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Skaneateles Festival

2017

Board of Directors

Advisory Council

Dana Hall, President Joan Christy, Vice President Edward Conan, Treasurer Koko Fuller and Ginny Marty, Co-Secretaries

Thomas Bersani Ellen Bifano Beth Boudreau Mary Cotter

Miki Bangs Dave Birchenough Judith Bryant Colin Carroll Barb Connor Jessica Danial Scott Hafler Scott Johnston John King

Daniel Labeille Bill Lynn Brendan McGinn Louise Robinson Jean Shook Margaret Sovik Doug Sutherland Michael Tutor Doug Whitehouse

William Davis John DeFrancisco Michael P. Falcone Lindsay Groves

Claire Howard David Robinson (1924-2006) Andy Latchem Sharon Magee Andrew Ramsgard

Administration Susan Mark, Executive Director Julia Bruskin & Aaron Wunsch, Artistic Directors Steve Frackenpohl, Operations Manager Emily Cook, Executive Assistant Office Interns: Kathryn Galimi, Lydia Parker, Laurel Parker, Lana Stafford Katie Hess, House Manager & Volunteer Coordinator

Corey Riley, Technical Assistant Sarah Moth, Musician Liaison Evan Peer, Stage Assistant Karen Price, Crew Leader Crew: Taylor Carr, Jack Carson, Alex Flanigan, Jon Niehbur, Nick Paciorek, Duncan Raddant Outside the Box Business Solutions, Bookkeeping Nancy Boyce, Graphic Designer

A special thank you to our 2016 volunteers Caitlin Allen George Bain Mary Ann Baner Miki and Dan Bangs Ruth Bates Henry and Helga Beck Sue Benjamin Dave Birchenough and Carrie Lazarus Sandra Blouin Mark Bostick and Connie Walters Nancy Boyce Mary Bradly Patience Brewster and Holly Gregg Lynn and David Brown Carol Bryant Judith Bryant Elisabeth Burton Corinne and Bill Buterbaugh Patti Carey

Maryellen Casey and Bruce Keplinger Joan Christy Becky and Kip Coerper, St. James Episcopal Church Ed and Paula Conan Barb Connor and Doug Wood Jessica and Patrick Danial Evan and Liz Dreyfuss Kim and Charley Driscoll Dave Figura and Laura Downs Steve and Sandi Frackenpohl Hamilton and Fran Fish Paul and Erika Fiutak Pam Freeman Koko Fuller Judy Gelston Helen Glowacki Sarah and Eric Goode David Graham

Dana and Susan Hall Julia Hearn Scott Heinekamp Tom Higgins Donna Himelfarb Don Hughes Mary Knepper Kay Kraatz Don and Christy Lemp Craig Lindsey and the First Presbyterian Church Bill Lynn Bill and Miki Mahood Adrianna Marshall Todd and Jill Marshall Ginny and Fred Marty Anne and Charlie McElroy Madonna and Jeff Meyer Jo-Ann Michalak James and Nancy Mion Peter Moller

Violet Moncavage Richard Naughton David and Ann Neibert Margaret Neighbor Bob and Sally Neumann Bridget Neumann Matthew Neumann Gustav Niebuhr and Margaret Usdansky Jim and Patti Nocek, Anyela’s Vineyards Doug and Judy Robertson Louise Robinson Bill Eberhardt, Sherwood Inn Sharon Slater Mona Smalley Carolyn Smith Lynn and Corinne Smith Elsa and Peter Soderberg Margeret Sovik

Jan Sterling Anita Sterns Jane Stewart Carol and Bill Stokes-Cawley Don and Chacea Sundman Peggy Surdam Jennifer Sutherland Joan Thomsen Gail van der Linde Patty Weisse and George Thomas Jo and Bob Werner Robert and Margaret White Doug and Peg Whitehouse Susan Wolstenholme Sheryl Woodmansee Ceylan Yildiz

A special thanks to all the board members for their help each Saturday.

Acknowledgements Artist Pianos – Steinway Pianos Maryellen Casey and Bruce Keplinger, “Cybersolvers” – Webmaster Miki & Dan Bangs, Colin and Corrie Carroll, Barb Connor & Doug Wood, Koko Fuller, Kevin & Sarah Goode, Brendan McGinn & Rebecca Cohen, Doug & Judy Robertson, Audrey Turner and friends – Musician Dinners Joan Christy – Musician Dinners and Guarantor Reception Bill Gilbane & Jeffrey Tousey – Summer Suite Hosts First Presbyterian Church and Anyela’s Vineyards – Concert Location 2

Programs and artists subject to change. © The Skaneateles Festival 2017

Koko Fuller – Ticket Sales ChaseDesign – Brochure and Program Cover Design Skaneateles High School – Music Stands & Percussion Arthur Nick Smith – Piano Tuning Pete and Danette Davis – Photography The Manor – Tent Many thanks to the generous Skaneateles residents who open their homes to the Festival’s visiting musicians.

Thank you to the Festival Future Campaign Donors

To support the Legacy Fund or Artist Fund, visit skanfest.org or call Susan Mark at 315-685-7418 GIFTS OF $100,000+ Henry and Helga Beck Michael and Noreen Falcone Bob and Sally Neumann GIFTS OF $50,000 - $99,999 Allyn Family Foundation Emerson Foundation a bequest from Henry Panasci Peter and Elsa Soderberg GIFTS OF $10,000 - $49,999 George S. Bain Dave Birchenough & Carrie Lazarus Judith Bryant, In memory of Gladys A. Bryant Joan Christy and Tom Bersani Central New York Community Foundation Ed and Paula Conan Bob and Sue Congel Barb Connor and Doug Wood Mary Cotter Jessica and Patrick Danial Donna and Bill Davis Sid and Suzanne Devorsetz David Duggan and Lynn Cleary Dan and Colleen Fisher Steve and Sandi Frackenpohl John Frank, from The Oscar Fund of the Wayne County Community Foundation Koko Fuller David S. Graham Wendy Graham and Virginia Graham Livingston, in memory of Jean S. Graham Dana and Susan Hall Linda and Bruce Kenan Andrea Latchem Ginny and Fred Marty Jim and Julie Moore and the Fletcher Foundation Louise Robinson Doug Sutherland and Nancy Kramer Jim and Salli Tuozzolo Adam and Kim Weitsman GIFTS OF $1,000 - $9,999 Ivan and Mimi Ace, in honor of Louise Robinson Ed and Sharon Barno Lynne and Richard Bennett Gwen Birchenough Patti Carey Columbian Foundation Tim and Margie Creamer Susan T. Dailey Charley and Kimberly Driscoll Hamilton and Fran Fish Steven J. Ford and Patricia A. Lynn-Ford Joseph and Marie Grasso Gary and Bonnie Grossman, in honor of Dave Birchenough Johnny Angel’s Joyce and Robin Jowaisas Ted Kinder, in memory of George Kinder John and Maren King

Hal and Peggy Brown Carol Bryant, in honor of Susan Mark Mary and Charlie Buckley, in honor of the Women’s Philharmonic Advocacy John and Elet Callahan Andres and Monique Cardenes, in honor of Louise Robinson Heather and Timothy Carroll Elaine and Greg Ceresko Stephen and Linda Chow Jim and Sharon Cirincione Nancy and Joe Clayton Michael and Hilda Collins Lynn K. Cornachio Paul and Gail Cowley Marilyn and Bill Darmody, in honor of Mary Gardner Danette and Peter Davis Anthony and Patricia DeAngelis Frank and Lynda DeOrio John and Monika Deskur Keila Dhondt Kate DiDonato GIFTS OF $500 - $999 Digital Analysis Corp. Carol Aroesty Sharry Doyle Bernard and Lilian Asher, in memory Tim and Alison Dunn of John D. Asher, M.D. Myron and Barbara Egtvedt Arlene and Tome Bloomer, in Carey Eidel memory of Jean Graham Thomas Eldred Joyce and Curtis Carlson The Fallon and Byrne Family Maryellen Casey and Brian Brundage and Bruce Keplinger Pamela Foresman John and Betsy Cherundolo Frederick and Janet Fagal Bob and Terry Dewitt Naomi Frost Kay DiNardo Dr. Deborah Geer and Pamela Frame, in memory of Malcolm Skipton Mr. and Mrs. Charles Frame Amandy and Wolfgang Geihe Georgina Gregory Gloria and Joshua Goldberg Scott Hafler The Gray House B&B Scott Heinekamp William and Ann Griffith Scott and Jolie Johnston Brian and Maureen Harkins Wendy and John Kopley William and Karen Havens Chris and Andrea Kozub Mary and Mike Hearn Daniel and Grace Labeille, Carlyn and Jack Helmer in memory of Lisa Labeille James and Pat Hertz Alan and Joan Marcoccia Coates Ronald and Doris Hill David and Norma McCarthy Sally Holben, Jill and George Newton, in honor of Louise Robinson in memory of David Robinson Joseph and Eleanore Hubbard Christine O’Connell-More Dr. and Mrs. Peter Huntington David Rubin and Tina Press John and Linda Isaac Kelly and Steven Scheinman, Alan Johnson & Lin Kroeger in memory of David Robinson Mary Jacqueline Keady Elaine and Michael Shende Alfred Kelly and Sharon Burke Sharon Slater Virginia and Daniel Kenney Paul and Mary Torrisi Stephen and Theresa Kline Jaime Tuozzolo Kay Kraatz Margaret Usdansky and Carol Lynne Krumhansl and Gustav Niebuhr Jeffrey Roberts Harry and Nancy Lambright GIFTS OF $100 - $499 Lawrence Lardy and Dianne Apter and Tom McKay Edith Pennington Miki and Dan Bangs Catherine Lathwell, in memory Ann Marie Bergold of Douglas J. Lathwell Walt and Pat Blackler Dr. and Mrs. Anthony J. Leone Jr. Cynthia A. Blume Edward and Carol Lipson Beth Boudreau, in memory Peggy Liuzzi and David Michel of Dr. Robert Boudreau Jane and David Loftus James and Cynthia Bright Jody Longeill David Brittain

Dr. Paul and Elizabeth Koenig Chris Lego and Jeff Shingleton Sharon and Marshall Magee, in honor of Jack and Kathryn Boyce Bill and Miki Mahood Susan Mark and Mary Knepper, in honor of Louise and David Robinson John and Candace Marsellus Jill and Todd Marshall Stanley W. Metcalf Foundation, Inc. Amy and Chris Neumann Sean and Laura O’Keefe Doug and Judy Robertson, in honor of David and Louise Robinson Linda and Dan Roche Al and Vicky Sabin, in honor of Grady Charles Allen Arleen and Loren Van Riper Jack and Judy Varney, in honor of David & Louise Robinson Jo and Bob Werner Doug and Peg Whitehouse Dwight W. Winkelman Foundation, Inc.

Gard Lorey, DDS and Sean Smith, DDS, PC William and Anne Lynn James MacKillop, in memory of Patricia MacKillop Cliff and Bobbi Malzman Robert and Lorraine Markley Mr. and Mrs. James Marquardt Susan Martineau Mehdi and Kathie Marvasti Loretta and Richard Marx David and Judy MacDougall Jim and Kelley McQuiggan James Mostrom Sandi Mulconry Carole and Lloyd Novick Michael and Pam Odlum, in honor of Mary Lou Kraetz JoDean and Timothy Orcutt, in honor of Mr. and Mrs. A. Gilbert Hall Jeff Paston David and Cindy Petters Judy and Arnie Poltenson, in memory of David Robinson Howard and Ann Port Nelson Price and Barbara Fought Diane and Kevin Proctor, in memory of Janet Forney Mark Roney Bill and Janice Rosbrook Anne “Jigger” Roth Ed and Pam Ryan Mr. and Mrs. Charles M. Sawyer Kelly and Tony Scalzo Edith Schmitz Vito and Janet Sciscioli Gary and Virginia Shanley, in memory of Carol S. Balet Jean Shook and Chris Johnson, in honor of David & Louise Robinson Margaret Sovik Jan Sterling Carol and Bill Stokes-Cawley Hope and Sal Strods Holly Strong Peggy and Dan Surdam William and Sharon Tatro Norma Tippett Cynthia G. Tracy, in memory of Charles S. Tracy Tranquility Salon Michael Tutor and Susan Keefe David and Patricia Urban Greg and Susan Van Inwegen, in memory of Jeanne and Jack Tanier Linda Van Buskirk Robert VanGulick and Virginia Robbins John and Jean Vincent Richard and Ann Wasiewicz Mark Watkins and Brenda Silverman Dr. and Mrs. Geoffry Wickwire Monica and Bruce Williams Chuk and Reenie Wilson Don and Mary Anne Winfield Susan and Warren Wulff David Ying and Elinor Freer, in honor of David and Louise Robinson Joyce Zadzilka Warren Zwicky

Thank you to all the Skaneateles Festival Donors!

Gifts received as of July 28, 2017

Consider including the Festival in your estate planning.

Guarantor Society Ivan and Mimi Ace Allyn Family Foundation Bill and Penny Allyn Fund of the Community Foundation of Collier County Artist Pianos George S. Bain Barclay Damon Dave Birchenough and Carrie Lazarus Gwen Birchenough Mark and Lou Bitz The Bonadio Group Ed and Debbie Brennan Patience Brewster and Holly Gregg Sam and Debby Bruskin Rick and Ann Capozza Maryellen Casey and Bruce Keplinger

ChaseDesign Joan Christy Columbian Foundation Bob and Sue Congel Barb Connor and Doug Wood Mary Cotter Jessica and Patrick Danial The Gladys Krieble Delmas Foundation Mary Louise Dunn Fund, CNY Community Foundation Michael and Noreen Falcone Michael P. Falcone and Nicole Ruvo Falcone Dan Fisher and Lori Ruhlman Fletcher Foundation John V. Frank, from The Oscar Fund of the Wayne County Community Foundation Koko Fuller

William Gilbane and Jeffrey Tousey Sarah and Kevin Goode Grossman St. Amour, CPAs PLLC Dana and Susan Hall The Ewing Marion Kauffman Foundation Andrea Latchem Logical Operations The Stanley W. Metcalf Foundation, Inc. Peter and Betsy McKinnell Bob and Sally Neumann New York State Council on the Arts New York State Parks & Rec Legislative Grant, Assemblyman Gary Finch Onondaga County and CNY Arts

Faye Panasci Andrew and Sherie Ramsgard Doug and Judy Robertson Louise Robinson Bill Rosenthal and Jerry Gebo Carl Schramm and Ellyn Brown Juliette Klein Sharpe Fund, CNY Community Foundation Realty USA Peter and Elsa Soderberg Spectrum David and Deirdre Stam Sundman Family Fund Doug Sutherland and Nancy Kramer Jennifer Sutherland Robert and Jenifer Weisenthal Doug and Peg Whitehouse Sieglinde Wikstrom

David Graham The Jean Graham Trust Scott and Amy Hafler Joe and Mary Ellen Hennigan Tom and Gretchen Jeffers Scott and Jolie Johnston Joyce and Robin Jowaisas Linda and Bruce Kenan John and Maren King

Geraldean and Greg Lantier Chris Lego and Jeff Shingleton Patricia Lynn-Ford and Steven Ford Susan Mark and Mary Knepper Ginny and Fred Marty John and Michelle Mashia – IMS, Inc Peter and Betsy McKinnell Jane and Robert Morse

Steve and Linda Peltz – Northeastern Electronic Dan and Linda Roche Ron Sampson Frank and Jan Smith Sutton Real Estate WAER Syracuse Public Media WCNY Classic FM WRVO Public Media WSKG

Hamilton and Fran Fish Dr. Deborah Geer and Malcolm Skipton Georgina Gregory Scott Heinekamp Joe and Mary Ellen Hennigan iHeart Media Paul and Elizabeth Koenig

Dr. Luis Mejico and Dr. Paula Pons John MacAllister and Laurel Moranz Frank and Frances Revoir Foundation David and Norma McCarthy David Pida

Al and Vicky Sabin Bettina Smallman Paul and Mary Torrisi Jack and Judy Varney John and Jean Vincent Dan Walding Leah Weinberg and Paul Barron

Jim and Cecilia Curley David and Lynne Curtin Bobbi & Bill Dean JD and Mary Delmonico Delmonico Insurance Frank and Lynda DeOrio Alan and Linda Dolmatch Elizabeth Dunbar Myron and Barbara Egtvedt Peter and Linda Emerson Bob and Kay Fagliarone Steven and Sandi Frackenpohl Ron and Rose Ann Gay

Melvin and Dorothee Goldman William and Ann Griffith Marilyn and Walter Hannig Scott Heinekamp Camille Hemlock Jim and Patty Hertz Sally Holben Kathryn Karpinski Barbara Kay Ted and Kathy Kinder Wendy and John Kopley Ann and Richard Kornbluth Barbara Kotula

Chris and Andrea Kozub Roger and Anna Krieger Carol Krumhansl and Jeffrey Roberts Daniel and Grace Labeille David and Stacia Landsberg Marilyn Lerman Elizabeth Liddy Bill Lynn William and Anne Lynn James MacKillop Marshall and Sharon Magee John and Peggy Manring

Benefactor Roland and Tacie Anderson Henry and Helga Beck The Breuer Family Colin and Corrie Carroll Dr. Paul and LInda Cohen Donna and Bill Davis Guy and Nancy Easter Franklin Lofts, LLC Dr. and Mrs. Gianfranco Fritelli

Gold Patron Craig and Kathleen Byrum Miki and Dan Bangs Patti Carey Nancy and Joe Clayton Ed and Paula Conan Bob and Terry Dewitt Robert and Nicolena Errico Finger Lakes Radio Group

Patron

Eric Allyn and Meg O'Connell Ed and Sharon Barno Mary Bradly Judith Bryant Elet and John Callahan Edward P. Castilano Paul Cohen, MD Nancy Collins Robert and Jane Corcoran Paul and Gail Cowley Tim and Margie Creamer Lawrence Cummings and Mary Ellen Andrews

Patron (continued) Mr. and Mrs. James Marquardt John and Candace Marsellus Loretta Marx Brendan McGinn and Rebecca Cohen Modern Kitchens of Syracuse James and Elizabeth Mostrom Sean and Laura O’Keefe Susan and David Palen Tom and Camille Potter

Raz Rahman Peter and Dawn Rogers Nick and Linda Rossi Lawrence and Janet Ruston Carrie and Chris Scholz Rosalind Schwartz Bonnie Scolaro Marilyn and James Seago Gary and Ginny Shanley Jean Shook and Chris Johnson

Jason Slottje Dr. and Mrs. Ken Spitzer Jeffrey Stannard Judith Stoikov and Richard Miller Carol and William Stokes-Cawley Conrad Strozik Frank and Rose Swiskey Cynthia Tracy

Jaime Tuozzolo Arleen and Loren VanRiper Ben and Eleanor Ware Jo and Bob Werner Dr. and Mrs. Geoffrey Wickwire Charles and Nancy Williams Joseph and Maureen Wilson

Chester Freeman Carolyn and Roger Friedlander Naomi Frost Alex and Donna Giambartolomei Roberta and Dennis Gillen Joshua Goldberg Val Gray Gary and Bonnie Grossman Dorothy Hauk William and Karen Havens Elizabeth Hayes Will Headlee Bob and Peggy Hegel Mary and Mark Hetrick Bob and Barbara Holloway Laura Horian and Lloyd Howse Dr. and Mrs. Peter Huntington Joel Potash and Sandra Hurd John and Linda Isaac Jackie Keady Daniel and Virginia Kenney Bernard and Peggy King Jeffrey Kirshner Stephen and Theresa Kline Gracia Koziol Jim and Kimball Kraus Lin Kroeger and Alan Johnson Jason Lesch Edward and Carol Lipson

Peggy Liuzzi and David Michel Andy and Ginny Longacre Jody Longeill Dawn and Guy Mackenzie Anne Maier Martha Maier Cliff and Roberta Malzman Norma Martin Susan Martineau Mehdi and Kathie Marvasti Charlene McGraw Eileen Murphy and CJ Ryan Richard Naughton Laura Nichols Michael and Pam Odlum Nancy Oplinger, Auburn Eye MDs JoDean and Timothy Orcutt Bruce and Margaret Osborne John and Sharon Paddock Cathy Palm Eleanor Peterson Robert and Christine Pierce Judy and Arnie Poltenson Dick and Kim Poppa Greg and Debbie Quick Ruth Anne Reagan Denise and Tom Rhoads Mark Roney Stephen and Elise Rosenfeld

Anne Roth Arnie and Libby Rubenstein Kelly and Tony Scalzo Bob and Lynne Scheer Susan and Steve Shaw Michael and Elaine Shende Sharon Slater Beverly and Doug Smith Margaret Sovik Sal and Hope Strods Holly Strong Dan and Peggy Surdam Eugene and Joan Tarolli Nancy E. Tiedemann Susan Keefe and Michael Tutor David and Patricia Urban Linda Van Buskirk Dr. Kevin Walsh Richard and Ann Wasiewicz Mark Watkins and Brenda Silverman Don and Mary Anne Winfield Carol Wixson Susan Wolstenholme Elisabeth Wood Joyce Zadzilka Warren Zwicky

Brian Brundage and Pamela Foresman Barbara Foster Jerry and Kim Furney Halina and George Gagne Amandy and Wolfgang Geihe Marilyn Giancola Rebecca Hannen Brian and Maureen Harkins Martin and Rosemary Harms Mary Louise Hartenstein Carlyn and Jack Helmer Thomas Higgins Rich and Debbie Hole Perry and Dottie Howland Don Hughes Pamela Kirkwood

Elizabeth Kolodney and Barbara Sutton Myron and Luba Kopchynsky Kay Kraatz Gail Kuriger Claudia and Thomas Lambdin James and Jane Lanshe Ed Little Carol Matthews Eileen McHale Deborah McLear James and Elizabeth Megna Margaret Merli Zsuzsa Szombathyne Meszaros David and Janet Muir Jennifer Nead Laura Nichols Carolyn Oakes

Patricia Paradise Nan and Larry Pardee Elizabeth Patton David and Cindy Petters Susan Poniatowski Nanette and Robert Rodormer Amy Rolleri Terri Roney Lisa Rosecrans Carolyn and Richard Smith John and Katja Sodja Laura Steinberg Anita and Sal Strods Brenda Switzer Patty Weisse and George Thomas Joan Thomsen Mary Anne Trompeter

Contributor Matteo and Rose Bartolotta Lynne and Richard Bennett Ann Marie Bergold Max and Laura Berube Barbara Bloom Cynthia Blume Robert and Gilda Brower Hal and Peggy Brown Carol Bryant Stephen and Patti Buechner Andrea Calarco Curt and Joyce Carlson Elaine and Greg Ceresko Stephen and Linda Chow Jim and Sharon Cirincione Rev. Becky and Kip Coerper Dan and Theresa Brown William and Wendy Crosman Heidi and Don Cross Angela Daddabbo Susan T. Dailey Terry and Bill Delavan Kate DiDonato Anna and Ed Egert Thomas Eldred Dorothy Fagerstrom Patricia Fallon Paul and Erika Fiutak Robert Foster Judith A. Fox

Member Dianne Apter and Tom McKay Mary Ann Baner Walt and Pat Blackler Dave and Pat Blackwell Jane and Donald Blake David Brittain Betsy Burton Heather and Timothy Carroll Michelle Cole Ransford and Janice Cooper Bill Coppard Lynn K. Cornachio Michael J. Cunningham Duane and Lois Dann Frederick and Janet Fagal Diane Fellerman Eleanor Filburn Mike and Betsy Foote

FUN at the Festival Concerts for all ages! Kids are FREE Adults pay $5 at the door

KidsFest is sponsored by

The Panasci Family and The Fletcher Foundation

WindSync: Peter and the Wolf Wednesday, August 9, 11:00 AM • First Presbyterian Church Kids will love WindSync’s interactive and imaginative acting out of the famous children’s story, set to Prokofiev’s classic score, arranged here for flute, clarinet, oboe, horn, and bassoon.

