2026 Program Book by Skaneateles Festival

720 Van Rensselaer St., Suite 207 Syracuse, NY 13204

11 Fennell St., Suite 2 Skaneateles, NY 13152

info@delmonicoinsurance.com www.delmonicoinsurance.com

Plain talk. Exceptional expertise.

At Mackenzie Hughes, we bring more than legal expertise to the table; we bring care and respect. Our partnerships are grounded in plain talk, expert counsel and unfiltered honesty. It’s an approach that helps us help you make smarter business, personal planning and legal decisions. Learn more at mackenziehughes.com.

w w w.m a c k e n z i e h u g h e s.c o m M A C K E N Z I E H U G H E S T O W E R , 4 4 0 S O U T H W A R R E N S T R E E T, S U I T E 4 0 0 S Y R A C U S E , N E W Y O R K 13 2 0 2

315 - 4 74 -7 5 71

The Ultimate Driving Machine®

Bond is pleased to support the arts and the power of music to inspire, connect and strengthen our community, as a sponsor of the 2026 Skaneateles Music Festival season.

One Lincoln Center • 110 West Fayette St Syracuse, NY 13202 • 315.218.8000 • BSK.COM

“We serve the property owners of the Finger Lakes Region who require a sensitive, small-team approach to restoration and new builds. By blending meticulous historic stewardship with modern resource efficiency, we create legacy homes that honor the Region’s past and secure its future.” Visit Our Website and Socials! www.SpaceArchStudio.com @space_architectural_studio

SPACE

ARCHITECTURAL STUDIO

William L. Murphy Jr., R.A., NCARB, AIA President 4592 Jordan Road Skaneateles Falls

(315) 685-0540 admin@spacearchstudio.com

Residential Design Zoning & Site Design 3D Visualization Commercial Design New Build Design Drone Photography Casework & Furniture Addition & Renovation Plotting 3

From the Artistic Directors Welcome to the 47th season of the Skaneateles Festival! We hope you love your time here, and that you feel a part of the Festival community. Take a moment to introduce yourself to a volunteer, a fellow audience member, or to us so that we can get to know you. We hope the music, the lake, and the people will keep you coming back for more. If you look through the programs in this book, you’ll find a focus on American music this season. This July marks the 250th anniversary of the Declaration of Independence, an opportunity to consider the long arc of national identity and how music fits into it. But there is no single viewpoint. If anything, the tradition of American music is layered and full of diverging perspectives. Music teaches us a valuable lesson: Diversity and unity are not necessarily opposites. Aaron Copland and Leonard Bernstein (“American Revolutions,” August 13) loved jazz and integrated it into their classical vocabulary. Cécile McLorin Salvant (August 22) is a jazz singer influenced by French popular songs, and Rhiannon Giddens (August 21) trained in opera. Our performers come from diverse backgrounds, but when they make music together, they speak with one voice, one interpretation. Even today, new traditions are being founded and will carry the torch forward. We hope you’ll join us for these highlights: Imani Winds and Andy Akiho – The GRAMMY-winning quintet teams up with steel pan virtuosocomposer Andy Akiho (August 6) for BeLoud, BeLoved, BeLonging, inspired by the sounds and protests of immigrants held at a Brooklyn detention center. Garrick Ohlsson – The famed American pianist plays Chopin (August 7) but also Beethoven’s Fourth Concerto with the Skaneateles Festival Orchestra (August 8). Jason Carter & Michael Cleveland – Two of the most decorated and dynamic bluegrass fiddlers join forces (August 15) for new and classical bluegrass songs, joined by a full band! Silkroad Ensemble and Rhiannon Giddens – The two-time GRAMMY Award and Pulitzer Prize-winning singer and instrumentalist leads the cross-cultural Silkroad Ensemble, founded by cellist Yo-Yo Ma, in Sanctuary: The Power of Resonance and Ritual (August 21). Cécile McLorin Salvant – Three-time GRAMMY-winning jazz vocalist Cécile McLorin Salvant is one of today’s great jazz singers, appearing at the Festival for the first time (August 22). Of course, there are many more outstanding artists, including Broadway star Norm Lewis, the celebrated Pacifica Quartet and rising Terra Quartet, and soprano and former Robinson Award winner Elizabeth Sutphen. Experience the euphoria of great performances in a beautiful setting. Invite your friends and family, and we’ll see you at the Lake!

