edwards Colleen and Dan Fisher Paul and Erika Fiutak Fleur-de-lis Barbara Foster Abby Frackenpohl Steve and Sandi Frackenpohl Koko Fuller Judy Gelston David Graham Mary Gomoll-Granicz Georgina Gregory Sue and Dana Hall Martha Harris Gay Hembach Tom Higgins

Donna Himelfarb Sally Holben Don Hughes Elisabeth Hurley Mary Knepper Myron and Luba Kopchynsky Wendy Kopley Jo Kress Christy Lemp Craig Lindsey Andy and Ginny Longacre Marshall, Sharon, Kathryn and Grace Magee Wendy Magiera Bill and Miki Mahood John and Peggy Manring Ellie McGaan Linda Meier Donna Merchant Madonna, Jeff and Sam Meyer Toby and Jessica Millman Peter Moller

Melisa Moonan Margaret and Corinne Murray Richard Naughton Bob and Sally Neumann Tim and JoDean Orcutt Jeff Paston Nina Pittard Hannah Polachek Mimi Purington Greg and Debbie Quick Louise Robinson Brenda Sannes Brian Savage Roz Schwartz David and Sharon Slater Betsy Sio Mona Smalley Lynn and Corinne Smith Peter and Elsa Soderberg Margaret Sovik Jan Sterling

Carol Stokes-Cawley Chacea and Don Sundman Peggy Surdam Doug Sutherland and Nancy Kramer Jennifer Sutherland Flo and Peter Swartz Gustav Niebuhr and Margaret Usdansky Gail van der Linde Connie Walters Chloe Warner Suzanne Weitz Patri Welch Jo and Bob Werner Doug and Peg Whitehouse Tina Williams Susan Wolstenholme Sheryl Woodmansee Jeff and Kate Youle

A special thanks to all the volunteers and cooks who made Summer Suite such a great success.

Acknowledgements

Louise Robinson, Brook Farm – Concert Location & Hospitality Maryellen Casey & Bruce Keplinger, “Cybersolvers” – Webmaster and Computer Coordinators Sue & Dana Hall; Elizabeth & Evan Dreyfuss; Dave Birchenough & Carrie Lazarus; Maryellen Casey & Bruce Keplinger; Koko Fuller; Robinson Family; Sherwood Inn; Festival Friends – Musician Dinners Joan Christy – Musician Dinners & Guarantor Reception First Presbyterian Church – Concert Location Koko Fuller – Ticket Sales

Rob Howard and Mark Manring – Photography ChaseDesign – Brochure & Program Cover Carney & Blumer Trucking – Piano Moving Arthur Nick Smith – Piano Tuning Skaneateles High School – Music Stands & Percussion Many thanks to the generous Skaneateles residents who open their homes to the Festival’s visiting musicians. © The Skaneateles Festival 2012

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Thank you to all the Skaneateles Festival Donors! This list reflects gifts received as of July 27, 2012

Guarantor Society Artist Pianos, Ltd. George S. Bain Joan Christy and Tom Bersani Dave Birchenough and Carrie Lazarus James and Karin Blute Maryellen Casey and Bruce Keplinger ChaseDesign Central New York Community Foundation, Inc. Barb Connor

The Gladys Krieble Delmas Foundation, Inc. Evan and Elizabeth Dreyfuss David Duggan and Lynn Cleary Michael and Noreen Falcone Michael P. Falcone and Nicole Ruvo Thom Filicia and Greg Calejo The Fletcher Foundation Koko Fuller Green & Seifter, CPAs, LLP The Howard L. Green Foundation, Inc.

Hiscock & Barclay, LLP The Ewing Marion Kauffman Foundation Bruce and Linda Kenan Mid Atlantic Arts Foundation Bob and Sally Neumann New York State Council on the Arts Onondaga County and CNY Arts NewsChannel 9 Faye Panasci

Planning Sense, Donna Graber Louise Robinson Carl Schramm and Ellyn Brown Sherwood Inn Jary and Julie Shimer Peter and Elsa Soderberg Donald and Chacea Sundman Doug Sutherland and Nancy Kramer WCNY Classic FM Welch Allyn

Mary Cotter Donald and Jean Eygnor First Niagara Bank Colleen and Dan Fisher Patricia and Steven Ford Franklin Properties David Graham Joseph and Marie Grasso Tom and Gretchen Jeffers Gail Kinsella Andrea Latchem

David and Anne Lee Marshall and Sharon Magee John and Peggy Manring Fred and Ginny Marty Peter and Betsy McKinnell Chris and Amy Neumann Robert and Christine Pierce Doug and Judy Robertson Dan and Linda Roche Sharon and David Slater

Jennifer Sutherland Sutton Real Estate Testone, Marshall, Discenza, CPAs Jim & Salli Tuozzolo Jack and Judy Varney WAER WRVO 93Q Y94

Gilberti, Stinziano, Heintz and Smith, P.C. Dana and Susan Hall George Iocolano Joyce and Robin Jowaisas Bill and Miki Mahood Susan Mark

Vicki Porter Revoir Foundation David Rubin and Tina Press Jack and Stephanie Rudnick Dr. Frank C. Smith Dr. Sandra Sulik Peter and Florence Swartz

Dale and Rillann Van Epps Arleen and Loren VanRiper Wells Fargo, the Coates Group Jo and Bob Werner Doug and Peg Whitehouse Dr. and Mrs. David P.W. Ying Jeff and Kate Youle

Steven and Sandi Frackenpohl John V. Frank Mona and Coburn Freer Jean Jeffery Greene Steve and Ann Hahn Halo Branded Solutions Josephine and Robert Harris Sally Holben James Horan Rob and Claire Howard Louis and Mary Iannettoni Jackie Keady Mary Knepper Wendy and John Kopley Lin Kroeger and Alan Johnson David and Stacia Landsberg Marilyn Lerman William and Anne Lynn John MacAllister

Mr. and Mrs. James Marquardt John and Candace Marsellus Susan Martineau Mark Martino Madonna and Jeffrey Meyer John and Kim Mezzalingua Mr. and Mrs. Thomas A. Potter Mimi Purington Greg and Debbie Quick Fritz and Phyllis Rohrlich Bonnie Romano Terri and Mark Roney Nick and Linda Rossi Al and Vicky Sabin Bob Scheer Richard and Bonnie Scolaro Marilyn and James Seago Charles Tremper Jean Shook and Chris Johnson

Jason Slottje Jan Sterling Judith Stoikov and Richard Miller John Sutter Frank and Rose Swiskey Paul and Mary Torrisi Cynthia Tracy Charles Tremper Jaime Tuozzolo Michael Tutor and Susan Keefe Brandon and Stephanie Williams Tina Williams and Rodney Ashby David Ying and Elinor Freer Bob and Jeanne Young John and Carol Young Cynthia Zacharek

Benefactor Bill and Penny Allyn The Allyn Foundation Henry and Helga Beck Gwen and Bill Birchenough Mark and Lou Bitz The CNY Business Journal Patti and Bud Carey The Columbian Foundation, Inc. Ed and Paula Conan Bob and Sue Congel

Gold Patron Todd and Debbie Cornell Susan Dailey Bill and Donna Davis Sid and Suzanne Devorsetz Guy and Nancy Easter Robert and Nicolena Errico

Patron

Roland and Tacie Anderson Mr. and Mrs. Sherwood E. Bain Mary Bradly Louise Bristol Corinne and Bill Buterbaugh Elet and John Callahan Andres and Monique Cardenes Edward Castilano Stephanie R. Choguill Dr. and Mrs. Chung-Taik Chung Alan Curle and Andrew London Michael and Fouad Dietz Alan and Linda Dolmatch Starke Donnally Linda and J. Randolph Evans Hamilton and Fran Fish Bill and Sharon Fox

Contributor Eric Allyn and Meg O’Connell Peter L. and Sharon Andrus Ronald and Lillian Antolini William Baker Matthew Belanger Lynne and Richard Bennett Ann Marie Bergold Dr. and Mrs. Frank Bersani Barbara Bloom Bolt and Barbara Bolton-Smith Cynthia Bright Dan and Theresa Brown Hal and Peggy Brown Charlie Buckley Jane Burkhead and Robert Sarason Patti Callahan Mr. and Mrs. W. R. Clark Phyllis Clark Barbara and Goodwin Cooke Tim and Margie Creamer Dick and Claire Damaske in memory of Alice Robinson Ian and Rita Edwards Myron and Barbara Egtvedt Mohsen Emami Stuart and Barbara Evans

Bob and Kay Fagliarone Paul and Erika Fiutak Nancy Oplinger and Richard Freeman Susan and Frank Freer Aubrey and Carol Garlington Ron and Rose Ann Gay Dr. Phillip Gioia Mel and Dorothee Goldman Kenneth Grant Bob and Val Gray Josephine M. Gregg Georgina Gregory Agnes E. Griffith, Ph.D Roger and Estelle Hahn William and Karen Havens Bob and Peggy Hegel Jim and Pat Hertz Rich and Debbie Hole Bob and Barbara Holloway Jack and Ruth Howard Mr. and Mrs. Joseph Hubbard Dorothy Hughes John and Linda Isaac Ellen Cook Jacobsen, MD Daniel and Virginia Kenney Stephen and Terry Kline

Barbara Kotula Mr. and Mrs. Joseph A. Koziol Roger A. Krieger Joan and Ted Kuck Daniel and Grace Labeille Daniel and Marianne Larson Rev. Frank Lioi Marian Loftus Gard Lorey, DDS and Sean Smith, DDS, PC Dawn and Guy Mackenzie James and Patricia MacKillop Diane Maguire Edward Mazur Jean and Jack McGlynn Margaret Merli Eileen Murphy and CJ Ryan Margaret and William Murray Margaret Usdansky and Gustav Niebuhr Micheal and Pam Odlum Sean and Laura O’Keefe Nancy Oplinger and Richard Freeman Mr. W. Dennis Owen Dr. and Dr. Fred Pestello Eleanor K. Peterson

Arnold and Judith Poltenson Dick and Kim Poppa Joel Potash and Sandra Hurd Dan and Lisa Riordan Carol Rowehl and John Kahler Lawrence and Janet Ruston RJR Associates Milton Sack Susan and Steven Shaw Dr. and Mrs. Michael Shende Mark Watkins and Brenda Silverman Wolfram Stahl David and Deirdre Stam Mr. and Mrs. Charles E. Stokes III Holly Strong Joan Tarolli John and Jean Vincent Ron and Jane Walsh Richard and Ann Wasiewicz Charles and Nancy Williams Carol Wixson Mr. and Mrs. Bernhard Wolff Susan Wolstenholme

Thomas Eldred Frederick and Janet Fagal Dorothy Fagerstrom Eleanor Filburn Carolyn and Roger Friedlander Alex and Donna Giambartolomei Gloria and Joshua Goldberg Mary Louise Hartenstein Bob Hiemenz Perry and Dottie Howland Richard and Mary Lee Kokosa Elizabeth Kolodney and Barbara Sutton Myron and Luba Kopchynsky Mr. and Mrs. Donald Krieger Claudia and Thomas Lambdin Edward and Karen Levene

Anthony and Sandra Lombardo Cliff and Roberta Malzman Robin Masson Coleen Masucci Melissa Matson and Bob Taylor Carol Mon David and Janet Muir Eileen and Don O’Connell JoDean and Timothy Orcutt Bruce and Margaret Osborne Gary Paige Dr. and Mrs. Bernard Panner Umesh and Viji Patil Elizabeth Patton Mr. and Mrs. Robert Rodormer Edith Schmitz Janet and Vito Sciscioli

Dr. Melanie Six Margaret Sovik Terrance and Mary Frances Squires Nancy Stones Nancy E. Tiedemann Deborah Trepanier Eric Vandewater and Rebecca Mays Meg Vanek Diana Veith John and Marcia Watt George and Nancy Wettlaufer Don and Mary Anne Winfield Kendra and Don Witter Laura Yelinek Joyce Zadzilka

Member Frederica Amstey Deborah Loo Anderson Mary Ann Baner and Mary Alley Karl Barth Matteo and Rose Bartolotta Bill Bell Cindi Blume Barbara and Dennis Bowen Bernie and Ona Bregman Brian Brundage and Pam Foresman Kathryn Carlson Mary Ching Rev. Becky and Kip Coerper Ransford and Janice Cooper Carol Delaney Marvin and Patricia Druger

FREE

Free at the Festival

Educational & Community Events

FamilyFest and Workshops are sponsored by:

The Panasci Family

FamilyFest! The Power of Music

Wednesday, August 15, 11:00 am • First Presbyterian Church In this concert you’ll hear the Imani Winds, vocalist Troy Cook, and Artistic Directors David Ying and Elinor Freer play some powerful pieces, each one with an interesting backstory. This music comes from all over the world and from all periods of time. Be sure to bring your open minds and good listening ears!

The Pinched String!

Wednesday, August 22, 11:00 am • First Presbyterian Church The French say that a harpsichord string is pinched and not plucked! Come spend time with the Four Nations Ensemble and find out why the harpsichord was the most beloved of keyboard instruments for more than 200 years.

Workshops For Music Students • Friday, August 17, 11:00 am • First Presbyterian Church Open to students of all ages and abilities.* Jasper Quartet, violin, viola, cello and bass; Troy Cook, voice; and Elinor Freer, piano *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 • Wednesday, August 8, 10-11:30 am • First Presbyterian Church Get a sneak peek backstage as Festival performers rehearse a piece for one of this week’s upcoming concerts.

Pre-concert Chat • Thursday, August 16, 7:00 Pm • First Presbyterian Church Meet the Imani Winds

Pre-concert Chat • Friday, August 17, 7:00 Pm • First Presbyterian Church Meet the evening’s performers

Pre-concert Chat • Friday, August 24, 7:00 Pm • First Presbyterian Church Glimpse into the world of early keyboards with Andrew Appel

Ways to Support Your Skaneateles Festival

DONATE for Music Today Donate today and support the 2012 season. Your gift will be recognized in the next year’s program.

SPONSORSHIP for 2013 Sponsor a concert or musician for the 2013 season. Your gift of $1,000 or more can sponsor a musician or an entire concert in 2013. 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.

o Donate for music today o Sponsorship for 2013 o Donate to the endowment fund o Please contact me to discuss my gift options. Name ______________________________________ Address ____________________________________ City _______________________________________ State ____________________ Zip_______________

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): o Guarantor Society . . . . . . . . . . . . . . . $2000 and up o Benefactor Society . . . . . . . . . . . . . . . . $1000-1999 o Gold Patron . . . . . . . . . . . . . . . . . . . . . . . $500-999 o Patron . . . . . . . . . . . . . . . . . . . . . . . . . . . $200-499 o Contributor . . . . . . . . . . . . . . . . . . . . . . . $100-199 o Member . . . . . . . . . . . . . . . . . . . . . . . . . . . . $50-99

o Check enclosed. Make checks payable to: Skaneateles Festival o Charge my: o Visa o Mastercard Card # ___________________________________________________ Exp. Date ______ /_______

Phone _____________________________________ Email: _____________________________________

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

TonighT’s evenT is sponsored by:

Wednesday, August 8

Bach and Beyond

6:30-9:00 Pm

Adam and Kim Weitsman The Inns of Aurora Creekside Books & Coffee Fins & Tails Folls Flowers Joelle’s French Bistro

Johnny Angel’s Kabuki Krebs 1899 Laker Limo Lost & Fondue Mandana Inn

6th Annual

Summer Suite

featuring outstanding Festival Musicians and a cooking demonstration by Don Agate, executive chef of Krebs 1899 restaurant

Join us at the magnificent home of

Adam and Kim Weitsman 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.

Please support our sponsors and advertisers.

Mesa Grande Taquerla Mirbeau Pascale Patisserie Sherwood Inn

1899

Coming Soon The Krebs, Skaneateles, N. Y. 53 West Genesee Street Successfully Operated Since 1899 Established in 1899

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The Krebs

Tonight’s concert is sponsored by:

Thursday, August 9 8:00 PM First Presbyterian Church

Doug Sutherland and Nancy Kramer Tonight’s guest sponsorships:

Bach and Beyond

Elinor Freer and David Ying are sponsored by Green & Seifter, CPAs Elizabeth Mann is sponsored by Planning Sense, Donna Graber

Bach Trio Sonata in G Major for Flute, Violin and Continuo, BWV 1039 Adagio Allegro ma non presto Adagio e piano Presto

Elizabeth Mann, flute Jung-Min Amy Lee, violin David Ying, cello Michael Unger, harpsichord

Franz Doppler Nocturne for Flute, Horn, Violin and Piano, Op. 19 Elizabeth Mann, flute Harumi Rhodes, violin Stewart Rose, horn Elinor Freer, piano

Mozart Quintet in E-flat Major for Horn, Violin, 2 Violas, Cello, K. 407 Harumi Rhodes, violin Rebecca Albers, viola Phillip Ying, viola David Ying, cello Stewart Rose, horn

Allegro Andante Allegro

intermission

Mendelssohn

Piano Trio No. 2 in C minor, Op. 66 Allegro energico e con fuoco Andante espressivo Scherzo: Molto allegro, quasi presto Finale: Allegro appassionato

Jung-Min Amy Lee, violin David Ying, cello Elinor Freer, piano

The Skaneateles Festival is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

From the Artistic Directors

Week at a Glance…

Bach and Beyond From scholars to performers, many musicians give special significance to the music of J.S. Bach. It is music that perfectly balances intellect, emotion, and spirituality; experiencing it can be both entertaining and transporting. Bach’s music can also be admired on so many levels, from compositional craftsmanship to ethereal beauty. One of the clearest signals of Bach’s influence throughout music history is the way other composers admired his work and were guided by it. The music this week explores a few of Bach’s masterpieces, as well as the works of later composers who, while writing music of their own vision, are also part of Bach’s inspiring legacy.