WindSync Garrett Hudson, flute; Emily Tsai, oboe; Julian Hernandez, clarinet Anni Hochhalter, horn; Kara LaMoure, bassoon

Joey Alexander, piano Saturday, August 26, 11:00 AM • First Presbyterian Church Not your average teenager, Joey Alexander is known as the world’s only true jazz prodigy. Be astonished by what he can do, and hear his inspiring life story in his own words. He captivated millions at the last two Grammy Award ceremonies. This is our chance to hear him up close.

artist sponsorships

Joey Alexander is sponsored by: The Breuer Family, Geraldean & Greg Lantier, Jessica & Patrick Danial and Jolie & Scott Johnston with additional support from Grossman St. Amour CPA WindSync is sponsored by Patience Brewster and Holly Gregg Additional support from the Frank and Frances Revoir Foundation 6

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.

EDUCATIONAL INITIATIVE

SkanFest U is sponsored by

The Julie Sharpe Fund

EDUCATIONAL INITIATIVE

Following Mozart Tag along with Mozart on his travels through Europe – and get to know his music from the inside. Rome, Paris, Munich, London, Vienna – follow the young Mozart as he listens, lives, learns, and finds his own voice as a mature artist. Get to know his music from the inside, through multimedia presentations, readings from his own (often hilarious) letters, and exclusive live performances by Festival artists. Deepen your understanding of Mozart and enhance your experience of both the Festival’s new Go/Hear Series (which also takes us to Italy and England) and David Zinman’s all-Mozart program at the Robinson Pavilion, on August 12. Weekly Sessions • Tuesdays, 3:00 – 4:00 PM • First Presbyterian Church Weekly sessions are led by Artistic Director Aaron Wunsch, who studied at the Mozarteum in Austria and teaches on Mozart at The Juilliard School. August 8, 15, 22 and 29 The Skaneateles Festival’s educational sessions are open to all. Registration is required. Registration fee: $25 per person. For more info: 315-685-7418 or www.skanfest.org

“ This fund will serve as a vehicle that reflects my deep appreciation for what the people of this area have meant in my life.” – Juliette Klein Sharpe

Longtime Skaneateles resident Julie Sharpe felt blessed by her friends and community and enriched by several local nonprofits. Before her passing in 2014, Julie designated a provision in her will to establish a fund at the Central New York Community Foundation. The Skaneateles Festival will benefit in perpetuity from Julie’s thoughtful legacy of generosity. SkanFest U is performed in grateful memory of Julie and all that she did as a Festival volunteer and supporter. Photo provided by the Central New York Community Foundation

specialty

Support YOUR Skaneateles Festival D ONATE for Music Today

ENDOWMENT for the Future

Donate today and support the 2018 season. Your gift will be recognized in next year’s program.

Your gift can provide beautiful music forever… when you donate to the Festival endowment fund.

SPONSORSHIP for 2018

PLANNED GIVING Forever...

Sponsor a concert or musician for the 2018 season. Your gift of $1,500 or more can sponsor a musician or an entire concert in 2018. Your gift will be recognized in next year’s program and you will be invited to meet the musicians.

Your planned gift can demonstrate your love of music and your continued commitment to the community that is the Skaneateles Festival.

Yes, I want to support the Skaneateles Festival.

o Donate for music today o Sponsorship for 2018 Please contact me to discuss my gift options. o 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 # ��

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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

VOLUNTEER The Festival is made possible by volunteers... like you! We are always looking for help with concerts • food for musician dinners musician housing • and more

If you are interested in helping, please visit the “Get Involved” section of our website SkanFest.org 9

tonight’s concert is sponsored by

week 1

Carl Schramm & Ellyn Brown and the Ewing Marion Kauffman Foundation

Wednesday, August 9 7:30 PM Concert: First Presbyterian Church

Reception: 85 East Genesee Street, Skaneateles

summer suite sponsorship

11TH ANNUAL

Summer Suite with

Anderson & Roe Piano Duo PIAZZOLLA arr. ANDERSON & ROE

Primavera Porteña

STRAVINSKY arr. ANDERSON & ROE

The Rite of Spring

ANDERSON & ROE JACKSON arr. ANDERSON & ROE SIMON AND GARFUNKEL arr. ANDERSON & ROE PIAZZOLLA arr. ANDERSON & ROE

Part I: The Adoration of the Earth Introduction The Augurs of Spring: Dances of the Young Girls Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage The Sage Dance of the Earth

Hallelujah Variations

(Variations on a Theme by Leonard Cohen)

“Billie Jean” from Thriller “Mrs. Robinson” from Bookends Libertango

Greg Anderson and Elizabeth Joy Roe, piano Following tonight’s concert everyone is invited to attend an elegant dessert & wine reception at the beautiful home of

Bill Gilbane & Jeffrey Tousey 85 East Genesee Street, Skaneateles tonight’s artist sponsorship

Anderson & Roe are sponsored by Mary Cotter 10

Please support our sponsors and advertisers. (See directory on page 79.)

Program Notes

n a class by themselves, Anderson & Roe are redefining piano music in the 21st century. These jaw-dropping virtuosos create a sound on piano like you’ve never heard before. From Stravinsky to their own clever arrangements of music by Michael Jackson, Radiohead, and the Beatles, “Anderson and Roe are the very model of complete 21st-century musicians – they fuse classical and pop music into a blend of high artistry and skillful entertainment” (Washington Post).

Primavera Porteña (1970) Libertango (1973) ÁSTOR PIAZZOLLA (1921-1992) / ANDERSON & ROE Ástor Piazzolla’s name is now so synonymous with tango that it’s hard to believe his music was once rejected for un-tango-like sportsmanship – in fact, a new drama about his life is entitled That’s Not Tango. His athleticism on the bandoneón (Argentinean accordion), however, was never in doubt. Piazzolla was a child prodigy on the instrument, which, surprisingly, he learned to play in the United States before returning to Argentina, in 1937 – kind of like a bluegrass musician going to China to learn the banjo. Perhaps for this reason, his perspective was always unique. His brand became known as Nuevo tango.

© AARON WUNSCH, 2017 Unlike most other tango musicians, Piazzolla considered himself to be a composer with capital C, in the traditional sense of the word. He was certainly the only one to study in France with Nadia Boulanger (friend of Stravinsky) and to compose a cello sonata for Rostropovich; he would have composed an opera, too, had he not died in 1992. In fact, it was his music’s composerly details that most offended tango purists – he injected chromatic harmony, counterpoint, and elements of jazz into an art form that was supposed to be from the streets. These details, however, facilitated his music’s leap into the arms of classical performers, for whom his style felt at once excitingly foreign and somehow familiar. While initially rejected at home, his music thrived abroad to the point that he eventually became the tango’s leading practitioner. He had brought the tango too much fame and attention to ignore. His 1970 Primavera Porteña (Spring) is one of Four Seasons of Buenos Aires, originally for electric guitar, double bass, bandoneón, violin, and piano. Before you imagine the buds in bloom, remember that in the southern hemisphere, spring is closer to what we know as fall. The piece swaggers in with youthful machismo, as if trying to subdue its underlying feeling of desperation (ever-present in tangos). The music turns quietly reflective before driving forward again, harder than ever, toward a thrilling finish.

8/9 Program Notes (CONTINUED)

Libertango proclaims Piazzolla’s freedom (“Libertad”) from the conventional tango. “Libertango stands for the freedom which I allow for my musicians,” he said. “Their limits are defined solely by the extent of their own capabilities and not through any exterior pressure.” It melds a defiant, pulsating, rhythm with a soaring, lyrical melody, a headlong free fall until the shattering final chord. Consider the mold broken.

“Part I: The Adoration of the Earth” from The Rite of Spring (1912) IGOR STRAVINSKY (1882-1971) It turns out that watching a teenage girl dance herself to death is not everyone’s idea of a good time. At least, so it seemed at the riotous premiere of Stravinsky’s Rite of Spring in 1913, which pitted the fashionable ladies of Paris (horrified!) against progressive bohemians (delighted!) – and some version of that argument has more or less continued for over 100 years. Theories as to what exactly precipitated music’s most famous riot include the primitivist storyline, Nijinsky’s defiantly un-balletic choreography (which Stravinsky described as a “group of knock-kneed and long-braided Lolitas jumping up and down”), and the music – or some combination of the three. In any case, the performance at the Théatre des Champs-Elysées asked uncomfortable questions: To what extent should art take

A perfect night for the 2016 Summer Suite party.

us outside our comfort zone? If it rejects tradition, is it still art? Whatever the answers to these long-debated questions, this music remains both terrifying and utterly compelling. The plot on which Stravinsky based his music was the brainchild of Nicholas Roerich, the mystic painter-archeologist who also designed the set and costumes. A scholar of ancient pagan rites, he divided the story into two parts, of which we hear the first. As spring arrives, an old woman tells what the future holds. The girls gather from among the crowd and dance together, and then (these being teenage girls) in two rival groups. The sage leads in the wise elders and blesses the earth, after which all dance in a frenzy. Roerich’s pagan scenes refute the refined individualism of Parisian society, just as Stravinsky’s music refutes almost every musical convention of the previous 250 years. The original performers in the pit couldn’t believe their ears. They tried so often to point out “mistakes” that the conductor, Pierre Monteux, had to instruct them to give up and just play what was printed. “I was convinced he was raving mad,” said Monteux. Stravinsky’s version for piano helped to facilitate rehearsals with the dancers; he and Claude Debussy tried it out together at a soiree in 1912. The continuous use of dissonance lays bare the brutality and violence of the rite, while the unpredictable rhythmic accents release an almost joyful primal energy. The combination of violence and celebration is both terrible

8/9 Program Notes (CONTINUED)

and irresistible. It may not have been everyone’s idea of a good time, but after the scandalous premiere, everyone had to hear it, and the work quickly became Stravinsky’s greatest success, which it remains.

Hallelujah Variations (VARIATIONS ON A THEME BY LEONARD COHEN) ANDERSON & ROE The warm winds of popularity don’t necessarily blow in a straight line, as the trajectory of Leonard Cohen’s song “Hallelujah” illustrates. Cohen struggled mightily over the lyrics (which reached some 80 potential verses) and thought highly of the final result. However, Columbia Records refused to release the 1984 album, Various Positions, for which the song was intended. Its president told him, “Look, Leonard; we know you're great, but we don't know if you're any good." Gradually, other singers started to take it on as a cover, following Bob Dylan’s lead. Like many classic songs, the ambiguity in the lyrics allows for varying interpretations – sincere (John Cale), sensual (Jeff Buckley), emotional (k.d. lang), and quasireligious (Rufus Wainwright). The melody of this gospelstyle waltz moves ever upward, step by step, and you might just find your eyes drifting up to the sky along with it. The song really took off, however, after its inclusion in the unlikely hit movie, Shrek, in 2001. Since then it seems

to blow its way into every TV show, outdoor wedding, and subway station.

“Billie Jean” from Thriller (1982) MICHAEL JACKSON / ANDERSON & ROE “Billie Jean” takes us back to 1982, though the song’s blend of funk and disco already had a retro quality when it appeared. According to record execs, it should not have succeeded – a rather grim funk-disco-R&B-pop song about an illegitimate child would interest almost no one. Well, it turns out a good song is a good song. Jackson later claimed: "A musician knows hit material… I knew it was going to be big when I was writing it." Its spine is a pulsating bass line and syncopated chords for synthesizer, which Jackson’s lyrics fit perfectly. The natural accents of the words line up exactly with the syncopations of the underlying music (“Billie JEAN is NOT my LO-ver…”), which is why no one forgets them. Of course, Jackson’s smoking dance moves in the music video (designed for a new station called MTV) helped fan the flames of popularity, and in a 1983 live performance of the song he introduced the moonwalk, a backwards-is-forwards maneuver that became his signature. “Billie Jean” helped make Jackson’s Thriller the best selling album of all time, which it remains today.

“Mrs. Robinson” from Bookends (1967) SIMON & GARFUNKEL / ANDERSON & ROE “Mrs. Robinson” might well have been a hit song without the film for which it was intended, but those who have seen Mike Nichols’ The Graduate (1967) hear a very different connotation in the song than those who haven’t. Anne Bancroft’s icy temptress in the film seems a poor fit for the folksy flavor of the upbeat song, and so it carries an irony that fits the film’s cold gaze upon societal mores. In fact, the song mostly predated the film. Simon and Garfunkel hadn’t settled on all the lyrics and would substitute various three-syllable names for Robinson – most often Roosevelt (speaking of a different connotation). Nichols liked the song, so the new title stuck. The duo released the song on their 1968 studio album, Bookends, and it played on the radio not long after the film came to theaters.

tonight’s concert is sponsored by

week 1

David Graham, the Jean Graham Trust, and Fred & Ginny Marty

Thursday, August 10 8:00 PM First Presbyterian Church

Opening Night OFFENBACH arr. WINDSYNC

Overture from A Trip to the Moon

BERNSTEIN arr. WINDSYNC

Symphonic Dances from West Side Story

MARTINŮ

WindSync Garrett Hudson, flute Emily Tsai, oboe Julian Hernandez, clarinet Anni Hochhalter, horn Kara LaMoure, bassoon

Prologue Mambo Cha Cha America

Nonet No. 2 for Winds and Strings, H. 374 Poco Allegro Andante Allegretto

Daedalus Quartet Min-Young Kim, violin Matilda Kaul, violin Jessica Thompson, viola Thomas Kraines, cello WindSync Doug Balliett, bass

intermission

SCHUBERT

Quintet in C Major for Two Violins, Viola, and Two Cellos, D. 956

Daedalus Quartet Julia Bruskin, cello

Allegro ma non troppo Adagio Scherzo Allegretto

tonight’s artist sponsorships

tonight’s media sponsor:

Julia Bruskin is sponsored by The Skaneateles Consortium: George Bain, Sam & Debby Bruskin, Dana & Susan Hall, and Ron Sampson Daedalus Quartet is sponsored by Doug Sutherland and Nancy Kramer WindSync is sponsored by Patience Brewster and Holly Gregg

Cumulus Media The Skaneateles Festival is made possible, in part, with support from the County of Onondaga, administered by CNY Arts.

Program Notes

wo brilliant ensembles fill the stage on opening night: the five young, “game-changing” virtuosos of WindSync (Lexington Herald-Leader), and the “insightful and vibrant” Daedalus Quartet (New York Times). WindSync engages audiences in new ways, performing from memory and showcasing their own arrangements of repertoire from around the world, while the Daedalus Quartet brings its “rockets of blistering virtuosity” (Washington Post) back to the Festival. They join together for Martinů’s joyous Nonet, and Julia Bruskin performs with the Daedalus in Franz Schubert’s transcendent String Quintet in C Major.

Overture from A Trip to the Moon (1875) JACQUES OFFENBACH (1819-1880), arr. WindSync Why call the sky the limit when you can fly to the moon? This more-is-more attitude helped launch Jacques Offenbach into the orbit of operetta stardom – and it also pretty much sums up the plot of his 1875 operetta, Le Voyage dans la Lune. When a young prince returns from extravagant world travels, he refuses the crown and instead plans an even more extravagant trip to the moon, much to his father’s chagrin. Our fearless yet arrogant rebel-hero is the intergalactic French James Dean.

© AARON WUNSCH, 2017 Today, we take the possibility of space travel for granted, even if it technically remains available only to a few astronauts and capricious billionaires. In the 1870s, it was a far more fantastical notion, since no one yet knew firsthand what might be lurking out there. Science fiction writers like Jules Verne had recently unleashed the public’s imagination in this direction – and perhaps no one’s more than Offenbach’s costume designers, who concocted no less than 673 costumes for the premiere. Creatures came to life across 24 scenes, which included a glass palace, a blast furnace, and a lunar volcano. Yet Offenbach’s music provides the real liftoff. After a festive fanfare, a lofty horn melody summons the spirit of adventure (as at the beginning of every Universal Pictures film). Once our anticipation builds sufficiently, the rocket spark ignites, and a pulsating rhythm sends us aloft. A master of orchestration for winds, Offenbach can make even a few instruments sound irresistibly grand. His greatest achievement, however, was to render the line between art and entertainment all but invisible. So just enjoy the ride.

Here’s to a humdinger of a season! P at i e nc e

B r e ws t e r

Happily supports the Skaneateles Festival

8/11 Program Notes (CONTINUED)

Symphonic Dances from West Side Story (1960) LEONARD BERNSTEIN (1918-1990), arr. WindSync Were Lenny still alive, he would turn 99 years old this month – imagine that. Yet youth was for Bernstein a state of mind, not of body. A man of few inhibitions, he never said “I can’t do that,” and so he did it all: composer for orchestra, composer for Broadway, conductor, educator, television personality, political activist, and cultural ambassador. West Side Story was the perfect vehicle for Bernstein’s creativity – its subject matter is youth itself, and its multicultural backdrop stimulated his eclectic musical imagination. Although his accomplishments were many, this musical may well be his greatest achievement. The musical brought together a dream team of Bernstein (music), Arthur Laurents (book), Jerome Robbins (choreography), Stephen Sondheim (lyrics), and, let’s not forget, William Shakespeare (inspiration). However, the process did not start out well, or smoothly. In its original form, it would have been Lower East Side Story, a tale of conflict between Catholics and Jews during Passover. The musical prospects for matzo-eating lovers looked pretty dim (Palestrina goes klezmer?), and so the project was shelved for several years, until gang activity became a central news item in the mid-1950s. New York City identified over 1,000 known gang members, mostly disaffected youth who were rarely over 20 years old; they fought over turf or girls, not drugs. The parallel to Romeo and Juliet seemed perfect. In his musical salad bowl, Bernstein brought together the sounds of traditional musical theater, opera, jazz, Latin styles, and even modernist elements, like Stravinsky’s harmonies, miraculously mixed in good taste. While the original pit orchestra included electric guitar, drum set, and piano, three of the four dances heard tonight are adapted from Bernstein’s 1960 arrangements for concert orchestra. The Prologue sets the stage for mischief by the Jets and Sharks; the macho Mambo and sensual Cha Cha depict the gang members and then the lovers during the dance at the gym. America, the musical’s sassy meditation on the immigrant experience, quickly became a hit. Bernstein spent a week in Puerto Rico familiarizing himself with the island’s culture before composing it, and he brought together the sounds of American and Puerto Rican music in a way that mirrors the ambivalence over whether it’s really better here, or there. Bernstein and his partners worked hard to address such contemporary issues in contemporary language and contemporary music, and in so doing the work became a classic, remaining youthful forever.

Nonet No. 2 for Winds and Strings, H. 374 (1959) BOHUSLAV MARTINŮ (1890-1959)

Bohuslav Martinů is probably the only composer to live over a decade in a clock tower. This amusing factoid may not be as trivial as it sounds. Born in the tower of St. James

Church in the Czech village of Polička, Martinů’s father was a shoe cobbler who moonlighted as a church bell ringer and fire spotter. No doubt his eyes were always peeled, for if he did not spot a fire immediately in this village of wooden houses, lives could easily be lost. Here he raised a family of five, and parents among us can only wonder at how he coaxed five children up 192 stairs. One sees life a little differently from such a vantage point, as the composer later explained in his memoir: “I do not feel the small interests of people, their problems, their pain or their joy; I saw these from high above, far away. But it is the space that I constantly see and I think the one that I keep looking for in my works.” Martinů’s Nonet dates from the very end of his life, almost 60 years after he left the tower room. From that moment on, the world changed irrevocably with electricity, two world wars, and television. Martinů faced his own hardships, too, from blacklisting by the Nazis to refugee displacement to Hoboken, and eventually stomach cancer. Yet Martinů’s musical style remained remarkably consistent through his nearly 400 works. First, there is virtually always a constant tick tock rhythm. His style also reconciles opposites, as befitting a Bohemian shoe cobbler’s son turned Parisian intellectual: Classical forms with modernist spunk, tonal harmonies injected with pungent dissonances, Bohemian folk idioms alongside cosmopolitan irony. The sun shines on much of the Nonet. The boisterous first movement frolics in the field, and those gathered

After all, great music doesn’t play itself. It depends on factors of economics, promotion, and interest by performclearly enjoy each other’s company. By contrast, a plainers and the public. Whereas Beethoven stubbornly wrestled tive cello melody begins the Andante, with uneasy these factors into submission on behalf commentary by the other strings. of his once-puzzling creations, The winds try to reassure the cello, Schubert was the son of a PERFORMER QUOTE but it is not easily convinced. schoolteacher who preached Together they all ponder whatOne of my earliest musical memories is of lying on modesty above all. And if ever existential question the your friends had nicknamed the floor as a young child in the basement of my cello posed – in Martinů’s you “Little Mushroom,” parents’ house listening while they played chamber lifetime, there were many. you might not excel at They may not arrive at the music with friends. It was a few years later that I realized self-promotion either. answer but feel better for The quintet’s unusual that one of my favorites pieces from those days was the pondering it together. In the instrumentation didn’t joyful galloping third movement from Schubert’s Cello final movement, their good help, and its length and humor gradually returns. Quintet. By the time I was in high school, I was whiling difficulty excluded most Little by little, they succeed amateurs. In retrospect, away my own Sunday afternoons playing the Schubert in cheering each other up, we can be grateful quintet with friends. I can’t wait to open our festival this especially after the violin starts Schubert didn’t care more to dance. As a whole, the Nonet year by coming back to play this amazing piece (which about such exigencies. tells us the value of a community Instead, he wrote a work now feels like a friend itself) with my friends Min, of friends amidst an unpredictable that speaks the truth, Matilda, Jessi and Tom of the Daedalus Quartet! world. The world he left in 1959 entirely in its own way. was vastly different than the one he The Quintet begins as a JULIA BRUSKIN entered through a clock tower in succession of two quartets: the 1890. Fittingly, he died in Switzerland upper four strings’ ethereal chords – a peaceful country, and second to none in clocks. elicit a down-to-earth response by the lower four strings. Only after these two groups combine into the full quintet Quintet in C Major for Two Violins, Viola, and is the propulsive first theme born – and it carries us almost Two Cellos, D. 956 (1828) straightaway into the heart-melting second theme for FRANZ SCHUBERT (1797-1828) two cellos, the most beloved melody of the whole work Mention Schubert’s Cello Quintet to any string player and (provide your own ‘Ah’s’). Once this theme carries us to you will likely hear a quiet “Ah,” or some other moan of heaven, we’re not eager to leave, and the large scale of delight. The reverence felt for this lyrical, expansive work this movement now becomes clear. In the dramatic central is scarcely shared by any other. It was born, however, into section, the strings come into conflict, hurling insistent obscurity. Composed near the end of Schubert’s life, in rhythms. Having worked through it, they return to the first 1828, we know of no performance given until over 20 years two familiar themes, which now seem to mean something later. Even though Schubert’s older brother highlighted different. This music goes on a journey, and it can never the Quintet as a “beautiful work” in his widely circulated return to the same place. In the second movement, time 1839 remembrance of the composer, no publisher took seems suspended. The melody played by the middle interest until 1853 – a quarter century after its composition. strings unfolds so slowly, over five unearthly minutes, one realizes only gradually that it lives and breathes. Suddenly shattered by a tragic event (as Schubert’s own life was, by contraction of the then-terminal illness, syphilis), the music only regains its calm through great effort. 8/11 Program Notes (CONTINUED)

A happy crowd!

The scherzo brings us back to earth. It literally seems to stomp on the ground. This is not your average bit of light humor. The movement is determined to revel in the dirt with vigor and virility, embracing life with determination. The pensive middle section is not so certain, however, asking how long such a life can really last. The final movement gives up such questions, traveling ever onwards. Here Schubert embraces the Hungarian (gypsy) idiom so popular in Vienna during his lifetime. The first violin is the nomadic protagonist, fiddling away toward the unknown with her band trailing along. This is the musician’s life of adventure, uncertainty, and peril. Whatever happens, keep on playing!

tonight’s concert is sponsored by

week 1

Joan Christy

Friday, August 11

7:00 PM Backstage Pass (for ticket holders only)

8:00 PM First Presbyterian Church

Backstage Pass: Been There – Heard That? Music and Places Concert: Go/Hear – Italy! BELLINI

STRAVINSKY arr. WINDSYNC

Ariette da camera

Malinconia, Ninfa gentile Vanne, o rosa fortunata Almen se non poss'io Per pietà, bell'idol mio

Katherine Whyte, soprano Aaron Wunsch, piano

Suite from Pulcinella Sinfonia Serenata Gavotta Menuetto

WindSync Garrett Hudson, flute Emily Tsai, oboe Julian Hernandez, clarinet Anni Hochhalter, horn Kara LaMoure, bassoon

VERDI

Dante’s Ave Maria for Soprano and String Quintet

RESPIGHI

Piano Quintet in F minor, P. 35 Allegro Andantino Vivacissimo

Katherine Whyte, soprano Daedalus Quartet Min-Young Kim, violin Matilda Kaul, violin Jessica Thompson, viola Thomas Kraines, cello Julia Bruskin, cello

Daedalus Quartet Aaron Wunsch, piano

intermission

tonight’s artist sponsorships

Julia Bruskin and Aaron Wunsch are sponsored by The Skaneateles Consortium: George Bain, Sam & Debby Bruskin, Dana & Susan Hall, and Ron Sampson Daedalus Quartet is sponsored by Doug Sutherland and Nancy Kramer Katherine Whyte is sponsored by Doug and Judy Robertson WindSync is sponsored by Patience Brewster and Holly Gregg

Please support our sponsors and advertisers. (See directory on page 79.)