Aaron Wunsch and Julia Bruskin Artistic Directors

Skaneateles Festival Board of Directors

Advisory Council

Steven Scheinman, President Joan Christy, Vice President Edward Conan, Treasurer

Carrie Scholz, Co-Secretary Amy Fairchild, Co-Secretary

Miki Bangs Kitty Bersani Donald Blair Brendan Ferretti

Joe Lee Jill Marshall Anne Messenger Diane Plumley

Koko Fuller Chris Johnson Jackie Jones Daniel Kringer

Ben Sio Diane Stebbins Bridget Wynne

Administration Susan Mark, Executive Director Julia Bruskin & Aaron Wunsch, Artistic Directors Reese Nesbitt, Project and Outreach Manager Ainslee Santa Croce, Event Coordinator and Music Librarian Allyson Vail, Digital Marketing and Social Media Coordinator Jonathan Artz, Emma Hill, Jackie Kofron, Ethan Meives, Event Coordinating Interns Katelyn Holleran, Marketing Intern Sarah Paduano-Moth, Operations Manager Corey Riley, Technical Manager Jason Guo, Emma Hill, Stage Assistants Jonathan Paduano, Jeremy Scuderi, Sarah Midgeley Scuderi, Crew Supervisors

Thomas Bersani Dave Birchenough Judith Bryant Somak Chattopadhyay Mary Cotter Kim Driscoll Dan Fisher

Steve Frackenpohl Claire Howard Andrea Latchem Sharon Magee Linda Roche Doug Sutherland Doug Whitehouse Melissa Zell

Owen Wilmot, Assistant Technical Manager Isabella Baker, Alice Czornig, Isabella Destito, Zach Goodwin, AJ Hagan, Elizabeth Hill, Isaiah Hill, Gigi Johnson, Claire Kelly, Rider Mercurio, Hayden Platt, Haylee Reeves, Leah Tidd, Will Tyszka, Eli Walker, Owen Wilmot, Liv Van Zandt, Oliver Butler, student crew Megan Krauter, Bookkeeping Peggy Surdam, Payroll Doug Whitehouse, Creative Director Nancy Boyce, Graphic Designer Ellen Sorber Meaney, Marketing Consultant & Program Ad Sales

A special thank you to our 2025 volunteers and hosts Diane and Mark Aberi Scott Anderson Miki and Dan Bangs Debbie Bearg Joan Christy and Tom Bersani Kitty Bersani Bradley Bliss Deborah Bogan Mark Bostick Diane and Dave Bowser Holly Greg & Patience Brewster Corrine Buterbaugh Kathy and Jim Byers Colin & Corie Carroll Heather and Tim Carroll Maryellen Casey and Bruce Keplinger Diane Ospina-Chapman Eileen Chiafair Barb Connor and Doug Wood Andrea Cosachov Michelle & Greg Crawford Heidi Cross

Kathy Dengler Kim & Charley Dirscoll Anne Donaghy Emily Dopowski Kim and Charley Driscoll Joseph Dunne Betsy Edinger Ham and Fran Fish Paul & Erika Fiutak Deb Fratter Pam Freeman Lanny Freshman Koko Fuller Julia Ganson Sarah and Kevin Goode Mike Greene Scott Heinekamp Brian Hidy Tom Higgins Donna Himelfarb Don Hughes Elaine and John Jablonka