Program Notes We salute Bach with a favorite chamber work in this opening concert. After his death, both Mozart and Mendelssohn were two of his greatest champions, studying his music mostly in handwritten copies, since a collected edition of Bach’s music was not yet published. Mozart acknowledged a debt to Bach’s mastery of fugal writing, egged on by his wife Constanza who, he said, was “completely enraptured” by Bach’s fugues. Armed with a keen historical perspective on music, Mendelssohn, baptized into the Lutheran church in 1816, laid the groundwork for the great Bach revival that began in the 19th century and continues to our own day. “Everything is gathered together” in the music of Bach, he once said.

Trio Sonata in G Major for Flute, Violin and Continuo, BWV 1039 (c.1736-41) JOHANN SEBASTIAN BACH (1685-1750) In the 18th century, the flute reigned supreme as the instrument of choice for those who had the means to buy it and the leisure to play it. At the same time, it was the easiest instrument to play badly and the most difficult to play well. The flute was known as The Gentleman’s Instrument in England. The Prussian King, Frederick the Great, took his to war. His historic meeting with Bach in 1747 resulted in Bach composing his Musical Offering, which includes a magnificent Trio Sonata for flute, violin and continuo. Today’s G major Trio Sonata is the only other such work Bach wrote for the flute – for two flutes in fact, though, as in today’s performance, a violin or other string instrument often takes the second flute part. Trio sonatas were the most widely cultivated type of instrumental sonata in the Baroque. In them, harmonies and chords to accompany the two melody instruments and bass line were indicated in shorthand by means of numbers – much as jazz charts and guitar chords are written in our own time. Bach later adapted this trio sonata as a solo sonata for gamba, the predecessor of the cello.

Nocturne for Flute, Horn, Violin and Piano, Op. 19 FRANZ DOPPLER (1821-1883) “The name F. Doppler must not be omitted from the title-page, since he has done the work marvelously,” composer Franz Liszt wrote in his will, praising the man who had orchestrated a half dozen of his hugely popular Hungarian Rhapsodies. In his lifetime, Doppler became best-known as conductor of the Vienna Court Ballet and as a flute teacher at the Vienna Conservatory. But it was as the oldest of the flute-playing Doppler brothers that Franz first made his mark, touring Europe for many years both in his youth and as an adult. His younger brother Karl had a party trick of playing the flute pointing to the left – which caused a sensation when the brothers played on stage together. Franz Doppler made an early reputation as a flute virtuoso. He wrote seven operas and 15 ballets for theaters in Budapest and was a founder-member of the Hungarian Philharmonic before his career took him to Vienna. In his short, romantic Nocturne, the horn first presents a rather somber melody, which is soon heard in brighter variations as the flute and violin (or two flutes) weave arabesques around horn and piano.

Quintet in E-flat Major for Horn, Violin, 2 Violas, Cello, K. 407 (1782) WOLFGANG AMADEUS MOZART (1756-1791) Mozart called him an ox, a donkey and a fool. He wrote jokes and ribald comments in the copies of music he gave him. Once, Mozart threw all the parts of some concertos and symphonies on the floor and made the man who was often the butt of his dubious humor collect them on all fours. Yet, despite all this, Mozart composed some of his most likeable music for his lifelong friend Joseph Leutgeb, including four concertos and his only Horn Quintet. This is a piece of chamber music with such a virtuoso horn part that it has been called a miniature concerto for horn and

8/9 Program Notes (continued)

strings. The outer movements present lively, extrovert music, After a performance often with a sense of at Schonbrunn Palace humor. The Andante in Vienna, Mozart accidentally is music of great stumbled into the lap of beauty and intimacy, Archduchess Maria Antonia a love duet between (the future Marie Antoinette) the horn and first and asked her to marry him violin. Throughout after she helped him up. the quintet, Mozart is especially sensitive to the tone color of the five instruments, choosing the darker sonority of two violas plus violin and cello (rather than the more usual string quartet, with two violins) to draw out the mellow, romantic timbre of the horn. It’s a combination without precedent; a unique offering to a friend he had known since earliest childhood.

Fun Fact…

Piano Trio No. 2 in C minor, Op. 66 (1845) FELIX MENDELSSOHN (1809-1847) “I would like to compose a couple of good piano trios,” Mendelssohn wrote to his sister Fanny from Paris. Seven years and a good deal of work later, the first of the two Trios, in D minor, saw light of day. Schumann hailed it as a masterpiece. But it was not until six years later that

Now I can Relax! It’s Really ALL Set.

Mendelssohn turned his attention to a second trio, in C minor. The minor key was certainly his key of choice in chamber music with piano. It gives his music a vitality and inner energy that is not always present elsewhere. Composition on the new trio went well and in a few months it was ready for performance. Mendelssohn, a renowned pianist, played the piano part, with well-known colleagues playing violin and cello. The first movement is brilliantly constructed. The opening theme, in running octaves on the piano (marked ‘with fire and energy’) is expanded into themes for violin and cello. Before long, the roles of strings and piano are reversed. The entire movement unfolds organically. Passages of great energy and quiet lyricism alternate, always bound together by the unity of their themes. After a tender Andante espressivo, Mendelssohn gives us one of his inimitable, Mendelssohn was a good minor key friend of Queen Victoria, scherzos, which and his music was played at many bubbles with royal ceremonies. energy and vitality. “The trio is a bit slippery under the fingers,” he wrote to his sister, with wonderful understatement. The finale begins with an exuberant theme, constantly surging forward. It reaches its climax with a broad chorale-like theme which provides one of the most stirring moments in Mendelssohn’s music. Its

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8/9 Program Notes (continued)

melody, of Mendelssohn’s invention, alludes to traditional Lutheran hymns which Bach used as the basis for two of his cantatas (Gelobet seist du Jesu Christ and Herr Gott dich alle loben wir). This C minor trio is one of the most successful works of Mendelssohn’s maturity, coming one year before the oratorio Elijah and two before his premature death at the age of 38. — Notes © 2012 Keith Horner. Comments welcomed: khnotes@sympatico.ca

Special thanks to the

First Presbyterian Church for their generous hospitality

The Marcus Roberts Trio present an outreach program at the Everson Museum.

Tonight’s concert is sponsored by:

Friday, August 10

Bach and Beyond

8:00 PM First Presbyterian Church

Tonight’s guest sponsorships:

Elinor Freer and David Ying are sponsored by Green & Seifter, CPAs Elizabeth Mann is sponsored by Planning Sense, Donna Graber Tonight’s media sponsor is wrvo

Arthur Foote Nocturne and Scherzo for

Flute and String Quartet

Elizabeth Mann, flute Jung-Min Amy Lee, violin Harumi Rhodes, violin Rebecca Albers, viola David Ying, cello

Beethoven Sonata in F Major for Horn and Piano, Op. 17 Allegro moderato Poco Adagio, quasi Andante – Rondo: Allegro moderato

Stewart Rose, horn Elinor Freer, piano

intermission

Presentation of this year’s Robinson Award winner, violist Ben Parks

Bach/ Sitkovetsky Goldberg Variations Harumi Rhodes, violin Rebecca Albers, viola David Ying, cello

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

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

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-two 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.

2012 Winner Ben Parks Ben Parks, a violist from Hamilton, NY, has been playing since age 3. A recent graduate of Manlius Pebble Hill School, Ben will attend Princeton University this fall, and he plans to study viola with Toby Appel. Ben’s previous teacher was Laura Klugherz, and this summer he will study with Patricia McCarty at Meadowmount School of Music. Ben was a member of the NY All-State Orchestra in fall 2010 and 2011, and was selected as principal violist in 2011. He was one of three winners of the Syracuse Symphony Orchestra Youth Concerto Competition, and he played the first movement of the Hoffmeister concerto with the orchestra during its Side by Side concert in March 2011. He was a member of the Syracuse Youth Orchestra for all four years of high school, and performed the first movement of Hindemith’s der Schwanendreher with the orchestra in April 2012. Ben hopes to continue playing orchestral, chamber, and solo music in college.

Our thanks to those who have contributed to the Robinson Award

Anonymous Brenton and Mary Bradly Barb Connor Fletcher Foundation David and Louise Robinson Skaneateles Area Council for the Arts

Frank and Jan Smith Karl and Peggy Smith Dr. and Mrs. Kenneth Spitzer Diane Walsh and Dick Pollak Suzanne Weitz Welch Allyn

If you would like to contribute to the Robinson Award Fund, please call 315-685-7418. 15

Program Notes

Nocturne and Scherzo for Flute and String Quartet (1918)

1922 with string orchestral accompaniment, has remained the most played of his 73 published works with good reason. The gently expressive piece opens with a dreamy, somewhat ARTHUR FOOTE (1853-1937) melancholy melody from the flute with closely-woven, Like Bach, American composer Arthur Foote was a lifelong restless harmonies from the strings. A second theme is church musician, being organist at Boston’s First Unitarian brighter and more airy. It recurs toward the end of the Church for more than three decades. Brought up in Salem, piece, after a short cadenza from the Mass., Foote studied at Harvard, flute, high on the violin, with gently becoming the first to graduate with pulsing string accompaniment. The a master’s degree in music from an Scherzo comes from Foote’s second Arthur Foote was a member American university. His musical string quartet and in it, Foote surrounds of the “Boston Six,” a group background, though, remained a modal middle section with nimble, of influential composers from the essentially European. “These were spirited music modeled on the music of 19th and 20th centuries who lived the days when Saint Saëns’s music Mendelssohn. “It is fresh and spontanein New England. came to us as a stunning novelty… ous, plentiful in melody and colored when the new Grieg concerto with beauty,” the San Francisco fascinated every one, and when some of us went over Examiner wrote after the first performance of the work, to Bayreuth in 1876 to the first performances of the which Foote himself viewed as “the last thing of conseNiebelungen Ring,” he wrote later in life. Wagner and quence that I wrote.” Brahms remained lifelong heroes. Like other New England composers of the day – Amy Beach, George Chadwick, Sonata in F Major for Horn and Piano, Loeffler, MacDowell and Foote’s teacher John Knowles Op. 17 (1800) Paine – Foote’s musical language was generally conservaLUDWIG VAN BEETHOVEN (1770-1827) tive. A century later, this matters little if the music is well “Who is this Beethoven?” wrote a music critic in Pest (now crafted and speaks with a sincere voice. And Foote’s Budapest) after hearing a performance of this Horn Sonata Nocturne, subtitled “A Night Piece” when it was revised in

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8/10 Program Notes (continued)

in April 1800. “His name is not known to us. Of course, As a young musician, [Giovanni] Punto is Beethoven was very well known.” told by his teachers that This music critic’s ear he was talentless. was not close to the ground. Beethoven was 30 and, after eight years in Vienna, was beginning to make a name. He’d performed his first two piano concertos several times and published several piano and other sonatas. His First Symphony had been successfully premièred in Vienna just two weeks earlier. The Pest performance of the Horn Sonata was the second of a work which, although modest in the context of the magnitude of Beethoven’s catalogue, has nevertheless remained in the repertoire of horn players ever since. Beethoven’s concert partner was the Bohemian Jan Václav Stich, known throughout Europe by the Italian form of his name, Giovanni Punto. Punto was adept at a technique of extending the relatively meager supply of notes available to the majority of players of the early (valveless) horn through a technique of inserting the left hand into the bell of the instrument. Punto’s skilful use of hand-stopping made him the best-known horn virtuoso of his day, a musician whose visit to Vienna in mid-April 1800 prompted Beethoven to

Fun Fact…

write his three-movement sonata in less than a day. Beethoven himself accompanied Punto at the première, reading some of the substantial piano part from his hastily sketched score, improvising the rest. Beethoven gives the horn melodic lines that make use of the newly available chromatic notes in the high-energy opening movement. But the brevity of its central development shows that Punto’s horn was unable to travel to the more distant keys that Beethoven’s music was already exploring. Beethoven does, however, fully exploit the instrument’s ability to tackle brisk arpeggios, octave leaps and a wide register. The slow movement, brief at just 17 measures, has the character of a funeral march and leads without break to a high-spirited finale.

Goldberg Variations (1741) JOHANN SEBASTIAN BACH (1685-1750), transcribed by Dmitri Sitkovetsky First, a good story: Legend has it that Bach wrote his Goldberg Variations for an insomniac patron, Count Keyserlingk from Dresden. He is said to have wanted something “soothing, lively and cheerful” for his harpsichordist Johann Gottlieb Goldberg to play for him during his sleepless nights. According to Bach’s first biographer, Johann Forkel, the Count was well pleased with the Goldberg Variations and rewarded Bach with a gold goblet filled with one hundred gold coins.

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8/10 Program Notes (continued)

Now, the more likely story: The good Count took Goldberg the harpsichordist to Bach for lessons in 1737. He then employed Goldberg as his harpsichordist. Note that when Bach was planning his Goldberg Variations, Goldberg the harpsichordist was just 13 years old. It is unlikely that Bach would have written such demanding music for so young a musician. But, in November 1741, when he had just published the Goldbergs, we know that Bach stayed at Keyserlingk’s Dresden residence. A likely scenario is that during his visit, Bach gave the Count a presentation copy of the newly printed music as a gift. This and subsequent nocturnal performances by the young Goldberg are probably the starting point for the legend that has ever since surrounded the Goldberg Variations. There are 30 variations in all. Some of them are songlike, some are dance-like, but they all differ. Bach originally intended that the work was to be played on a harpsichord with two manuals – so the two hands can overlap to a certain degree. But, for many of us, the recordings of Glenn Gould on the single-manual piano have most clearly defined the Goldbergs. They also inspired the three-part transcription of the work that will be played today.

were around him when he was alive … Gould was the furthest thing from a romantic player, but his playing was incredibly emotional and intense.” Gould’s playing brought the Russian violinist closer to the music of Bach. “In my transcription of the Goldberg Variations, I wanted to be one with Bach. I chose the string trio because the Variations are written in three-part counterpoint. Those two months I was working on it on tour – working late at night and early in the mornings at my hotel – were absolutely the happiest time of my life, musically. Being in the company of Bach and Glenn Gould’s recording, oh, it was a constant source of joy and peace and excitement.” Sitkovetksy has faithfully transcribed the keyboard version of the Goldbergs without adding to the music found there. Most of Bach’s ornaments are written out. The original functions of the different parts – principal melody, secondary melody and bass – are divided up among the three string instruments. In dedicating his transcription of Bach’s Aria with 30 Variations, BWV 988 to Glenn Gould, Dmitri Sitkovetsky pays tribute to both the inspiration of the original work and to a performer who brought him closer to Bach’s music. — Notes © 2012 Keith Horner. Comments welcomed: khnotes@sympatico.ca

“Even though I discovered Glenn Gould after he died,” says violinist and arranger Dmitri Sitkovetksy, “I do feel that I know him maybe better than some of the people who

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Saturday, August 11 7:30 PM Brook Farm

Michael & Noreen Falcone

Bach and Beyond

Rain Location: Skaneateles High School

Tonight’s guest sponsorship:

Elizabeth Mann is sponsored by Planning Sense, Donna Graber David Ying is sponsored by Green & Seifter, CPAs

Bach and Beyond at Brook Farm Rossini Sonata No. 5 in D Major for Flute,

Clarinet, Bassoon and Horn Allegro spiritoso Andante assai ‘Tempesta’: Allegro

Elizabeth Mann, flute Maureen Hurd, clarinet John Hunt, bassoon Stewart Rose, horn

Bach Brandenburg Concerto No. 5 in D, BWV 1050 Allegro Affettuoso Allegro

Concertino: Elizabeth Mann, flute Harumi Rhodes, violin Michael Unger, harpsichord Ripieno: Jung-Min Amy Lee, violin Peter Rovit,violin Rebecca Albers, viola David Ying, cello James VanDemark, bass

intermission

Spohr Nonet in F Major, Op. 31 Allegro Scherzo: Allegro Adagio Finale: Vivace

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Elizabeth Mann, flute Anna Petersen Stearns, oboe Maureen Hurd, clarinet John Hunt, bassoon Stewart Rose, horn Jung-Min Amy Lee, violin Rebecca Albers, viola David Ying, cello James VanDemark, bass

Program Notes

Sonata No. 5, in D Major for Flute, Clarinet, Bassoon and Horn (1804)

Rossini himself took the second violin part. Rossini recalled that everyone played “like dogs.”

GIOACHINO ROSSINI (1792-1868)

Like its companions, tonight’s D major Sonata includes surprisingly little that is derivative. It sounds – well – like Rossini and not like a composer who was not yet a teenager and had his head too much in the scores of Mozart and Haydn. The first two movements each spring from a charming melody from which Rossini develops music that flows logically and fluently. The finale raises a storm as it playfully spoofs the sort of academic variation technique Rossini might have been taught in the conservatory, had he been a more conventional student and not already earning his way to fame and fortune as a composer.

“Six dreadful sonatas composed by me at the country estate of my friend Agostino Triossi, when I was at the most infantile age, not even having taken a lesson in accompaniment, the whole composed and copied out in three days.” That’s what’s an older Rossini wrote when he came across the score of a manuscript he’d written in the summer of 1804 when he was just 12. These delightful sonate a Quattro are the earliest of his works to have survived and they have been in the repertoire ever since he wrote them. They were first published in an arrangement for string quartet. A version for wind quartet followed At the age of 37, in 1828/9. Then, in Rossini retired from 1954, the original writing music to focus his manuscript was energy on cooking and discovered in the creating recipes. Library of Congress in Washington and it showed that Rossini originally created the sonatas around his host’s instrument, the double bass. Triossi played the bass part, his cousins played first violin and cello, while

Fun Fact…

Brandenburg Concerto No.5, in D, BWV 1050 (c. 1720) JOHANN SEBASTIAN BACH (1685-1750) Bach didn’t give his six concertos the title Brandenburg Concertos; this name came in 1873 from the pen of Philip Spitta, a music historian who was Bach’s second biographer. The concertos had first been published just two decades earlier, in 1850, on the centenary of Bach’s death. Before this, the Brandenburgs – music that we now regard, together with Vivaldi’s Four Seasons, as the high point of the Baroque concerto – lay neglected in a Prussian library.