Concert: Go/Hear – Italy! (continued) GESUALDO arr. BRUCE ADOLPHE SCIARRINO GESUALDO arr. BRUCE ADOLPHE

Già piansi nel dolore No. 4 from Six Brief Quartets Moro lasso, al mio duolo

PUCCINI

I Crisantemi for String Quartet

DONIZETTI arr. EMILY TSAI

“Prendi, per me sei libero” from L’Elisir d’amore (Elixir of Love)

PUCCINI arr. EMILY TSAI

“Quando m'en vo” (Musetta’s waltz) from La Bohème

Program Notes

Daedalus Quartet

Katherine Whyte, soprano Daedalus Quartet WindSync

Go/Hear – Italy!

I Crisantemi for String Quartet (1890)

he first of four weekly “Go/Hear” programs, immerse you in a particular place and culture, with projections of photography and visual art in between the musical selections. First stop: Italy, with music ranging from Renaissance madrigals to lush, romantic vocal and instrumental music by Puccini, Verdi, Bellini, Donizetti, and Respighi. The large cast of performers includes soprano Katherine Whyte, the Daedalus Quartet, and WindSync.

GIACOMO PUCCINI (1858-1924)

Ariette da camera (1829) VINCENZO BELLINI (1801-1835)

Suite from Pulcinella (1920), after Italian Baroque composers Pergolesi, Gallo, and Monza IGOR STRAVINSKY (1882-1971), arr. WindSync

Dante’s Ave Maria for Soprano and String Quintet GIUSEPPE VERDI (1813-1901)

Piano Quintet in F minor, P. 35 (1902) OTTORINO RESPIGHI (1879-1936)

Già piansi nel dolore and Moro lasso, al mio duolo (1611) arr. Bruce Adolphe (2004) CARLO GESUALDO (1566-1613)

No. 4 from Six Brief Quartets (1992) SALVATORE SCIARRINO (B. 1947)

“Prendi, per me sei libero” from L’Elisir d’amore (Elixir of Love, 1832), arr. WindSync GAETANO DONIZETTI (1797-1848)

“Quando m'en vo” (Musetta’s waltz) from La Bohème (1896) GIACOMO PUCCINI (1858-1924) Allegro! Andante! Presto! These Italian words, still used by composers today and found in any English dictionary, are a reminder that Italy was long the center of the musical universe. During the Renaissance, Italy’s concentration of both mercantile and religious power led secular music to flourish in Florence and Milan, and sacred music in Venice and at the Vatican. Palestrina’s musical purity perfectly matched the Papal conception of divine love; meanwhile, men and women joined to sing the most risqué madrigals, full of thinly veiled references to physical amore. For members of the aristocracy, musical training was, as Baldassare Castiglione wrote in his widely read Book of the Courtier, “not only an ornament but a necessity.” One such courtier was Carlo Gesualdo, Prince of Venosa, who, according to an observer, “does not delight in anything but music.” This condition worsened considerably after he caught his young wife and her lover together and murdered them both. (The killing was considered justified, and he was not prosecuted.) As one might imagine, he composed music of extremes-love, agony, and death – which one contemporary compared to Dante’s poetry, which similarly does “not fear to employ hard, unusual and strange sounds.”

Stravinsky, now called Neoclassicism. When the ballet impresario Sergei Diaghilev presented Stravinsky with In particular, his harmonic boldness was unprecedented; scores said to be by Pergolesi (some were actually by his surprising and sometimes harsh modulations wrench Domenico Gallo and Carlo Monza), Stravinsky fashioned emotions out of the listener in a manner unparalleled until a masterful pastiche, Pulcinella. The majority of the music the 20th century. is Italian, and recognizably so, but Stravinsky modernized the harmonies and shone a bright spotlight on the wind Bruce Adolphe’s instrumental arrangeinstruments. It is as if Stravinsky wears an ments of the a capella madrigals highlight Italian carnival costume, but you can see the radical nature of these harmonic PERFORMER QUOTE him peeking out from underneath with changes. Another radical element of a mischievous grin. the madrigal style, in general, is the Pulcinella by Igor Stravinsky is one degree to which the music follows In the late 18th century, music of our favorite pieces… While the text. Italian composers were everywhere had already become at listening to the classical music radio willing to abruptly change any least a little Italian in style, and aspect of the music to illustrate the station in Houston, we suddenly Italy’s influence waned somewhat. words. For example, when the lover Then Gioachino Rossini burst on the realized the middle of the Gavotte of Gesualdo’s Già piansi nel dolore scene in 1816 with a comic masteris a beautiful trio between flute, (“Formerly I wept in my grief”) piece, The Barber of Seville. Even explains how his beloved turned bassoon, and horn - and the rest is Beethoven was envious. Whereas his grief into joy by admitting her Beethoven labored for years over his history. We hope you enjoy an feelings for him, a flurry of sixsingle opera, Fidelio, Rossini composed incredibly charming Suite from teenth notes show how his “troubles operas quickly, often while in bed; he fly away.” Moro lasso, al mio duolo Pulcinella by Igor Stravinsky bragged that if an overture blew out of (“I die in my suffering”), on the his hand, he would sooner start a new arranged by WindSync! other hand, wallows in the misery of one than get out of bed to retrieve it. unrequited love with the bitterest of ANNI HOCHHALTER This difference in compositional philosochord progressions, seemingly to the phy highlights the long-held Italian values point of madness and death – something of ease and confidence over struggle and Gesualdo knew a thing or two about. self-doubt. Perhaps these values account at However, death is a double entendre in madrigals for least in part for the spectacular success of vocal music from copulation – so make of this what you will! Italy. And if you ask a singer whose music fits best of all in the voice, the answer might well be Vincenzo Bellini Inserted between the two madrigals is a short move(1801-1835). Bellini’s music empowered singers to sing ment by another Italian experimental composer, Salvatore with confidence, to use their bel canto, beautiful voice. His Sciarrino, composed some 360 years later. Like Gesualdo, “long, long, long” melodies (as Verdi later put it) perfectly Sciarrino uses distortion for expressive purposes. His lanfit the emerging romantic sensibility of the era, and many guage employs wispy harmonics and other very soft sounds instrumental composers like Chopin and Liszt attempted to entice the listener to lean forward toward the players. In to reproduce their extraordinary effect on the listener. this Six Brief Quartets No. 4, the strings alternately shake their bows in shivery motions, like gusts of wind through a In his 34 years, Bellini primarily composed operas, but frozen landscape, or a swarm of delicate moths. his Ariette da camera for voice and piano offer a sampling of his melodic gifts. The first, Malinconia, Ninfa gentile In the Baroque Era, Italian music was popular through(“Melancholy, you gentle nymph”) could be an anthem for out Europe, and many composers followed what they heard the Romantic Era, which was more than happy to luxuriate all the way to Italy. After developing a passion for vocal in melancholy. In the second, Vanne, o rosa fortunate (“Go, music, Handel felt it necessary to visit the birthplace of opera in person. (J. S. Bach, by contrast, had little interest in opera and never left Germany, but he copied out and arranged Vivaldi’s masterful violin music in order to learn from it.) By the time Handel left Italy in 1710, he composed like an Italian and was nicknamed “Il Sassone” — that Saxon guy. In the same year, Giovanni Battista Pergolesi was born in Naples. During his short life of 26 years, Pergolesi turned the slow burn of Italian music through Europe into a wildfire. His comic vocal trademarks laid the foundation of musical grammar for the era of Haydn and Mozart: repetition of short melodies, light textures, giddy highs and subterranean lows. 8/11 Program Notes (CONTINUED)

Almost 200 years later, Pergolesi’s style also played an unlikely role in a new movement initiated by Igor

8/11 Program Notes (CONTINUED)

fortunate rose”), a lover imagines herself the rose resting on her beloved’s breast – a pleasing thought, until she carries the analogy further, noting that she, too, will wither and die from love. In the intimate song, Almen se non poss'io (“At least, if it is not possible”), the lover imagines her affections soaring to him along a familiar flight path. Finally, in Per pietà, bell'idol mio (“For pity’s sake”), she overdramatizes her indignation at a teasing remark made by her beloved, probably with the hope of receiving a kiss. In Italian music, a little drama can go a long way. Such music comes alive only through charismatic singers, of which Italy had many. Operas like Bellini’s Norma and Gaetano Donizetti’s Anna Bolena, both for soprano Giuditta Pasta, are vehicles for true divas (later, Maria Callas). Donizetti was a master of diva roles both tragic and comic. His comedy L’Elisir d’amore (“The Elixir of Love”) was the most popular opera in the early Romantic Era. With the comedy momentarily suspended, Adina starts to reveal in her aria “Prendi, per me sei libero” (“Take it, I have freed you”) that she loves the poor peasant, Nemorino, after all. The winds and strings accompany in pure tenderness. If you ask an Italian to name the greatest opera composer of all, chances are they will shout the name of Giuseppe Verdi (1813-1901), who was, is, and always will be a national hero. Although initially spurned by critics, the tidal wave of public enthusiasm for his music flattened

everything in its way. His unflinching portraits of heroes opposed to injustice reflected Italy’s longing for independence, and his unforgettable portrayals of lovers exude dramatic heat. One even hears such intensity in his sacred music, like the soulful Ave Maria Volgarizzata da Dante, the text of which appears in Dante’s Divine Comedy. Though this translation of the Ave Maria from Latin into Italian turned out not to be by Dante himself, Verdi channeled his favorite poet’s raw feeling into both the vocal line and the string quintet’s stirring accompaniment. In the twentieth century, Italy’s two biggest musical exports were the operas of Giacomo Puccini and the instrumental works of Ottorino Respighi. Both took the Italian passion for beautiful melodies to nearly fanatical extremes. Puccini’s La Bohème, his most popular opera, portrays a group of fun-loving but very poor artist-types living in Paris. Musetta’s true art is flirtation, which provides her both entertainment and money in her pocket. Her waltz in Act II, “Quando me‘n vo’ ” (“When I go walking”), turns every head in the bar, especially Marcello’s, her former sweetheart whom she still loves. Puccini’s melody is the musical counterpart to Musetta’s coquetry – your scruples melt away in the face of such beauty. While Puccini devoted himself almost exclusively to opera, he did leave us an exquisite movement for string quartet, I Crisantemi (“Crysanthemums”). He penned it in a single evening as a response to the sudden death of a friend, Amadeo di Savoia, a former political figure who had briefly been the King of Spain. The dark-hued, melodious work is both a private tribute and an emblem of Italian musical expression. The melodies are so vocal, in fact, that Puccini reused them in the final act of his opera Manon Lescaut. Bolognese composer Ottorino Respighi might be called the Puccini of instrumental music. His father was a piano teacher, and from a young age, he composed chamber music. Respighi played the violin, viola, and piano, so the Piano Quintet (1902) was a natural choice. He composed it at age 23 while in Russia, a member of the Imperial Theater orchestra. Some might hear the sounds of Russian bells in the work, and it bears some resemblance to Brahms’s Piano Quintet in the same key, but the work remains thoroughly Italian in spirit. Its passionate melodies could as easily be sung as played. However, Respighi was more adept at building the inherently abstract forms of instrumental music than most of his contemporaries. The urgent, unsettled opening melody meets with a soothing, major-key response from the solo cello, and the two themes work out their differences over the course of the first movement. A similar duality characterizes the rest of the piece, where Respighi blends two movements into one – a slow, plaintive song with a carefree Italian tarantella. The mysterious coda leaves us in doubt as to which will win out until the very last moment, when the sun shines through the clouds. Viva l’Italia! 21

tonight’s concert is generously sponsored by

week 1

Saturday, August 12

Robert & Jenifer Weisenthal

at Anyela’s Vineyards

With additional support from the Mary Louise Dunn Fund, administered by the Central New York Community Foundation

7:30 PM Robinson Pavilion

Rain Location: West Genesee High School

Mozart Under the Stars MOZART

MOZART Cadenzas, MR. DICHTER

Overture from The Impresario, K. 486

Piano Concerto in C Major, K. 467 (“Elvira Madigan”) Allegro maestoso Andante Allegro vivace assai

Misha Dichter, piano

intermission

MOZART

Symphony No. 38 in D Major, K. 504 (“Prague”) Adagio – Allegro Andante Finale: Presto

Skaneateles Festival Orchestra David Zinman, conductor VIOLIN 1 Jeremy Mastrangelo, concertmaster Jeremy Hill Shannon Nance Sonya Williams VIOLIN 2 Sara Mastrangelo* Amy Christian Molly Werts McDonald Susan Spafford

VIOLA Melissa Matson* Olita Povero Heidi Stauber CELLO Julia Bruskin* Lindsay Groves Rosemary Elliott BASS Edward Castilano*

FLUTE Elizabeth Shuhan* Juliana Pepinsky

BASSOON Matthew McDonald* Daniel Hane

OBOE Jillian Honn* John Lathwell

HORN Alexander Shuhan* Tyler Ogilvie

CLARINET Allan Kolsky* Victoria Krukowski

TRUMPET Wesley Nance* Paul Shewan TIMPANI Charles Ross *denotes principal

tonight’s artist sponsorships

tonight’s media sponsor:

David Zinman is sponsored by Gwen Birchenough, Dave Birchenough & Carrie Lazarus, Bill Rosenthal, Jerry Gebo, & Logical Operations Misha Dichter is sponsored by Lou & Mark Bitz and Lori Ruhlman & Dan Fisher

WRVO Public Media Spectrum 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

on’t miss the big orchestra event of the summer: world-renowned conductor David Zinman leads the Skaneateles Festival Orchestra in an all-Mozart program. The “legendary” pianist Misha Dichter (New York Times), performs Mozart’s Piano Concerto in C Major (“Elvira Madigan”), heard alongside Mozart’s joyous Overture to The Impresario and his “Prague” Symphony.

Overture from The Impresario, K. 486 (1786) WOLFGANG AMADEUS MOZART (1756-1791) Mozart’s miniature comic opera, The Impresario, was not his idea. Immersed in work on The Marriage of Figaro, a special commission came Mozart’s way in 1786, to which he couldn’t say no. Literally – as in, by law. It came from the Holy Roman Emperor. One can imagine the exchange. Mozart! You are to give me a small theater piece immediately for my lunch with the Dutch Governor. Yes, your Highness. And it must be in German. Yes, your Highness. And by the way, I have chosen the librettist and designed the hi-LA-rious plot myself. Yes, your Highness! Mozart took these Imperial commands in stride, realizing the Emperor’s plot was actually a good one: two vain sopranos argue over who should have the principal role in an opera, with the impresario caught in the middle (Mozart knew this feeling). After an exchange of arias showing off their high notes, the dueling divas eventually agree to share the limelight – after all, “every performer strives for glory.” The lively comic overture encapsulates the pomposity, argument, and all’s-well-that-ends-well spirit of the story.

Saturday concerts are not to be missed.

Piano Concerto in C Major, K. 467 (“Elvira Madigan”) WOLFGANG AMADEUS MOZART (1756-1791) In contrast to imperially prescribed theater pieces like The Impresario, Mozart’s Viennese piano concertos constitute one of the great entrepreneurial acts of music history. Mozart composed the music, hired the performers, arranged the rehearsals, rented the venues, printed the tickets, invited the guests, performed, and conducted – not necessarily in that order. If he didn’t finish composing his own part, no matter – he improvised. (Armed with some newfangled binoculars, the Emperor once noticed Mozart playing in the court theater from a blank page of music paper on the piano rack.) The whole enterprise involved considerable daring and risk, and the piano concertos themselves are full of the same qualities. Mozart composed Piano Concerto in C Major, K. 467, at the height of his success in Vienna, in 1785. At this point, Mozart was a hot ticket. He had already given a series of concerto performances in modest rooms around town, attended even by members of the high nobility who would not normally be seen in such places. Finally, Mozart was granted his own performance slot at the large court theater, which was available to instrumentalists only during Lent. He composed this concerto for the occasion. Since he had a larger orchestra of 35 and more space available to him, Mozart included trumpets and drums in the score for an especially grand effect. It was designed to succeed – and it did, and does. The opening movement begins with a march, but softly, as if from a distance. Once the band arrives and passes, the

The Allegro begins meekly with some rather unassuming repeated notes, which turn out to be a building block for winds and brass find themselves in a giddy mood, and with the entire grand movement. This democratic approach to a few solos of their own they coax the piano out into the musical themes (later employed by Beethoven) reflects the limelight. “Who, me?” it seems to say, as if it Enlightenment ideals of his time. The miracle doesn’t know this is a piano concerto. Only of this movement, however, is to render gradually does the piano assert itself, letting such astonishing sophistication of melody, loose several cascades of notes before harmony, and counterpoint clear and abruptly turning serious, then tender, comprehensible to the listener – like a PERFORMER QUOTE then playful, then eloquent, then lively, fun, easily relatable lecture on grandiloquent. Mozart traverses this quantum mechanics. David Zinman is spectrum of emotions with such skill The gentle, fragile melody of the without a doubt the that the piano seems to become truly second movement lives in a world of human before our eyes and ears. most remarkable threatening circumstances, rendering During the 20th century, the real it even more beautiful. Somehow it conductor I have ever hit of the concerto turned out to be the survives the minor keys lurking around played under and I am slow movement. While the once-popuevery corner. The final movement has thrilled to have another lar 1967 Swedish film that attached all the hallmarks of comedy, from quietly its name to Mozart’s Concerto like a scheming strings to bouncing bassoons opportunity to perform barnacle has long been forgotten, the – but like the first two movements with him. Wow." movie’s score brought this sublime music (and his comic operas), Mozart intends to listeners around the world, and they to express the full range of the human ALEXANDER SHUHAN still haven’t forgotten it. In a single, condition. Our comic characters therefore delicate breath, Mozart serenades us with find themselves in the real world of physical a melody of profound beauty, beautifully dangers and self-doubt. Fortunately, they are profound. When composing for the court able to retain their sense of humor in the face theater, Mozart often preferred to end with a of such adversity, as Mozart himself always did. simple, fun-loving tune, around which the piano could Perhaps through music he can teach us to do the same. break-dance (er, quadrille). Such is the case here, and the piano has some serious moves. Mozart’s harshest critic, his father, was in the audience. He made no mention of the music, but was impressed by the box office receipts. In the The ideal Skaneateles summer: presence of such music, could anything matter less? 8/12 Program Notes (CONTINUED)

Symphony No. 38 in D Major, K. 504 (“Prague”) WOLFGANG AMADEUS MOZART (1756-1791) After the performance of his Piano Concerto at the Court Theater in 1785, Mozart gradually became a victim of his own success. Nearly everyone had already seen him perform a concerto, and he had reached the point of diminishing returns. His finances were in decline, and it was time to try something new. He planned a new concert around the Symphony heard tonight, but it seems to have been canceled at the last moment – perhaps for lack of enough ticket sales to cover his costs. So Mozart hit the road. He headed for Prague, where apparently everyone was humming the tunes from his opera The Marriage of Figaro (so much so that these tunes had been turned into dance music – like the disco version of Beethoven’s Fifth). The orchestra and its patrons had invited him to the city, so he took the symphony along, and Prague heard it for the first time. The city’s name remains attached. The weighty, slow introduction announces this symphony as one of Mozart’s most ambitious works. Through sudden contrasts in volume and harmony, it demands attention. It bears some similarity to the opening music from Don Giovanni (soon to be written, also for Prague); one wonders whether some tragedy might be close at hand.

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tonight’s concert is sponsored by

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Sieglinde Wikstrom

Thursday, August 17 8:00 PM First Presbyterian Church

The Great Beyond J. S. BACH arr. PEGGY PEARSON

WADSWORTH

PÄRT

Prelude in E Major, BWV 854 Fugue in E Major, BWV 878

Beati Quorum Remissae for Double Choir Fratres (Brotherhood)

WHITACRE

A Boy and a Girl Sleep

MESSIAEN

“Praise to the Immortality of Jesus” from Quartet for the End of Time

DOVE

“Ring Out, Wild Bells” from The Passing of the Year

Peggy Pearson, oboe Jesse Mills, violin Melissa Matson, viola Julia Bruskin, cello The Antioch Chamber Ensemble Jesse Mills, violin Aaron Wunsch, piano The Antioch Chamber Ensemble Jesse Mills, violin Aaron Wunsch, piano The Antioch Chamber Ensemble Aaron Wunsch, piano

intermission

FAURÉ

Requiem, Op. 48 Introit et Kyrie Offertoire Sanctus Pie Jesu Agnus Dei Libera Me In Paradisum

tonight’s artist sponsorships

The Antioch Chamber Ensemble is sponsored by Ivan and Mimi Ace Julia Bruskin and Aaron Wunsch are sponsored by The Skaneateles Consortium: George Bain, Sam & Debby Bruskin, Dana & Susan Hall, and Ron Sampson Jesse Mills is sponsored by Roland and Tacie Anderson

The Skaneateles Festival is made possible, in part, with support from the County of Onondaga, administered by CNY Arts.

The Antioch Chamber Ensemble Joshua Copeland, Artistic Director Stephen Sands, Executive Director SOPRANO Amy Goldin Linda Jones Melanie Russell Kristin Sands

ALTO Luthien Brackett Kirsten Sollek

TENOR Timothy Hodges Stephen Sands

BASS Joshua Copeland Steven Hrycelak Edmund Milly Jonathan Woody

Daniel Hege, conductor VIOLIN Jesse Mills

VIOLA Melissa Matson Olita Povero Neil Miller Heidi Stauber

CELLO Julia Bruskin Lindsay Groves Rosemary Elliott Gregory Wood

Program Notes

ure to be memorable, this program features transcendent and profound choral and instrumental music that speaks to eternity, transfiguration, and consolation, culminating in Gabriel Fauré’s ravishing Requiem for chamber orchestra, organ, harp, and solo violin. The exceptional Antioch Chamber Ensemble will astonish with its “clarity of tone and intonation so pure that you could hear the buzz of overtones” (New York Times).

Prelude in E Major, BWV 854 (1722) Fugue in E Major, BWV 878 (1742) JOHANN SEBASTIAN BACH (1685-1750) ), arr. PEGGY PEARSON J. S. Bach could be called the touchstone composer for spirituality in sound. To our ears, his music seems to entirely transcend the parochial confines of his life as a north-German Protestant court and church musician. We hear a spiritual quality not only in his sacred works, such as the St. Matthew Passion, but also in his secular works, such as The Well-Tempered Clavier, the compendium of 48 preludes and fugues in all major and minor keys. Why? On the surface, this quasi-treatise on tuning is for the private

Matriarch of the Festival, Louise Robinson, with daughter Claire Howard.

BASS Edward Castilano HARP André Tarantiles

ORGAN Malcolm Matthews

© AARON WUNSCH, 2017 amusement of nerdy keyboard players. Yet the preludes and fugues constitute a musical universe built with the faith that perfection could be found in any key, no matter how black or white. And in a less allegorical act, at the end of the manuscript of the first book, Bach penned the letters S. D. G., Soli Deo Gloria, “For the Glory of God alone.” The Preludes and Fugues in E Major are gentle, content, and at peace – comfortable in their own skin. The flowing Prelude in E Major, BWV 854 and the processional Fugue in E Major, BWV 878, share a quality of knowing exactly where they are going next, free of worry, of self doubt. Should we all be so lucky.