Chris Johnson and Barbara Durr Mark & Diane Kaminsky Katherine Keeney Rita Keyes Mary Knepper Melissa Komanecky Kay Kraatz Christy and Don Lemp Jill and Todd Marshall Helen Tai and John McDevitt Brian McGraw Maureen Mclaughlin Eleanor McSwain Jodell McVey Madonna and Jeff Meyer Katie Moran Flavia Musto Candy Nestor David Palen The Presley Family Mike and Beth Quattrociocchi Ali Rhoad

Linda Santanam Carrie and Chris Scholz Lisa and Gary Slater Courtney Steininger Anita Sterns Peggy and Dan Surdam Lisa Terhune Patty Weisse and George Thomas Margaret Thomsen Laurie Timmons Dave Tobin Patty Troisi Nancy Tucker Gail Vanderlinde Faith Van Voolen Don and Geri Wagner Connie Walters Doug and Peg Whitehouse Sheryl Woodmansee Bridget & Dan Wynne and family Gabriel and Claire Wunsch

Acknowledgements Artist Pianos, Hamilton College – Steinway Pianos Miki & Dan Bangs, Kitty Bersani, Patience Brewster & Holly Gregg, Maryellen Casey & Bruce Keplinger, Ed & Paula Conan, Barb Connor & Doug Wood, Kim & Charley Driscoll, Evan & Elizabeth Dreyfuss, Koko Fuller, Don & Chacea Sundman, Lisa Terhune – Musician Dinners Joan Christy – Musician Dinners & Guarantor Reception Koko Fuller – Ticket Sales 6

Programs and artists subject to change. © The Skaneateles Festival 2026

First Presbyterian Church, Anyela’s Vineyards, Del Lago Resort – Concert Locations Skaneateles and Westhill Central Schools – Music Stands & Percussion Many thanks to the generous Skaneateles residents who open their homes to the Festival’s visiting musicians.

Stickley supports the Skaneateles Festival and its season of extraordinary artists!

Towne Center, Fayetteville 315.637.7770 Stickley.com

Hudson Valley Wood-Frame Chair and Drink Tables

Thank you to all the Skaneateles Festival Donors – 2026 Gifts received as of July 16, 2026

Diamond Guarantor Helga Beck

Tom Bersani and Joan Christy*†

Joan Christy, in memory of Carolyn Stein

Ed and Paula Conan Sally Neumann

National Endowment for the Arts New York State Council on the Arts Onondaga County

Tom and Camille Potter Linda and Danny Roche Lawrence and Tracy Sala Dan and Linda Scaia

Peter and Elsa Soderberg Donald and Chacea Sundman Doug Sutherland and Nancy Kramer Sieglinde Wikstrom

Mary Cotter Sarah and Kevin Goode Grossman St. Amour CPAs PLLC Robert Lieberman, RAV Properties

Jill and Todd Marshall Pete and Betsy McKinnell David and Jan Panasci Dorothy and Marshall M. Reisman Foundation Sharon Chardak Ryan, in memory of Carolyn Stein

Steven and Kelly Scheinman Juliette Klein Sharpe Fund, CNY Community Foundation Shelley Spooner Sherwood Inn & Appetites Doug and Peg Whitehouse*

Ed and Brenda Evans Amy Fairchild and Gretchen Ritter Dan Fisher and Lori Ruhlman* Patricia Lynn-Ford and Steven Ford Franklin Lofts, LLC Koko Fuller Wendy Graham and Virginia Graham Livingston Holly Gregg and Patience Brewster Dana and Susan Hall

Chris Johnson and Barbara Durr Andrea Latchem Susan Mark and Mary Knepper*◊† Fred and Ginny Marty◊ Sharon and Marshall Magee, in memory of David & Jean Graham Anne Messenger Metcalf Foundation Madonna and Jeff Meyer Jim and Julie Moore Judy Robertson

Don Scholl Salvatore and Sidnie D’Amelio, SSP Diane Stebbins and David Bowser James Gregg and Elijah Conte, Stifel Sutton Real Estate Valenti Investment Group Duane Wunsch Jeff and Kate Youle, Skaneateles Town Square – Ace