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8/11 Program Notes (continued)

Handwritten copies had circulated. But the main collection remained shelved from the time Bach presented it to Margrave Christian Ludwig of Brandenburg in 1721.

Fun Fact… In his early 20s, Bach pulled a sword on a bassoonist who had accused him of slander.

The “Six Concertos for Several Instruments,” as Bach called his six Brandenburg Concertos, were not new compositions. Some of the movements exist in earlier versions. The scores were likely performed by musicians at the court in Cöthen. The scoring matches that of the instruments at the Calvinist court, where, as Kapellmeister, Bach was required to provide instrumental rather than sacred choral music. When he decided to compile the concertos as a collection for the margrave, Bach aimed to demonstrate his ability to both write in the latest Italian style and to master all the varied traditions of the Italian and German concerto form. Each concerto has its own particular instrumental grouping and sound world. The unity of the six concertos comes about through their diversity. The Fifth Concerto includes a solo group (known as the concertino) made up of harpsichord, flute and violin, with the harpsichord a clear first amongst equals. Perhaps this is because when Bach first met and performed for the

margrave and was then asked to provide some examples of his compositions, he did so as one of the leading keyboard virtuosos of the age. Additionally, the main purpose of his visit to Berlin from rural Cöthen was to inspect a new high-end harpsichord for the Cöthen court. The flamboyant cadenza toward the end of the first movement, where the instrument is the center of attention, may well have been designed to show off the potential of the new custom-built instrument, since an earlier version of Brandenburg 5 includes a shorter cadenza. The slow movement is a tender air for the three solo instruments alone, still cunningly containing the contrasts of a concerto. After this intimate chamber music, the final movement is a dance-like fugal gigue.

Nonet in F Major, Op. 31 (1813) LOUIS SPOHR (1784-1859) As the leading German violinist of his day, Louis Spohr was compared with the legendary Paganini. As a leading conductor of his day, he was a pioneer in using the modern, wooden baton in favor of his violin bow or sheaf of paper. As an internationally reputed composer of more than a dozen operas, two dozen concertos, almost three dozen string quartets, seven string quintets, five piano trios, and four double quartets, Spohr trod new ground. He flourished during the dawning days of 19th century romanticism. His idol and, to some extent, model in terms of musical form, was Mozart. But his harmonic language is that of the new age. It is darkly colored, expressive, daringly chromatic

8/11 Program Notes (CONTiNUED)

(though occasionally he could tie himself into knots), and richly melodic, after the manner of Italian opera. The Nonet came about through a unique business agreement. Johann von Tost, a wealthy cloth merchant and keen music-lover, agreed to sponsor Spohr’s chamber music for three years in return for exclusive rights. For his third work, von Tost requested a logical but hitherto untried combination – nine instruments, including the four strings (violin, viola, cello and bass) and the five principal winds (flute, oboe, clarinet, horn and bassoon). The music was an immediate hit. Each time it was played, von Tost’s

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agreement would necessitate his presence, along with the hand-written parts for the musicians he had purchased. By visiting the private homes and salons of Vienna’s finest, von Tost was able to further develop his business contacts. Spohr wisely avoided direct comparison with Beethoven’s Septet, which is structured as a six-movement divertimento and had been tremendously popular in Vienna for over a decade. He brought a contemporary feel to his music. He kept the spirit of the classical divertimento, combining it with the four-movement form of the chamber symphony and a warmly romantic musical language. Spohr’s musical craft in the Nonet is outstanding. Listen for the little four-note figure that opens the work and for the graceful rising-falling-then-rising-again phrase with which it continues. This sequence of notes is to reappear in three of the four movements. It’s heard in various guises throughout the opening movement, including its fugal treatment in the central development section. The Scherzo has two trios, the first folk-like for strings and the second more urbane, for winds and double bass. The four-note figure forms the foundation of the theme of the beautiful slow movement and it is humorously and chromatically referred to in the opening theme of the exuberant finale. The unusual combination of instruments in the Nonet stimulated Spohr into writing one of his most winning chamber works. — Notes © 2012 Keith Horner. Comments welcomed: khnotes@sympatico.ca

Today’s events are sponsored by:

Tuesday, August 14 Community Concerts

Barb Connor and Jim & Karin Blute Today’s guest sponsorship:

We Shall Overcome

Imani Winds is sponsored by Mid Atlantic Arts Foundation

Free Community Events with Imani Winds Valerie Coleman, flute; Toyin Spellman-Diaz, oboe Mariam Adam, clarinet; Jeff Scott, French horn; Monica Ellis, bassoon

Part 1 12:00 Pm

Schweinfurth Memorial Art Center 205 Genesee Street, Auburn

Part 2 3:00 PM

Fayetteville Free Library 300 Orchard Street, Fayetteville

Take a break from your afternoon and join the world-renowned Imani Winds for a casual mini-concert. The name Imani means “faith” in Swahili, and subtly mirrors the African-American and Latin American backgrounds of the group’s five players. They’ll perform and discuss musical expressions of faith, heritage, and social injustice, from Negro spirituals to a piece written by their own Valerie Coleman. It will be a deeply thoughtful experience that you won’t want to miss!

This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts.

The Skaneateles Festival is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

2011 Robinson Award winner Katherine Zhang with Louise Robinson and Artistic Directors David Ying and Elinor Freer.

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Wednesday, August 15

We Shall Overcome

7:00 PM The Red House Arts Center 201 S. West Street, Syracuse

Tonight’s concert is sponsored by:

with additional support from: Frank and Frances Revoir Foundation

Not Your Mother’s Chamber Music Concert! JOHANN SEBASTIAN BACH

arr. Mordechai Rechtman

Chorale Prelude: “A Mighty Fortress Is Our God”

Imani Winds: Valerie Coleman, flute Toyin Spellman-Diaz, oboe Mariam Adam, clarinet Jeff Scott, French horn Monica Ellis, bassoon

Spirituals for Wind Quintet (with readings)

Abraham Lincoln: Message to Congress, December 1, 1862 Steal Away Traditional/arr. Valerie Coleman Frederick Douglass: “The Equality of all men before the law,” April 1865 Little David Traditional/arr. Valerie Coleman Harriet Tubman: 1849 Ev’ry Time I Feel the Spirit Traditional/arr. Valerie Coleman Imani Winds George Kilpatrick, reader

Civil War Songs Daniel Decatur Emmett

Dixie

arr. Jake Heggie

Stephen Foster

arr. W. M. Swenson

Kurt Weill

Beat! Beat! Drums!

Jason Moran

Excerpts from “Cane”

My Old Kentucky Home

Coin Coin’s Narrative Natchitoches to New York

Troy Cook, baritone Elinor Freer, piano

Imani Winds

This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts.

Today’s guest sponsorships:

Troy Cook is sponsored by David Lee & Company Elinor Freer and David Ying are sponsored by Green & Seifter, CPAs Imani Winds is sponsored by Mid Atlantic Arts Foundation Jasper Quartet is sponsored by Koko Fuller Tonight’s media sponsor is Y94

Erwin Schulhoff

Five Pieces for String Quartet

Alla valse viennese (Allegro) Alla serenate (Allegretto con moto) Alla czeca (Molto Allegro) Alla tango milonga (Andante) Alla tarantella (Prestissimo con fuoco)

Jasper Quartet: Nelson Lee, violin Sae Chonabayashi, violin Sam Quintal, viola Denise Djokic, cello Video by Paloma Capanna

Beethoven String Quartet in F, Op. 135

Lento assai, cantante e tranquillo Grave, ma non troppo tratto – Allegro

Jasper Quartet

Please join usfor a post-concert reception with the musicians in the Red House Café. The Café will double as a gallery for artwork addressing the theme of Overcoming Adversity. The art is provided courtesy of local artists, the Community Folk Art Center and Arise. See page 35 for Program Notes

Thursday, August 16 7:00 PM Behind the Scenes

(for ticket holders only)

We Shall Overcome

8:00 PM First Presbyterian Church

Tonight’s concert is sponsored by:

The Howard L. Green Foundation, Inc. and the Columbian Foundation, Inc. Tonight’s guest sponsorships:

Behind the Scenes with Imani Winds

Concert Valerie Coleman speech. and canzone

Bloch

From Jewish Life: three sketches for Cello and Piano Prayer Supplication Jewish Song

Wolf Mörike-Lieder Abschied Gebet

Schumann

Imani Winds: Valerie Coleman, flute Toyin Spellman-Diaz, oboe Mariam Adam, clarinet Jeff Scott, French horn Monica Ellis, bassoon David Ying, cello Elinor Freer, piano

Troy Cook, baritone Elinor Freer, piano

Dichterliebe, Op. 48 Ich grolle nicht Die alten, bösen Lieder

intermission

Smetana String Quartet No. 1 in E minor, Z mého života

(“From My Life”)

Allegro vivo appassionato Allegro moderato a la polka Largo sostenuto Vivace

Jasper Quartet: Nelson Lee, violin Sae Chonabayashi, violin Sam Quintal, viola Denise Djokic, cello

This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts.

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From the Artistic Directors

Week at a Glance…

We Shall Overcome Music, with its power throughout history to uplift and inspire, makes a terrific medium for a composer to reflect on human perseverance and triumph. Some of the experiences reflected in this week’s music are personal, such as the challenges of Beethoven and Smetana’s lives, the slave ancestry of Jason Moran, or the cheerful youth of the eternallyyoung Janacek. Other music, like the songs of Schumann and Wolf, show battles with inner demons. The works you’ll hear of Shostakovich and Bloch reflect on universal issues like war, human suffering, or even the human condition. In all cases we realize why music, with its power to express what words cannot, is a unique form of human communication. And in the end, music will always help us celebrate the triumph of the human spirit over adversity.

Program Notes speech. and canzone (2002) VALERIE COLEMAN (b.1970) Founder and flutist of the Imani Winds, Valerie Coleman is also the resident composer of the group. She has won several prizes in her native Kentucky and at Boston University. Valerie writes: “speech. and canzone is one of the few works for wind quintet that incorporates electronic music. The piece itself identifies the struggle for equality, justice and labor/voting rights in key moments of American history. The first part, speech, is centered around the news of Martin Luther King Jr.’s death, as told by Senator Robert F. Kennedy on the night of the tragedy. Through the use of spacious melodies and instrument effects that are embedded in the texture, speech brings the past into present examination. The second part, canzone, is a layered festival of sounds and languages with the theme of labor rights for the working poor of the country. The use of Morse code, polyrhythms of sounds that symbolize the building of America’s railroads, and speeches of Cesar Chavez and A. Philip Randolph can be heard throughout the work. Also in canzone, the language of twi (a dialect of Ashanti, from Ghana) can be heard, translating such phrases as ‘someday we shall rise’ and ‘tell the truth,’ among others. The components tie in, creating a bold shout in tribute to the human spirit.”

Opéra-Comique in Paris in 1910. In 1916 he made his first trip to the United States, conducting a tour by the Maud Allen dance company. When the tour collapsed, Bloch seized the opportunity of joining the newly formed Mannes School in New York and brought over his wife and three children from Geneva. During this period, Bloch found his musical identity with a sequence known as his “Jewish cycle,” though he did continue to work in other musical idioms, the neo-classical in particular. These overtly “Jewish” works include Psalm settings, the symphony Israel, his Schelomo for cello and orchestra – nowadays the best-known of his works – and his orchestral Trois poèmes juifs. He signed a contract with the music publisher Schirmer and each of his works was published with a cover that included the Star of David and the initials E.B. in the center. From Jewish Life dates from Bloch’s early years in the United States, where, by 1920, he had been appointed founding director of the Cleveland

From Jewish Life: three sketches for Cello and Piano (1924) ERNEST BLOCH (1880–1959) “No country, no home, no land in which to thrust my roots,” Bloch wrote in the 1930s. And it was to be the story of his life. Born in Basel, Switzerland, Bloch studied violin and composition in Brussels, Frankfurt, Munich and Paris. He half-heartedly entered the family business as a salesperson of Swiss tourist goods. But he continued to compose and had the première of his lyric drama Macbeth at the

Steve Copes and Jon Manasse enjoy a pre-concert dinner.

8/16 Program Notes (continued)

Institute of Music. Each of the suite’s three movements develops a short musical motif through repetition, sequence and varied musical textures, as though pursuing a musical journey toward a sometimes inconclusive goal. The fervor and intensity of the music are reminiscent of cantorial improvisatory rhapsodizing and elements of the Jewish liturgical modes have been identified in the score. Bloch put these into context: “It is neither my purpose nor desire to attempt a reconstruction of Jewish music, nor to base my work on more or less authentic melodies … I am not an archaeologist; for me the most important thing is to write good and sincere music.”

Abschied (1888) and Gebet (1888) from the Mörike-Lieder HUGO WOLF (1860-1903)

Ich grolle nicht and Die alten, bösen Lieder from Dichterliebe, Op. 48 (1840) ROBERT SCHUMANN (1810-1856) Hugo Wolf’s reputation rests on his carefully crafted, fastidious song writing. He wrote about 250 songs in a remarkably intense three year period, 1888-91. They are characterized by unsually close attention to the text. As a

word-driven composer, Wolf invariably packs a lot into a few bars. He never set a poem that he felt had already been successfully set to music by a leading composer. Wolf set his first poem by Swabian poet Eduard Mörike (1804-1875) when he was 17, but only turned to the poet in a methodical way 10 years later, in the wake of his father’s death. Then, in a flood of composition comparable with that of Schumann in 1840, he set no less than 53 of Mörike’s texts within a year. He worked feverishly and wrote to a friend: “I’m working now with a thousand horsepower from early morning until late at night, without respite. What I am now putting on to paper, dear friend, is also be¬ing written for posterity. They are masterpieces.” Abschied (“Farewell”) was printed as the last of the Mörike-Liederbuch, perhaps – at first glance – as though to make a solemn statement about the world. But the evident glee which Wolf brings to this whimsical tale of the dismissal of an unnecessarily harsh critic reveals a wicked sense of humor. By contrast, the intense, deeply felt Gebet (“Prayer”) reveals a side of Mörike the clergyman that drew from Wolf some of his most distinctive creations. By 1840, most of Schumann’s compositions were piano music. Then, in the year that his thoughts were intensely focused on Clara Wieck and the legal action they were taking to permit their marriage, he turned to song and created 130 of his most inspired lieder. The prodigious

Text & Translations Abschied Unangeklopft ein Herr tritt Abends bei mir ein: »Ich habe die Ehr’, Ihr Rezensent zu sein! Sofort nimmt er das Licht in die Hand, besieht lang meinen Schatten an der Wand, rückt nah und fern: Nun, lieber junger Mann, sehn Sie doch gefälligst mal Ihre Nas’ so von der Seite an! Sie geben zu, daß das ein Auswuchs is’. Das? Alle Wetter – gewiß! Ei Hasen! ich dachte nicht, all’ mein Lebtage nicht, daß ich so eine Weltsnase führt’ im Gesicht! Der Mann sprach noch [Verschiedenes] hin und her, ich weiß, auf meine Ehre, nicht mehr; meinte vielleicht, ich sollt’ ihm beichten. Zuletzt stand er auf; ich tat ihm leuchten. Wie wir nun an der Treppe sind, da geb’ ich ihm, ganz frohgesinnt, einen kleinen Tritt, nur so von hinten aufs Gesäße mit – alle Hagel! ward das ein Gerumpel, ein Gepurzel, ein Gehumpel! Dergleichen hab’ ich nie gesehn, all’ mein Lebtage nicht gesehn einen Menschen so rasch die Trepp’ hinabgehn! 30

Farewell Without knocking, a gentleman comes visiting me evening: “I have the honor to be your critic!” [he says.] Immediately he takes the light in his hand, gazes long at my shadow on the wall, stepping close and then stepping back: “Now, my good young man, kindly see how your nose looks from the side! You must admit that it is a protuberance.” This? Good gracious – so it is! My word! I never imagined – my whole life long – that such a world-sized nose I bore on my face! The man said various other things about this and that, and on my honor, I remember no more; perhaps he thought I should give him a confession. Finally he stood up and I lit his way out. As we stood at the top of the stairs, I gave him, cheerfully, a small kick from behind, on the backside, and by hail! what a jolting, tumbling, and hobbling! The equal have I never seen, my whole life long, of a man going so quickly down the stairs!

Text & Translations Gebet Herr, schicke was du [willt]1, Ein Liebes oder Leides; Ich bin vergnügt, daß beides Aus Deinen Händen quillt. Wollest mit Freuden Und wollest mit Leiden Mich nicht überschütten! Doch in der Mitten, Liegt holdes Bescheiden.

Prayer Lord, send what you will, love or sorrow; I am content that both Come from your hands. Do as you wish with joy and do as you will with sorrow but do not lavish it on me! Rather somewhere in the middle is the best decision.

Ich grolle nicht Ich grolle nicht, und wenn das Herz auch bricht, Ewig verlornes Lieb! ich grolle nicht. Wie du auch strahlst in Diamantenpracht, Es fällt kein Strahl in deines Herzens Nacht. Das weiss ich längst. Ich sah dich ja im Traume, Und sah die Nacht in deines Herzens Raume, Und sah die Schlang’, die dir am Herzen frisst, Ich sah, mein Lieb, wie sehr du elend bist.

I bear no grudge I bear no grudge, even if my heart is breaking, love lost for ever! I bear no grudge. Though you gleam with the glory of diamonds. no gleam falls into the night of your heart. I knew it long ago-I saw you in my dreams and saw night in the confines of your heart, and saw the serpent that gnaws at your bosom; I saw, my love, how wretched you are.