Beati Quorum Remissae for Double Choir (2005) ZACHARY WADSWORTH (B. 1983) Zachary Wadsworth is a Canadian singer-pianist-composer whose heart lies over the ocean, so to speak, in the music of the British Isles. He has composed for viol consort (a favorite of Henry Purcell) and wrote his dissertation on the music of Benjamin Britten. He has an uncanny ability to channel the disparate sounds of Anglican music from centuries past into a single, focused contemporary beam, as in the bilingual Beati Quorum Remissae. About it, he writes: “Beati Quorum Remissae, composed for the Kairos choir in 2005, is a double-choir setting of six verses from Psalm 32. The larger choir, which sings almost exclusively in English, sets the scene of drought and despair early on, musically illustrated by wandering, unsettled music. In between these expressions of mortal weakness, a smaller choir offers hope for happiness in statements resembling the Beatitudes. This choir sings only in Latin, often in triplets (groups of three which, here, refer to the Trinity), and occupies a much more stable, serene tonal area. Finally, the larger choir arrives at a kind of transﬁguration through the admission of sin, ﬁnding in God a “hiding-place” from life’s troubles.

8/17 Program Notes (CONTINUED)

This resolution is strengthened by repetition in Latin in the solo choir. At the ﬁnal chord of the piece, the two choirs settle on B minor and G Major, two chords which, though different, shares two common pitches. This sonority illustrates the separation between the mortal and the divine and the restorative connection between mankind and spirituality.”

Fratres (Brotherhood) (1977) ARVO PÄRT (B. 1935) Spirituality is the central concern of Arvo Pärt’s music – but it was not always so. Raised in Soviet Estonia, where religious expression was illegal, Pärt became dissatisfied with the accepted style of socialist realism and turned first to the dissonant twelve-tone technique pioneered by Arnold Schoenberg. After a decade in crisis, he turned in 1976 to the ultimate form of rebellion behind the iron curtain: religion. An admirer of Medieval and Renaissance music, Pärt invented a new musical grammar based upon the ancient sound of Russian Orthodox church bells. One of his first works to employ this new “tintinnabular” style was Fratres (Brotherhood). While this simple, direct musical expression pleased neither cosmopolitan critics nor Soviet authorities, his music won over listeners everywhere. Of all non-commercial contemporary composers, he might well have the broadest worldwide following. The title “Fratres” (“brotherhood”) evokes the community spirit of monkhood, drawing an implicit contrast with Soviet comradeship. This version for violin and piano balances a timeless series of bell-like chords against virtuosic variations from the violin, a metaphor for human experience in relation to the Divine. As Pärt explains, “the instant and eternity are struggling within us.”

A Boy and a Girl (2002) Sleep (1999) ERIC WHITACRE (B. 1970) Eric Whitacre could be called the reigning prince of American choral music. Some might prefer Prince Charming, on account of his long golden locks, dashing public persona, and embrace of popularity. However, his music tends to win over performers, the public, and critics – a rare feat. Perhaps his unconventional path is one secret to his success. Born in Reno, Nevada, Whitacre dabbled in piano and played in rock bands while growing up; when he applied to UNLV as a music education major, he still could not read music. As he explains, singing Mozart’s Requiem in choir class changed his life. He soon found he had a gift for choral composition, and despite his poor grades, Juilliard took him in. His teacher, John Corigliano, helped him learn to craft works with a clear dramatic arc – and his career certainly has had one, too. Whitacre’s music has a sound at once familiar and wondrous. Its harmonic progressions are mostly vernacular, but the chords often have added notes that produce an 30 ethereal glow, as in his most famous work, Lux Arumque.

Because he writes to the singers’ advantage, the effect can be ravishing. Yet his works are not necessarily extravagant; in fact, the two performed here have a simplicity and fragility that render them even more poetic. As Whitacre explains, “For me the ultimate expression of sophistication is an elegant idea expressed simply.” A Boy and a Girl is set to a poem by Octavio Paz, which consists of a trio of images – lovers in various stages of life and death, side by side all the while. Whitacre explains, “I simply tried to quiet myself and find the music hidden within the words … the four measures that musically paint the text ‘never kissing’ may be the truest notes I’ve ever written.” The music of Whitacre’s eight-part Sleep started as a setting of a poem by Robert Frost and ended up as a setting of a poem by Charles Anthony Silvestri. Once upon a time, composers like J. S. Bach gladly exchanged a text to fit a new situation. But Whitacre’s text alteration was not by choice: after the piece was already finished, Frost’s estate denied his request to use the poem. So he cleverly commissioned his long-time collaborator Silvestri to write a new poem that fit the music, rather than the other way around. The new poem speaks to an experience every living person has – usually once a day, while lying down: searching out and (hopefully) finding a way toward sleep. The shifting harmonies suggest wanderings of the mind from thought to thought, until one pathway leads beyond them. As listeners, we drift off at the end together, with no clear arrival. And so the music fits the text perfectly – even if, in this case, the cart did drive the horse.

“Praise to the Immortality of Jesus” from Quartet for the End of Time (1941) OLIVIER MESSIAEN (1908-1992) The story of Olivier Messiaen’s Quartet for the End of Time has been told and retold many times, and with good reason—it is both a great story and a great piece. Although it aspires to the most otherworldly sounds imaginable, one can’t help but wonder if its worldly context precipitated those sounds. In 1941, Messiaen found himself interned at Stalag VIIIA, a prisoner of war camp for French soldiers captured by the Nazis. It seems the German guards kindly provided Messiaen with paper and pencil in order to compose a work for performance in the camp. Messiaen and other prisoners remember their tremendous desire to hear music again – and so this work is for the listener, perhaps even more than for the performer or the composer. The title is an oxymoron, of course – since music can only happen in time. Yet Messiaen creates the illusion time has stopped by slowing it down and lifting the listener gradually into meditative ecstasy. He takes his cue from the Biblical book of Revelation, which proclaims that at the end of the world, “There shall be no more time; when the seventh angel shall sound his trumpet, the hidden purpose of God will have been fulfilled.” Amidst the dark days of World War II, one wonders if the prisoners felt this apocalyptic hour might really be at hand. In this final movement of the 50-minute work, the violin and piano play alone. Messiaen wrote: “It is all love. Its slow ascent

8/17 Program Notes (CONTINUED)

to the acutely extreme is the ascent of man to God, the child of God to his Father, the being made divine towards Paradise.”

“Ring Out, Wild Bells” from Passing of the Year (2000) JONATHAN DOVE (B. 1959) English composer Jonathan Dove has emerged as a leading light of contemporary opera and vocal music; his bestknown work, Flight, is a comic opera set in an airport, a place where we all could use some comic relief. The topic fits Dove’s often-propelling music, which carries the listener aloft on buoyant rhythms. Such is certainly the case with the seventh and final movement of his choral cycle, The Passing of the Year, dedicated to Dove’s mother, who died young. It is set to a section of Tennyson’s great poem In Memoriam A. H. H., dedicated to the poet’s sister’s fiancée, who died at the age of 22. The poem considers the process of grief from many angles. In “Ring Out, Wild Bells,” the author takes a cue from church bells to “ring out the grief that saps the mind,” an unsentimental effort to let the old go and look toward the new with optimism – to “ring in the thousand years of peace.” Dove’s euphoric setting of the text pulses forward with optimism, yet the dissonances in the chords remind us of pain suffered in the past. Just as each New Year’s Day we contemplate how to reach a happier future, overcoming grief requires hope in a brighter unknown yet to come – a spiritual act in itself.

Requiem, Op. 48 (1890) GABRIEL FAURÉ (1845-1924) Ever since Mozart tragically (and ironically) died while composing his mass for the dead, composers seem to feel somewhat obligated to toil mightily over their Requiems. Berlioz’s Requiem runs some 90 minutes and is scored for up to nearly 1,000 performers; Verdi’s has the dramatic force of an opera (go figure); Britten’s War Requiem takes on World War II. By contrast, when asked why he composed his Requiem, Gabriel Fauré answered “for the pleasure of it.” Fauré’s cheeky reply reveals an approach at odds with these other composers. Why must a Requiem be

monumental? Need it wallow in misery and suffering? He later explained, “Perhaps I have also instinctively sought to escape from what is thought right and proper, after all the years of accompanying burial services on the organ! I know it all by heart. I wanted to write something different.” Fauré knew the Catholic mass as well as anyone; he held various posts as organist for some 40 years. However, his faith – if one can even call it that – was never, shall we say, traditional in its orientation. He had no patience for sermons, during which he typically smoked cigarettes, and was once fired after showing up to mass in his clothes from the previous night out. His Requiem, while similarly nonconformist, nevertheless remains sincere and undeniably spiritual. It comes from a place of human feeling rather than attempting to capture an unknowable divinity. As he explained, it “is dominated from beginning to end by a very human feeling of faith in eternal rest.” The version of the Requiem most often heard today differs greatly in form and function from the original. The first version (not published until 1995) he called “un petit Requiem,” which is a little like saying ‘a tiny Cadillac,’ given the genre’s presumed proportions. As the work gained popularity, Fauré gradually added additional movements and instruments until it could plausibly enough fit the mold and enter the concert hall. Tonight, we revisit the outside-the-box original and bring it back to church, so to speak. Its intimate and unusual scoring dispenses with violins entirely (aside from one ravishing solo). Although he sticks to the prescribed Latin texts, Fauré does away with the two most dramatic, the Dies irae and Tuba mirum. There is no fire and brimstone here, and no operatic drama. In their place one finds humility, acceptance, and consolation. Despite – or perhaps because of – its understatement, delicacy, and subtlety of expression, the work penetrates more directly. It allows us to feel vulnerable because the music itself is vulnerable. Unlike Berlioz’s, Verdi’s, or Britten’s, Faure’s Requiem could actually be used in a funeral service. It was first given at the funeral of the architect, Joseph Lesoufaché, in 1888, and later performed at the composer’s own funeral in 1924. Fittingly so – for as Fauré had written to the violinist Eugène Ysaÿe, “The Requiem is gentle in character, like myself.”

Please join us for these upcoming performances of the Syracuse Vocal Ensemble: Fall Concert Saturday, October 21, 2017 at 7:30 p.m. at Pebble Hill Presbyterian Church Sunday, October 22, 2017 at 3:00 p.m. at First Presbyterian Church of Fayetteville Christmas Concert Saturday, December 9, 2017 at Holy Cross Church at 7:30 p.m. Sunday, December 10, 2017 at St. Paul’s Church at 3:00 p.m.

Serving the Syracuse area with a wide range of exceptional choral programming and performances since 1973.

Spring Concert Saturday, March 3, 2018 at 7:30 p.m. at OCC Recital Hall Sunday, March 4, 2018 at 3:00 p.m. at Plymouth Congregational Church

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SVE A Night of Vocal Jazz Saturday, May 5 2018 at 7:30 at Park Central Presbyterian Church

tonight’s concert is sponsored by

week 2

Peter and Elsa Soderberg

Friday, August 18

7:00 PM Prelude Concert (for ticket holders only)

8:00 PM First Presbyterian Church

Prelude Concert Featuring the 2017 Robinson Award winner, pianist Ivan Yumagulov Repertoire will be announced from the stage

Concert: Go/Hear – England! TALLIS WEELKES BENNET FARMER VAUGHAN WILLIAMS

Loquebantur variis linguis Hark, All Ye Lovely Saints Weep, O Mine Eyes Fair Phyllis “The Lover’s Ghost” from Five English Folk Songs

The Antioch Chamber Ensemble

ELGAR Sonata for Violin and Piano, Op. 82

Jesse Mills, violin Aaron Wunsch, piano

Allegro: Risoluto Romance: Andante Allegro non troppo

intermission

BRITTEN

ADÈS MEALOR THE BEATLES

Phantasy Quartet, Op. 2

Peggy Pearson, oboe Jesse Mills, violin Melissa Matson, viola Julia Bruskin, cello

Prelude: Lento Fugue: Adagio Scherzo: Allegretto Intermezzo: Lento Finale: Allegretto

“Les eaux” (The Waters) from Lieux retrouves

Julia Bruskin, cello Aaron Wunsch, piano

Ubi caritas et amor for the Royal Wedding Blackbird, Eleanor Rigby, Penny Lane

The Antioch Chamber Ensemble

The Antioch Chamber Ensemble Joshua Copeland, Artistic Director Stephen Sands, Executive Director ALTO TENOR BASS SOPRANO Luthien Brackett Timothy Hodges Joshua Copeland Amy Goldin Kirsten Sollek Stephen Sands Steven Hrycelak Linda Jones Edmund Milly Melanie Russell Jonathan Woody Kristin Sands tonight’s artist sponsorships

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.

The Robinson Award In 1980, David and Louise Robinson opened their hearts and their home to Festival musicians, their families, and the audiences who come to hear them perform. Their lakeside home, Brook Farm, was a gathering place and rehearsal space for musicians, and the performance venue for the Festival’s outdoor Saturday evening concerts for 36 seasons. Created in 2002, The Robinson Award is an David & Louise Robinson annual scholarship awarded to a young musician who exemplifies the values cherished and embodied by Festival co-founders, David and Louise. 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.

2017 Winner Ivan Yumagulov Ivan Yumaguvlov, the 2017 Robinson Award Winner, is a passionate and driven pianist. He is set to graduate from Charles W. Bakers high school this May, and plans to attend Ithaca College post graduation. He will study music performance and education. Ivan is an exemplary musician, and shows continual dedication to building his character and community, ideals Robinson Award strives to recognize from year to year. The Festival is extremely excited to welcome this young talent in the 2017 season.

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. 33

Program Notes

he second “Go / Hear” program takes us to the British Isles, with wide-ranging music from Renaissance to the present by Tallis, Elgar, Vaughan Williams, Britten, Thomas Adès, and – of course – The Beatles. In between musical selections spanning six centuries, see the sights of England past and present, along with visual projections of paintings by Turner, Blake, and Whistler. Artistic Directors Aaron Wunsch and Julia Bruskin, violinist Jesse Mills, oboist Peggy Pearson, and the pitch-perfect choir Antioch perform, among others.

Loquebantur variis linguis (“Spoken in Many Tongues,” ca. 1550) THOMAS TALLIS (1505-1585)

Hark, All Ye Lovely Saints (ca. 1600) THOMAS WEELKES (1576-1623)

Weep, O Mine Eyes (ca. 1599) JOHN BENNET (CA. 1575-CA. 1615)

Fair Phyllis (ca. 1599) JOHN FARMER (CA. 1570-CA. 1601)

“The Lover’s Ghost” from Five English Folk Songs (1913) RALPH VAUGHAN WILLIAMS (1872-1958)

Sonata for Violin and Piano, Op. 82 (1918) EDWARD ELGAR (1857-1934)

Phantasy Quartet, Op. 2 (1932) BENJAMIN BRITTEN (1913-1976)

“Les eaux” (The Waters) from Lieux retrouvés (Places Rediscovered, 2009) THOMAS ADÈS (B. 1971)

Ubi caritas et amor for the Royal Wedding (2011) PAUL MEALOR (B. 1975)

Blackbird (1968) Eleanor Rigby (1966) Penny Lane (1967) THE BEATLES (1960-1970) Surely music varies from place to place according to language and culture, but in England’s case, musical individuality might also be geographic. Separation from the mainland has long been part of English identity. In the 15th century, music lovers in Franco-Flemish lands noted an “English sweetness” characteristic of music from the British Isles, which soon spread to all of Europe – a British Invasion of sorts, long before the Beatles. Yet England’s independent spirit intensified after Henry VIII’s marital 34 woes led to a rupture with the Catholic Church in 1534. A

© AARON WUNSCH, 2017 composer himself, Henry had a vast collection of musical instruments, several of which he played well. One of Henry VIII’s young court musicians, the brilliant composer Thomas Tallis, followed the well-trodden path of English musicians – choirboy (most probably), then organist, and finally court composer and music director. During his lifetime, England experienced severe theological whiplash. Henry VIII’s bishop, Thomas Cranmer, demanded simpler church music, so Tallis obliged. However, when England returned to Catholicism under Mary Tudor (also musically gifted), one can sense Tallis’s enthusiasm for a more ornate style – as in Loquebantur variis linguis (“Spoken in Many Tongues”), a liturgical piece for Pentecost. Based on the chant for this festival day, Tallis’s music depicts the blessed chaos of Jesus’s disciples speaking in tongues. We hear the plainchant melody intermittently, followed by joyful polyphonic outbursts into many independent parts, which culminate in Alleluias. One didn’t necessarily have to go to church to find good English renaissance music – you might find it at the pub, as well. After Italian madrigals made their way to England during the Elizabethan era, English composers brought their own folksy flavor to this genre of love and lust – with results both lovely and lusty. Thomas Weelkes’s teaser, Hark, All Ye Lovely Saints, suggests to ladies they give up love altogether, like the goddess Diana – that way they can solve forever the ‘woe-is-me’ of lovesickness. The irony is: Who would really want that, as the jolly fa-la-lala’s attest. The lovesickness turns real, however, in John Bennet’s piercing Weep, O Mine Eyes, as a lover desires to drown in the tide of her own tears. John Farmer’s Fair Phyllis is a true Italian-style madrigal, in that the music imitates the text. Phyllis the shepherdess sits “all alone” (solo soprano), and her lover Amyntis searches for her “up and down” (voices gallivant up and down). What do the lovers do when they meet? Well, here’s a hint: it rhymes with “missing.” Some 300 years later, Ralph Vaughan Williams helped lead a second “English musical renaissance,” as it was called – a group of late-Romantic composers whose style was heard by some as distinctly English. While the matter was much debated, the Englishness of Vaughan Williams’s “The Lover’s Ghost” is pretty clear. First, it tells of a sailor separated from his beloved while at sea, a common English folk subject. Second, the song’s plaintive melody and modal harmony bear similarity to the Elizabethan madrigals, even if its slow and expressive style is more typical of Vaughan Williams’s own time. The words are an excerpt from a larger ballade that dates at least back to the 17th century; the title suggests the lover has drowned at sea, where he will forever roam. Surprisingly, among those the critics left out from the group of truly English composers was Edward Elgar. Of

low birth, he started his career as an office clerk. He never studied music at an English conservatory, taking only a few violin lessons with a Hungarian-born violinist. He had little interest in English folk music, and his musical tastes were decidedly German. Yet the public acclaimed his music as typically English, even if he himself was not. His Enigma Variations (1899) were a bona fide hit, and his popular success led to gradual acceptance by the critics. His music is English not by design, but by general acclamation. Elgar’s Violin Sonata is a perfect example. Its design fits the German mold of Brahms – three movements, earnest thematic development, drama balanced by tenderness, and so forth. Yet somehow every drop of it sounds English. Elgar’s reaction to World War I was typical – first patriotism, then horror, then quiet resignation. He removed himself to a quiet country estate in Sussex and composed the Violin Sonata quickly, in the last months of the war. Its painful outcries and wistful melodies are balanced by a quiet dignity and underlying fortitude that seem absolutely in tune with England’s postwar national identity. However, it expresses these shared emotions on a personal rather than on a public level. The work became even more personal after its intended dedicatee, Maria Joshua, died just as he completed it. Some hear the return of the second movement’s theme in the finale as a tribute to her. The catharsis of the Sonata’s conclusion restores hope for a brighter future, and it ends on a note of dignified pride.

A similar feeling has probably carried you across a stage at some moment in your life; Elgar’s tune Pomp and Circumstance remains the world’s most popular graduation song, for public celebration of private perseverance. Among those in the next generation who rejected Elgar’s music was Benjamin Britten, who found himself “absolutely incapable of enjoying Elgar for more than two minutes.” Decrying the German influence on English music, he pondered where a new path in English music might lead – one based firmly in England’s musical traditions but open to the new freedoms modernist composers like Schoenberg and Stravinsky had initiated. One of his first works to walk this new path was his Phantasy Quartet, Op. 2, composed at age 19. The archaic spelling of “phantasy” refers to the Baroque viol fantasies of English composer Henry Purcell, whose music would become a touchstone for Britten. However, this piece was not entirely his idea. It conformed to the requirements of an unusual competition funded by the music lover Walter Wilson Cobbett, who solicited one-movement chamber works by British composers based on the Baroque phantasy model. The model is merely a jumping-off point for Britten. His work, cast in seven contrasting sections, is startlingly original. The cello begins alone with an invitation to join in a stately march, which the violin and viola accept. The oboe’s lyrical melody soars above the march, its lyricism counterbalancing the underlying dissonances of the strings.

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8/19 Program Notes (CONTINUED)

before in the piano piece Reflets dans l’eau. Despite this French connection, the music has the peculiarly English mix of austerity and melancholy – especially in its cello melody, which pierces the heart. Adès has said: “The cello, of all instruments, makes one dream of Elsewhere when one hears it.” Perhaps even more so in England, which is part of an island, with water all around.

Next, the strings initiate a mischievous dance, which the oboe joins. The oboist has the best seat in the house for the following section, a heartfelt song for strings alone. Afterward, the piece reverses course, quite literally – returning first to the dance, then the march, and, finally, it ends as it began, with the cello alone. Britten’s work may PERFORMER QUOTE There are few things more universally share a pleasurable elegance with his enjoyed in England than a royal wedBaroque model, but this is the sound of Antioch was thrilled beyond ding. Of course, the greatest knot tied the new in English music, not the old. since Charles and Diana was Prince belief as the first American choir In recent years, Britten’s mantle William and Kate Middleton, in 2011. to premiere Paul Mealor's Ubi has passed to a composer whose Thirty-five-year-old Welsh composer Caritas after the royal wedding profile is strikingly similar: Thomas Paul Mealor caught a lucky break when Adès. Adès (b. 1971) is similarly a he was chosen to provide music, and he of Prince William and Kate brilliant composer, pianist, conductor, rose to the occasion with Ubi caritas et Middleton in May 2011! amor. A setting of an ancient Latin hymn and, like Britten, gifted in both opera (“Where charity and love are, God is and instrumental music. Although more JOSHUA COPELAND there”), the music drapes its neo-Medieval of our own time, his music has a Brittensound with richly layered contemporary esque blend of lyricism and daring, indeharmonies. The effect is pure tranquility, and pendent spirit and connection to English appropriately, it took place at the quietest moment traditions. Fittingly, he has been named Britten of the wedding service, with William and Kate standing Professor of Composition at the Royal Academy of Music motionless before the altar (go ahead and add your in London. YouTube view to the other millions). After months of In the first movement from his Lieux retrouvés (Places media frenzy (Oh, the dress! The kisses! The secret Rediscovered), entitled “Les eaux” (The Waters), Adès sets honeymoon!), could there be anything more poetic than his boat in waters tested by Claude Debussy a century the entire world gathered in total silence, listening to music about universal love and charity?

Most composers never get the kind of exposure to a truly massive audience granted to Paul Mealor at the royal wedding – but, well, the Beatles are in a class by themselves in this regard. In the 1960s, the tidal wave of their popularity washed right over the musical divisions between popular and classical genres; today, most university music departments have a musicologist studying their art alongside Bach’s and Beethoven’s. Although they could be a loud, proud band like many others, their greatest mastery lay in songwriting – an English art dating back to the beginning of tonight’s journey, in the Renaissance English madrigal. However, there is no formula for a Beatles song because their musical interests and influences were so diverse: Broadway, blues, gospel, Indian ra–ga, Motown, and experimental electronics, among others. Blackbird, for example, is a blend of folk guitar fingerpicking and the harmonies from J. S. Bach’s Bourrée for Lute (a favorite of Lennon and McCartney). Interpretations of the song are even more diverse: Is it a romantic ballad? A response to the band’s meditation retreat in India? An anthem about racial tensions in the U.S.? McCartney himself still seems unsure, which allows us each to find our own meaning in its ambiguous yet poetic lyrics. Not so with Eleanor Rigby, a heartbreakingly specific lament for elderly people living in loneliness, a topic normally far outside the bounds of pop music. Fittingly, tonight’s program ends with a snapshot of English life on Liverpool’s Penny Lane, which pokes gentle fun at the veneer of English propriety. Keep calm—and carry on. 37

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A Cabaret Evening with Ute Lemper Cabaret legend Ute Lemper is beloved the world over for her captivating stage presence. “One of the great chanteuses” (New Yorker), the singer-actress starred in the musicals Cabaret and Chicago in New York, London, and Paris, and is the world’s leading performer of Kurt Weill’s music (“Mack the Knife”). She brings her all-star international band of piano, bass, and drums.