Charley and Kim Driscoll Guy and Nancy Easter Karen Elkins and Jerry P. Weir Elizabeth Etoll Alison and Brendan Ferretti Anne Gordon Joseph and Marie Grasso Mary Ellen Hennigan, in memory of Joseph M. Hennigan Rob and Claire Howard

Joe and Angela Lee John and Peggy Manring Brendan McGinn and Rebecca Cohen Steve and Jackie Miron Jerry and Kathleen Morrissey Jane and Robert Morse Les Allen & Steve Moyer Sean and Laura O’Keefe John Osborne

Diane and Peter Plumley Oleg and Anna Shapiro Helen Tai and John McDevitt Cayuga County Tourism Salli and James Tuozzolo Judy Varney Robert and Jenifer Weisenthal Charles and Nancy Williams

Platinum Guarantor Anonymous Andromeda Foundation Margaret Bisgrove CNYArts

Gold Guarantor 1911, Beak & Skiff Roland and Tacie Anderson Artist Piano Somak Chattopadhyay, Armory Square Ventures Columbian Foundation

Guarantor George S. Bain*◊ Dave Birchenough and Carrie Lazarus* Donald Blair and Nancy Dock Bousquet Holstein, PLLC The Bonadio Group Sam and Debby Bruskin Stephen and Linda Chow Barb Connor and Doug Wood*◊† The Gladys Krieble Delmas Foundation Elizabeth and Evan Dreyfuss

Benefactor Miki and Dan Bangs Kitty Bersani Craig and Kathleen Byrum Cayuga County Tourism Maryellen Casey and Bruce Keplinger Central New York Community Foundation Paul and Linda Cohen Michael and Fouad Dietz

Thank you to all the Skaneateles Festival Donors – 2026 Gifts received as of July 16, 2026

Gold Patron Patti Carey Patricia DeAngelis Bob and Terry Dewitt Dave and Peggy Dickman Abigail Duggan and Christopher Short◊ Elizabeth Etoll Frank and Frances Revoir Foundation

Craig and Barbara Froelich Dr. Deborah Geer Gary and Bonnie Grossman◊ Scott Heinekamp Lawrence Jerome and Linda Gifford Jackie Jones John and Maren King

Robin Kinnel Roger and Anna Krieger Daniel and Grace Labeille*◊ Jim Langler and Kathi O’Brien Bryan and Margaret Lubel James MacKillop David and Norma McCarthy Brian and Krystyna Owen

John Pulos Al and Vicky Sabin Deirdre Stam Ann Duggan Trainor◊ Jaime Tuozzolo Gary and Belinda Wishik Bridget and Dan Wynne Bruce and Jan Wood

Jean Forster Wanda Fremont and Nanette Dowling Gary and Maureen Germain Dane and Debbie Gist Brian and Maureen Harkin* William and Karen Havens Sally Holben Martin and Deborah Hubbard Jeanne Hutton Anne Jamison and Peter Vanable Barbara Kay Jackie Keady

Alfred Kelly and Sharon Burke Ted and Ellen Kinder Jeffrey Kirshner and Lorraine Rapp◊ Stephen and Theresa Kline Wendy and John Kopley Judy Krieger David and Stacia Landsberg Bill and Miki Mahood Candace Marsellus Susan Martineau Bill and Sandy Nichols Bruce and Margaret Osborne

Susan and David Palen Greg and Debbie Quick Carrie and Chris Scholz Dan and Peggy Surdam Paul and Mary Torrisi Betty Vail The Leah Weinberg Charitable Fund Patty Weisse and George Thomas, in honor of Patti Carey Jo Werner Joseph and Maureen Wilson Joyce Zadzilka

Eggleston and Krenzer Architects, PC Barbara Egtvedt Diane Forney Alex and Donna Giambartolomei Mary Giroux Richard and Deborah Hole Geralyn and Bill Huba◊ Andrea Jones Barbara Kay David and Sherrill Ketchum Ann and Richard Kornbluth Ellen Koskoff and Robert Morris Daniel Kringer James and Jane Lanshe