Die alten, bösen Lieder Die alten, bösen Lieder, Die Träume bös’ und arg, Die lasst uns jetzt begraben; Holt einen grossen Sarg. Hinein leg’ ich gar manches, Doch sag’ ich noch nicht, was; Der Sarg muss sein noch grösser Wie’s Heidelberger Fass. Und holt eine Totenbahre Und Bretter fest und dick; Auch muss sie sein noch länger Als wie zu Mainz die Brück’. Und holt mir auch zwölf Riesen, Die müssen noch stärker sein Als wie der starke Christoph, Im Dom zu Köln am Rhein. Die sollen den Sarg forttragen Und senken ins Meer hinab, Denn solchem grossen Sarge Gebührt ein grosses Grab. Wisst ihr, warum der Sarg wohl So gross und schwer mag sein? Ich senkt’ auch meine Liebe Und meinen Schmerz hinein.

The old and evil songs The old and evil songs, the dreams so evil and bad let us bury them now¬ fetch an enormous coffin. In it I’ll lay plenty (but I don’t yet say what it is); the coffin must be even larger than the vat of Heidelberg. And fetch a funeral bier and planks firm and thick; it too must be even longer than the bridge at Mainz. And then fetch me twelve giants; they must be mightier even than mighty St. Christopher in the cathedral of Cologne on the Rhine. They shall carry the coffin away and sink it deep in the sea; for such a huge coffin demands a huge grave. Do you know why the coffin must be so huge and heavy? I want to sink my love and my sorrow in it. 31

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8/16 Program Notes (CONTiNUED)

output includes four song cycles, including Dichterliebe, (“A Poet’s Love”), to poems by the great German poet Heinrich Heine. It is Schumann’s only cycle to include a narrative, that of a long, drawn-out love affair from the young man’s point of view, from its ardent beginning to painful conclusion. After heaping praise on the object of his affection, in ich grolle nicht (“I bear no grudge”) Schumann’s young man begins to see another side and to resent the attention he has lavished. The tone is one of anger and the words ring with irony – particularly the opening line, repeated six times. By the end of the cycle, in Die alten, bösen Lieder (“The old and evil songs”), the lover is resigned to burying his love in a coffin. His anger, reflected in the opening flourish from the piano, is now determined to find a resolution, drawing on folklore as justification. As the musician Charles Rosen writes: “Neither the love nor the sorrow ever comes to an end.”

String Quartet No. 1 in E minor, Z mého života (“From my Life”) (1876) BEDRICH SMETANA (1824-1884) “I wanted to paint a tone picture of my life,” Smetana wrote, Like Beethoven, not long after comSmetana composed posing his first string a large body of music after quartet. That life was going completely deaf. full of hardship for a composer who, along with Antonin Dvořák, is often acclaimed as the father of Czech music. Smetana came face to face with tragedy early in life. He married his childhood sweetheart, Kateřina Kolářová, in 1847 and three of their four daughters died in infancy before Kateřina herself succumbed to tuberculosis. Ten years later, when he came to write the first of his two string quartets, Smetana himself was completely deaf, the result of a general physical decline due to advancing syphilis. Smetana wrote about the quartet in a letter, on February 10, 1879: “The first movement depicts my youthful leanings towards art, the Romantic atmosphere, the inexpressible yearning for something i could neither express nor define, also a kind of

Fun Fact…

Thank you Skaneateles Festival for another great season!

David Ying and Elinor Freer – “Music Blast” at M&T bank. premonition of my future misfortune. The long, insistent note in the finale owes its origins to this. it is the fateful ringing in my ears of the high-pitched tones [a piercing E, high on the first violin] which, in 1874, came to herald my deafness. i permitted myself this little joke because it was so disastrous to me. “The second movement, a quasi polka, recalls the joyful days of my youth when i composed dance tunes and was known everywhere as a passionate lover of dancing. The third movement … reminds me of the happiness of my first love, the girl who later became my first wife. The fourth movement describes the discovery that i could treat national elements in music and my joy in following this path, until it was checked by the catastrophe of the onset of my deafness, the outlook into the sad future, the tiny rays of hope of recovery; but, remembering all the promise of my early career, a feeling of painful regret.” At the first, private performance of the quartet, in The name Imani means Prague in 1878, the “faith” in Swahili viola part was taken by the 37 year-old Dvořák. Unable to hear, Smetana closely followed the finger movements of the musicians from the side of the stage through opera glasses. Subsequent public performances of this intensely personal score began a tradition of deeply autobiographical Czech chamber compositions.

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Tonight’s concert is sponsored by:

Friday, August 17 7:00 PM Behind the Scenes

(for ticket holders only)

We Shall Overcome

8:00 PM First Presbyterian Church

Behind the Scenes Pre-concert chat with the evening’s performers

Not Your Mother’s Chamber Music Concert! JOHANN SEBASTIAN BACH

arr. Mordechai Rechtman

Chorale Prelude: “A Mighty Fortress Is Our God”

Imani Winds: Valerie Coleman, flute Toyin Spellman-Diaz, oboe Mariam Adam, clarinet Jeff Scott, French horn Monica Ellis, bassoon

Spirituals for Wind Quintet (with readings)

Civil War Songs Daniel Decatur Emmett

Dixie

arr. Jake Heggie

Stephen Foster

arr. W. M. Swenson

Kurt Weill

Beat! Beat! Drums!

Jason Moran

Excerpts from “Cane”

My Old Kentucky Home

Coin Coin’s Narrative Natchitoches to New York

Troy Cook, baritone Elinor Freer, piano

Imani Winds

This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts.

Tonight’s guest sponsorships:

Erwin Schulhoff

Five Pieces for String Quartet

Alla valse viennese (Allegro) Alla serenate (Allegretto con moto) Alla czeca (Molto Allegro) Alla tango milonga (Andante) Alla tarantella (Prestissimo con fuoco)

Jasper Quartet: Nelson Lee, violin Sae Chonabayashi, violin Sam Quintal, viola Denise Djokic, cello Video by Paloma Capanna

Beethoven String Quartet in F, Op. 135

Lento assai, cantante e tranquillo Grave, ma non troppo tratto – Allegro

Jasper Quartet

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

Program Notes Chorale Prelude: A Mighty Fortress is our God JOHANN SEBASTIAN BACH (1685-1750), arr. Mordechai Rechtman A Mighty Fortress is our God is the most widely known translation of the title of Martin Luther’s famous Reformation hymn Ein feste Burg ist unser Gott. Bach based a cantata on Luther’s stirring hymn for performance on October 31, the anniversary of the day in 1517 when Luther posted his 95 theses on indulgences – marking the momentous beginning of the Reformation. The well-known hymn, which Luther adapted from its origins in plainchant, also formed the basis of one of Bach best-known chorale preludes for organ, here arranged by Israeli wind instrument guru Mordechai Rechtman.

Spirituals, arr. for wind quintet: Steal Away, Little David, and Ev’ry Time I Feel the Spirit Arr. VALERIE COLEMAN (b.1970) Spirituals were “more than a source of relaxation; they were a stimulus to courage and a tie to heaven,” wrote Thomas Wentworth Higginson: colonel in command of a black regiment in the mid 19th century. Spirituals like Steal Away also undoubtedly carried a subtext calling for freedom from bondage.

Civil War songs: Dixie (1997) DANIEL DECATUR EMMETT (1815-1904) arr. Jake Heggie (b.1961)

My Old Kentucky Home (c.1852) STEPHEN FOSTER (1826-1864) arr. W. M. Swenson

Beat! Beat! Drums! (1942) KURT WEILL (1900-1950) Adopted as a Confederate war song, Dixie tells of a soldier’s longing for the far-away South. The feeling of reverie in the well-known song is enhanced in this dreamlike setting by Jake Heggie – one of the most skilled composers writing for the voice today. At the conclusion of the Civil War in 1865, President Abraham Lincoln is reported as saying: “I have always thought that Dixie was one of the best tunes I ever heard. I had heard our adversaries had attempted to appropriate it. I insisted yesterday that we had fairly captured it.” Abolitionist Frederick Douglass thought that Stephen Foster’s My Old Kentucky Home awakened “sympathies for the slave, in which anti-slavery principles take root and flourish.” The song, adopted in 1928 as the state song of

A Mighty Fortress is Our God

Martin Luther (1483-1546) (Composite translation from the Pennsylvania Lutheran Church Book of 1868) 1. A mighty Fortress is our God, A trusty Shield and Weapon; He helps us free from every need That hath us now o’ertaken. The old evil Foe Now means deadly woe; Deep guile and great might Are his dread arms in fight; On Earth is not his equal. 2. With might of ours can naught be done, Soon were our loss effected; But for us fights the Valiant One, Whom God Himself elected. Ask ye, Who is this? Jesus Christ it is. Of Sabaoth Lord, And there’s none other God; He holds the field forever. 3. Though devils all the world should fill, All eager to devour us. We tremble not, we fear no ill, They shall not overpower us. This world’s prince may still Scowl fierce as he will, He can harm us none, He’s judged; the deed is done; One little word can fell him. 4. The Word they still shall let remain Nor any thanks have for it; He’s by our side upon the plain With His good gifts and Spirit. And take they our life, Goods, fame, child and wife, Let these all be gone, They yet have nothing won; The Kingdom our remaineth.

Dixie (1997)

DANIEL DECATUR EMMETT (1815-1904) arr. Jake Heggie (b.1961) I wish I was in the land of cotton, Old times there I’ve not forgotten; Look away, look away, look away, Dixie land. And I wish I was in Dixie. Away, away, away. In Dixie land I’ll take my stand, To live and die in Dixie. Away, away, away down South in Dixie. In Dixie land where I was born, Early on a frosty morning, Look away, look away, look away, Dixie land. And I wish I was in Dixie. Away, away, away. In Dixie land I’ll take my stand, To live and die. Away, away, away down South in Dixie.

My Old Kentucky Home

STEPHEN FOSTER (1826-1864) The sun shines bright in the old Kentucky home, ’Tis summer, the darkies are gay; The corn-top’s ripe and the meadow’s in the bloom, While the birds make music all the day. The young folks roll on the little cabin floor, All merry, all happy and bright; By ’n’ by Hard Times comes a-knocking at the door, Then my old Kentucky home, goodnight. Chorus: Weep no more my lady Oh! weep no more today! We will sing one song for the old Kentucky home, For the Old Kentucky Home far away. They hunt no more for the possum and the coon, On meadow, the hill and the shore, They sing no more by the glimmer of the moon, On the bench by the old cabin door. The day goes by like a shadow o’er the heart, With sorrow, where all was delight, The time has come when the darkies have to part, Then my old Kentucky home, goodnight. (Chorus) The head must bow and the back will have to bend, Wherever the darky may go; A few more days, and the trouble all will end, In the field where the sugar-canes grow; A few more days for to tote the weary load, No matter, ’twill never be light; A few more days till we totter on the road, Then my old Kentucky home, goodnight. (Chorus)

Beat! Beat! Drums! (1942) KURT WEILL (1900-1950)

Beat! beat! drums! – blow! bugles! blow! Through the windows – through doors – burst like a ruthless force, Into the solemn church, and scatter the congregation, [Into the school where the scholar is studying; Leave not the bridegroom quiet – no happiness must he have now with his bride, Nor the peaceful farmer any peace, ploughing his field or gathering his grain, So fierce you whirr and pound, you drums – so shrill you bugles blow. Beat! beat! drums! – blow! bugles! blow! [Over the traffic of cities – over the rumble of wheels in the streets;]1 Are beds prepared for sleepers at night in the houses? No sleepers must sleep in those beds – [No bargainers bargains by day – no brokers or speculators - would they continue? Would the talkers be talking? would the singer attempt to sing? Would the lawyer rise in the court to state his case before the judge? Then rattle quicker, heavier drums –]1 you bugles wilder blow. [Beat! beat! drums!]1 – blow! bugles! blow! [Make no parley – stop for no expostulation, Mind not the timid – mind not the weeper or prayer, Mind not the old man beseeching the young man, Let not the child’s voice be heard, nor the mother’s entreaties, Make even the trestles to shake the dead where they lie awaiting the hearses, So strong you thump O terrible drums – so loud you bugles blow. Walt Whitman (1819-1892)

8/17 Program Notes (continued)

Kentucky, was first titled Poor Uncle Tom, Good Night and was published two years after Harriet Beecher Stowe’s anti-slavery novel, Uncle Tom’s Cabin. Walt Whitman wrote his poem Beat! Beat! Drums! for the Union cause shortly after the outbreak of the Civil War and the First Battle of Bull Run in July 1861. It was quickly printed in Boston and New York. Kurt Weill wrote his setting of this and three other Whitman Civil War songs in 1942 in direct response to the bombing of Pearl Harbor.

Excerpts from ‘Cane’ (2010) Coin Coin’s Narrative Natchitoches to New York JASON MORAN (b.1975) Houston-born jazz pianist and composer Jason Moran won a MacArthur Fellowship in 2010 and is musical adviser for jazz at the Kennedy Center. He wrote his four-movement suite Cane for the Imani Winds in 2010, basing it on the Louisiana bayou ancestry of his great grand-aunt, MarieTherese Coin-Coin (1742-1816). She was an African-born American slave in Natchitoches, Louisiana, mother to 10 children by her ‘owner.’ Her eventual freedom allowed her to open a plantation and support her family’s freedom.

Jason Moran writes: “Cane is inspired by the landscape and sounds of Cane River, Louisiana. Cane River runs through the Northern town, Natchitoches, that my ancestors made home dating back to the early 1700s…” The music is meant to reflect the horrors of passage, the contradictions between Coin-Coin’s oppression and ennoblement and the composer’s delight in New Orleans and Creole culture.

Five Pieces for String Quartet (1923) ERWIN SCHULHOFF (1894-1942) During his life, Czech composer Erwin Schulhoff was a victim of the troubled times he lived in. After death, he also became a victim of history. His four years as a conscript in the Austrian army during World War I led him to embrace all that was new and to question social norms and long-established traditions. His neglect in the West in the post World War II period largely resulted from a decision the embattled composer took to follow communist ideology after going to Moscow as a delegate at the 1933 International Congress of Revolutionary Musicians. After all, who, until relatively recently, would have been interested in hearing the music of a man who set the Communist manifesto as a cantata? In the East, Schulhoff was also viewed suspiciously. This time, however, it was as a Western composer with modernist leanings. He died from

Texts Abraham Lincoln: Message to Congress, December 1, 1862 “Fellow-citizens, we cannot escape history. We of this Congress and this administration, will be remembered in spite of ourselves. No personal significance, or insignificance, can spare one or another of us. The fiery trial through which we pass, will light us down, in honor or dishonor, to the latest generation… In giving freedom to the slave, we assure freedom to the free – honorable alike in what we give, and what we preserve. We shall nobly save, or meanly lose, the last best hope of earth. Other means may succeed; this could not fail. The way is plain, peaceful, generous, just – a way which followed, the world will forever applaud, and God must forever bless.” Frederick Douglass: “The Equality of all men before the law” (Speech given at the Annual Meeting of the Massachusetts Anti-Slavery Society in Boston, April, 1865, within days of the close of the Civil War and the assassination of President Lincoln) “…I utterly deny, that we are originally, or naturally, or practically, or in any way, or in any important sense, inferior to anybody on this globe. This charge of inferiority is an old dodge. It has been made available for oppression on many occasions. It is only about six centuries since the blue-eyed, fair-haired Anglo-Saxons were considered inferior by the haughty Normans, who once trampled upon them. If you read the history of the Norman Conquest, you will find that this proud Anglo-Saxon was once looked upon as of coarser clay than his Norman master, and might be found in the highways and byways of Old England laboring with a brass collar on his neck, and the name of his master marked upon it. You were down then! (laughter) You are up now. I am glad you are up, and I want you to be glad to help us up also.” Harriet Tubman: crossing over into free soil in Pennsylvania, one Monday night in 1849 “When I found I had crossed that line,” she said, “I looked at my hands to see if I was the same person. There was such a glory over every thing; the sun came like gold through the trees and over the fields, and I felt like I was in Heaven...” 37

8/17 Program Notes (continued)

tuberculosis in the Bavarian concentration camp of Wülzburg in 1942. It is only in the past two decades that a number of his more than one hundred works have been published and rediscovered, giving us an opportunity to hear the music of the musician caught in the middle – one of the most fascinating of a lost generation of composers. In the 1920s, Schulhoff relished the jazz that swept sophisticated Europe. This jazz was an eclectic cocktail: Ragtime, Dixieland, Harlem jazz, Charleston, foxtrot, cakewalk, tango, one-step and shimmy. This heady mix of syncopated dance music drew supporters for musical and political, social and idealistic reasons. Schulhoff often brought a dadaist approach to his music, finding a creative edge in the rawness of popular dance and the mocking of much that was sanctified in the esoteric music of his day. Paradoxically, his music could also venture down the path of Expressionism, embracing the atonal discoveries of Schoenberg and his pupils, pushing tonality to its limit. Schulhoff wrote the first of his five works for string quartet while still a student. The Five Pieces are the first of his mature works for the medium and had immediate success when given their première at the prestigious ISCM (International Society for Contemporary Music) festival in Salzburg in 1924. These short pieces show considerable

technical skill and confidence, great variety with economic means and rhythmic ingenuity. Together, as a series of complementary dance movements, they bring a modern face to the tradition of the baroque suite. The first piece is a Viennese waltz with an edge, cunningly notated. Next comes a 5/8 serenata, a stylized dance with a Spanish flavor whose recurring rhythm ranges from the exuberant to the ghostly. The rhythm and energy of the third dance bring to mind the music of Bartók in a rhythmically-driven piece reminiscent of the Czech skocná. The two closing pieces are again finely drawn dances, deriving from the Argentinean tango and Neapolitan tarantella respectively. Speaking of his passion for dances of all types, Schulhoff said – reasonably enough – “If Bach and his contemporaries – not to mention Mozart, Brahms and Schubert – wrote and loved the dances of their day, why shouldn’t I love and write these dances of my own time?” [See August 30 for more on Schulhoff]

Two movements from the String Quartet in F, Op. 135 (1826) Lento assai, cantante e tranquillo Grave, ma non troppo tratto – Allegro LUDWIG VAN BEETHOVEN (1770-1827) Op. 135 is Beethoven’s final string quartet and his last word in the medium he had chosen to explore life’s journey.