Ute Lemper, vocals Romain Lecuyer, bass Vana Gierig, piano Todd Turkisher, drums

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Thursday, August 24

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Backstage Pass Write It For Me: Composers, Performers & Dedicatees Concert: Dedication FRANK

Folk Songs

Claremont Trio Emily Bruskin, violin Julia Bruskin, cello Andrea Lam, piano

(commissioned for the Claremont Trio) Canto para La María Angola Children's Dance Serenata Chavín de Huantar

BRAHMS

Trio for Piano, Clarinet, and Cello in A minor, Op. 114

Alan Kay, clarinet Julia Bruskin, cello Aaron Wunsch, piano

Allegro Adagio Andantino grazioso Allegro

intermission

BEETHOVEN

Piano Trio in B-flat Major, Op. 97, “Archduke” Allegro moderato Scherzo: Allegro Andante cantabile ma però con moto Allegro moderato

Claremont Trio

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Program Notes

he Claremont Trio brings its signature blend of “passion and precision” (Boston Globe) back to Skaneateles for a program of music inspired by the people for whom it was written. Beethoven’s masterpiece, the “Archduke” Trio, was written for his patron and composition student Archduke Rudolph. Brahms’s Clarinet Trio for Richard Mühlfeld, who inspired the composer to come out of retirement; and Gabriela Lena Frank’s bewitching ode to music from Perú, Folk Songs, dedicated to the Claremont Trio.

Folk Songs (2012) GABRIELA LENA FRANK (B. 1972) Gabriela Lena Frank’s evocative music takes the listener far away in place and time. Her works often lead down paths of self-discovery, since her family ancestry is rich and remote from the Berkeley, California, where she grew up. Her parents blessed her with a remarkable PeruvianChinese-Lithuanian-Jewish background, and it is the Peruvian culture that takes the spotlight in her Folk Songs, composed for the Claremont Trio in 2012. About the work, she writes: “Folk Songs for violin, cello and piano, loosely draws inspiration from the melodic motifs and rhythms of my mother's homeland, Perú. As an American-born Latina, so much of my understanding of this small yet culturally rich Andean nation has been necessarily fashioned from within my private imagination from the time I was a young child. Frequent trips to Perú in my adulthood, always done with my mother, leave me with a sense of belonging to something larger than myself as I connect private musings with the actual existing reality.” Seeing the María Angola church in its highland setting after reading myths about it, for instance, makes Perú’s connection to colonial Spain that much more real; and this provides the inspiration for the first movement of Folk Songs: Canto para La María Angola (Song for the María Angola). The universality of children playing in the streets, albeit with Peruvian toys such as wooden llamas and shakers, is portrayed in the second movement, Children's Dance. The third movement, Serenata, is inspired by the ubiquitous guitar/charango-vocalist duo one sees in most pubs and eating houses; and the last movement harkens to Perú’s pre-Inca past in imagining the sounds of an isolated, warlike yet artistically creative culture, Chavín de Huantar.

Trio for Piano, Clarinet, and Cello in A minor, Op. 114 JOHANNES BRAHMS (1833-1897) In 1890, at the age of 57, Brahms announced that he planned to retire from composition. But why, Johannes? Composing is not bricklaying – all one needs is a desk and a pencil! (Leading American composer Elliott Carter wrote his final work at age 103.) Apparently Brahms, who was still in excellent physical health, found composition more

© AARON WUNSCH, 2017 arduous than physical labor – in particular, he struggled to reach his own ever-higher expectations for himself. Some have speculated that Brahms destroyed at least as many works as he published – an eternally sad thought for lovers of his music. Living at a time when the weight of history seemed to bear down on young artists, only supremely self-confident creators like Richard Wagner could avoid self-doubt. As Brahms told the Vienna Philharmonic in 1869, “If you want to compare me to Beethoven, I tell you such heights will never be reached again.” Fortunately, Beethoven never devoted much serious attention to the clarinet. Brahms hadn’t, either – but when he heard the German clarinetist Richard Mühlfeld perform in 1891, the composer quickly emerged from his so-called retirement with the Trio in A minor, Op. 114. While Mühlfeld’s rare gifts surely inspired Brahms, the composer also found the clarinet itself enabled a new kind of later-in-life rumination. By turns lonely, consoling, and good-humored, the instrument carries an immediacy and intimacy that seem to render this work among his most personal. (Brahms had an unusually high voice, probably not unlike the clarinet in its lower range.) The motto of his youth, “free but alone,” seems to have given way to “alone but at peace.” The first word, however, goes to the cello. Alone, and in a high (and highly vulnerable) register, it sets a plaintive mood for the opening movement. The piano’s agitated triplets foreshadow storms ahead, and the ensuing drama finally subsides with a therapeutic, major-key sigh. The achingly tender second movement recalls the love songs of the composer’s one-time mentor, Robert Schumann, whose wife Clara remained Brahms’s lifelong friend and confidant. The airy third movement is like a Viennese waltz that finds itself in the countryside – a very real possibility, since Brahms and the waltz king, Johann Strauss, Jr., vacationed together in the pastoral town of Bad Ischl. In place of grandiose orchestral chords, the cello delicately strums along. The tumultuous last movement is a struggle between duple and triple rhythm – Brahms even gives two conflicting time signatures at the start (2/4 and 6/8). This struggle of indecision tells a tale of regret and despair, of an insoluble problem that can only end in tragedy. Perhaps Brahms did not live up to his own expectations – but in trying to reach his, he surely exceeded ours.

Piano Trio in B-flat Major, Op. 97, “Archduke” (1814) LUDWIG VAN BEETHOVEN (1770-1827) Beethoven’s “Archduke” Trio, dedicated to his longtime patron, student, and friend, stands today as the most iconic piano trio in the entire repertoire. What you would have heard at the premiere on April 11, 1814, however, was almost certainly dreadful. It was Beethoven’s penultimate performance as a pianist, and he assembled his faithful friends violinist Ignaz Schuppanzigh (whom Beethoven

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8/25 Program Notes (CONTINUED)

semi-affectionately referred to as “fatso”) and cellist Joseph Linke to have a go at the sprawling new work. The young hot shot violinist Louis Spohr (inventor of the chin rest) recorded his impressions upon hearing a rehearsal: “It was by no means enjoyable… In forte passages the poor deaf man pounded on the keys till the strings jangled, and in the piano he played so softly that whole groups of notes were omitted, so that the music was unintelligible… I was deeply saddened at so hard a fate.” The gap between the idealism of Beethoven’s music and the realities of its performance widened here once again. Although dedicated to his patron, the Trio is also one in a line of idealistic, unsolicited dedications made to political, royal, and military figures whom Beethoven admired. Beginning with the “Eroica” Symphony (initially dedicated to Napoleon) and continuing with the op. 30 Violin Sonatas (dedicated to Tsar Alexander I of Russia), Beethoven composed music without a clear function. Here, too, Archduke Rudolf, despite his considerable gifts, could hardly be expected to play the difficult piano part. Yet Rudolf could embody the work in his very personhood. Of the eleven major works dedicated to him, this one might best capture the calm, regal temperament of the one man with whom Beethoven apparently never quarreled. In 1820, he wrote to his younger superior, the brother of the Emperor: “Even though I am no courtier, I think Y[our]

I[mperial] H[ighness] has got to know this about me, that it is no mere frigid influence that attaches me to you, but a true and deep affection which has always bound me to Your Highness and has ever inspired me.” While this Trio is the most orchestral of Beethoven’s chamber works, it is at the same time exceedingly lyrical. The piano starts in with the kind of chords usually reserved for noisy codas – but here they are played tenderly and smoothly. As the movement progresses, these chords break apart into delicate scales and arabesques, which serve to keep the violin and cello melodies aloft. The structural edifice of the movement is like a royal palace – broad, beautiful, and built to last. The opening melody’s return at the end of this movement has a magnificent effect, like a monarch appearing in full regalia: All Rise. The lighthearted second movement weaves together the three defining musical elements of Austria: a rustic country dance, a grandiose urban waltz, and some brainy counterpoint (a primary focus of Archduke Rudolf’s studies with Beethoven). Romantic-era composers loved the transcendent variations on a hymn-like theme that constitute the third movement; Liszt even arranged them for choir and orchestra as part of his Beethoven Cantata. These lofty variations give way without pause into a jovial dance. Initially quite relaxed, this increasingly dramatic final movement breaks out into an exuberant Presto conclusion.

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Friday, August 25 8:00 PM First Presbyterian Church

John & Michelle Mashia – IMS, Inc., Steve & Linda Peltz – Northeastern Electronic, and Colin & Corrie Carroll

Go/Hear – Russia! TCHAIKOVSKY

RACHMANINOFF

Melodie and Scherzo from Souvenir d'un lieu cher

Emily Bruskin, violin Andrea Lam, piano

Lied (Song) for Cello and Piano

Julia Bruskin, cello Aaron Wunsch, piano

SCHNITTKE

Musica nostalgica

STRAVINSKY

Three Pieces for Clarinet

VASILENKO

Oriental Rhapsody, Op. 47

PROKOFIEV

Overture on Hebrew Themes, Op. 34

Julia Bruskin, cello Aaron Wunsch, piano Alan Kay, clarinet Alan Kay, clarinet Alan Kay, clarinet Claremont Trio Emily Bruskin, violin Julia Bruskin, cello Andrea Lam, piano Peter Rovit, violin Masumi Per Rostad, viola

intermission

SHOSTAKOVICH

Piano Trio No. 2, Op. 67 Andante Allegro con brio Largo Allegretto

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The Claremont Trio and Aaron Wunsch are sponsored by The Skaneateles Consortium: George Bain, Sam & Debby Bruskin, Dana & Susan Hall, and Ron Sampson Alan Kay is sponsored by Jennifer Sutherland 46

Claremont Trio

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

he third “Go / Hear” program takes us to Russia, with passionate music by Rachmaninoff and Tchaikovsky, Dmitri Shostakovich’s soulful, intense Piano Trio (with the Claremont Trio), and Sergei Prokofiev’s raucous Overture on Hebrew Themes (with clarinet and piano). In between the musical selections, marvel at art from The Hermitage Museum in St. Petersburg and views of Rachmaninoff’s country estate, Ivánovka.

political extremes, not to mention notoriously cold winters, is a point of national pride. Napoleon’s expulsion, essentially a suffering contest, was won by the Russians in a defining moment. Under such conditions, the Arts tend to wither in other places, whereas in Russia, somehow they seem to flourish. One will be hard pressed to find a leading Russian composer who didn’t suffer greatly in some way or other. So composers, take note: if you prefer the good life, try Luxembourg.

Mélodie and Scherzo from Souvenir d'un lieu cher (Memory of a dear place, 1878)

Prior to the rule of Peter the Great, the Russian Orthodox Church controlled musical performances, and since it forbade all instrumental music (as it still does), a strong pair of vocal cords was the prerequisite for aspiring musicians. A distinctive choral tradition had developed by the 17th century – a rich, full-throated sound supported by deep, bass voices. As part of his program of Westernization, Peter introduced secular music at court, importing musicians from Germany and elsewhere. From then on, numerous foreigners helped invigorate the Russian musical scene – among them Louis Spohr, Franz Lizst, Camille SaintSaëns, and even Claude Debussy. However, Russia lacked formal training for its own composers until the St. Petersburg Conservatory was founded, in 1862. Among its first group of students was Piotr Illych Tchaikovsky, arguably Russia’s first professional composer.

PYOTR ILLYCH TCHAIKOVSKY (1840-1893)

Lied (Song) for Cello and Piano (1890) SERGEI RACHMANINOFF (1873-1943)

Musica nostalgica (1992) ALFRED SCHNITTKE (1934-1998)

Three Pieces for Clarinet (1919) IGOR STRAVINSKY (1882-1971)

Oriental Rhapsody, Op. 47 (1922) SERGEI VASILENKO (1872-1956)

Overture on Hebrew Themes, Op. 34 (1919) SERGEI PROKOFIEV (1891-1953)

Piano Trio No. 2, Op. 67 (1944) DMITRI SHOSTAKOVICH (1906-1975) The Russian people have a long history of facing adversity. Their perseverance through economic hardships and

Gwen Birchenough (third from the left) and her entourage!

The hardships Tchaikovsky faced turned out to be more personal than professional. He felt increasingly isolated and suffered from depression, while his music became Russia’s leading musical export. His skillful balance of central European forms and traditional Russian idioms gained him worldwide popularity. He also benefited from his relationship with one of music’s great sugar mamas,

8/25 Program Notes (CONTINUED)

demented minuet reminds us that the past, however bewitching, is irrevocable.

Nadezhda von Meck, a wealthy widow who provided him Igor Stravinsky, by contrast, never seemed to feel much with boundless financial and emotional support, if not sentimental attachment to the past; indeed, one of his physical (though married, Tchaikovsky was homosexual). greatest strengths was his willingness to give it up for the At Brailovo, her country estate in the Ukraine, he comfuture. He seemed at the forefront of virtually every new posed his Mélodie and Scherzo for musical development of the 20th century. violin and piano, his only work for this His radically new yet recognizably combination. He wrote it for Meck PERFORMER QUOTE Russian ballets startled the world, and sent her the handwritten which could scarcely understand why manuscript in May, “just as the In both Gabi Frank’s Folk Songs and he would give up this successful style roses are starting to blossom.” for the reserved mannerisms of Shostakovich’s Trio No. 2, you’ll hear us Tchaikovsky referred to his Neoclassicism. But as he later told string players strumming big plucked springtime Mélodie as a “song Prokofiev (who disagreed), “this is chords, but to vastly different effect. In the without words.” The locale is the only way to write nowadays.” definitely Russian, but perhaps The Russian Revolution and Frank we are channelling the sound of the secret words would be in World War I changed his world Peruvian street guitars accompanying a French, long the primary – and shouldn’t his music change seductive melody. In the Shostakovich, the language of the Russian aristocalong with it? racy – the sensual, arching fourth movement’s plucked chords express His little Three Pieces for phrases speak tenderly of desperation and an inescapabe fate. What Clarinet exchange the battle tank L’Amour. The Scherzo, by conof the Rite of Spring for a bicycle. an amazing thing that music can portray trast, is an athletic Russian dance, The work was a musical ‘thank you’ balanced by an ardent, lyrical such a variety of experience! for the Swiss coffee purveyor (and interlude. The two pieces were later amateur clarinetist) Werner Reinhardt, EMILY BRUSKIN published under the title Souvenir a patron of Stravinsky’s during his d'un lieu cher (Memory of a dear place), wartime purgatory in Switzerland. The probably the publisher’s choice, but it first piece hangs low, brooding about in fits. Upon delivering the pieces, he wrote to Meck that the bottom range of the clarinet. The highly caffeinated the spring flowers of her estate had cured his melancholy. second and third pieces take their cue from recently While self-consciously Russian composers like emerging jazz and ragtime, respectively – quasi-improvisaMussorgsky frowned upon Tchaikovsky’s cosmopolitan tions at once jazzy and modernist. Russian folk themes are tendencies, some among the younger generation idolized nowhere to be found, for Stravinsky had turned his bicycle him. One was Sergei Rachmaninoff. His Lied for Cello ever westward, so to speak – until 1941, when he rode it and Piano, composed at age 17, picks up right where right across the ocean, to America. Tchaikovsky’s Mélodie left off. Yet this romantic song has a While Stravinsky emigrated west, Soviet composers darker hue, more brooding and earthy than Tchaikovsky’s walled off by the Iron Curtain frequently turned their gaze soaring lyricism. Like Tchaikovsky, he composed it at a to the East. The vast steppes of Asia had fascinated artists country estate – his family’s beloved Ivánovka, where he living in Russia’s cities at least since Tsar Alexander II would summer until the Russian Revolution destroyed it. expanded the Russian Empire eastward in the mid-19th During his first visit, he fell hard for his distant cousin, century. Composer Alexander Borodin’s famous Polovtsian Vera Skalona, to whom he dedicated the Lied, a teenage Dances and his tone poem In the Steppes of Central Asia love letter of sorts. established a longstanding musical grammar: drone fifths, Later Russian composers, who lived in the profoundly which evoke wide open spaces; nomadic, improvisatory different environment of the Soviet era, looked back melodies using eastern scales; and galloping, trance-like upon this bygone time of Russian Romanticism with an rhythms. Sergei Vasilenko’s charming Oriental Rhapsody ambivalent mix of nostalgia and disdain. The communist for clarinet and piano employs these idioms to summon viewpoint was that self-indulgent romantic works did not the image of Russia to the East. A gifted teacher, Vasilenko serve the public good. However, Soviet restrictions led imparted his mastery of tone color to his Moscow some artists to idealize a distant past. Composer Alfred Conservatory students, including Aram Khachaturian, Schnittke, who scored over 60 Soviet films, often incorpowhose Sabre Dance paradoxically became a favorite of rated reminiscences of past music in his works as a means American figure skaters. to convey the feeling of alienation and isolation he felt in The two leading composers of Soviet Russia, Sergei the present. His plaintive Musica nostalgica, composed Prokofiev and Dmitri Shostakovich, were both helped and for the cellist Mstislav Rostropovich just after the fall of harmed by a government determined to use the arts for the Soviet Union, starts like a Bach Cello Suite lost in a political ends. The first Soviet minister of culture, Anatoly time warp. By turns wistful and ironic, this slightly Lunacharsky, embraced Prokofiev’s modernist music as the 48 equivalent of Marxist politics: "You are a revolutionary in

8/25 Program Notes (CONTINUED)

music, we are revolutionaries in life. We ought to work together.” Prokofiev, however, was determined to look abroad for success of a more international variety, with mixed results. In the United States, he found Rachmaninoff had already cemented his role as the leading Russian artist, and in Europe, Stravinsky was front and center. Later, in 1936, Prokofiev chose to return to the Soviet Union at the height of Stalin’s repression, a risky move with serious consequences. While on tour in New York City, Prokofiev penned his melodious Overture on Hebrew Themes. The work was requested by the Zimro Ensemble, a sextet of Russian Jews led by the charismatic clarinetist Simeon Bellinson (later principal of the New York Philharmonic). Bellinson presented Prokofiev with a notebook of folk-style themes to use in the work; this rubbed Prokofiev the wrong way, since he kept his own notebooks of original themes. However, he changed his mind after improvising on the given themes at the piano. While skillfully assembled into a concert piece, Prokofiev wisely allows the klezmer melodies to be themselves. The soulful main theme emerges gradually, as the clarinet takes to the dance floor. Soon the strings are tapping along with the backside of their bows, and all join in euphoric celebration. Lyrical secondary themes tell of hardships borne, but the main theme always returns, dancing ever onward. Fittingly, this

work was both composed and premiered in New York City, where Russian and Eastern European Ashkenazi Jews streamed in every day by boat. Can you hear them dancing in the streets? The nearly 5 million Jews who stayed in the Soviet Union faced the hardest of all fates, especially those in German-occupied Belarus and Ukraine. In 1944, with news of German atrocities emerging, anti-Semitism (though officially illegal) spread across Russian cities demoralized by wartime hardships. An unlikely chronicler of the Soviet condition was Dmitri Shostakovich, once an avid adherent of state ideals. Yet when his opera Lady Macbeth of the Mtsensk District was officially condemned, a growing chasm emerged between those ideals and the harsh realities of his everyday life. Chamber music, in particular, provided Shostakovich with a safe space to express dark thoughts, and his works in the genre are both a kind of therapy for himself and a cathartic experience for the listener. While it passes through darkness, his Trio No. 2, Op. 67, is among the most unforgettable journeys in the entire repertoire. The Trio’s opening is bleak and uneasy. If you close your eyes, you might not even notice that the cello starts by itself in the high range of the violin, an eerie sound possible only through a special technique of harmonics. After each instrument enters with the somber theme, the instruments join forces to dispel the somber mood, at least for the time being, like friends who feel better after commiseration. The second movement demonstrates how Shostakovich’s music can support two opposite interpretations. On the surface, it is a scherzo – a joyful, fast dance. However, its uncomfortable key (F-sharp Major) and frantic tempo point to something more sinister. The violinist Rostislav Dubinsky, who often worked with Shostakovich, called it a “fiendish, destructive dance of death.” The third movement is less ambiguous, a wailing lament in the form a passacaglia. Dubinsky explains: “One hears bloodcurdling piano chords. Is it not the sound of a hammer on a railway line which tells the prisoners of the concentration camp that ‘One more day in the life of Ivan Denisovich’ has started?” The Finale is by far the longest movement of the Trio, with an almost impossibly wide expressive range. An overtly Jewish melody enters above the sound of boots marching. Each successive theme is more impassioned than the one before, until the piano crushes everything in its path with a spine-tingling version of the theme in double octaves. At the climax, the strings add their mutes and wail away, as if crying out with covered mouths. This movement requires real stamina from the string players, who suffer through physical trials such as the callusinducing pizzicato chords. When the third movement’s passacaglia theme returns near the end, the tragedy seems to broaden from the personal to the national. The piece ends on a hopeful but unresolved note, in Dubinsky’s words, “like a question mark about the fate of a whole nation.” Perhaps the question mark still remains.

tonight’s concert is made possible with support from the

week 3

Saturday, August 26 7:30 PM Robinson Pavilion

at Anyela’s Vineyards

Bob & Sally Neumann Fund for Jazz and Innovative Programming

Rain Location: West Genesee High School

The Joey Alexander Trio One of the world’s true prodigies, Indonesian jazz pianist Joey Alexander became an “overnight sensation” (New York Times) when Wynton Marsalis – who calls Alexander “my hero” – featured him at Lincoln Center. His jaw-dropping artistry astounded audiences at the Grammy Awards two years in a row, and 60 Minutes and NBC News have highlighted him. Tonight’s concert will feature standards and original compositions for Jazz Trio – piano, bass, drums. f e at u r i n g

Joey Alexander, piano Larry Grenadier, bass Eric Harland, drums

tonight’s artist sponsorships

tonight’s media sponsor:

Joey Alexander is sponsored by: The Breuer Family, Geraldean & Greg Lantier, Jessica & Patrick Danial and Jolie & Scott Johnston Additional support from Grossman St. Amour CPA

WAER NewsChannel 9

visit: joeyalexandermusic.com Joey Alexander is a Steinway Artist 50

The Skaneateles Festival is made possible, in part, with the support from the County of Onondaga, administered by CNY Arts.

Festival Future

The Skaneateles Festival extends its appreciation to

Bob and Sally Neumann Their love for great music and leadership giving are helping to secure the Festival’s future and allowing us to bring the highest caliber musicians to our lakeside community.

Grossman St. Amour CPAs PLLC proudly supports the Skaneateles Festival!

110 West Fayette Street Suite 900 Syracuse, New York 13202 315.424.1120 www.gsacpas.com

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week 4

tonight’s concert is sponsored by

Thursday, August 31

The Gladys Krieble Delmas Foundation and David & Deirdre Stam

8:00 PM First Presbyterian Church

ECCO & Brandon Ridenour: I Got Rhythm DOHNÁNYI

Serenade in C Major, Op. 10 for Violin, Viola and Cello

Marcia: Allegro Romanza: Adagio non troppo Scherzo: Vivace Tema con variazioni: Andante con moto Rondo

GERSHWIN arr. RIDENOUR

I Got Rhythm

MOZART/ BRUBECK

Kinda Blue Rondo (a la Turk)

SAINT-SAËNS

Septet in E-flat Major, Op. 65

(2017 – World Premiere) Preambule Menuét Intermède Gavotte et Final

Karen Kim, violin Katie Kadarouch, viola Mihai Marica, cello

Brandon Ridenour, trumpet Aaron Wunsch, piano Brandon Ridenour, trumpet Aaron Wunsch, piano Aaron Wunsch, piano Brandon Ridenour, trumpet Sandy Yamamoto, violin J Freivogel, violin Rebecca Gitter, viola Yumi Kendall, cello Tom Van Dyck, bass

intermission

DVOŘÁK

String Quintet in E-flat Major, Op. 97, “American” Allegro non tanto Allegro vivo Larghetto Finale: Allegro giusto

tonight’s artist sponsorships

ECCO is sponsored by Koko Fuller Brandon Ridenour is sponsored by Dr. Paul & Linda Cohen and Dr. Brendan McGinn & Rebecca Cohen Aaron Wunsch is sponsored by The Skaneateles Consortium: George Bain, Sam & Debby Bruskin, Dana & Susan Hall, and Ron Sampson

Susie Park, violin Noah Geller, violin Melissa Reardon, viola David Auerbach, viola Nina Lee, cello

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

he virtuoso trumpeter and composer Brandon Ridenour “heralds the trumpet of the future” (Chicago Sun-Times). His collaborations include the New York Philharmonic, Chamber Music Society of Lincoln Center, Canadian Brass, Sting, and James Taylor. He teams up with high-wattage soloists from ECCO for pulsating music by Camille Saint-Saëns (The Neo-classical Septet) and offers his own take on Gershwin’s “I Got Rhythm,” Mozart’s Rondo all Turca, and Dave Brubeck’s Blue Rondo ‘a la Turk.’