Jacques Lewalle and Paula Rosenbaum Dawn and Guy Mackenzie Nancy Marquardt Tom and Linda McKeown Dr. and Mrs. James Megna Jackson Morrill◊ David and Janet Muir Chris and Amy Neumann◊ Paul Oakley Patty Orr Cathy Palm Lisa Phelan Judy and Arnie Poltenson◊ Susan Poniatowski Dick and Kim Poppa

Catherin Pulvirenti Michael and Teresa Rogus Ellen Runge Benjamin Sio Sharon Slater Smiles of Skaneateles Carolyn and Richard Smith Jennifer Tuozzolo Linda Van Buskirk Dr. and Mrs. Geoffrey Wickwire In memory of our dear friend Jean Shook, from the Senior Moms: Romy Callahan, Joan Emmer, Patti Ford, Mary Gaffney, Julie Moore, Maria Redmond, Laura Rooney, and Lissa Wood

Patron Irv Beimler Richard and Lynne Bennett Bolt and Barbara Bolton-Smith Mary Bradly Elet and John Callahan Edward Castilano Carol and William Stokes-Cawley William and Martha Cole Marguerite Conan and Jamie Traver Tim and Margie Creamer Cliff and Megan Davidson

Contributor William and Alice Allen Peggy and Lee Bennett Jane and Donald Blake Cynthia Blume Peggy Brown Carol Bryant, in honor of Susan Mark Betsy Burton* Patti Carey* Jim and Sharon Cirincione Bill Coppard Lynn K. Cornachio Heidi and Don Cross Jane and Bill Cummings Frank and Lynda DeOrio Wendy Duck

In Memoriam We remember and will always have in our hearts our dear friends:

Gwen Birchenough *

David Graham †

David Duggan ◊

Thank you for your gifts made in their memory. 9

The Skaneateles Festival is proud to present

Community Outreach Events

2026: American Revolutions

Outreach Concerts featuring the

Terra String Quartet the Skaneateles Festival’s 2026 Emerging Artists in Residence Harriet Langley, violin Amelia Dietrich, violin Chih-Ta Chen, viola Audrey Chen, cello As part of their week-long residency the quartet will be performing a series of outreach events in the CNY area.

Monday, August 17 • 6:00 PM

Tuesday, August 18 • 7:00 PM

Wednesday, August 19 • 2:00 PM

Featuring the Terra String Quartet

Carriage House Theater at the Cayuga Museum of History & Art 203 Genesee Street Rear, Auburn, NY This event is FREE and open to the public. Children and families are welcome.

The Kendal at Ithaca This event is NOT open to the public.

Soule Branch Library 101 Springfield Rd, Syracuse, NY This event is FREE and open to the public. Children and families are welcome.

Wednesday, August 19 • 6:00-7:00 PM

Friday, August 21 • 2:00 PM

A Musical Nature Walk at Baltimore Woods

Featuring the Terra String Quartet

Baltimore Woods Nature Center For complete details, see page 65. This event is FREE and open to the public. Children and families are welcome.

The Terra String Quartet, the 2026 Emerging Artists in Residence, is sponsored by the Andromeda Foundation

Wesleyan Chapel, Women’s Rights National Historical Park 136 Fall Street, Seneca Falls NY This event is FREE and open to the public. Children and families are welcome.