Summer Suite 2011

8/17 Program Notes (CONTiNUED)

Beneath the surface there is a subtlety and richness to the music, together with an intricacy of emotional worlds. Beethoven wrote it after a traumatic period in his life. His nephew Karl, whose love he obsessively sought, had attempted suicide and their reconciliation was uneasy. Beethoven himself was suffering from cirrhosis and edema, or dropsy. His condition had again worsened, after a brief rally the previous year, under strict medical guidance and some bullying from his doctor. But he never rallied sufficiently to dedicate another musical thanksgiving to God, as he had done the previous year in his A minor Quartet, Op. 132. Still, the simplicity and clarity of the musical language in this F major Quartet appears to be far removed from the crescendo of complexity and soul-searching of the other late quartets. The slow movement is one of the most moving of all Beethoven’s slow movements. Beethoven referred to it in his sketches as a “sweet song of rest, song of peace.” Profound in its timeless gravity, the music adds layers of emotion on top of one another. It’s as though all his troubles and emotional conflict in that summer of 1826 find brief expression here in the gentle, occasionally painful solemnity of the music.

Rhythmic questioning and lyrical affirmation resurface in the finale. Beethoven writes: “Muss es sein?” (“Must it be?”) over the former, with a rising, questioning sort of musical figure. Over the latter, with its assertive, answering figure, he writes: “Es muss sein!” (“It must be!”) and repeats the answer, emphatically. Over the whole, he writes: “The Resolution reached with difficulty” (Der schwer gefasste Entschluss). It is as though Beethoven is pushing the language of music towards the rhetoric of speech – much as he did with the cello and double bass recitative leading to the Ode to Joy in the Ninth Symphony. He then proceeds to attempt a resolution of the argument posed in the introduction to the finale. The argument becomes particularly heated when it reappears in the recapitulation. But Beethoven finds resolution in a mood of positive, even joyous reconciliation, tinged with questioning. Just as comic moments can illuminate the darkest sides of a Shakespearean tragedy, so Beethoven’s final string quartet ends with a touch of good humor and wit. — Notes © Keith Horner 2012. Comments welcomed: khnotes@sympatico.ca

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Festival News

Kevin Puts

ive years ago, young American composer Kevin Puts spent a week in residence with the Skaneateles Festival. This year, he’s on top of the musical world, having won the 2012 Pulitzer Prize for music for “Silent Night,” his first opera. “Silent Night” is an opera in two acts based on the 2005 film “Joyeux Noël.” The librettist is Mark Campbell. Commissioned by Minnesota Opera with co-producer Opera Company of Philadelphia, it opened Nov. 12, 2011, at the Ordway Theater, St. Paul Minn., and drew standing-room-only houses for its run. The opera is sung in English, German, French, Italian and Latin. Pulitzer officials called it “a stirring opera that recounts the true story of a spontaneous cease-fire among

Scottish, French and Germans during World War I, displaying versatility of style and cutting straight to the heart.” Five of Puts’ compositions were performed over three evenings during the 2007 Festival season, and he delivered two pre-concert talks. The pieces included “Three Nocturnes;” “Einstein on Mercer Street,” with baritone Timothy Jones; “Air;” “And Legions Will Rise,” with Ayano Kataoka on marimba; and the “Concerto for Oboe and Strings,” with Peggy Pearson the oboe soloist and Hugh Keelan conducting. Puts received his undergraduate and doctorate degrees from the Eastman School of Music. He teaches composition at the Peabody Institute in Baltimore.

Members of ECCO warm up for concert.

Tonight’s concert is sponsored by:

Peter and Elsa Soderberg

Saturday, August 18 7:30 PM Brook Farm

Tonight’s guest sponsorships:

We Shall Overcome

Rain Location: Skaneateles High School

Edward Castilano is sponsored by Planning Sense, Donna Graber Imani Winds is sponsored by Mid Atlantic Arts Foundation Jasper Quartet is sponsored by Koko Fuller Chris Younghoon Kim is sponsored by Hiscock & Barclay, LLP David Ying is sponsored by Green & Seifter, CPAs Ying Quartet is sponsored by George Bain

Tonight’s media sponsor is Y94

Appalachian Spring in the Summer Barber Adagio for Strings Frank Huang, violin Nelson Lee, violin Jeremy Mastrangelo, violin Janet Ying, violin Sae Chonabayashi, violin Sara Mastrangelo, violin Phillip Ying, viola

Melissa Matson, viola San Quintal, viola Denise Djokic, cello David Ying, cello Edward Castilano, bass

Nelson Lee, violin Frank Huang, violin Sae Chonabayashi, violin Janet Ying, violin Sam Quintal, viola Phillip Ying, viola David Ying, cello Denise Djokic, cello

Edward Castilano, bass Valerie Coleman, flute Mariam Adam, clarinet Monica Ellis, bassoon Sar-Shalom Strong, piano Chris Younghoon Kim, conductor

Copland Appalachian Spring

intermission

JANÁČEK

Mládi (“Youth”), Suite for Wind Sextet

Allegro Andante sostenuto Vivace Allegro animato

Imani Winds: Valerie Coleman, flute Toyin Spellman-Diaz, oboe Mariam Adam, clarinet Jeff Scott, French horn Monica Ellis, bassoon Andrew Brown, bass clarinet

Shostakovich Chamber Symphony in C minor, Op. 110a Largo Allegro molto Allegretto Largo Largo

Frank Huang, violin Nelson Lee, violin Jeremy Mastrangelo, violin Janet Ying, violin Sae Chonabayashi, violin Sara Mastrangelo, violin

Phillip Ying, viola Melissa Matson, viola Sam Quintal, viola Denise Djokic, cello David Ying, cello Edward Castilano, bass

This tour engagement of Imani Winds is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts.

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

Program Notes

Adagio for Strings (1936) SAMUEL BARBER (1910-1981) “It comes straight from the heart,” said American composer Aaron Copland, when asked to explain why his colleague Samuel Barber’s Adagio is “such a perfect piece of music.” Barber’s music has become the piece for Barber was reportedly a fan occasions of of soap operas, particularly state mourning As the World Turns ever since the funeral of President Franklin Delano Roosevelt. The score’s power to generate a profound feeling of loss, hope and comfort in an audience dates back to 1938, when it was the first piece of American music to be played by Toscanini and his newly formed NBC Symphony. Barber had sent Toscanini a transcription of the slow movement from a string quartet he had written two years earlier. This arrangement of the eight-minute Adagio for five-part string orchestra was written eight years after Barber’s official Op. 1 – the Serenade we’ll be hearing at the end of this year’s festival. It did much to establish Barber’s name as a composer both at home and beyond.

Fun Fact…

Holly Karker, Patti Carey, Louise Robinson and Bud Carey.

The haunting Adagio has extraordinary power, created, to a large degree, by its restless, forward-moving harmony. As it progresses inexorably onward, the harmony is constantly interrupted and never permitted a resolution. A melody unfolds, first in the violin, then on viola and finally on cello. As the music soars ever higher, the tension increases, reaching an almost unbearable climax close to the upper limit of the instruments. Now, after repeated probing and questioning, Barber provides some release, as a major chord shines through the unforgiving minor tonality. As the music returns to its restless questioning, its urgency has been diffused. The mood gives way to resignation, and comfort is offered.

Appalachian Spring (1944) AARON COPLAND (1900-1990) Another defining work of American music, Appalachian Spring united two leading artists. On the one hand, Martha Graham, the ballet’s choreographer, principal dancer and commissioner, wished to create an American style of dance, distinct from the pervasive traditions of European ballet. Before he became a Aaron Copland, well-known composer, on the other, was Copland worked at a resort already pursuing in Pennsylvania as a pianist. his own ideals of a distinctive, American style of music. With such works as his ballets Billy the Kid (1938), Rodeo (1942) and Lincoln Portrait (1942), he had sought to close the gap between the American composer and his frequently bewildered audience. “I felt,” he wrote, “that it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms.”

Fun Fact…

Martha Graham described the subject of their collaborative project as “a pioneer celebration in spring, around a newly built farmhouse in the Pennsylvania hills in the early part of the 19th century.” Melodies derived from country fiddling, New England hymnody and hillbilly tunes permeate Copland’s score. Its phrases are short, its rhythms simple. The transparency of the score culminates in an old Shaker tune called Simple Gifts. Copland, too, demonstrates a gift – and the confidence – to be simple and puts aside the urban sophistication, the jazz and blues, the synagogue music, and all the other sounds of his own life growing up in New York City in the early years of the 20th century. This confidence is backed up with the technical skill to write the original score for just 13 instruments (expanded from the original conception for double string quartet and piano). Thirteen was the maximum number able to fit into the pit of the auditorium of the Library of Congress, where the première took place October 30, 1944. Appalachian Spring won the composer a Pulitzer Prize and the honor was announced in the same edition of The New York Times as was the end of World War II. Copland’s

8/18 Program Notes (continued)

position as a central figure in American musical life was cemented.

Mládi (“Youth”), Suite for Wind Sextet (1924) LEOŠ JANÁČEK (1854-1928) Janáček’s 70th birthday celebrations in 1924 were a time of great activity and creativity for the Czech composer. The New York Times sent its critic Olin Downes to interview the composer. [He is] “white-haired but singularly vigorous;” Downes reported, “a very full-blooded personality whose dominant tone is that of fresh idealism and a great pleasure in living.” Janáček was composing with considerable vigor, stimulated by a passionate love affair with a much younger woman As a music student, with whom he shared Janáček was too every thought. He was poor to afford a piano, writing a new opera, The so he drew a keyboard Makropoulos Affair, and, on his desk to practice. over the course of the year would hear premières of another opera The Cunning Little Vixen, his First String Quartet and a new work for wind sextet that promised to be, he wrote to his lover, “a sort of memoir of youth.”

Fun Fact…

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Composing in the Moravian mountain village where he was born, Janáček scored the piece for flute doubling piccolo, oboe, clarinet, bassoon, horn and bass clarinet. He called it Mládi (“Youth”) and the memories it explores are believed to have been triggered by material he had researched for a new anniversary monograph. In his article, Downes also commented on Janáček’s practice of closely listening to people around him and noting down the pattern and rhythm of their speech. The Czech composer directly derived his distinctive musical language from this and it is reflected in the short repetitive phrases, irregular phrase lengths and lively rhythms of Mládi. Much of the thematic material is related, from one movement to the next. That Janáček had positive feelings about his youth is clear from the energy and optimism of the music throughout and from its jubilant ending.

Chamber Symphony in C minor, Op. 110a DMITRI SHOSTAKOVICH (1906-1975) In its original form as Shostakovich’s Eighth Quartet, the Chamber Symphony, Op. 110a was written in three intense days in 1960, during a visit to war-devastated Dresden. It soon became known in the USSR as Shostakovich’s “Dresden” quartet. It contains clear images of a city under siege, echoes of wartime sirens, confusion, brutality and even aircraft gunfire. Its dedication, “To the Memory of the Victims of Fascism”, was designed to fit in well with current Soviet propaganda. The Eighth Quartet was officially

8/18 Program Notes (continued)

Fun Fact…

proclaimed an anti-Fascist work.

Dmitri Shostakovich was an avid soccer player and a certified referee.

But Shostakovich had long since decided that his public face was less important than the private man revealed through his music. This score was a key vehicle for the expression of private thoughts, though it was many years before this was fully realized. That the quartet is deeply personal is evident from the very first notes, where the cello intones four key notes on which the entire quartet is built. They are D, E flat, C, B – Shostakovich’s own musical monogram, DSCH, derived from the German spelling of his name, D. Schostakowitsch. In the fourth movement, this Shostakovich signature is juxtaposed with a song familiar to all Russians. It is a 19th-century prisoner’s song titled “Exhausted by the Hardships of Prison,” which also translates as “Tormented by the Lack of Freedom.” This is where many would argue that Shostakovich’s autobiographical intent becomes explicit. After the desolation of the opening movement, a nightmarish, frenetic world unfolds. In it, the DSCH motif is thrown around from one instrument to another. The composer’s suffering is clear.

David Stam and Tom Bersani enjoy a light moment at a pre-concert dinner. The third movement is an uneasy, sardonic waltz, with a quotation from the First Cello Concerto adding to the feeling of instability. Most poignant of all is an aria from Shostakovich’s opera Lady Macbeth of Mtsensk, heard high on the cello in the closing pages of the work. The five movements are played without a break. “I was thinking about the fact that if I die sometime or other, it’s unlikely that someone will write a work in my memory. So I decided to write it myself,” Shostakovich wrote to his friend the literary and drama critic Isaak Glikman. — Program notes © 2012 Keith Horner. Comments welcomed: khnotes@sympatico.ca

Tonight’s concert is sponsored by:

Wednesday, August 22 8:00 PM First Presbyterian Church

with additional support from: Jennifer Sutherland

Tonight’s guest sponsorship:

Tickling the Ivories

Chelsea Chen is sponsored by Tom and Gretchen Jeffers

Organ Recital with Chelsea Chen Marcel Dupré

Prelude and Fugue in G Minor, Op. 7, No. 3

(1886-1971)

C. Debussy

Children’s Corner

(1862-1918) trans. Chelsea Chen

Chelsea Chen

Taiwanese Suite (2003)

(b. 1983)

Petr Eben

Doctor Gradus ad Parnassum Jimbo’s Lullaby Serenade of the Doll The Snow is Dancing The Little Shepherd Golliwogg’s Cakewalk

Hills in the Springtime Moonlight Blue Mountain of Youth

Moto Ostinato from Sunday Music

(1929-2007) intermission

Ola Gjeilo

Sinfonietta (2002)

(b. 1978)

george Gershwin

I Got Rhythm

arr. Rod Gorby (b. 1978)

Ad Wammes

Miroir

(b. 1953)

Maurice Duruflé

Toccata from Suite, Op. 5

(1902-1986)

EXCLUSIVE MANAGEMENT: Karen McFarlane Artists, Inc., www.concertorganists.com

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ECCO performs at the Weitsman home.

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Today’s activities are sponsored by:

Thursday, August 23 8:00 PM First Presbyterian Church

Colleen & Dan Fisher, Mark & Lou Bitz and the Fletcher Foundation Today’s guest sponsorship:

Tickling the Ivories

Peter Serkin is sponsored by Bob & Sally Neumann and Chris & Amy Neumann

S pecial E vent

A solo piano recital with

Peter Serkin Beethoven Bagatelles, Op. 119 Allegretto Andante con moto à l’Allemande Andante cantabile Risoluto Andante; Allegretto leggiermente Allegro ma non troppo Moderato cantabile Vivace moderato Allegramente Andante ma non troppo

Beethoven Sonata No. 31 in A-flat Major, Op. 110 Moderato cantabile, molto espressivo Allegro molto Adagio ma non troppo Arioso dolente Fuga: Allegro ma non troppo intermission

Beethoven Six Bagatelles, Op. 126 Andante con moto Allegro Andante Presto Quasi allegretto Presto

Beethoven Sonata No. 26 in E-flat Major, Op. 81a “Les adieux” Adagio, Allegro (‘Les adieux’) Andante espressivo (‘L’absence’) Vivacissimamente (‘Le retrour’)

The Skaneateles Festival is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

From the Artistic Directors

Week at a Glance… Tickling the Ivories Keyboard instruments are a part of so many everyday life experiences, from school music classes to weddings, funerals, and even hotel lounges and bars. Mostly, it’s the modern piano that comes to mind. However, this week’s concerts offer an opportunity to appreciate keyboards in a larger context, too. Hearing one of the world’s great pianists, Peter Serkin, playing the incomparable works of Beethoven might seem all that’s needed to experience the artistry possible on a keyboard. But then come hear the brilliant young organist Chelsea Chen, or Four Nations (one of this country’s top early music ensembles) featuring the harpsichord, or accordionist Alexander Sevastian (playing a “keyboard” made of buttons) and his band. They are all part of this wonderful keyboard celebration, too. You never know where those early piano lessons can take you!

Program Notes

Bagatelles, Op. 119 LUDWIG VAN BEETHOVEN (1770-1827) Schubert wrote Moments musicals, Mendelssohn wrote Songs Without Words, Grieg wrote Lyric Pieces. Countless romantic composers penned what they called “Album Leaves” (Albumblätter). All these are essentially the same thing: short character pieces that follow a mood, a melody or a particular inspiration. Before them, however, Beethoven wrote bagatelles. These, too, are short, usually lighthearted pieces, and he viewed them as occasional pieces, almost aphorisms. In spirit, they are the direct ancestors of the hugely popular 19th century character piece.

Beethoven wrote 26 bagatelles in all. The best known is the A minor bagatelle subtitled Für Elise. Most of his bagatelles are grouped into sets. The first seven were published as his Bagatelles pour le pianoforte Op. 33; the last six, written in 1823 and 1824 when he was completing his Ninth Symphony, are his Op. 126. In between, are another 11, the ones that open Mr. Serkin’s recital today. He called this set Kleinigkeiten, which means, literally, “little things” or “trifles.” Still, being Beethoven, there is more to be found in his occasional music than there is in many another composer’s carefully pondered and grandly titled utterances. A number of them had already appeared in print in an 1821 book of piano pedagogy; others were filed away in a collection of bagatellen he kept for use whenever he needed the cash from a publisher. Some of these were juvenilia; two more were likely discards from the Diabelli Variations, Op. 120. Whether it is the longest of the collection at 74 measures (No. 1), or the shortest, at just 13 measures (No. 10), Beethoven’s invention becomes focused on the task in hand. His knack for making each piece stand alone and sound whole makes the collection hang together.

Sonata No. 31 in A-flat Major, Op. 110 (1821)

Long-time Festival fan Sally Neumann chats with Michele Gardner at Summer Suite.