Serenade in C Major, Op. 10 for Violin, Viola and Cello ERNÓ´ DOHNÁNYI (1877-1960)

Like his role model and fellow Hungarian, Franz Liszt, Ernó´ Dohnányi lived one of the great musical lives. Pianist, conductor, administrator, and all-around musical swashbuckler, Dohnányi cleared a path through all of Europe, performing the complete sonatas of Beethoven (32) and the complete concertos of Mozart (27), as well as his own works. Yet he lived in a very different era than Liszt’s, and traveled down a very different path. For one thing, Liszt did not end his life in Tallahassee, Florida. After many years as Hungary’s musical leader, Dohnányi faced criticism for decisions made during World War II (despite his vigorous defense of Jewish musicians), and he resigned himself into semi-retirement in the Sunshine State, with so many others. Whereas his boyhood friend, Béla Bartók, developed a radically new language for Hungarian music, Dohnányi worked to strengthen Hungary’s bond with the past. As a performer, he challenged the public by presenting the most serious works of Mozart, Beethoven, and Schubert, and his own works build bridges to the past, too. The Serenade, Op. 10, is a good example – it could be by Beethoven, had

© AARON WUNSCH, 2017 Beethoven been born 100 years later and eaten more goulash. Clearly based on Beethoven’s Serenade for String Trio, Op. 8, it begins like that earlier work, with a march. After this proud entry, the music begins to serenade, with the viola offering a nocturnal romance over delicate plucks by the violin and cello. A mischievous scherzo ensues, followed by a plaintive theme and variations. Despite a few modernist touches of harmony, Dohnányi’s music never loses the Romantic Era’s faith in the central importance of a good melody. As the romping rondo finale spins out, it finds its way back to the opening movement’s theme, coming full circle – a musical completion that Dohanyi’s life path could never attain.

I Got Rhythm (1930) GEORGE GERSHWIN (1898-1937), arr. Brandon Ridenour George Gershwin was one of music’s great chameleons. Trained neither in jazz nor in classical genres of music, he seemingly mastered both. A songsmith by trade, no one ever doubted that the man could write a good tune. Case in point: I Got Rhythm. The grammar police may have objected, but the song was a bona fide hit. Although the lyrics were by his brother, Ira (part of their 1930 musical, Girl Crazy), they seem autobiographical on two accounts. First: “I got rhythm” – yes, George, you do. Second: “Who could ask for anything more?” By 1930, Gershwin had numerous hit songs and concert pieces under his belt, plenty of money in his wallet, and, at age 27, had been on the cover of Time Magazine. This was the son of Moishe Gershowitz, a cutter of leather for women’s shoes (and patron saint of aspiring musicians whose parents object to such a flimsy profession). I Got Rhythm quickly became a jazz standard, the chords of which are known as “rhythm changes”—the basis for countless improvisations.

Kinda Blue Rondo (a la Turk) (2017 – World Premiere) BRANDON RIDENOUR, after W. A. MOZART and DAVE BRUBECK

Happy concert-goers at Anyela's.

Mozart, too, was something of a musical shape shifter. As he wrote to his father on February 7, 1778: “I can more or less adopt or imitate any kind and any style of composition.” The most famous example may be his Rondo “allaTurca,” from his Piano Sonata in A Major, K. 331. Ever since the failed Ottoman siege of Vienna in 1683, the Viennese had taken a fancy to the janissary style: a caricature of Turkish military band music characterized by a strong march rhythm (left! left! left-right-left!), wind instruments, and crashing cymbals. Now, unless you are an experienced body builder, marching in a band with a piano presents considerable challenges. Mozart’s unlikely inclusion of janissary music in his Piano Sonata allows non-military types to imagine themselves marching along from the comfort of their living rooms. Mozart imitates the percussion with clamorous rolled chords. For an added

8/31 Program Notes (CONTINUED)

thrill, Viennese pianos sometimes included a janissary pedal, which operated a small pair of cymbals inside the piano. Steinway & Sons has yet to follow suit. Dave Brubeck’s Blue Rondo à la Turk bears the same title as Mozart’s, only in color. However, the Turkish music here is not janissary but aksak, an authentic rhythmic practice in Islamic folk music. Brubeck heard Turkish musicians playing the irregular rhythm (2+2+2+3) on the street in 1958 and asked where it came from. "This rhythm is to us what the blues is to you," one replied. Inspired by this reply, Brubeck decided to join the two art forms. Brandon Ridenour’s arrangement goes one step further, bringing together Mozart’s take on Vienna’s take on Turkish music with Brubeck’s take on a Turkish street musician’s take on the blues. Got that?

Septet in E-flat Major, Op. 65 (1880) CAMILLE SAINT-SAËNS (1835-1921) Relatively few composers have taken an interest in music for the luckiest number of players. The first to spin a seven was Beethoven, and he hit the jackpot – his Septet, Op. 65, was his most popular piece during his own lifetime. Yet while quintets, sextets, and octets abounded, very few septets appeared, until Camille Saint-Saëns was cajoled into one by a geometrist. Émile Lemoine, best known for his theorems on the triangle, was also an amateur violinist with a boundless enthusiasm for music. He regularly organized performances for his musical friends, and when one declared him “the trumpet” of this motley band (so to speak), he christened his new chamber music society La Trompette. Saint-Saëns sometimes joined in on piano, and Lemoine had an ongoing joke with the composer, suggesting he write a work that actually included the trumpet – an orchestral instrument not usually part of chamber ensembles – merely to fit the society’s name. Saint-Saëns quipped that instead he would rather compose a work for guitar and 13 trombones. This joke continued for so long that in 1879 he finally decided to surprise Lemoine with a Christmas present of a single short movement for trumpet, strings, and piano. The composer was pleased enough with the result to add additional movements, and Voila!, his Septet was born.

Despite its whimsical origins, this Septet was a logical result of both the recent French advances in valve trumpet technology and Saint-Saëns’ growing interest in Baroque music, which sometimes included brilliant trumpet solos (like Bach’s Brandenburg Concerto No. 2, featured this coming Saturday evening). The Septet bears resemblance to a Baroque suite (and at first bore that title): several short movements, each with a characteristic rhythm. The festive Preambule combines the Baroque genres of prelude and fugue, with an anachronistic dose of Lisztian virtuosity. Its celebratory spirit continues in the Menuet, which in its central section subsides into a charming, distinctively French melody. The reflective Intermède looks backward with a regretful glance. The jovial Gavotte, by contrast, dances merrily along, until it starts to run, with one last fugal dash to the finish. Like Beethoven’s, Saint-Saëns’ Septet turned out to be an unexpected hit. Almost 30 years later, Saint-Saëns wrote to Lemoine, in October 1907: “When I think how much you pestered me to make me produce, against my better judgment, this piece that I did not want to write and which has become one of my great successes, I never understood why.” At least as far as music is concerned, let’s officially declare seven a lucky number.

String Quintet in E-flat Major, Op. 97, “American” (1893) ANTONÍN DVOŘÁK (1841-1904) When wealthy socialite Jeanette Thurber founded the National Conservatory of Music in New York City, in 1885, she sought the perfect music educator to instruct aspiring young composers how to compose distinctly American music. Now, if you imagine yourself in her shoes, your first choice might not be a Czech viola-playing son-of-a-butcher who had never set foot in the United States. The trouble was, no one quite knew what American music in the European tradition was supposed to sound like. So Thurber sent pianist Adele Margolies to Europe to persuade Antonín Dvořák to travel across the ocean so he could figure it out. Armed with a gigantic paycheck, she prevailed. On September 26, 1892, Dvořák arrived in New York with his family, and now he had to figure it out: What is American music?

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8/31 Program Notes (CONTINUED)

Forty years later, jazz would have provided a convenient answer. But in 1893, he felt the answer likely resided in Native American music and the African-American spiritual. While he was neither fully able to plumb those art forms nor integrate them with his own, he did adjust his own musical vocabulary during his time in the United States to reflect what he heard while here. He called it “melodious and simple,” but one might more accurately call it melodious and plainspoken, if not simple. This music is optimistic and openhearted, if only a few degrees less Bohemian than his Slavonic Dances. The String Quintet in E-flat Major, Op. 97, is at the very least American in the sense that he composed it on American soil. Although he spent most of his American sojourn in New York City, he composed the Quintet in a town that is as small as it sounds: Spillville, Iowa. Like most every town in the Midwest at some point in the 19th century, it was filled with immigrants – in this case, Czech ones. So in the heart of America, surrounded by fellow Bohemians, Dvořák composed his American music, or whatever you’d like to call it. Violists, of which Dvořák himself was one, might like to say the composer improved upon the string quartet here by adding a second viola. The piece leaves no doubt that he was partial to that instrument. The work begins with one solitary viola playing a pentatonic fragment of what sounds like a folk melody (conveniently, both Czech and

American melodies are often pentatonic). The players seem ready to tell us some epic tale. With their mellow tone, the violas excel in plaintive storytelling, set into relief by exuberant outbursts from the full ensemble. A lone viola starts the second movement as well, this time with a playful, slightly off-kilter drumbeat that propels this lighthearted dance forward – at least until the other viola sings its heart out in a lament. Will you be surprised when the third movement starts with a viola solo? This time, an accompaniment by the second viola and cello lends a dark hue to the melody, which apparently started life as Dvořák’s attempt to compose an American anthem to the words “My Country, ’Tis of Thee.” The elaborate variations that follow reveal to us the greatest master of musical texture since Schubert. The rollicking finale revels in its rhythms, building enthusiasm as it dances along. One wonders if this work’s premiere in New York City converted some jaded city dwellers to the pleasures of country life. Dvořák himself needed no such conversion; he soon returned to his beloved country estate in Vysoká, Bohemia, where he “cared nothing for all the world.” His “American” period was over. To what extent Dvořák succeeded in discovering American music remains a matter of debate. However, the so-called “American” works he composed while here, including the “New World” Symphony and “American” String Quartet, have long since entered the repertoire – a matter of no debate.

week 4

tonight’s concert is sponsored by

Friday, September 1

Barb Connor & Doug Wood and Scott & Amy Hafler

8:00 PM First Presbyterian Church

Go/Hear – Appalachia! FINNEY

Fiddle-Doodle-Ad

Noah Geller, violin Xak Bjerken, piano

ADAMS

Shaker Loops

ECCO

Rosin the Bow Rye Whiskey Wayfaring Stranger Cotton Eye Joe Rippytoe Ray The Nightingale Oh, Lovely Appearance of Death Candy Girl Shaking and Trembling Hymning Slews Loops and Verses A Final Shaking intermission

COPLAND

ECCO VIOLIN Diana Cohen J Freivogel Noah Geller Karen Kim

Appalachian Spring

Boson Mo Susie Park Annaliesa Place Sandy Yamamoto

tonight’s artist sponsorships

ECCO is sponsored by Koko Fuller Daniel Hege is sponsored by Andrea Latchem 58

VIOLA David Auerbach Rebecca Gitter Katie Kadarouch Melissa Reardon

Daniel Hege, conductor Alex Sopp, flute Dean LeBlanc, clarinet Matthew McDonald, bassoon Diana Cohen, violin Karen Kim, violin Annaliesa Place, violin Boson Mo, violin Rebecca Gitter, viola Katie Kadarouch, viola Yumi Kendall, cello, Mihai Marica, cello Tom Van Dyck, bass

CELLO Yumi Kendall Nina Lee Mihai Marica

BASS Tom Van Dyck

The Skaneateles Festival is made possible, in part, with the support from the County of Onondaga, administered by CNY Arts.

Program Notes

CCO (East Coast Chamber Orchestra) fills the stage to lead the final program in the Go/Hear series, which takes us to rural Appalachia. American master John Adams’s stirring, unforgettable Shaker Loops puts you in the middle of the Shakers’ ecstatic gatherings, while Aaron Copland’s beloved Appalachian Spring lands you amidst the breathtaking mountain landscapes that make the region famous – scenes also projected in between the music. Short works inspired by fiddlers and old-time hymns fill out the program.

Fiddle-Doodle-Ad (1945) ROSS LEE FINNEY (1906-1997)

Shaker Loops (1978/1983) JOHN ADAMS (B. 1947)

Appalachian Spring (1944) AARON COPLAND (1900-1990) As befitting the spirit of its wide-open spaces, Appalachia has no precise boundaries. While the Appalachian Mountains stretch from Mississippi into Canada, the term Appalachia often refers more vaguely to rural areas among the lower half of the range. Perhaps Appalachia is even more a culture than it is a place. It suggests a rural lifestyle and an independent spirit. While negative stereotypes of the “hillbilly” persist, these are certainly based in viewpoints from the outside in. Appalachian music, on the other hand, offers us a view from the inside out. Ballads and fiddle tunes found their way to Appalachia along with the immigrants who settled there from the British Isles, but once here, these gradually took on their own distinct flavor. Solo fiddlers often accompanied themselves using open strings beneath pentatonic melodies. Meanwhile, Protestant church hymnody, which was isolated from cities and often had no instrumental accompaniment, took on the character of folk music. Shape-note hymnals like the 1844 Sacred Harp (where each note had one from a series of shapes) helped worshippers learn to sing in harmony without having to memorize the whole staff.

© AARON WUNSCH, 2017 Fiddle tunes and old-time hymns are the starting point for Ross Lee Finney’s Fiddle-Doodle-Ad, composed in 1945. Finney himself grew up in North Dakota, but his musical training was highly cosmopolitan: he studied with Nadia Boulanger in Paris and Alban Berg in Vienna. Like his contemporary, Aaron Copland, Finney was interested both in avant-garde European techniques (like serialism) and in American folk traditions, and he later sought to reconcile these two poles in his music. As the cataclysmic events of World War II drew to a close, however, Finney sought inspiration and solace in the folk music of Appalachia. Fiddle-Doodle-Ad immerses the listener in rural music via eight postcard-sized tunes. Rye Whiskey, Cotton Eye Joe, and Rippytoe Ray are snapshots of outdoor fun, while Wayfaring Stranger and O Lovely Appearance of Death are ballad-like church songs. The final tune, Candy Girl, demands some fancy fiddling footwork. Finney’s skillful treatment of both instruments and the way he organizes the tunes into a satisfying arc reveal his own compositional craft, but equally wonderful is how he allows each tune to speak for itself, in its own language. While Finney employed Appalachian tunes as a starting point, both of the remaining composers on this program adopted an Appalachian spirit only at a later stage of composition. Many Americans hear in Aaron Copland’s Appalachian Spring the essence of Appalachian identity, but in fact, this was not his goal. Asked to compose a ballet for the dancer-choreographer Martha Graham, Copland initially called it only Ballet for Martha. She had requested that it somehow capture a youthful, optimistic, pioneering spirit, and she decided to depict daily rituals in a rural Pennsylvanian town. Despite his recent successful forays into rural Americana, namely, the ballets Billy the Kid (1938) and Rodeo (1942), Copland knew little of such places. He was born in Brooklyn, educated in Europe, and lived in New York City – moreover, he was Jewish, gay, and a communist. Copland’s example shows how music can so completely transcend the supposed limitations of our socio-political categories.

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9/1 Program Notes (CONTINUED)

Graham herself selected the ultimate title, taking it from a line in Hart Crane’s poem, The Dance. The ballet’s plot depicts a farmer and his bride (danced by Graham) as they establish a homestead, interacting with a neighbor and a revivalist preacher (Merce Cunningham). Copland based the penultimate section on a then-obscure Shaker tune, “Simple Gifts” (“‘Tis a gift to be simple, ‘tis a gift to be free….”). His primary goal was to support Graham’s choreography, but the music took on a life – and an Appalachian-ness – of its own. As he explained in 1981, “Over and over again, people come up to me after seeing the ballet on stage and say, ‘Mr. Copland, when I see that ballet and when I hear your music I can just see the Appalachians and I just feel spring.’ Well I’m willing if they are!” Nevertheless, the ingredients are in the music and not only in the listener’s imagination. After a sunrise-like slow introduction (“suffused in light”), the violins break into an optimistic folk-style dance, which expresses, in Copland’s words, “a sentiment both elated and religious” – a frequent duality in Appalachian music. After moments of tenderness and passion, Copland indicates “a folksy feeling … square dances and country fiddlers.” Toward the end of his variations on “Simple Gifts,” the music seems to step back from the married couple and speaks to a much larger concern, the optimism and hopes of a nation that has come through war and the Great Depression by finding strength in its own unique identity. While orchestras perform the large-scale version, the original scoring for 13 instruments was limited by the constraints of the pit at the premiere, at the Library of Congress. This first version highlights the transparency of the harmonies (featuring “open” intervals, like the fourth and fifth) and perhaps better conveys the intimate moments of the two lovers. Copland’s ballet received the Pulitzer Prize in 1945. Copland could not have predicted the work’s iconic status. “The fate of pieces is really rather curious…,” he later explained. “You can’t always figure out in advance exactly what’s going to happen to them.” This one made Copland, to use Virgil Thomson’s epithet, “the president of American music.” Copland’s current successor for this title might well be John Adams, the leading advocate for vernacular-based contemporary music. A native of New England, Adams moved to San Francisco in 1971 and has been a Bay Area fixture ever since. The Californian origins of Shaker Loops are far removed from Appalachia. Adams adapted its musical material from his 1978 string quartet, Wavemaker, consisting of interlocking repeated patterns; an image of waves off the California coast might come to mind. However, the original inspiration here was probably the tape loops produced in new electronic music studios, where composers created trance-like repetitions of recorded fragments. Dissatisfied with the results of

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Wavemaker, he reworked its material for orchestra, and Shaker Loops emerged – a synthesis of the tape loop idea with the repetitive shaking and quaking motions of the 19th century Shaker religious meetings. The title Shaker Loops seemed like a perfect fit, on multiple accounts. As Adams explains, his use of the term “Shaker” can refer to a musical technique that string players use to create special effects of tremolos or trills from one note to another. But he also grew up near a Shaker colony in New Hampshire. He had a vision of “these otherwise pious and industrious souls caught up in the ecstatic frenzy of a dance that culminated in an epiphany of physical and spiritual transcendence.” While there is no actual folk music here, there sure is plenty of fiddling. For all the frenetic activity, Adams keeps a bird’s eye view, and the structure of the work builds slowly but surely over its 25 minutes. The “Shaking and Trembling” of the first movement gives way to the more prayerful “Hymning Slews.” In “Loops and Verses,” the cellos begin to sing, and gradually the earth begins to quake and the heavens open – an awesome experience that brings together all the players for “A Final Shaking.” In the 20th century, as Appalachia became less isolated, the guitar made its way into small towns (thanks to the Sears mail order catalog), helping to create bluegrass; meanwhile, Appalachian musicians made their way out to cities – fostering the beginnings of country music. Through all these transformations, Appalachia’s musical exports often retain the same blend of direct expression, optimism, and old-time religion that inspired the composers on tonight’s program.

week 4

Tonight’s concert is made possible with support from the

Saturday, September 2

Noreen & Michael Falcone Fund for Artistic Excellence

7:30 PM Robinson Pavilion

at Anyela’s Vineyards Rain Location: TBA

Festival Finale with ECCO BACH

Brandenburg Concerto No. 2 in F Major, BWV 1047 Allegro Andante Allegro assai

DVOŘÁK

Nocturne in B Major, Op. 40

JALBERT

String Theory (2016)

Brandon Ridenour, trumpet J Freivogel, solo violin Alex Sopp, solo flute Jillian Honn, solo oboe Boson Mo, violin Sandy Yamamoto, violin David Auerbach, viola Nina Lee, cello Tom Van Dyck, bass William Cowdery, harpsichord

Partials Timeless Rhythmus

intermission

SUK

Serenade for Strings in E-flat Major, Op. 6 Andante con moto Allegro ma non troppo e grazioso Adagio Allegro giocoso, ma non troppo presto

ECCO VIOLIN Diana Cohen J Freivogel Noah Geller Karen Kim

Boson Mo Susie Park Annaliesa Place Sandy Yamamoto

VIOLA David Auerbach Rebecca Gitter Katie Kadarouch Melissa Reardon

CELLO Yumi Kendall Nina Lee Mihai Marica

BASS Tom Van Dyck

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Program Notes

estival favorite ECCO (East Coast Chamber Orchestra) returns with its inimitable blend of energy, virtuosity, and “sheer exuberance” (New York Times). These principals of major orchestras and members of leading chamber ensembles are each accomplished soloists – and when they come together, their “warm glow” is magical. The program includes Bach’s Brandenburg Concerto No. 2 (with trumpeter Brandon Ridenour), Pierre Jalbert’s pulsating String Theory, and romantic composer Josef Suk’s heartmelting Serenade.

Brandenburg Concerto No. 2 in F Major, BWV 1047 (ca. 1720) JOHANN SEBASTIAN BACH (1685-1750) In his professional and personal life, Bach was by nature practical – hardworking, thrifty, straightforward. When it came to music, however, he was an idealist; rarely did he allow practical considerations of singers or instruments to get between him and what he wanted to express. His Brandenburg Concerto No. 2 is a prime example; after almost 300 years, the solo trumpet part remains among the most difficult ever. The work’s instrumentation was also

© AARON WUNSCH, 2017 unprecedented, and, quite frankly, bizarre. Instead of a single soloist, this concerto has a motley group of four soloists – trumpet, flute (recorder), oboe, and violin. All this seems from the outset like a recipe for disaster, which could explain why we don’t know of a single performance of the work during Bach’s lifetime. Bach sent it along with the five other concertos to the Margrave of Brandenburg in 1721, probably as a quasi job application; he received no reply. If one can find an extraordinary and brave trumpeter to try out Bach’s trumpet trampoline, however, the piece is miraculous. Almost immediately, the trumpet soars above others, in response to their earth-bound dance. Bach need not have given the trumpet such stratospheric responses, but he heard them in his mind’s ear and wanted them to be real – an enthusiasm unbounded by gravity. On one practical note, he gives the trumpeter a rest in the second movement. Here the flute, oboe, and violin take the spotlight, sighing sympathetically to one another about some shared sadness. As the final movement begins, the trumpet snaps the others out of their melancholia with a few sonic somersaults; one by one, the others join in. Soon 63

9/2 Program Notes (CONTINUED)

they are a group of happy children, each frolicking amidst a blithe cacophony. The trumpet carries the listener so far aloft in this work, apparently it seemed like a logical choice to send into outer space: this music was included in the 1977 Voyager space capsule’s Golden Record. Imagine where it is now.

Nocturne in B Major, Op. 40 (1883) ANTONÍN DVOŘÁK (1841-1904) Most everyone goes through a juvenile stage of life when passions run high and then dissolve quickly. Perhaps you had a summer of love for Janis Joplin, or New Kids on the Block, or (God forbid) Justin Bieber. To transfer this analogy to 19th century Bohemia: Antonín Dvořák’s Janis Joplin was Richard Wagner. He later referred to this as his “mad period.” Almost everything he composed in his 20s sounded like an imitation of music by the German Romantic megalomaniac, and he later suppressed most of these works. Yet there was one portion of an overwrought string quartet he could not bring himself to discard. The trouble was, what to do with it? First, he retooled it for his String Quintet, Op. 77, but then decided it didn’t fit his newer style. In a final attempt, he added a new ending, arranged it for string orchestra, and changed the indication “Andante religioso” into Notturno (Nocturne). We can be happy he did not give up on it. The religious prayer turned nighttime romance is full of tender yearning; it seems to exist in a place where spiritual and earthly love might meet. More than 15 years later, in 1885, Dvořák’s work saw the light of day – he conducted it himself in London’s Crystal Palace, the 4,000-seat exhibition hall that would have been a perfect fit for Janis Joplin.