SkanFest U is sponsored by:

Educational Initiative First Presbyterian Church

The Julie Sharpe Fund

97 E. Genesee St, Skaneateles

2026: American Revolutions This season’s educational program explores the American musicians whose free-thinking spirit changed the course of music and even the way we listen today. Focusing on moments of innovation, the course will highlight music by classical composers Aaron Copland, Samuel Barber, Amy Beach, Leonard Bernstein, and William Grant Still; jazz pioneers Duke Ellington, Miles Davis, and Ornette Coleman; and freethinkers Edgard Varèse, John Cage, Terry Riley, Julius Eastman, Pauline Oliveros, as well as younger composers living and working today. Hear exclusive live performances by Festival artists and mingle with your fellow music enthusiasts afterward over a glass of wine. EDUCATIONAL INITIATIVE

SkanFest U is led by Co-Artistic Director Aaron Wunsch, who teaches music at The Juilliard School. Weekly Sessions Tuesdays: July 28, August 4, 11, and 18 4:00 – 5:00 PM The Skaneateles Festival’s educational sessions are FREE and open to all. For more information: 315-685-7418 or www.skanfest.org Aaron Wunsch is sponsored by The Skaneateles Consortium: George Bain, Sam and Debby Bruskin, Dana and Susan Hall, Judy Robertson, and Duane Wunsch

“ 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

SkanFest BeST

Skaneateles Festival Behind the Scenes Team The Skaneateles Festival is a unique experience for our musicians and audience members. This is facilitated by community members like you who contribute their time and enthusiasm. If you are interested in helping, please visit the “Get Involved” section of our website www.SkanFest.org

kidsfest is presented in memory of

Fun at the Festival

Faye Panasci

For all ages Kids FREE Adults $5 at the door

with additional support from the

Fletcher Foundation and The Skaneateles Consortium

Sound Out! with Imani Winds & Andy Akiho Friday, August 7 • 10:30 AM Mandana Barn, 1274 Lacy Road, Skaneateles Join GRAMMY-winning Imani Winds for a musical adventure featuring five wind instruments and the amazing sounds they can make, separately and together. They are joined by Andy Akiho, a whiz on the steel pan! This colorful concert is filled with lively music that kids will love. Featuring Imani Winds Brandon Patrick George, flute Mekhi Gladden, oboe Mark Dover, clarinet Kevin Newton, horn Monica Ellis, bassoon

Time Travel with the Terra String Quartet Saturday, August 22 • 10:30 AM Mandana Barn, 1274 Lacy Road, Skaneateles The Terra String Quartet invites you on a time-warp journey through three centuries of lively and lyrical string quartet music, from Mozart to present, in their interactive program for kids. Featuring the Terra String Quartet Harriet Langley, violin Amelia Dietrich, violin Chih-Ta Chen, viola Audrey Chen, cello

ARTIST SPONSORSHIPS

Imani Winds are sponsored by Anne Messenger Andy Akiho is sponsored by Andrea Latchem The Terra String Quartet, the 2026 Emerging Artists in Residence, is sponsored by the Andromeda Foundation 13

Week 1

Tonight's concert is sponsored:

Thursday, July 30 6:30 PM Backstage Pass (for ticket holders only)

7:30 PM Concert First Presbyterian Church

In memory of Gwen Birchenough by Doug and Peg Whitehouse

97 E. Genesee St, Skaneateles

Backstage Pass: American Revolutions 250 Years of Music Join the Festival Artistic Directors, narrator Julia Figueras, and members of the Pacifica Quartet for a conversation about American music and the new musical portraits of Supreme Court justice Ruth Bader Ginsburg and environmentalist Rachel Carson to be heard on this evening’s program.

Opening Night: Revolutionary Portraits Pacifica Quartet Simin Ganatra, violin; Austin Hartman, violin Mark Holloway, viola; Brandon Vamos, cello MENDELSSOHN

String Quartet No. 2 in A minor, Op. 13 Adagio – Allegro vivace Adagio non lento Intermezzo. Allegretto con moto – Allegro di molto Presto – Adagio non lento

GABRIELA LENA FRANK

The Edge of Everything: Elegy for Rachel Louise Carson Julia Figueras, narrator

JENNIFER HIGDON

Steps for Justice Julia Figueras, narrator I N T E RM I SSI ON

DVOŘÁK

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

ARTIST SPONSORSHIPS

The Pacifica Quartet is sponsored by the Gladys Krieble Delmas Foundation Julia Figueras is sponsored by RAV Properties 14