Op. 110, the 31st of Beethoven’s 32 piano sonatas, was the only work he completed in 1821, putting the finishing touches to it on Christmas Day. Like the earlier Hammerklavier sonata, Op. 110 seems to reflect something of the composer’s experience of exhaustion and revival. His last three piano sonatas, and the five late string quartets to which he would turn after completing the sonatas, share a concern with spiritual and transcendent ideals. In Op. 110, Beethoven’s compositional process is subtle and organic. Motifs recur and are recalled from one movement to another. The movements are designed to follow one another without break and, sometimes, it might appear that there is a descriptive program underlying their considerable

8/23 Program Notes (CONTiNUED)

mood swings. But the music provides its own coherent map and verbal description becomes unnecessary. Beethoven writes con amabilatà at the opening of the first movement and the music maintains amiability and warmth of feeling throughout. With its rapidly changing mood and rhythms, the second movement has the character of one of Beethoven’s gruff bagatelles. Its function is that of a scherzo. It even includes allusions to the themes of two popular songs. But the juxtaposition of the commonplace with the sublime was typical of Beethoven. In his music, the sacred and the profane co-exist. The second is the most assertive of the movements. But even here, Beethoven ends with a question mark, declining, as it were, to offer solutions. The slow movement is linked to and, essentially a part of the finale, and both are heard twice, the second appearance being a transcendent variation of the first. Together, the movements carry much of the weight of the sonata. Three bars of introduction and an operatic recitative introduce a vocal song of lamentation, marked Arioso dolente. It is to provide an extreme contrast with the serene fugue that follows, itself a variation of the same tender theme with which the sonata began. The progression from Arioso dolente to the closing fugue has no parallel in Beethoven’s earlier music. Critic William Kinderman

has compared the progression with that of the Agnus Dei and Dona nobis pacem movements in the Missa Solemnis, music that Beethoven was also wrestling with at the time. At both a musical and a spiritual level, he suggests that the sonata mirrors the promise of liberation that emerges from an endless cycle of suffering and injustice reflected in the music of the mass.

Six Bagatelles, Op. 126 (1824)

The six Bagatelles, Op. 126 were designed as an entity. Significantly, Beethoven wrote “Cycle of Bagatelles” on the autograph. These pieces are all late works, written in 1823 and 1824, when he was completing the Ninth Symphony. Sketches for them exist in his notebooks, indicating that he took more than a little trouble over their composition and the ordering of them. Generally, they are both longer and more substantial than the Op. 119 collection. The cycle is planned with a key sequence of descending thirds and with the more lyrical music alternating with the quicker, terser statements. Beethoven, himself, called them “quite the best pieces of their kind that I have written.”

Sonata No. 26 in E-flat major, Op. 81a “Les adieux” (1809-10)

It’s feelings rather than narrative that Beethoven is portraying in his 1810 sonata, often known today as Les adieux. The French title has stuck ever since Beethoven’s publisher Breitkopf issued the work in both French and German editions. The German title Das Lebewohl is the more

8/23 Program Notes (CONTiNUED)

evocative since that is the word (“Le-be-wohl”) that Beethoven writes over the three slow hunting horn calls that open the sonata. The word means ‘Farewell’ and the movement marks the departure and temporary exile of a friend and patron, the Archduke Rudolph, from war-torn Vienna, then under siege by Napoleon. The word “Lebewohl” means something quite different from “Les adieux,” Beethoven informed his publisher. “The first is said in a warm-hearted manner to one person, the other to a whole group of people, or to a town,” he added. Although the work clearly has a descriptive program, Beethoven does not attempt to portray bombardment or armies in the streets. The sonata deals in human terms with the departure, absence and return of a friend. It’s “more feeling than painting,” as Beethoven said of the program to his Pastoral Symphony. Many of the themes of the three movements spring from the opening horn call, including the distantly echoing horn calls in the closing measures of the first movement – a picture of the young Archduke’s coach and horses receding into the distance, perhaps. “Absence” and “The Reunion” lead Beethoven to the minor and then major keys, the latter bursting out of the restless, shifting harmonies of the slow movement as a shout of joy.

A musical happy hour at Anyela’s.

Tonight’s concert is sponsored by:

Friday, August 24

The Glady Krieble Delmas Foundation

7:00 PM Behind the Scenes

Tonight’s guest sponsorship:

(for ticket holders only)

Four Nations Ensemble is sponsored by Don and Chacea Sundman Tonight’s media sponsor is WAER

Tickling the Ivories

8:00 PM First Presbyterian Church

Behind the Scenes with Andrew Appel

Four Nations Ensemble Tatiana Chulochnikova & Andrew Fouts, violin; Loretta O’Sullivan, cello Andrew Appel, harpsichord and director Guest Dominique Labelle, soprano THE HARPSICHORD François Couperin

Septième Ordre

La menetou Les petits ages (La muse naissante—L’enfantine— L’adolescente—Les délices) Les amusements

Vivaldi Sonata for Violin, Cello and Continuo Largo—Allegro—Largo—Allegro

J.S. Bach

Sonata No. 5 in F minor for Violin & Harpsichord, BWV 1018

(Andante)—Allegro—Adagio—Vivace intermission

J.C. Bach

Concerto for Harpsichord and Strings in G Major

Allegro—Allegretto with variations

Louis Nicolas Medée: Cantata for voice and instruments Clérambault Recit: L’amante de Jason

Air: Courons a la vengence Recit: Que dis je? Air tender: L’amour dans ses fers Recit: Mais qu’elle est mon erreur? Evocation: Cruelle fille des Enfers Recit: Le charme est fait Air: Volés demons voles

Join us in welcoming the musicians at a post-concert reception in Dobson Hall. 56

The Skaneateles Festival is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Program Notes Medée: Cantata for voice and instruments Clérambault Recit: On the banks of the river Colchis, Jason’s lover Medée forced Hell to come to her defense. Love and gratitude were the ties by which the hero should be bound. But soon she learned that a new marriage of her fickle husband was to occur! “Gods,” she said, “to what evil have you condemned me if I should lose him forever? Seduced by his false tenderness I dared betray my father and the Gods. It was my doing that the conqueror of the fierce bronze-footed bulls returned home in triumph to Greece; yet the wretch sacrifices duty, glory and love on this saddest of days. No! Let us listen only to righteous wrath: desperate love demands a victim. I love, I am betrayed and my heart is resentful. Come Hate! Come Fury! Love gives me up to you.” Air: Run to vengeance O deadly vexation, enflame my wrath. Let the wretch who offends me perish under your blows. Let the terrible lightning of my just fury strike his guilty head. Hate becomes implacable when Love kindles it in a heart. Recit: What am I saying? Alas! My rebel heart begins to be alarmed by its great peril; while it is already to punish Jason for his cruel betrayal it cannot turn me against him.

I see in the fickle one only that which first made me love him. Air: Love puts me in chains. In spite of all my vexation Love triumphs once again. In vain does a tender heart give itself up to Hate. It always returns to love. Recit: How wrong can I be? To save him, do I betray myself? At the very feet of the Gods is the inconstant Jason marrying the one he loves? It is too much to suffer such cruel insults. Let me avenge my unhappy love. I will deliver Jason up to eternal punishment by destroying my happy rival! Évocation: Cruel daughter of Hell, fatal Demon, dread jealousy: avenge my betrayed love. Come, Come forth! Your abyss lies open. Come! Punish my rival for the cruel wrongs I have suffered. Make her suffering equal my fury; let her torture astound the world. Recit: The spell is cast! The cruel Furies leave their shadowy abode. The shining God who gave me daylight is frightened by their barbarities. Air: Fly Demons! Obey my fatal wrath. Burn and ravage this palace. Let your hellish flames destroy this place forever. Bring trouble and fear to every heart! Redouble the horrors of your fires, and amid this destruction, show my dying rival to Jason’s face!

Tonight’s concert is sponsored by:

Skaneateles Festival Board of Directors

Saturday, August 25 7:30 PM Brook Farm

Tonight’s guest sponsorship:

Tickling the Ivories

Rain Location: Skaneateles High School

Alexander Sevastian and the Musica Viva band are sponsored by Media MarCon Tonight’s media sponsor is ClassicFM/WCNY

Musica Viva Internationale! Alexander Sevastian, Accordions Bill Bridges, Guitar Colin Maier, Double Bass, Oboe Vasyl Papaduke, Violin

P. Pizzigoni

Light and Shadows

L. Ferrari

Domino

J. Privat

Papillons Noir

A. Piazzolla

Contrabajeando

A. Piazzolla

Sentido Unico

E. Arolas A. Piazzolla

La Cachila Adios Nonino

M. Ferrero

Averse

A. Vossen

Merry Go Around

Traditional Deux Guitars A. Khatchaturian

Sabre Dance

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TonighT’s concerT is sponsored by:

Wednesday, august 29 5:30 PM Anyela’s Vineyards

Just Stringing You Along

2433 West Lake Rd. Skaneateles

Today’s guesT sponsorship:

ECCO is sponsored by Michael P. Falcone & Nicole Ruvo, Dave Birchenough & Carrie Lazarus and Thom Filicia & Greg Calejo

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Stop by after work for a sampling of world class music from members of ECCO. Enjoy great music with breathtaking views of the lake.

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Tonight’s concert is sponsored by:

Thursday, August 30

Just Stringing You Along

8:00 PM First Presbyterian Church

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Tonight’s media sponsors are 93Q and the CNY Business Journal

Kodåly Serenade for 2 Violins and Viola, Op. 12 Allegremente Lento, ma non troppo Vivo

Michi Wiancko, violin Nick Kendall, violin Maurycy Banaszek, viola

Schulhoff String Sextet Allegro risoluto Tranquillo: Andante Burlesca: Allegro molto con spirito Molto adagio

Susie Park, violin Sean Lee, violin Melissa Reardon, viola Annaliesa Place, viola Raman Ramakrishnan, cello Paul Wiancko, cello

intermission

DVOŘÁK

String Quintet No. 2 in G Major, Op. 77 Allegro con fuoco Scherzo, Trio Poco andante Finale

Kyu-Young Kim, violin Kris Tong, violin Dov Scheindlin, viola Ken Olsen, cello Tom Van Dyck, bass

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

From the Artistic Directors

Week at a Glance…

Just Stringing You Along Of all the commonly heard musical instruments, string instruments remain probably the least affected by the insistent advance of technology. The “modern” violin is still made in ways that emulate the way violins were made more than 400 years ago. Perhaps it is in part because string instruments are so versatile in the sounds they can produce, and so human in the way they can express music. The final week this season features two string groups who demonstrate this versatility and communicative power, and who have become Festival favorites in recent years. The East Coast Chamber Orchestra (ECCO) brings its exuberant style and polished sound to concerts featuring the entire group as well as in smaller ensembles. And tf3 provides fascinating counterpoint: their makeup of two violins and a bass is as unique as their special musical blend of styles ranging from classical to bluegrass.

Program Notes

The violin has long held a special place among Eastern European musicians. As early as 1683, it was reported that in Hungary and Eastern Europe “nearly every nobleman has a gypsy who is a fiddler or locksmith.” This tradition of string playing is reflected in today’s concert with string chamber music by the Hungarian Kodály, the Czech Schulhoff and the Bohemian Dvořák.

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Serenade for 2 Violins and Viola, Op.12 (1919-20) ZOLTÁN KODÁLY (1882-1967) Kodály made folk song the backbone of his life’s work and musical composition. As an ardent nationalist, even when the political dramas of 20th century Hungary led him to be out of favor with those in power, Kodály saw it as his mission to bring home the Hungarian musical heritage to Hungarians. Through a composing career spanning seven decades, he consciously allowed elements of folksong to percolate through to his own compositions. “Individual originality can be rooted only in national originality,” he wrote in 1945. Kodály’s conviction was clear from his music long before then, notably in a series of chamber works he wrote in the decade before 1920. These include the Serenade, Op. 12 whose opening movement already reflects the vocal contours of folk melody and even the speech inflections of the Hungarian language. The structure of this first movement is the most traditional and compact of the three. Throughout the Serenade, the textures are imaginative and precisely drawn. The music unfolds in a structured yet often seemingly spontaneous manner without breaking with tradition. The unusual combination of two violins and viola – as opposed to the more traditional string trio combination of violin, viola and cello – never constrains Kodály’s imagination. His very first chamber work, written as a student in 1899, explored the same combination of instruments. Before this, only Dvořák had written for this grouping in his Terzetto a decade earlier. “The content is suited to the form,” Bartók wrote in a review of Kodály’s Serenade in 1921. “It reveals a personality with something entirely new to say and one who is capable of communicating this content in a masterly and concentrated fashion. The work is extraordinarily rich in melodies.” 63

8/30 Program Notes (continued)

String Sextet (1920/4) ERWIN SCHULHOFF (1894-1942) Czech composer Erwin Schulhoff was ahead of his time; his magpie-like interest in music of all sorts would make him right at home in today’s global culture. In the 1920s, when he composed the String Sextet, he was a prominent pianist and composer, appearing regularly at international contemporary music festivals. His interests tended toward modernism, often combining Schoenberg’s free atonality with the strong dance rhythms of folk music. As a pianist, Schulhoff championed the quarter-tone music of his fellow-countryman Alois Habá. He soaked up the neoclassicism of Stravinsky. He followed developments in Paris and was an enthusiast of the music of Milhaud and other members of Les Six. He also played in nightclubs and drew inspiration from the then new and exciting phenomenon of jazz and ragtime, integrating them into his music as successfully as any composer of the time. Like his almost exact contemporary, Martinů, Schulhoff was something of an outsider. He began the Sextet for two violins, two violas and two cellos early in 1920, but delayed further work until four years later. One of his most successful compositions, the Sextet is tightly scored, with a recurring motif of three notes that generates much of its musical material. The

motif is heard at the very beginning and it continues to underline the energetic opening and melancholy, darkly colored second theme, often as chords held low in the cello. The use of the octatonic scale (comprising alternating whole tones and semitones) gives a pungent chromaticism to the movement and to the hushed, often mysterious, always sustained lyrical lines of the slow movement. The Burlesca is a brief whirlwind of a movement, rhythmically complex, with a distinctive neo-classical feel. Its exuberance immediately turns to introspective meditation as the finale opens. Built upon material already introduced, the movement is somber and concludes with a fade to black.

String Quintet No. 2 in G Major, Op. 77 (1875) ANTONÍN DVOŘÁK (1841-1904) “The applicant, who has never yet been able to acquire a piano of his own, deserves a grant to ease his strained circumstances and free him from anxiety in his creative work.” Antonin Dvořák was the applicant. He was 33 years old and had been supporting an expensive composing habit by playing viola, the organ and by teaching. A report by the Austrian Ministry of Education noted that Dvořák had submitted 15 works, including two symphonies, with his application for a stipend. His music had, so far at least, attracted only modest success, and that was entirely within his native Bohemia. Three or four years later, Dvořák was to find himself on the brink of international success. Three consecutive government stipends for “young, impoverished

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8/30 Program Notes (continued)

and talented painters, sculptors and musicians in the Dvořák was severely Austrian half of the agoraphobic, so much Empire” allowed him so that he didn’t even attend the breathing room premieres of his own works. to focus entirely on composition. Both Brahms and the influential Viennese critic Eduard Hanslick were on the jury and both became advocates for Dvořák’s music, sensing that it had the potential to cross national borders.

Fun Fact…

On hearing of the first stipend, Dvořák became intensely energized. The first work he completed was a string quintet. In less than a year he added the well-known Serenade for Strings (to be played tomorrow), more chamber music, his most impressive symphony so far, No. 5 in F, and a fullscale, five-act opera called Vanda. He had laid the groundwork for this huge output through more than a decade of diligent self-education, taking the classics as models and writing copious amounts of music as preparation for what was to come. Very few of his friends even knew of these apprentice works, since he burned them once they had taken him to the next stage of his development. The Quintet underwent several revisions after its first performance on March 18, 1876. The piece then easily won

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It all started here... 33 years ago. a competition organized by a group known as the Prague Artistic Circle. Its decidedly unconventional scoring, where Dvořák adds a double bass to the standard string quartet, impressed the jury. They praised the work’s “distinction of theme, the technical skill in polyphonic composition, the mastery of form and… the knowledge of instruments.” It opens boldly, with cello and double bass announcing the dark sonority that lies ahead and the other low-voiced instrument, the viola, contributing the movement’s brief, single-measure main idea. The music is, nevertheless, energetic and buoyant and skillfully worked out. The first movement coda is a particular delight, as the tempo quickens and the music takes on something of the character of an operatic overture. The Scherzo with its folk-like rhythmic drive contains fingerprints of the later Dvořák. The slow movement is a particularly fine and sustained cantilena that allows the first violin to soar high into the stratosphere. The finale keeps its exuberance going to the end, with another lively ending. The G major String Quintet has received no shortage of critical mauling over the years. It is rarely played and is long overdue for re-evaluation. Its late opus number is confusing. It is an early work which Dvořák himself numbered Op. 18. When the work was first published, his publisher gave it a late opus number, to Dvořák’s irritation, hoping to increase sales. — Notes © Keith Horner 2012. Comments welcomed: khnotes@sympatico.ca

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Festival Grand Finale with ECCO East Coast Chamber Orchestra Michi Wiancko, violin; Nick Kendall, violin; Susie Park, violin; Sean Lee, violin Kyu-Young Kim, violin; Kris Tong, violin; Annaliesa Place, violin; Maurycy Banaszek, viola Melissa Reardon, viola; Dov Scheindlin, viola; Raman Ramakrishnan, cello Paul Wiancko, cello; Ken Olsen, cello; Tom Van Dyck, bass

Holst St. Paul’s Suite, Op. 29, No. 2 Jig: Vivace Ostinato: Presto Intermezzo: Andante con moto Finale: (The Dargason): Allegro

Barber Serenade for String Orchestra, Op. 1 Un poco adagio, Allegro con spirito Andante con moto Dance: Allegro giocoso

Stravinsky Concerto in D, for String Orchestra (‘Basel Concerto’) Vivace Arioso: Andantino Rondo: Allegro

intermission

DVOŘÁK

Serenade for Strings, Op. 22 in E Major, B.52 Moderato Tempo di valse Scherzo, Vivace Larghetto Finale, Allegro vivace

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Program Notes

St. Paul’s Suite, Op. 29, No. 2 (1912-13) GUSTAV HOLST (1874-1934) Holst, by name (Gustavus Theodore von Holst until he changed it in 1918), by upbringing and by temperament, was not a typical Englishman. As a composer, he was, in many ways, ahead of his time. Not, primarily, in his musical language – though that of The Planets remains, after almost a century, a compelling, visceral experience – but more in the vision and the breadth of interest that he channeled into this musical language. That said, Holst could write English music like the best of them, nowhere more so than in a short suite he wrote to thank the girls’ school where he taught for building a soundproof studio where he could compose undisturbed. Holst joined the staff of St. Paul’s in Hammersmith, London in 1905, just two years after the girls’ school opened, and remained there for three decades. He completed the four-movement suite for the school string orchestra in 1913, later adding parts for winds. Folk music and the baroque dance suite color much of its writing. A Jig, inspired by an old English dance form, provides an invigorating opener, alternating 2 and 3 beats per bar. The muted second movement builds a featherlight string texture of great rhythmic momentum around a repeated pattern from the second violins. Slow and fast sections are juxtaposed in the third movement, much as in a Slavonic dance

by Dvořák. Its nostalgic, somewhat exotic violin melody derives from notes taken during a trip to the North African Algerian desert. The jig-like Dargason is an English folk song, which, in a favorite maneuver, Holst cunningly interweaves with Greensleeves.