Symphony, and the Emerson String Quartet. His vivid music often balances driving rhythms and a spiritual, unearthly calm. He now lives in Texas, where he is Professor of Composition and Theory at Rice University. Jalbert composed String Theory for ECCO in 2016. About it he writes: “String Theory is in three movements and was inspired by the idea of dynamic vibrating strings, referring to both the musical instruments and the theory of quantum gravity. In terms of the string instruments, the idea of dividing a string in various ways to produce harmonics (Partials), sustaining long held tones (Timeless), and rapidly moving the bow back and forth along the string (Rhythmus) all played a part in the work, as did the idea of vibrating strings propagating through space-time and interacting with each other in various ways. The first movement, Partials, contains pulsating music and exploits both natural and artificial harmonics on each of the instruments. The second movement, Timeless, is a more lyrical, floating movement marked ‘with a sense of cosmic time.’ The third movement, Rhythmus, is fast-paced and syncopated. It contains virtuosic rhythmic figures for the entire ensemble, but also features solo first and second violin parts, echoing and dueling with each other, leading to the entire ensemble merging for the final push to the end.”

String Theory (2016) PIERRE JALBERT (b. 1967) Pierre Jalbert’s parents are from Quebec, but he grew up in northern Vermont – so the “t” at the end of his name is not silent. Since winning the prestigious Rome Prize in 2000, numerous ensembles have performed his work, including the London Symphony Orchestra, the Boston

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9/3 Program Notes (CONTINUED)

Serenade for Strings in E-flat Major, Op. 6 (1892) JOSEF SUK (1874-1935) How did you spend your summer after high school ended? Instead of flipping burgers, 18-year-old Josef Suk composed this Serenade for Strings. He had just graduated, but from college, not high school. Since he had started in the Prague Conservatory at age 11, he could have graduated even earlier, but he stayed on to study with a new teacher there, one Antonín Dvořák. Suk impressed his teacher with a mastery of technique, but Dvořák found the young composer’s works too full of teenage angst and melancholy. As Suk left for the summer break, Dvořák told him, "It's summertime now, so go and compose something lively for a change.” He did just that, and the result is pure summer. A warm, gentle breeze begins the first movement. The expressive, romantic melody is leisurely and reflective rather than intense. Clearly, school is out. After strolling about for awhile, our melody settles down on a blanket in the sunshine, and the movement ends in reverie. What next? Let’s go dancing. A graceful waltz ensues, in high spirits. The middle of the movement spotlights an ardent exchange between two young lovers. But this is summer love, not Tristan and Isolde – so they get back to the dance floor. The subsequent slow movement unfolds as an extended daydream. It begins tenderly with a hushed cello solo and gradually blossoms into a heartwarming song. Suk expertly employs the strings in doing what they do best, enveloping the listener in a warm glow of sound. The jocular Finale begins with an unexpected outburst of laughter. Soon we are all in on the joke and laughing together, enjoying a ride of youthful enthusiasm, which carries the Serenade to its jubilant end. Suk’s Serenade turned out to be a great success. Johannes Brahms recommended it to his own publisher, and Suk quickly joined Dvořák as a leading light of Czech music. In the same year, he joined the Czech Quartet as second violinist, performing some 4,000 concerts by 1933. Eventually, he took his own place at the Prague Conservatory and advised young composers in their own summer projects.

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Musician Profiles Joey Alexander, piano Joey Alexander learned about jazz from his dad, and started playing at the age of six. At nine, Joey won grand prize over 200 competitors of all ages from 17 countries at the first Master-Jam Fest competition in Ukraine. A year later, an invitation from Wynton Marsalis led to his U.S. debut at Jazz at Lincoln Center. His 2015 debut album, My Favorite Things, garnered a Grammy nomination for Best Jazz Instrumental Album. His performance of John Coltrane’s “Giant Steps” was nominated for Best Improvised Solo. His second album Countdown showcases Joey’s development as a bandleader and promise as a composer. “I actually find it harder to interpret other people’s songs than to write my own,” he says.

Antioch Chamber Ensemble, vocal ensemble Among the top rank of professional choirs in the world, The Antioch Chamber Ensemble is currently celebrating its 19th season. Under the leadership of founding Artistic Director Joshua Copeland, the ensemble presents a diverse program of sacred and secular works ranging from Renaissance polyphony to contemporary masterpieces. In recent years, Antioch has earned a reputation for its pitch-perfect and expressive interpretation of modern music. The ensemble is the recipient of a grant from the Aaron Copland Fund for Music to produce the first recording of choral works by Matthew Brown, a talented emerging composer based in Los Angeles.

Anderson & Roe, piano duo Known for their adrenalized performances, original compositions, and music videos, Greg Anderson and Elizabeth Joy Roe are revolutionizing the piano duo experience for the 21st century. Since forming their dynamic musical partnership in 2002 as students at The Juilliard School, they have appeared on NPR and MTV, toured extensively worldwide as recitalists and orchestral soloists, and presented at numerous international leader symposiums. Highlights of the 2016/17 season include tours throughout North America, Asia, and Europe; appearances with the San Francisco Symphony, the Royal Liverpool Philharmonic, the Chicago Sinfonietta, and serving as webcast hosts for the Van Cliburn International Piano Competition. Their ambitious—and literally explosive—music film, The Rite of Spring, has been released on DVD.

Xak Bjerken, piano Pianist Xak Bjerken has appeared with the Scottish Chamber Orchestra, Spoleto Festival Orchestra, Thailand Philharmonic Orchestra, the Schoenberg Ensemble, and the Los Angeles Philharmonic in Disney Hall. He has performed at the Concertgebouw in Amsterdam, Glinka Hall in St Petersburg, the Konzerthaus in Berlin, and for many years performed throughout the US as a member of the Los Angeles Piano Quartet. Xak is Professor of Music at Cornell University where he co-directs Mayfest, an international chamber music festival with his wife, pianist Miri Yampolsky. Bjerken studied with Aube Tzerko at the University of California at Los Angeles and received his Master’s and Doctoral degrees from the Peabody Conservatory as a student of and teaching assistant to Leon Fleisher.

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Musician Profiles Julia Bruskin, cello, artistic director Julia Bruskin has established herself as one of the premiere cellists of her generation. Her CD of music by Beethoven, Brahms, and Dohnányi was praised by Fanfare magazine for its “exquisite beauty of sound and expression.” A founding member of the critically acclaimed Claremont Trio, Bruskin records and tours extensively with the group, including concerts this year for the Library of Congress, New York’s Lincoln Center and a four-concert series featuring Brahms's trios at the Isabella Stewart Gardner Museum in Boston. She has taught at the Juilliard Pre-College and Queens College and is a member of the Metropolitan Opera Orchestra. She and her husband, Aaron Wunsch, are in their third season as Artistic Directors of the Skaneateles Festival. Edward Castilano, bass Edward Castilano is a member of the Rochester Philharmonic Orchestra and an instructor at the Syracuse University Setnor School of Music. He was principal bass in the Syracuse Symphony Orchestra, and has appeared numerous times as a soloist. Castilano participated for six seasons in Gian Carlo Menotti's Spoleto Festival in Italy and Charleston, SC where he made several appearances with the Lincoln Center Chamber Players. He has appeared in concert with the Philadelphia, Savannah, and Spokane symphonies, and has performed annually in the Skaneateles Festival since its inception in 1980. Amy Christian, violin Amy Christian received music performance degrees from Indiana University, Eastman School of Music, and CUNY Graduate Center. She enjoys teaching and performing equally and currently serves as a visiting lecturer on the faculty of Cornell University. She is a member of Symphoria, acting concertmaster of the Tri-Cities Opera, principal second violin of the Binghamton Philharmonic, and substitutes regularly in the Northeastern Pennsylvania Philharmonic. She plays on a Sgarabotto violin from 1911 that has been in the family for decades.

Claremont Trio Emily Bruskin, violin Julia Bruskin, cello Andrea Lam, piano Formed in 1999 at The Juilliard School, twin sisters Emily and Julia Bruskin and pianist Andrea Lam remain based in New York City near their namesake: Claremont Avenue. The Trio is sought for its thrillingly virtuosic and richly communicative performances. They were first winners of the Kalichstein-Laredo-Robinson International Trio Award and the only piano trio to win the Young Concert Artists International Auditions. The Trio recorded a newly commissioned work by Robert Paterson and visited artistsin-residence at Columbia University. Bridge Records released the Claremont Trio’s newest recording of the Beethoven “Triple” Concerto with the San Francisco Ballet Orchestra and Beethoven’s Trio Op. 1 No. 1 to critical acclaim. Daedalus Quartet Min-Young Kim, violin Matilda Kaul, violin Jessica Thompson, viola Thomas Kraines, cello The award-winning Daedalus Quartet has earned plaudits for its adventurous exploration of contemporary music. In 2014, the Quartet recorded Joan Tower's “White Water” (composed for Daedalus), as well as her “Dumbarton Quintet” (with pianist Blair McMillen). In 2016, the quartet premiered a new work by Huck Hodge based on the writings of Jorge Luis Borges, Carl Jung, and the contemporary Buddhist poet Ko Un. During the current season, the quartet will premiere new works by Fred Lerdahl (in Philadelphia) and Louis Karchin (in San Francisco), present a program based around the Kreutzer Sonata for the Schubert Club in St. Paul, MN, with actress Linda Kelsey, and collaborate in performance with jazz bassist John Patitucci at World Café in Philadelphia. Misha Dichter, piano Now in the fifth decade of an illustrious international career, Misha Dichter traces his musical heritage to the two

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Musician Profiles great pianistic traditions of the 20th century: the Russian Romantic School as personified by Rosina Lhevinne, his mentor at The Juilliard School, and the German Classical style that was passed on to him by Aube Tzerko, a pupil of Artur Schnabel. In addition to appearances with the world's major orchestras, he devotes a portion of his schedule to recitals with his wife Cipa Dichter. They perform many previously neglected works of the two-piano and pianofour-hand repertoires, most recently the world premiere of Mendelssohn's own four-hand setting of Songs Without Words, Op. 62 and 67.

ECCO, East Coast Chamber Orchestra In 2001, a group of musicians – colleagues and friends from leading conservatories and music festivals across the country – envisioned the creation of a democratically run, self-conducted chamber orchestra. The result was ECCO, a dynamic collective that combines the strength and power of a great orchestral ensemble with the personal involvement and sensitivity of superb chamber music. ECCO is comprised of some of today’s most vibrant and gifted young string players – soloists, chamber musicians, principals of major American orchestras, and Grammy award winners. ECCO members play with the symphony orchestras of Philadelphia, Minnesota, San Francisco, Chicago, St. Louis, Seattle, and Boston among others. Members also play with the Enso, Jasper, Jupiter, and Parker quartets, as well as the Horszowski Trio, Trio Cavatina, Sejong Soloists, Time for Three, and Chamber Music Society II. Rosemary Elliott, cello A native of London, England, Rosemary Elliott is Assistant Professor of Cello at the Eastman School of Music. She is principal cellist of Cayuga Chamber Orchestra in Ithaca and

artistic director of ‘Morning Chamber Music’ at Eastman where she performs regularly on the series. Elliott was recently featured in ‘Performance Rochester,’ a WXXI program celebrating musicians from the Rochester area. Prior to her appointment at Eastman, Elliott was a member of the National Symphony Orchestra in Dublin, Ireland and later a member of the cello staff at the Royal College of Music in London. She has played with notable chamber orchestras in England, including the London Mozart Players, the City of London Sinfonia and the Orchestra of St. John’s Smith Square. During the summer Elliott teaches and performs at the Bowdoin International Music Festival in Brunswick, ME and the Heifetz Academy in Staunton, VA.

Founders Founders is a songwriting collective comprised of five members, Ben Russell, Brandon Ridenour, Hamilton Berry, Yoonah Kim, and Kris Saebo, that flourishes in combining classical and folk music with original compositions and pop arrangements. With songs ranging from Appalachian themed originals to Radiohead covers to art songs using famous poetry, Founders is reimagining the boundaries of musical styles. As the New York Music Daily states, "Their excellent debut album, You & Who, is unlike anything else out there right now." Merging the talents of five conservatory-trained musicians from New York City, Founders brings a fresh perspective on songwriting. They have been featured on the stages of Carnegie Hall, The Kennedy Center, Walt Disney Hall, and Lincoln Center as well as on television broadcasts such as The Late Show, and SNL. Vana Gierig, piano German-born, Boston-schooled, New York-based pianist Vana Gierig uses his music as a language, one of eight he

Musician Profiles masters. Vana creates his unique sound as much through his writing, as through his style of playing and improvisation. He was executive producer, artistic musical director, composer and pianist for Regina Carter’s album “Paganini: After a Dream”. Carter was the first non-classical violinist allowed to perform on Paganini’s violin, the priceless national treasure of Italy. Besides touring worldwide with his own projects, as well as producing various artists, Vana has collaborated extensively with internationally acclaimed vocalist Ute Lemper in the last few years. On his CD “Making Memories,” Spanish, Middle Eastern, Brazilian, African, and Gypsy elements mix seamlessly with jazz.

Larry Grenadier, bass As one of contemporary jazz’s most respected and accomplished bassists, Larry Grenadier has built an expansive body of work over a career that spans three decades. His instantly recognizable tone has been a longstanding fixture in the bands of pianist Brad Mehldau and guitarist Pat Metheny, as well as with percussionist Paul Motian. Grenadier welcomes the challenge of new projects and unfamiliar situations. “Playing with a group of musicians over a period of years, you develop a sense of trust, and with that trust comes a willingness to take risks and try different things out,” he notes. “But playing with people for the first time is also adventurous, because of the

unknowns. I really enjoy both things, so I try to make time for both.”

Lindsay Groves, cello Symphoria principal cellist Lindsay Groves has also led sections in the Hawaii Symphony, the Syracuse Symphony, the Spoleto Festival, the Esopus Chamber Orchestra, and the Southwest Florida Symphony Orchestra; served as assistant principal for the Syracuse Symphony and the Eastern Music Festival; as cello section member in the North Carolina Symphony and the JFK Center Opera House Orchestra; and played as regular substitute with the Baltimore Symphony, the Monterey Symphony, the Cayuga Chamber Orchestra, the Binghamton Philharmonic, and the Albany Symphony. Numerous solo, chamber music, and recital performances have included the Dvořák, Haydn D major, Schumann, and Elgar concerti with orchestra. Her festival participation in CA, NC, CO, AK, FL, Italy, and Switzerland led her to found the Skaneateles Festival, which she directed from 1980 to 1991. Daniel Hane, bassoon Daniel Hane is a member of the Tri-Cities Opera Orchestra, Cayuga Chamber Orchestra, and Catskill Symphony. He performs frequently with the Binghamton Philharmonic, Hartford Symphony, Albany Symphony, and Glimmerglass Festival. Mr. Hane is on faculty at Cornell

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Musician Profiles University, Colgate University, and Hartwick College. An avid chamber musician, Hane has performed with the Finger Lakes Chamber, Phoenix, and Bronx Arts Ensembles, the Cornell Wind Quintet, New York Kammermusiker, and the Pyramus Trio. He has appeared in the Bregenz and Algarve music festivals with the New York Kammermusiker, and in December 2012, Hane was a guest artist on NPR’s “A Prairie Home Companion” with Garrison Keillor.

Kansas City Symphony, Assistant Conductor of the Pacific Symphony, Music Director of the Encore Chamber Orchestra in Chicago and Music Director of the Chicago Youth Symphony, where he was twice honored by the League of American Orchestras for innovative programming. Hege is known for his work with young musicians and appears with many of America’s orchestral training programs. Mr. Hege currently resides in Syracuse with his wife and three daughters.

Eric Harland, drums Multi-Grammy nominated drummer Eric Harland is the most in-demand drummer of his generation. He has shared the stage with masters such as Wynton Marsalis, Esperanza Spalding, Jane Monheit, and Taylor Eigsti. His current list of performing groups are James Farm with Joshua Redman, Prism with Dave Holland and Kevin Eubanks, Sangam with Charles Lloyd and Zakir Hussain, Charles Lloyd New Quartet, Overtone with Dave Holland, Jason Moran, Chris Potter, and Voyager, Eric’s own widely recognized group.

Jillian Honn, oboe Jillian Honn serves as principal oboist of Symphoria. In January 2016, Jillian was a featured soloist in Mozart's Sinfonia Concertante with Symphoria, and will again be featured with the Mozart Oboe Concerto in February 2018. Honn is a recent graduate of the Eastman School of Music where she earned a BM in Oboe Performance, a Performer's Certificate, and an Arts Leadership Certificate under the tutelage of Professor Richard Killmer. She enjoys teaching privately and serving as the music librarian for Symphoria.

Daniel Hege, conductor Daniel Hege served for eleven seasons as Music Director of the Syracuse Symphony. In 2009, he became Music Director of the Wichita Symphony. He is also Principal Guest Conductor of the Tulsa Symphony, and the Binghamton (NY) Philharmonic. He has served as Associate Conductor of the

Alan Kay, clarinet Alan Kay is co-principal clarinet and a former Artistic Director of Orpheus Chamber Orchestra. He serves as principal clarinet with New York’s Riverside Symphony and the Little Orchestra Society. He also performs as principal with the American Symphony and the Orchestra of St. Luke’s.

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Musician Profiles Mr. Kay is a founding member of Windscape and Hexagon and appears regularly with the Chamber Music Society of Lincoln Center. He teaches at the Manhattan School of Music, The Juilliard School and Stony Brook University. A virtuoso of wind repertoire, Mr. Kay has recorded with Hexagon, Windscape, the Sylvan Winds, Orpheus and many other ensembles.

the orchestra of the Opera Company of Philadelphia. In 2012, Krukowski helped found Symphoria’s Healing Harmonies Program of live performances for cancer and dialysis patients in Central New York. A Certified Music Practitioner, she is trained to perform therapeutic music at the bedside of hospital patients and, in 2014, became the Therapeutic Music Coordinator at the Upstate Cancer Center in Syracuse.

Allan Kolsky, clarinet Allan Kolsky is Principal Clarinet with Symphoria, originally having joined the Syracuse Symphony as Principal Clarinet in 2002. He has appeared as soloist with both Symphoria and the SSO in clarinet concertos by Mozart, Nielsen, Finzi and Weber. Mr. Kolsky previously held positions with the Louisiana Philharmonic and Utah Symphony, and is currently an adjunct music instructor at Hamilton College. He has also performed with the Cincinnati Symphony, the Buffalo Philharmonic, the Skaneateles Festival, Glimmerglass Opera and the Colorado Music Festival.

John Lathwell, oboe John Lathwell is the principal oboist of the Cayuga Chamber Orchestra, the Binghamton Philharmonic and the Tri-Cities Opera. He taught at Binghamton University for nearly thirty years. He has also taught at the Tennessee Governors School for the Arts and Ithaca College. His primary teachers were Joseph Robinson, principal oboe of the New York Philharmonic (retired) and Richard Kilmer, professor of oboe at the Eastman School of Music.

Victoria Krukowski, clarinet Victoria Krukowski is second and E-flat clarinet with Symphoria. From 2001-2011, she was a member of the Syracuse Symphony Orchestra and prior to that a member of

Ute Lemper, vocalist Ute Lemper has been universally praised for her interpretations of the works of Kurt Weill, Berthold Brecht, and the Chansons of Marlene Dietrich, Edith Piaf, and many others. Her award-winning portrayals in musicals and plays on Broadway, in Paris, Berlin and London’s West End include Cats, Peter Pan, Cabaret, and Chicago. Ute has toured the

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Musician Profiles world with Ultimo Tango, presenting a journey through the songs of Astor Piazzolla. A packed-house concert series with Jazz at Lincoln Center Orchestra and Wynton Marsalis was dedicated to the music of Kurt Weill. Her CD, “Berlin Days/ Paris Nights” with the Vogler String Quartet and Stefan Malzew on piano, was nominated for a Grammy Award.

Jeremy Mastrangelo, violin Jeremy Mastrangelo has been a member of the National Arts Centre Orchestra since 2013, and was guest principal second violin of NACO for the final three years of Pinchas Zukerman's tenure. Previously, he was associate concertmaster of the Syracuse Symphony Orchestra for ten seasons. He has been guest concertmaster for the Kalamazoo Symphony, the National Ballet of Canada, and the Omaha and Oregon Symphonies. He lives in Ottawa with his wife, Sara, and two children. Sara Mastrangelo, violin Sara Mastrangelo resides with her family in Ottawa, Ontario, Canada. She is a first violinist with the Thirteen Strings Chamber Orchestra and performs regularly with the National Arts Centre Orchestra. Mastrangelo was a member of the New World Symphony Orchestra in Miami before her tenure with the Syracuse Symphony Orchestra from 20012013. Mastrangelo is an active chamber musician, performing regularly in Ottawa as part of the Music and Beyond Festival, and has performed at the Tanglewood Music Festival, Banff Center for the Arts, Schleswig Holstein Music Festival in Germany, Breckenridge Music Festival, Domaine-Forget

Music Festival, and Skaneateles Music Festival. She teaches and coaches the international touring ensemble, “Stellae Boreales” as part of Ottawa Suzuki Strings.

Melissa Matson, viola Melissa Matson is principal violist of the Rochester Philharmonic Orchestra, artistic director of First Muse Chamber Music, and a founding member of the Amenda Quartet. She performs frequently with Chamber Music Rochester and with the Skaneateles Festival. A California native, she received degrees and the Performer’s Certificate from Eastman, where she teaches viola orchestral repertoire. Matson was a founding member of the Chester String Quartet (prizewinners at the Munich and Portsmouth international competitions) and has been a chamber music participant in the Aspen, Norfolk, and Grand Teton summer festivals. Molly Werts McDonald, violin Molly Werts McDonald joined the Rochester Philharmonic Orchestra in 2013. She was assistant principal second violin of the Canton Symphony Orchestra, and has appeared with the Kansas City Symphony, the Cleveland Orchestra, and the New World Symphony. She has performed with the Skaneateles Festival for three seasons, and joins the Finger Lakes Opera and the Rochester Chamber Orchestra on a regular basis. Neil Miller, violin Neil Miller holds both a Bachelor of Music degree in violin performance, and a Master of Music degree in viola

Musician Profiles performance from the Eastman School of Music. He was awarded the coveted Performer's Certificate and was also the recipient of the Robert L. Oppelt Viola Prize which is presented annually at Eastman. Summer festivals have included the National Repertory Orchestra in Breckinridge CO where he performed in over 20 concerts playing 120 orchestral works. Miller has also participated in LyricaFest in Boston as well as Charles Castleman’s Quartet Program both in Boulder, CO, and Fredonia, NY.

Jesse Mills, violin Jesse Mills is highly regarded as a champion of contemporary music, a renowned improvisational artist, and a composer. In 2004, Mills made his concerto debut with Chicago’s Ravinia Festival Orchestra. He has performed throughout the U.S., Canada, and in London, Paris, Amsterdam, Milan, and Brussels. As a member of the FLUX Quartet from 2001-2003, Mills performed music composed during the past 50 years, including the famous six-hour-long String Quartet No. 2 by Morton Feldman. He is co-founder of Duo Prism, a violin-piano duo with Rieko Aizawa. In 2010 they became co-artistic directors of the Alpenglow Chamber Music Festival in Colorado. Mills is a graduate of The Juilliard School where he was a student of Dorothy DeLay, Robert Mann, and Itzhak Perlman.