Serenade for String Orchestra, Op. 1 (1928/43) SAMUEL BARBER (1910-1981) Eighteen year-old Samuel Barber completed his Op. 1 in December 1928 while in his second year of studies at the Curtis Institute. The piece started life as a Serenade for String Quartet and is still performed this way. But the arrangement for string orchestra that Barber made in 1943 by adding a bass part is the more frequently performed of the two. It is a short work, almost a miniature serenade. When the first performance was given by the ominously named Swastika String Quartet in the spring of 1930, there were four movements. But it was published with three (the original finale was cut). The manuscript score deposited at the Library of Congress also includes three movements. Barber was studying with the composer Rosario Scalero at the time of composition. He also sought advice from his uncle, the song composer Sidney Homer. “The energy, strength, virility, mastery of form, definite message, clear thought-out intention, taste, freedom from commonplace

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9/1 Program Notes (continued)

– all this is astonishing,” Homer wrote. “It seems as though you are going to skip ‘youth’ and jump into the maelstrom and complexities of a young man.” The conservative, but assured score opens with an introduction in which Barber presents the main ideas of the entire piece. Its chromatic, solemn theme is reflective at first, but more relaxed and sprightly when it appears speeded up as the theme of the Allegro con spirito. The slow movement, for muted strings, returns to the darker mood of the opening and is built around sequences of falling motifs from the introduction. The music reveals Barber’s penchant for drawing a long, sustained melodic line – a technique that would shortly blossom into the well-known Adagio for Strings. The lively Dance finale oscillates between major and minor and brings the Serenade to a good-natured, almost whimsical conclusion. Barber was well satisfied with his Op. 1. Almost a decade after completing it, he wrote to a cellist: “It is not a bad piece at all, if I may say so myself!”

Concerto in D, for String Orchestra (‘Basel Concerto’) (1946) IGOR STRAVINSKY (1882-1971) With more than 200 commissions from leading 20th-century composers, Swiss conductor Paul Sacher (1906-99) can

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be thanked for a surprising number of great works from the chamber orchestra repertoire. His fastidious taste, conducting skill and considerable wealth (his father-in-law founded the Hoffmann-LaRoche pharmaceutical company) led to new works from Bartók, Berio, Birtwistle and Britten – just to dip into the B’s in Sacher’s catalog – with Stravinsky and Strauss included among the S’s. For the 20th anniversary of his Basel Chamber Orchestra in 1914, Sacher premièred three new commissions: Martinu’s Toccata e due canzoni, Honneger’s Fourth Symphony and Stravinsky’s Concerto in D. Stravinsky’s three-movement concerto is among his most elegantly written compositions, with soloists emerging from the string texture as in the Baroque concerto grosso. The conflict in the first movement between adjacent tonalities (D major/D minor) and the rhythmic tension between the instruments comes over as more playful than confrontational. A languorous middle section, with relatively sumptuous harmonies, followed by the graceful violin melody in the slow movement both draw from Stravinsky’s lifelong love for the music of his fellow-countryman Tchaikovsky – always with a twist or two, imprinting Stravinsky’s distinctive personality on the music. The Rondo is a whirlwind of a movement, toccata-like and driven hard by rapid repeated notes, again spiked by tension between two adjacent notes, now C sharp and D.

9/1 Program Notes (continued)

Serenade for Strings, Op. 22 in E Major, B.52 (1875) ANTONÍN DVOŘÁK (1841-1904) Czech composer Antonín Dvořák drew the spirit of his Serenade in E, for string orchestra from the amiable serenade tradition of Mozart and fellow composers from the classical period. Brahms had done a similar thing in the two he composed in preparation for the symphonic path he saw opening up before him. By 1875 when Dvořák came to write the first of his two Serenades, he could already count four symphonies in his portfolio. Composition of the Serenade came fluently and he completed the score in less than two weeks. Four of its five movements follow the simple three-part A-B-A structure of the opening movement. Dvořák’s skill and invention make much of its gentle main theme – it has a range of just four notes – and the texture is divided at times in up to seven parts. There’s a folk-like melancholy to the theme of the waltz that follows. Its central section also brings a similar yearning quality to the melodic writing. In both, Dvořák draws on his knowledge of string technique as an accomplished player of both violin and viola. His scherzo is more mercurial, balancing a whimsical main theme presented canonically with a more nostalgic second theme, both themes being neatly tied with

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A surprise “Music Blast” with the Chiara Quartet. a bow in the coda. The slow movement which follows further develops the yearning theme of the waltz movement into extended paragraphs of unbroken lyricism, again balanced by a more active central section. The finale is built into the most complex structure of the Serenade. It’s an exhilarating movement amid whose exuberant and often humorous pages, Dvořák first recalls the theme from the slow movement and then follows it with a reprise of the theme with which this favorite Serenade began. — Notes © Keith Horner 2012. Comments welcomed: khnotes@sympatico.ca

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Musician Profiles Rebecca Albers, viola Rebecca Albers is currently a member of the Phoenix Quartet and a recent addition to the University of Michigan’s viola faculty. She also tours extensively with the Albers Trio, a string trio formed with her sisters Laura and Julie Albers, with fiddler Mark O’Connor’s Appalachia Waltz Trio and ECCO. Ms. Albers studied at the Juilliard School where she won the 2002-2003 viola competition and made her solo debut with the Juilliard Orchestra in Alice Tully Hall at Lincoln Center. As a chamber musician, she has performed across the United States and Europe, with such artists as Richard Goode, Yo-Yo Ma, Itzhak Perlman, and members of the Guarneri, Juilliard, and St. Lawrence String Quartets. Upcoming engagements include a west coast tour with Musicians from Marlboro, a tour of England with the International Musician’s Seminar, and performances with the Albers Trio, the Appalachia Waltz Trio, and the Phoenix Quartet. Andrew Brown, bass clarinet Bass Clarinetist Andrew Brown currently serves as Third/Bass Clarinetist with the Rochester Philharmonic Orchestra and has also performed with the Buffalo Philharmonic, New Mexico Symphony Orchestra and The

Baton Rouge Symphony Orchestra. As a member of The Eastman Broadband Ensemble, a new music ensemble based at Eastman, he has toured Europe and Mexico and participated in two recording projects, one of which was a PulitzerPrize Finalist. Andrew earned his bachelor’s of Music Degree from The Ohio State University and master’s Degree from the Eastman School of Music. Edward Castilano, bass Mr. Castilano held the position of principal double bassist in the Syracuse Symphony as well as making numerous solo appearances with the SSO. Graduating in 1976 from the Eastman School of Music, he participated for six seasons in the Spoleto Festival in Italy and in Charleston, SC, and has made several appearances with the Lincoln Center Chamber Players. Mr. Castilano has also played with the Rochester, Philadelphia, Savanna, and Spokane symphonies. Ed has performed annually at the Skaneateles Festival since its inception in 1980. Paloma Capanna, multimedia artist Ms. Capanna is a freelance writer & photographer, as well as an attorney. Paloma brings decades of writing, photography, and publishing to her work. Her bylines

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Musician Profiles regularly appear in City Newspaper for all things classical from previews and profiles to concert reviews. Paloma’s photography is sold throughout the region at various art shows and in galleries, including the Rochester Museum & Science Center Holiday Show, Corn Hill Festival, Clothesline Arts Festival, Artist’s Row at the Public Market, and Image City Gallery. Chelsea Chen, organ One of the most promising organists of her generation, Chelsea Chen has electrified audiences throughout the United States, Europe, and Asia in venues such as Singapore’s Esplanade, Hong Kong’s Cultural Centre, Kishinev’s National Organ Hall, and Philadelphia’s Kimmel Center. As a composer she is broadening the classical organ repertoire with her own works based on Asian folksongs. Ms. Chen has soloed with the Juilliard Percussion Orchestra in Lincoln Center’s Alice Tully Hall and with the Musica Sacra Chamber Orchestra in Colorado. The recipient of the 2009 Lili Boulanger Memorial Award and winner of the 2005 Augustana/Reuter National Organ Competition, Ms. Chen is a graduate of Juilliard, where she received both her Bachelor’s and Master’s degrees. She was also a

Keepyour yourfinger fingeron onarea areavisual visual Keep andperforming performingarts. arts. and

full scholarship recipient at Yale University, where she earned an Artist Diploma. Troy Cook, baritone American baritone Troy Cook recently made his La bohème debut at the Hamburg State Opera, where he also performed in Falstaff in the spring of 2010, and the Royal Opera at Covent Garden in Così fan tutte. In the 2010-2011 season, Mr. Cook returned to Lyric Opera of Kansas City and appeared on the concert stage with the Pacific Symphony and the Arizona Musicfest, the Portland Symphony Orchestra, and the Winston-Salem Symphony. Future seasons include appearances at Opera Company of Philadelphia, Opera de Las Palmas and Central City Opera. Troy Cook made his New York City Opera debut in the 1999/2000 season with roles in the trilogy, Central Park, which he also sang with Glimmerglass Opera. Those performances were taped and later telecast on the PBS series Great Performances. He holds a Master of Music degree from the Eastman School of Music. ECCO (East Coast Chamber Orchestra) A group of some of today’s most exciting young string players envisioned the creation of a conductor-less chamber orchestra, based upon democratic principles, whose focus is purely on music-making. This organic approach, their passion, and commitment resulted in the creation of ECCO. The members of ECCO are accomplished musicians who have soloed with such great orchestras as the Philadelphia Orchestra, Los Angeles Philharmonic, New York Philharmonic, and Chicago Symphony. Members of ECCO may also be seen performing with various chamber ensembles, including the Los Angeles Piano Quartet, Time for Three, Jupiter String Quartet, Silk Road Ensemble and Enso String Quartet. The ensemble members are graduates of some of the top conservatories including Curtis, Juilliard, Cleveland Institute, New England Conservatory, and Peabody. ECCO’s debuts in venues such as New York’s

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Musician Profiles Elinor Freer, Co-Artistic Director and piano Elinor Freer has performed as soloist and chamber musician across the United States, Europe, Mexico, and China, including appearances in Amsterdam, Rotterdam, Bonn, Prague, Moscow, Beijing, and many other cities. Ms. Freer has been featured as soloist with numerous orchestras and at festivals including Summer Music in Harrisburg, PA, the Festival de Musica de Camera in Mexico, the Bowdoin Music Festival, the Lake Winnipesaukee Music Festival, and Music in the Vineyards in Napa Valley. A laureate and prizewinner in such competitions as the Joanna Hodges International Competition and the American Pianists Association, she has held piano fellowships at the Tanglewood Music Center and the Ravinia Festival’s Steans Institute. Committed to bringing classical music to new audiences, she has been awarded multiple grants from the National Endowment for the Arts for various school residencies and outreach performances. Ms. Freer serves on the faculty of the Eastman School of Music and has recorded for Cedille Records. A “Music Blast” at Tops with Alan Kay.

Town Hall and the Kennedy Center confirmed its position as one of the most exceptional ensembles of today’s generation, whose fresh interpretations, coupled with passionate and joyous playing, earn them standing ovations and re-engagements. Four Nations Ensemble Andrew Appel, harpsichord, Tatiana Chulochnika, violin, Loretta O’Sullivan, cello, Andrew Fouts, violin II, with guest artist Dominique Labelle, soprano) The Four Nations Ensemble brings together soloists who are leading exponents of period instrument to present great music from the Renaissance through the Viennese Classical masterpieces of Haydn, Mozart and Beethoven. Four Nations has developed a leading presence on the early music scene in New York and across the country. The Ensemble performs the major masterpieces of the 17th and 18th centuries. Four Nations has performed at major houses and series throughout the United States including The Kennedy Center and Lincoln Center. The Ensemble has participated in festivals including The Boston Early Music Festival, New York’s Mostly Mozart, Amherst Festival, Chautauqua, The Indiana Early Music Festival, The Redwoods Festival in Santa Rosa, California, and Brasilseguridade in Rio de Janeiro. 74

Frank Huang, violin Frank Huang began his tenure as concertmaster of the Houston Symphony in September, 2010. First Prize Winner of the 2003 Naumburg Competition and the 2000 Hannover International Violin Competition, he has established a major career as a violin virtuoso. His commitment to chamber music has taken him to Marlboro, Ravinia, the Seattle Chamber Music Festival and the Caramoor Festival. He frequently participates in Musicians from Marlboro tours. He was selected by the Chamber Music Society of Lincoln Center to be a member of the prestigious Chamber Music II program. Huang is part of a trio with Thomas Kaines and Reiko Uchida. He studied at both Juilliard and the Cleveland Institute. John Hunt, bassoon John Hunt is the 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

Musician Profiles faculty member at Florida State University and at West Virginia University. Additionally, Mr. Hunt has played principal bassoon in the Naples Philharmonic and was a member of the Buffalo Philharmonic Orchestra. He has also served as principal bassoon of The U.S. Army Band and Orchestra. During summers, he has participated as a member of the Aspen Music Festival, the Colorado Music Festival, the Orquésta Sinfónica de Minería in Mexico City, the Bowdoin Summer Music Festival and Monadnock Music. Currently, he serves on the faculty of the Festival Institute at Round Top, Texas. Maureen Hurd, clarinet Maureen has appeared in concerts and master classes throughout Europe, Asia and North America. She has performed at Carnegie’s Zankel Hall, with the Metropolitan Opera Orchestra, at Merkin Hall and with the Chamber Music Society of Lincoln Center in Alice Tully Hall. She was a featured performer at the International Clarinet Association ClarinetFests® in Vancouver, Japan and Los Angeles. Her festival appearances include chamber music performances at the Norfolk, Skaneateles, and Weekend of Chamber Music Festivals. She earned all of her graduate degrees including DMA from the Yale School of Music and

is currently on the faculty of the Mason Gross School of the Arts at Rutgers University. Maureen has been recognized for her study and performances of classical works connected to Benny Goodman, and she performed and lectured at the Yale School of Music and at Zankel Hall in 2009 as part of a Benny Goodman centenary. Imani Winds Valerie Coleman, Flute, Toyin Spellman-Diaz, Oboe, Mariam Adam, Clarinet, Jeff Scott, French Horn, Monica Ellis, Bassoon More than North America’s premier wind quintet, Imani Winds has established itself as one of the most successful chamber music ensembles in the United States. Imani Winds’ extensive touring schedule has brought them to most of this country’s major concert venues including Carnegie Hall, Lincoln Center, Kennedy Center, Disney Hall and Kimmel Center. The group is frequently engaged by the country’s premier chamber music series and festivals including Chamber Music Northwest, Santa Fe Chamber Music Festival, La Jolla Music Society, Virginia Arts Festival, Bravo! Colorado and Ravinia. Through commissions and performance the quintet regularly collaborates with artists ranging from Yo-Yo Ma

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Musician Profiles at Classic Chamber Concerts (Naples, FL). In 2010, they joined the roster of Astral Artists after winning their national auditions. Originally formed at Oberlin Conservatory, the Jasper Quartet began pursuing a professional career in 2006, and have performed throughout the United States and in Canada, England, Italy, Japan, Korea, and Norway. They are named after Jasper National Park in Alberta, Canada.

The Imani Winds perform at FamilyFest! 2008. to Wayne Shorter. The group’s Chamber Music Society of Lincoln Center residency culminated in a recital in New York’s Alice Tully Hall with Paquito D’Rivera. The ensemble has also worked with luminaries such as the Brubeck brothers, clarinetist David Shifrin, and pianist Gilbert Kalish. Imani Winds have five releases on E1 Music, including their 2006 Grammy Award nominated recording entitled The Classical Underground. Jasper String Quartet Nelson Lee, violin; Sae Chonabayashi, violin; Sam Quintal, viola; Nicole Djokic, cello Winner of the 2012 Cleveland Quartet Award, the Jasper String Quartet has been hailed as “sonically delightful and expressively compelling” (The Strad) and as “powerful” (The New York Times). They play “with sparkling vitality and great verve, ...polished, engaged, and in tune with one another.” (Classical Voice of North Carolina) Winners of numerous competitions, the Jasper Quartet enjoys prestigious appointments as Quartet-in-Residence at Oberlin Conservatory (Oberlin, OH) and Ensemble-in-Residence

George Kilpatrick, reader George Kilpatrick is an award-winning media personality and community leader with more than 25 years experience in television and radio as both a talent and producer. As producer/host of the daily live midday television talk show, “Hour CNY” on PBS affiliate WCNY-TV, he interviews the movers and shakers of the Central New York region. He is also producer/host of the award-winning series, “Access with George Kilpatrick,” which provides a forum for voices underrepresented in the media; a special seven-part spin-off of the series, “Facing Racism: A Special Access with George Kilpatrick” earned Kilpatrick the 2005 Award for Outstanding Contribution from the Human Rights Commission. Kilpatrick also produces WCNY’s weekly public affairs program, “Central Issues,” and serves as the station’s Director of Community Affairs. He is equally well-represented on the airwaves of commercial radio as producer and host of “The George Kilpatrick Show” and “Dr. On Call” on WSYR-AM, as well as “New Inspiration for the Nation” on WPHR-FM. Chris Younghoon Kim, conductor Chris Younghoon Kim joined the faculty of Cornell University in 2004 where he conducts the Symphony Orchestra, the Chamber Orchestra, teaches conducting and is a member of Ensemble X. He holds a Bachelor of Music in music education and oboe performance from Northwestern

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Musician Profiles University and a Master of Music in orchestral conducting from the University of Michigan. Kim serves as Artistic Director of Brave New Works, a vibrant ensemble of ten musicians dedicated to performing new compositions, and is the conductor and a founding member of the Kalistos Chamber Orchestra, based in Boston. Before coming to Cornell in 2004 he taught at Tufts University, served as resident conductor of the Mozart Society Orchestra at Harvard University, and was assistant conductor for the Louisiana Philharmonic Orchestra. Jung-Min Amy Lee, violin Amy Lee joined the Cleveland Orchestra as associate concertmaster in March 2008. A soloist with the Philadelphia Orchestra at age fifteen, Ms. Lee holds a bachelor’s degree from the Curtis Institute of Music and a master’s degree from the Juilliard School. Ms. Lee is a member of the Chamber Music Society of Lincoln Center Two program, participating in tours, a digital concert series and recordings, and educational outreach. Amy Lee won first prize in San Francisco’s Irving M. Klein International String Competition and at the Corpus Christi International Competition for piano and strings. She has performed with the Santa Fe Pro Musica Chamber Orchestra, the

National Gallery Orchestra, and Germany’s Baden-Baden Philharmonic. She is a member of the Omni String Quartet, founded with three fellow members of the Cleveland Orchestra: Alicia Koelz, Joanna Patterson, and Tanya Ell. Elizabeth Mann, flute Elizabeth Mann has served as principal flute of the St. Luke’s Chamber Ensemble since 1983. She has toured the United States performing the Mozart Flute Concerto under the baton of Andrè Previn and traveled throughout Spain and Japan performing the Brandenburg Concerti with renowned violinist/conductor Jaime Laredo. In 1998 Ms. Mann and Mr. Gidon Kremer played the U.S. premiere of the Gubaidalina Concerto for Flute and Violin with the Orpheus Chamber Orchestra at Carnegie Hall. Other solo performances include concertos with the Boston Symphony, the Buffalo Philharmonic and the National Chamber Orchestra of Baltimore. In past seasons, Ms. Mann has played principal flute with the Minnesota Orchestra, the New Jersey Symphony, and acting associate principal flute with the Boston Symphony. She also performs regularly with the Orpheus Chamber Ensemble. She is a graduate of The Juilliard School.

Adam and Kim Weitsman host the 2011 Summer Suite.

Musician Profiles Jeremy Mastrangelo, violin Liverpool native Jeremy Mastrangelo was appointed Associate Concertmaster of the Syracuse Symphony Orchestra in 2001. Since then, he was a featured soloist with the Orchestra on multiple occasions, including the 2004-2005 season with a performance of Bach’s Concerto for two violins with Jaime Laredo. Mr. Mastrangelo has been a finalist in the Julius Stulberg competition, and also won first prize in the National Federation of Music Clubs competition and the Michigan ASTA competition. He has served as co-concertmaster of the New World Symphony Orchestra in Miami, as a substitute violinist with the Pittsburgh Symphony Orchestra, and also as concertmaster and soloist with the Bach and Beyond festival in Fredonia, New York. Mastrangelo has performed numerous solo recitals in the Syracuse area and is an adjunct faculty member of Syracuse University. Sara Mastrangelo, violin A native of Winnipeg, Manitoba, Sara Mastrangelo was a member of the Syracuse Symphony Orchestra since 2001. Before moving to Central New York, she was a member of the New World Symphony Orchestra in Miami. Ms.

Mastrangelo is active as a chamber musician, having worked with members of the American, Cleveland, Julliard, Prazak, Cherubini, and Orford string quartets. She has performed at several Festivals, including Tanglewood, Breckenridge and Skaneateles. As a soloist, she has participated in the prestigious 2004 International Violin Competition in Geneva, Switzerland, and has soloed with the Winnipeg Symphony Orchestra and Hamilton College Orchestra. Sara holds degrees in music performance from McGill University, the University of Michigan and Carnegie-Mellon. She has held positions as adjunct violin professor at Hamilton College and at Hobart and William Smith College. Melissa Matson, viola Melissa Matson is the Principal Violist of the Rochester Philharmonic Orchestra, as well as the artistic director of First Muse Chamber Music in Rochester. She also performs frequently with Chamber Music Rochester and the Skaneateles Festival. A California native, she received her degrees and the Performer’s Certificate from Eastman, where she teaches viola orchestral repertoire. Ms. Matson was a founding member of the Chester String Quartet, prize

Musician Profiles winners at the Munich and Portsmouth international competitions, and has been a chamber music participant in the Aspen, Norfolk, and Grand Teton summer festivals. Anna Petersen Stearns, oboe In 2009, Anna Petersen Stearns became the principal oboe of the Syracuse Symphony Orchestra. Prior to joining the SSO, she performed as a member of the Rochester Philharmonic Orchestra and is currently a regular guest oboist with Canada’s National Arts Centre Orchestra and the Buffalo Philharmonic Orchestra. Ms. Stearns is an active soloist and chamber musician. She has been a fellow at the Norfolk Chamber Music Festival, a participant at the Masterclass Program at the Banff Centre for the Arts, and a performer at the Bravo! Vail Valley Music Festival. Ms. Stearns earned her degrees from the Eastman School of Music and is currently the adjunct professor of oboe at Syracuse University’s Setnor School. Harumi Rhodes, violin Violinst Harumi Rhodes is a founding member of the 2009 Naumburg Chamber Music Award winning ensemble, Trio Cavatina. Recent highlights include their European debut in Lithuania, U.S. performances with Musicians from

Marlboro, and their debuts in Philadelphia, San Francisco, and Carnegie’s Weill Recital Hall. Harumi just completed her residency with Lincoln Center Chamber Music Society Two and has recently been named the newest Artist Member of the Boston Chamber Music Society. Harumi received her degrees from the Juilliard School and the New England Conservatory, where she received the prestigious Gunther Schuller Award. Stewart Rose, horn Stewart Rose, French Horn player, first joined the Orchestra of St. Luke’s and the St. Luke’s Chamber Ensemble in 1983 and is also Principal Horn with the Orpheus Chamber Orchestra and the New York City Opera Orchestra. In recent seasons he has performed as Guest Principal Horn with the Metropolitan Opera Orchestra, the New York Philharmonic, St. Paul Chamber Orchestra and as a guest artist with the Chamber Music Society of Lincoln Center. Other recent appearances include the Marlboro, Tanglewood, Mostly Mozart, Spoleto, Edinburgh, Eastern Shore and Bravo! Vail Valley Music Festivals. He recently released to his first solo CD From the Forest, which Buffalo Globe critic Herman Trotter called: “a recording to be

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Musician Profiles treasured, not only by horn players but by average music lovers searching for new frontiers of musical excellence.” Peter Rovit, violin Peter Rovit is currently the Violin Professor at Syracuse University. He has also been on the string faculty of the University of Oklahoma and the University of Alabama. He has been a member of the Quartet Oklahoma, Associate Concertmaster of the Oklahoma City Philharmonic, and Concertmaster of the Tuscaloosa Symphony. A concerto competition winner at both the Hartt School and at SUNY Stony Brook, Mr. Rovit has also performed as a soloist with the Montgomery Symphony, the Fort Smith Symphony, the Oklahoma City Philharmonic, and the Tuscaloosa Symphony. Peter Serkin, piano Peter Serkin’s rich musical heritage extends back several generations: his grandfather was the violinist and composer Adolf Busch and his father the pianist Rudolf Serkin. In 1958, at the age of eleven, he entered the Curtis Institute of Music in Philadelphia. In 1959 he made his Marlboro Music Festival and New York City débuts and invitations to perform with the Cleveland and Philadelphia orchestras

soon followed. His performances with symphony orchestras, recital appearances, chamber music collaborations and recordings are respected worldwide. Highlights of Mr. Serkin’s recent and upcoming US appearances include performances with the New York and Los Angeles Philharmonics, Philadelphia and Minnesota Orchestras, and the Boston, Chicago, National, Detroit, St. Louis, Toronto, Cincinnati and Atlanta symphonies; recitals in Carnegie Hall, the Kennedy Center, Orchestra Hall in Chicago and New York’s 92nd Street Y; and summer festival appearances at Ravinia, Aspen, Ojai, Caramoor, Tanglewood, Blossom, Mostly Mozart, Saratoga and the Mann Center with the Philadelphia Orchestra. Mr. Serkin currently teaches at Bard College Conservatory of Music and the Longy School of Music. He resides in Massachusetts with his wife, Regina, and is the father of five children. Alexander Sevastian, accordion A native of Belarus, Alexander Sevastian started playing the accordion at the age of seven. He was the First prize winner of “The Golden Accordion International Competition” in 2001. In 2007, he won the prestigious Coupe Mondiale World Accordion Championship, held in Washington DC. He has performed throughout Russia, as

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

315-685-7418 • www.skanfest.org

Musician Profiles well as Germany, Italy, Japan, Mexico, Portugal, the USA and several major tours in Canada. He also performed as a soloist with the Hamilton and Toronto symphonies, the Calgary Philharmonic Orchestra and with orchestras in Victoria, Quebec City, Windsor, and Edmonton. Since 2002 Alexander has also performed as a member of “Quartetto Gelato.”

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Sar-Shalom Strong, piano Sar-Shalom Strong has often performed in concert with the Society for New Music, Civic Morning Musicals, and has appeared as soloist with the Utica Symphony Orchestra and the Hamilton College Orchestra. From 1998-2007 he served as keyboardist for the Syracuse Symphony Orchestra. Recent concerts include performances at Utica and Hamilton colleges, as well as a concert of piano trios in Cortland with violinist Jeremy Mastrangelo and cellist David LeDoux, and a Syracuse recital with Janet Brown. Sar holds degrees from Knox College and Syracuse University, and is Lecturer in Piano and Coordinator of Staff Pianists for Hamilton College. tf3 (Time for Three) Zachary De Pue, violin; Nick Kendall, violin; Ranaan Meyer, double bass What started as a trio of musicians who played together for fun while students at Philadelphia’s Curtis Institute for Music evolved into tf3. The ensemble gained instant attention in July 2003, during a lightning-induced power failure at Philadelphia’s Mann Center for the Performing Arts. While technicians attempted to restore onstage lighting, Ranaan and Zach, who were both performing as members of The Philadelphia Orchestra, obliged with an impromptu jam session that included works as far afield from the originally scheduled symphony as “Jerusalem’s Ridge,” “Ragtime Annie,” and “The Orange Blossom Special.” The crowd went wild. Their jam-packed 2011-2012 season featured their Carnegie Hall debut, a residency at Princeton University, appearances with the Boston Pops and their first tour of South America. After two selfproduced CDs, tf3’s first commercial CD in 2010, Three Fervent Travelers, debuted in the top 10 on Billboard, Amazon and iTunes, and remained in the top 10 on the Billboard crossover charts for more than 10 months. The ensemble has embarked on a major commissioning program to expand its unique repertoire for symphony orchestras. The first project was Concerto 4-3, written by Pulitzer Prize-winning composer Jennifer Higdon. 2010 saw the premiere of Travels in Time for Three by Chris Brubeck, co-commissioned by the Boston Pops and nine other orchestras. The next work in the series will be by William Bolcom, commissioned by the Indianapolis Symphony, for a premiere in 2013. Michael Unger, harpsichord Canadian-born organist and harpsichordist Michael Unger currently resides in Rochester, New York. A multipleaward winning performer, he was awarded both First Prize and Audience Prize in the 2008 American Guild of Organists’ National Young Artists Competition in Organ

Musician Profiles Performance. Later that same year, he won First Prize and the Yoshida Minoru Memorial Award in the Sixth International Organ Competition Musashino-Tokyo, Japan. In 2009, he was awarded Second Prize and Audience Award in the Eighth International Schnitger Organ Competition on the historic organs of Alkmaar, the Netherlands. Unger completed masters’ degrees in both organ and harpsichord at the Eastman School of Music and currently co-instructs Eastman’s organ literature classes. James VanDemark, 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, St. Paul Chamber Orchestra, Atlantic Symphony, New Mexico Symphony, Netherlands Radio Symphony, Heidelberg Festival Orchestra and Rochester Philharmonic. His chamber music collaborations include appearances with Yehudi Menuhin, Cleveland Quartet, Colorado Quartet, Guarneri Quartet, the Los Angeles Piano Quartet and a duo recital with André Watts. Ying Quartet Ayano Ninomiya, violin; Janet Ying, violin; Phillip Ying, viola; David Ying, cello The Grammy Award-winning Ying Quartet regularly performs in many of the world’s most important concert halls, from Carnegie Hall to the Sydney Opera House. Beginning with the 2010-2011 season, brilliant violinist Ayano Ninomiya joined the Ying Quartet as first violin. She is a top prizewinner in the 2003 Naumburg Competition and the 2006 Tibor Varga Competition, and has built a significant career of recital, concerto, music festival, and chamber music appearances. During the summers, the Ying Quartet’s activity is primarily centered at music festivals. They are presently ensemble-in-residence at the Aspen Music Festival and also have performed and taught for several summers at the Bowdoin International

Please consider the Skaneteles Festival in your Planned Giving. 82

Music Festival. Other festival appearances have been at Tanglewood, Ravinia, Caramoor, Amelia Island, Interlochen, and many others. Their musical partners range from pianists Menahem Pressler and Gilbert Kalish and cellist Paul Katz to folk musician Mike Seeger, jazz pianist Billy Childs, and the Turtle Island Quartet. The Ying Quartet’s recordings reflect many of the group’s wide-ranging musical interests and have generated consistent, enthusiastic acclaim. They include “Dim Sum”, LifeMusic, three Tchaikovsky Quartets and the Souvenir de Florence and their much-heralded collaboration with the Turtle Island Quartet, “Four + 4,” which won a Grammy Award in 2005. David Ying, Co-Artistic Director and cello In addition to his more familiar role as cellist of the Ying Quartet, David Ying also performs solo concerts and serves as Co-Artistic Director of the Skaneateles Festival. He has appeared as soloist with such orchestras as the Oakland

Musician Profiles East-Bay Symphony, the Chicago Civic Orchestra, the String Orchestra of the Rockies, and the Rochester Chamber Orchestra. His awards as a solo cellist include prizes in the Naumburg International Cello Competition and in the Washington International Competition. A dedicated and active teacher, he has taught at Interlochen, the Brevard Music Center, Harvard University, and Northwestern University and is presently on the chamber music and cello faculty of the Eastman School of Music in Rochester. Phillip Ying, viola As violist of the Ying Quartet, Phillip 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. A recipient of the Naumburg Award for chamber music, Phillip chairs the Chamber Music Department at the Eastman School of Music, where he is also assistant professor of viola and associate professor of chamber music. He has served as president of Chamber Music America.

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

David Ying and Elinor Freer with members of ECCO

Fanfare Cookbook Artist CDs Posters Tote Bags Hats T-shirts Polo Shirts Sweatshirts Flashlights 83

A Christmas Suite

Concert information All concerts are held in Skaneateles, August 9 – September 1, 2012. Tickets can be ordered at www.skanfest.org or by calling (315) 685-7418. Saturday concerts at Brook Farm are held at 7:30 pm outdoors. Patrons may arrive as early as 6:00 pm and picnic on the lawn. Call (315) 685-7418 (or check skanfest.org) after 3:00 pm on Saturdays for rain location announcements. Rain Location: Skaneateles High School auditorium, 49 East Elizabeth Street Suggested items to bring: Lawn chairs, blankets & flashlights (chairs are provided in A seating only). Ticket exchanges may be made up to 24 hours prior to concerts. Unused tickets returned less than 24 hours before the performance will be acknowledged as a contribution to the Skaneateles Festival. Any unused ticket may be exchanged for a ½ price ticket to a Syracuse Friends of Chamber Music concert during their 2012-2013 Season (subject to availability).

Save the Date

Saturday, December 8, 2012 A collection of Christmas Stories and Music Reservations will be taken starting November 1st Hosted by

The Falcone Family

Doors open for all concerts 30 minutes prior to concerts.

A Christmas Suite

Cameras & recording equipment may only be used with the permission of the Skaneateles Festival. Please remember to silence cell phones. 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

Presented by the

Skaneateles Festival

Contributors – 2011

The Falcone Family GUARANTORS

Laura Allyn Anonymous Evan and Elizabeth Dreyfuss Doug Sutherland and Nancy Kramer

SUPPORTER

Henry and Helga Beck Jim and Karin Blute Joan Christy and Tom Bersani Patience Brewster Bill and Donna Davis George Iocolano Pascale’s Liquor Square PATRONS Realty USA Aurora Inn Dale and Rillann Dan McCann – VanEpps Five Seasons Florist Bob and Sally Neumann Wells Fargo, the Coates Group Sherwood Inn

CONTRIBUTORS

Matteo and Rose Bartolotta David Duggan and Lynn Cleary Robert and Nikki Errico Walter and Marilyn Hannig Daniel and Grace Labeille Stacia Landsberg Lynn and Charles Pascale Dan and Aggie Robert Doug and Margaret Tiedemann Arleen and Loren Van Riper

2012 Program Book