2017-18 series - 46th season

Shannon Nance, violin Shannon Nance, assistant concertmaster of the Rochester Philharmonic Orchestra, has been a member since 1993. She has performed as soloist with the RPO, the SUNY Geneseo Orchestra, the Masterworks Festival Orchestra, the Lincoln Symphony Orchestra (NE), the Greece Symphony (NY), and the Greater Rochester Women’s Philharmonic. Nance has also served as associate concertmaster of the Arizona Musicfest in Scottsdale, AZ. She performs regularly as a resident guest artist with the Finger Lakes Chamber Ensemble. Nance is a dedicated teacher, and has students of varying ages currently in her studio. She also serves on the faculty of the Masterworks Festival, where she served as director of the String Intensive Study Program. Shannon is married to RPO trumpeter Wesley Nance and together they live a full life raising four children. Wesley Nance, trumpet Wesley Nance is in his 31st season as second trumpet of the Rochester Philharmonic Orchestra. He has also been engaged to perform as principal trumpet with the Indianapolis Symphony Orchestra, the Arizona Musicfest Festival Orchestra, the Skaneateles Festival Orchestra, and the Brevard Music Center. Nance is a member of the Rochester Philharmonic Brass Quintet, and a frequent collaborator in the Rochester area. Nance has had several pieces commissioned and premiered by the RPO under the batons of Jeff Tyzik and Michael Butterman. He frequently composes music for brass, and his trumpet ensemble pieces have been featured in the finals of the National Trumpet Competition. Nance is an Instructor of Trumpet at the

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AURAS at Hendricks Chapel, 8pm Sept. 19 Society All-Stars w/guest composers Chinary Ung & Vanessa Van-Ahn Vo, dan tranh zither (Cambodia & Vietnam) The Cabinet of Dr. Caligari 7pm, Oct. 20 Palace Theater - Society All-Stars PREMIERE Donald Sosin’s score for this 1920 classic silent (in conj. w/ Syr. FilmFest & LeMoyne C.)

PUSHED ASIDE (WORLD PREMIERE of opera about Matilda Joslyn Gage) by Persis Vehar – fully staged w/orch. (Get to know this CNY native, founding member of Women’s Suffrage, mother-in-law of L. Frank Baum, & meet Stanton & Anthony) And this is only the first half of the season!

HELP US MAKE MUSIC HISTORY IN CNY Details at: www.societyfornewmusic.org

If you live on the lake; if you boat, swim, kayak, sail or paddle the lake; if you fish the lake; if you drink the lake water; if the lake draws customers to your business; or if you just love the lake,

Shouldn’t you be a member of the Skaneateles Lake Association? Join us today. Go to SkaneatelesLake.org Thank you! 75

Musician Profiles Eastman Community Music School, adjunct Instructor of Chamber Music at the Eastman School of Music, and Director of Music at the Charles Finney School in Penfield. He is married to RPO Assistant Concertmaster Shannon Nance.

Tyler Ogilvie, horn Tyler Ogilvie received his undergraduate degree in music from Ithaca College after which he served the public schools of New Jersey and Connecticut. In 2008, he returned to his alma mater to pursue graduate studies in horn performance. Ogilvie serves on the music faculties of Susquehanna University, Dickinson College, and Colgate University teaching horn and chamber music while maintaining active private horn studios in the Ithaca and Syracuse areas. He is principal horn in the Orchestra of the Southern Finger Lakes, and regularly performs with Symphoria. Peggy Pearson, oboe Peggy Pearson is a winner of the Pope Foundation Award for Outstanding Accomplishment in Music. She made her New York debut with soprano Dawn Upshaw in 1995, a program featuring the premiere of John Harbison’s Chorale Cantata written specifically for them. A member of the Bach Aria Group, Pearson is also solo oboist with the Emmanuel Chamber Orchestra. She is Director of Winsor Music, Inc., Artistic Director of, and oboist with, the Winsor Music

Chamber Series in Lexington, MA, and the Greenleaf Chamber Players, currently in residence at Purchase College, NY. Pearson is a founding member of La Fenice and the Emmanuel Wind Quintet, and was a Fellow of the Radcliffe Institute in contemporary music. She is currently on the faculties at Boston Conservatory and MIT (Emerson Scholars Program).

Juliana Pepinsky, flute Juliana May Pepinsky is a lecturer at Cornell University, where she leads the flute ensembles and teaches privately. An active chamber musician, she performs regularly with the Ithaca Flute Duo, the Fingerlakes Flutes, and ensemble x. She received her M.M. from Yale University and her B.M. from the Oberlin Conservatory of Music. Masumi Per Rostad, viola As a member of the Pacifica Quartet, Masumi performs and tours extensively with the ensemble. Named the quartet-inresidence at Indiana University's Jacobs School of Music in March 2012, they serve as full-time faculty members. In 2009, the ensemble was awarded a Grammy for Best Chamber Music Performance and the coveted Cleveland Quartet Award. As a soloist, Masumi has performed at several of today’s most prominent festivals, including the Marlboro Music School, the Spoleto USA, Music@Menlo, Music in the Vineyards, as well

Young fans came to hear Wynton Marsalis, courtesy of the Auburn Public Theatre.

Musician Profiles as the Rockport and Skaneateles chamber music festivals. He received his Bachelor and Master of Music degrees from The Juilliard School. Masumi has served on the faculties of the University of Illinois at Urbana-Champaign, The University of Chicago, and Northwestern University’s School of Music.

Olita Povero, viola Olita Povero is a violist with the Rochester Philharmonic Orchestra since 1989. Before joining the RPO, Olita held the position of principal viola with the Dallas Opera and was a member of the Dallas Ballet and Dallas Chamber Orchestras. She currently plays with Finger Lakes Opera and Rochester Chamber Orchestra. She is also a faculty member at the Hochstein School of Music and Dance and mentors violists in both the Rochester Philharmonic and Hochstein Youth Orchestras. Olita is happy to be returning to the Skaneateles Festival, where she has performed in many concerts over the years. Brandon Ridenour, trumpet Brandon Ridenour is a winner of the 2014 CAG Victor Elmaleh Competition. His wide-ranging activities as soloist and chamber musician, paired with his passion for composing and arranging, are evident in his versatile performances and unique repertoire. In the 2015-16 season, Ridenour made his Carnegie Hall recital debut and, as a concerto soloist,

appeared with the South Bend and Modesto Symphonies. At the age of twenty, he became the youngest member to join the iconic Canadian Brass, a position he held for seven years. Ridenour is a graduate of The Juilliard School and an alumnus of Carnegie Hall’s Ensemble ACJW. He began playing piano at the age of 5 under the tutelage of his father, Rich Ridenour, with whom he continues to perform in recital and with Pops Orchestras.

Charlie Ross, timpani Charles Ross has been the Principal Timpanist of the Rochester Philharmonic since 2003. A graduate of the Curtis Institute of Music, he has performed, toured, and recorded as timpanist with many orchestras in the U.S. and abroad; among them include the Philadelphia Orchestra, La Scala Opera, Santa Fe Opera, RAI (Radio Orchestra) of Torino, (Italy), and the Moscow Chamber Orchestra, as well as with acclaimed Baroque ensembles, New York Collegium, and VOX Amadeus. Charles is on the faculty of the Eastman School of Music and the Brevard Music Center. Paul Shewan, trumpet Paul Shewan is a member of the Rochester Philharmonic Orchestra trumpet section where he is also a guest conductor. He has also performed on several occasions with the Buffalo Philharmonic Orchestra. As Professor of Instrumental Music at Roberts Wesleyan College he conducts the wind ensemble and the orchestra, and teaches trumpet and conducting. He earned both a masters (performance) and doctorate (conducting) from the Eastman School of Music where he has returned as Visiting Associate Professor of Conducting and Ensembles. As conductor and solo trumpeter he may be heard in commercial recordings on Albany Records. Alexander Shuhan, horn Alexander Shuhan, Professor of Horn, joined the Ithaca College faculty in 1998. He is principal horn of the Binghamton Philharmonic Orchestra and the Fort Smith (AR) Symphony Orchestra, and was principal horn of the Cayuga Chamber Orchestra from 2000–2010. His group, the Shuhan-Luk Trio, has performed music for flute, horn and piano in concerts throughout the U.S., has been featured at International Horn Symposium and National Flute Association conventions, and will be releasing its first CD later this fall. He has taught on the faculty of the Sewanee Summer Music Festival, the Ithaca College Summer Music Academy and served as Valade Instructor of Horn at the Interlochen Summer Arts Camp. Shuhan performs frequently with the Rochester Philharmonic Orchestra and has played with the Syracuse Symphony Orchestra, the Skaneateles Festival and the Northeast Pennsylvania Philharmonic. As a founding member (1993), hornist, pianist and composer of Rhythm & Brass, he has performed extensively throughout the United States, Canada, Japan and the Middle East. 77

Musician Profiles Alex Sopp, flute Alex Sopp is a musician and artist living in Brooklyn. As the flutist of yMusic, The Knights, and NOW Ensemble, the New York Times has praised her playing as “exquisite” and “beautifully nuanced.” A sought-after soloist, Alex made her Carnegie Hall debut with the New York Youth Symphony, and has appeared with the New York Philharmonic under the direction of David Robertson. In addition to playing the flute, Alex is a singer and a painter. Most recently, she has appeared as a multi-disciplinary performer and singer in theater director John Tiffany’s production of “The Ambassador,” a staged song cycle written by Gabriel Kahane. Alex’s paintings grace the covers of records by such artists as Ben Folds and The Knights, and can be seen in private collections. Alex grew up in St. Croix, Virgin Islands. She completed both her Bachelors and Masters degrees at The Juilliard School. Susan Spafford, violin Susan Spafford is a member of the Richmond (VA) Symphony, Cayuga Chamber Orchestra (NY), and the Lancaster (OH) Festival Orchestra. She has performed regularly with the symphonies in Allentown and Harrisburg (PA), Albany, Binghamton, ProMusica, Bemus Bay Pops, the Skaneateles Festival (NY), and other regional orchestras. She has appeared as a soloist with the Erie Chamber Orchestra and in recitals at Mansfield University, the Library of Congress, throughout the United States and in South Korea. Spafford has been a featured Faculty Violin Guest Artist for the String Institute at Ithaca College, and has been on the faculty of The Ridgewood Conservatory since 2008. She earned Master’s and Bachelor’s degrees from the Eastman School of Music.

Time for Three with the Festival crew.

Heidi Stauber, viola Heidi Stauber, a former violist with the Rochester Philharmonic Orchestra, enjoys freelancing throughout Western New York, especially during the summer months. She is the owner of an e-commerce business and an elementary teacher in the Webster school district. André Tarantiles, harp André Tarantiles is principal harpist for the Metropolitan Opera Guild, New York City Opera National Company and Opera Orchestra of New York. He is currently principal harpist for the Philly Pops, Glimmerglass Opera Festival, New Jersey State Opera, Center for Contemporary Opera, Teatro Grattacielo, Northeastern Pennsylvania Philharmonic, Riverside Symphonia, Princeton Symphony, and Festival Musical de Santo Domingo (2001-2017). He has also performed in orchestras backing up headliners such as Placido Domingo, Johnny Mathis, Patti Lupone, Natalie Merchant, Josh Groban, Gloria Estefan, Harry Connick, Jr., and Jennifer Hudson. Todd Turkisher, drums Known for his creative, expressive playing, deep grooves and total commitment to “serving the song and supporting the artist,” New York drummer/percussionist/producer Todd Turkisher has been a powerful rhythmic presence on the stage and in the studio for more than 35 years. With credits that span pop, jazz, rock, and avant-garde, he has been called upon by some of the most respected and influential musicians in the business. Turkisher has performed with a diverse range of artists, at international jazz festivals, with the Orpheus

Musician Profiles Chamber, the Iceland Symphony, and the BBC Symphony Orchestras. Equally comfortable behind the mixing board, Turkisher has produced countless recordings for other artists and corporate clients. Currently, he is performing around the world, producing and co-writing with his life partner – internationally renowned artist Ute Lemper, with whom he lives in NYC with their children.

Sonya Stith Williams, violin Sonya Stith Williams is currently the assistant concertmaster of Symphoria. She had played in the Syracuse Symphony for ten years before the formation of Symphoria. She received her B.M. and M.M. from the Eastman School of Music where she studied with Zvi Zeitlin and Ilya Kaler. Sonya is an active performer in the Syracuse region playing in recital and chamber music series including Civic Morning Musicals, LaVeck Concert Series, Friends of Chamber Music, Society for New Music and various others. She teaches at Le Moyne College and lives in Baldwinsville with her husband and three children. Katherine Whyte, soprano Katherine Whyte has performed on opera and concert stages across her native Canada, the United States and Europe. Opera Today has hailed her for her “keen artistic sensibility” while the San Francisco Classical Voice has praised

her “her glamorous, vibrato-rich voice”. Last season included her debut with the Dallas Opera as Pousette in Manon, a return to the Metropolitan Opera Company for their production of Rigoletto, the Countess in Le nozze di Figaro with Opera Saratoga. The 2016-2017 season includes her return to the Metropolitan Opera for productions of Jenufa and Rigoletto, a debut with the Edmonton Symphony for Handel’s Messiah, Fauré’s Requiem with Manhattan Concert Productions at Carnegie Hall, and her debut with the Qingdao Symphony Orchestra in China.

WindSync, quintet Garrett Hudson, flute Anni Hochhalter, horn Emily Tsai, oboe Kara LaMoure, bassoon Julian Hernandez, clarinet Hailed by the Houston Chronicle as “revolutionary chamber musicians,” WindSync is internationally recognized for dramatic and engaging interpretations of classical music. The young, adventurous group plays exclusively from memory, including elements of staging and choreography, and focuses on building a connection with audiences through dynamic concert programming and charismatic stage presence. WindSync is dedicated to showcasing contemporary music and expanding wind quintet repertoire. In 2016, the group commissioned young American composer, Michael Gilbertson to write a concerto for wind quintet and orchestra, The Cosmos, which premiered in May 2016 with the Lafayette Symphony Orchestra. Gregory Wood, cello Gregory Wood is assistant principal cellist of Symphoria, and was acting principal cellist for 2014-15. Wood was a member of the Rochester Chamber Orchestra, and is currently a member of the Finger Lakes Opera Orchestra in Canandaigua. He is Adjunct Professor of Cello, coaches Chamber Music at the Setnor School of Music at Syracuse University, and is Adjunct Professor of Cello and String Repertoire at Onondaga Community College. He has performed solo and chamber music recitals with the Jewell Trio, the Society for New Music, the Skaneateles Festival, the Cassatt String Quartet, Civic Morning Musicals, and Syracuse Friends of Chamber Music. Mr. Wood has performed recently with Josh Groban, and with the Trans-Siberian Orchestra. Aaron Wunsch, piano, artistic director Praised for his bold interpretations and communicative sensitivity, pianist Aaron Wunsch appears regularly on concert stages throughout the U.S., Europe, and Asia. In addition, he makes frequent recital and teaching tours to China and Indonesia. Also lauded for his chamber music performances, he collaborates with artists including cellist Lynn Harrell, clarinetist Charles Neidich, violinist Rolf Schulte, and the New York Woodwind Quintet. A vigorous proponent of contemporary music, he works closely with composers including Charles Wuorinen, Steve Stucky, Chen Yi, Fred Lerdahl, Kaija Saariaho, and Thomas Adès. He has

Musician Profiles recorded works by Anton Weber and Nico Muhly. Wunsch graduated cum laude from Yale College and then was a Fulbright Fellow at the Mozarteum in Salzburg, Austria. He completed Master’s and Doctoral degrees at The Juilliard School. His piano teachers included Peter Frankl, Karlheinz Kämmerling, Robert McDonald, Andras Schiff, Jerome Lowenthal, and Claude Frank. Wunsch teaches music history, chamber music, and piano at The Juilliard School. He is co-artistic director of the Music Mondays concert series in New York City. Aaron and his wife Julia are in their third season as co-Artistic Directors of the Skaneateles Festival.

David Zinman, conductor David Zinman is one of the world’s leading and most respected conductors, whose passion for music, dedication to furthering the careers of young musicians, and as an orchestra

builder, makes ‘Music a Better World.’ He is Conductor Laureate of Tonhalle-Orchester Zürich, where he served as conductor and music director from 1995 until 2014, and raised the standard of the orchestra to an international level. During his career he has made an extensive number of recordings with varied orchestras encompassing a wide repertoire. Until 2009 David Zinman was Artistic Director of the Aspen Music Festival, where he created the International Conducting Academy. He has inspired a number of innovative ideas in Zurich, including the famous ‘Tonhalle Late’ series, a Conductor’s course in Zurich in April, and most notably the famous recordings he has made for Sony which have received superb critical acclaim. Since 1985, David has been a frequent conductor with The Skaneateles Festival, and we welcome him back again this year.

Music is your passion. Consider making it your legacy.

A special THANK YOU to the people listed here who let us know that they have made provision for the future of the Skaneateles Festival in their estate and financial plans. Anonymous George Bain

Gwen and Bill Birchenough

Carol Bryant Judith Bryant

Andrea Latchem Louise Robinson

If you have also provided for the Festival in this way, please let us know so that we can thank you as well. If you would like information on how to do so, please contact Susan Mark at music@skanfest.org or 315-685-7418.

SkanFest.org

Weddings and Events / Venues / Packages

A Unique Finger Lakes Winery Sample the exceptional wines of Anyela’s Vineyards, the first commercial winery situated in the rolling hills overlooking beautiful and pure Skaneateles Lake. Anyela’s Vineyards selects vinifera grape varieties that are perfectly suited to our fertile soil, higher elevation, and cooler climate patterns not found on neighboring Finger Lakes. To protect our vines after fall harvest, we carefully remove them from the trellises and bury them in the rich earth to insolate the sensitive primary buds, which will become the fruit. In spring, we re-trellis them for maximum sun exposure and control our grape yield to cultivate the ripest, most flavorful fruit. Our location, along with three generations of viticulture experience, ensures that the fruits of our labor produce an array of unique quality wines that will delight enthusiasts and connoisseurs alike.

2433 West Lake Rd. Skaneateles, NY 13152 315.685.3797 anyelasvineyards.com

A SPECIAL THANKS TO PATIENCE BREWSTER, INC. FOR THE SPECTACULAR DECORATIONS AT THE 2016 CHRISTMAS SUITE EVENT!

Directory Thank you for supporting those that support the Festival. Art/Music/Theatre

Auburn Public Theater . . . . . . . . . . . . . . . . 72 Earlville Opera . . . . . . . . . . . . . . . . . . . . . 64 Redhouse . . . . . . . . . . . . . . . . . . . . . . . 70 Skaneateles Historical Society Museum . . . . . . 56 Society for New Music . . . . . . . . . . . . . . . . 75 Symphoria . . . . . . . . . . . . . . . . . . . . . . . 73 Syracuse Arts.net . . . . . . . . . . . . . . . . . . . 73 Syracuse Friends of Chamber Music . . . . . . . . 71 Syracuse Opera . . . . . . . . . . . . . . . . . . . . 74 Syracuse Stage . . . . . . . . . . . . . . . . . . . . 53 Syracuse Vocal Ensemble . . . . . . . . . . . . . . 31 Automotive

Burdick BMW . . . . . . . . . . . . . . . . . . . . . 27 Education

Manulius Pebble Hill . . . . . . . . . . . . . . . . . 57

Insurance

Parsons & Associates, Inc. . . . . . . inside back cover Legal

Berkshire Hathaway Home Services . . . . . . . . 13 * Mackenzie Hughes LLP . . . . . . . inside front cover Scolaro, Fetter, Grizanti, McGough & King, P.C. . . . . . . . . . . . . . . . 44 Media

* Finger Lakes Radio Group . . . . . . . . . . . . . . 45 * iHeart Media . . . . . . . . . . . . . . . . . . . . . . 16 * NewsChannel 9 . . . . . . . . . . . . . . . . . . . . 53 * WAER Syracuse Public Media . . . . . . . . . . . 53 * WCNY Public Television & Radio . . . . . . . . . . 64 * WRVO Public Media . . . . . . . . . . . . . . . . . 25 * WSKG . . . . . . . . . . . . . . . . . . . . . . . . . 39 Preservation/Conservation

Westlake Conservators, Ltd. . . . . . . . . . . . . . 21

Equestrian

* Sundman Stables . . . . . . . . . . . . . . . . . . . 41

Real Estate

Consultants

* Franklin Properties . . . . . . . . . . . . . . . . . . 39 Realty USA . . . . . . . . . . . . . . . . . . . . . . . 49 * Sutton Real Estate Company, LLC . . . . . . . . . 39

* The Bonadio Group . . . . . . . . . . . . . . . . . . 39 Educational Consultants . . . . . . . . . . . . . . . 26 Donna Graber, Planning Sense . . . . . . . . . . . 65 * Grossman St. Amour, CPA, PLLC . . . . . . . . . 51 * Wells Fargo Advisor, LLC . . . . . . . . . . . . . . 59 Wells Fargo Advisor, LLC . . . . . . . . . . back cover Foundation

Central New York Community Foundation . . . . . 24 Health

Crouse Hospital . . . . . . . . . . . . . . . . . . . . 36 Eye Plastic & Reconstructive Surgeons of Central New York . . . . . . . . . . . . . . . . . 52 Hematology Oncology Associates . . . . . . . . . 26 Hospice of the Finger Lakes . . . . . . . . . . . . . 20 Upstate University Hospital . . . . . . . . . . . . . . 8

Check it out! Artist CDs available at the concession table.

Retail

Artist Pianos . . . . . . . . . . . . . . . . . . . . . . 45 Busch Products . . . . . . . . . . . . . . . . . . . . 66 Gallery 54 . . . . . . . . . . . . . . . . . . . . . . . 37 Geddes Federal Savings & Loads . . . . . . . . . 68 McGlynn Interiors . . . . . . . . . . . . . . . . . . . 13 Robert Oddy . . . . . . . . . . . . . . . . . . . . . . 35 * Patience Brewster . . . . . . . . . . . . . . . . . . . 15 Upstate Printing, Inc. . . . . . . . . . . . . . . . . . 77 White & White Antiques & Fine Art . . . . . . . . . 26 * Wood, LLC . . . . . . . . . . . . . . . . . . . . . . . 59 Restaurant/Food

1911 Spirits . . . . . . . . . . . . . . . . . . . . . . 79 Anyela's . . . . . . . . . . . . . . . . . . . . . . . . 81 * Mirbeau Inn & Spa . . . . . . . . . . . . . . . . . . 65 * Pascale . . . . . . . . . . . . . . . . . . . . . . . . . 52 * Sherwood Inn . . . . . . . . . . . . . . . . . . . . . 11 Wegmans . . . . . . . . . . . . . . . . . . . . . . . 60 Wildflowers at Turning Stone . . . . . . . . . . . . 44 Tourism

Fingerlakes Land Trust . . . . . . . . . . . . . . . . 69 Skaneateles Chamber of Commerce . . . . . . . . 56 Skaneateles Lake Association . . . . . . . . . . . . 75 * Sponsor

Concert Information All concerts are held in Skaneateles, August 9– September 2, 2017 Tickets can be ordered at www.skanfest.org or by calling (315) 685-7418. Saturday concerts at the Robinson Pavilion at Anyela’s are held at 7:30 pm outdoors. Patrons may arrive as early as 6:00 pm and picnic on the lawn. Carry-in/carry-out. Some restrictions apply. Suggested items to bring: Lawn chairs, blankets & flashlights (chairs are provided in A seating only). Call (315) 685-7418 (or check skanfest.org) after 3:00 pm on Saturdays for rain location announcements. 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 20172018 Season (subject to availability). Doors open for all concerts 30 minutes prior to concerts. Cameras & recording equipment may only be used with the permission of the Skaneateles Festival. Remember to silence all electronic devices. 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

A Christmas Suite SAVE THE DATE

Saturday, December 9, 2017 A collection of Christmas Stories and Music Reservations will be taken starting November 1st Hosted by

The Falcone Family

Presented by the

Skaneateles Festival

A Christmas Suite Contributors – 2016

The Falcone Family GUARANTORS

Barclay Damon / Rick and Ann Capozza Billy Gilbane and Jeffrey Tousey Sherie Ramsgard NPP/ Whole Mental Wellness PATRONS

Joan Christy and Tom Bersani Inns of Aurora Bob and Sally Neumann Patience Brewster, Inc. Sherwood Inn

Realty USA Bill Rosenthal and Jerry Gebo / Logical Operations Don and Chacea Sundman

SUPPORTERS

Henry and Helga Beck Barb Connor and Doug Wood Dana and Susan Hall Elizabeth and Paul Koenig

2017 Program Book