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

Program Notes String Quartet No. 2 in A minor, Op. 13 (1827) FELIX MENDELSSOHN (1809-1847) Do you remember your first crush? And did you compose a string quartet about it? Well, that’s one thing that separates us and the teenage Felix Mendelssohn. We haven’t discussed poetry with Goethe, nor philosophy with Hegel, either. The young Mendelssohn was afforded a rare combination of nature and nurture: his talent was cultivated through an extraordinary education in music and other subjects, overseen by the best minds in Berlin. Mendelssohn was grandson of prominent philosopher Moses Mendelssohn, and visitors to his home included Hegel, Goethe, Heinrich Heine, and scientist and biogeography founder Alexander von Humboldt. But even precocious teenage bookworms can fall in love. The object of Mendelssohn’s affections was apparently Betty Pistor, a fellow member of the Singakademie, the choral group that Mendelssohn would later lead in the revival of Bach’s St. Matthew Passion. He first composed a song that gently expressed his affections (“Is it true (that you love me)?”), but to paint the turbulence of all his emotions he

required a larger canvas. His model was a recently completed string quartet by Beethoven in the same key, Op. 132. To us, a model by Beethoven might seem an obvious choice, but at the time, almost no one appreciated Beethoven’s latest music. (Mendelssohn’s mentor, the composer Louis Spohr, called it “indecipherable, uncorrected horror.”) Undeterred, Mendelssohn drew upon Beethoven’s character contrasts and thematic structures, even if the younger composer’s interests were less spiritual and more carnal. The quartet begins patiently but soon poses the question of whether she loves me, or loves me not, quoting Mendelssohn’s own song. The answer is not forthcoming, however, and our protagonist is overtaken by self-doubt, longing, and general torment. Teenage angst may drive this music forward, but it is cast in a perfectly proportioned classical form, as if the kid says, “Woe is me,” while the adult assures him, “Everything will turn out alright.” But what teenager ever listened to such advice? He remains unconvinced, and the movement ends in despair. The second movement bears the signs of another of Mendelssohn’s passions, the music of J. S. Bach. More

In Memoriam Gwen Birchenough To honor and know Gwen Birchenough is to remember the very origins of the Skaneateles Festival. Described as one of the festival’s “Grand Dames,” Gwen was there from the start – welcoming and hosting musicians with her undeniable charm, wit and grace. She attended every concert she could: Thursdays and Fridays inside and Saturdays outside under the stars at Brook Farm (and Anyela’s). She was such a devoted fan that when her son, Dave, asked to marry Carrie Lazarus on the lawn at Gwen and Bill’s home on August 27, 2005, Gwen paused to ask if it was a Saturday (a concert night!) – then asked if they might get married instead on a Monday. (She did end up agreeing to give up that one Saturday concert for the wedding). Generations of performers and concertgoers knew her warmth, perspicacity*, and enthusiasm. Like her friend (and festival co-founder) Louise Robinson, Gwen shone a bright light on all who came to rehearse and perform by the lake. She joined in at the home-cooked meals at Brook Farm, where she exhibited one of her best-known traits: that of being truly interested in others. By the time she took her front row seat at each concert, she was listening to and applauding for people who had become her friends. Over all the years, at the end of many spectacular pieces, a sound rose above the clapping: it was Gwen from the front row cheering: WOOT WOOT!!!

*Perspicacity: keenness of mental perception and understanding; discernment; penetration. A perfect one-word description of Gwen. Synonyms: acumen, insight, astuteness, acuity, shrewdness

That’s how she felt about the music, the festival, Skaneateles, and life. It is the heartfelt gusto for which she is remembered and loved. ~ Lori Ruhlman and Dan Fisher 15

7/30 Program Notes (continued)

specifically, his passion for a passion: Bach’s St. Matthew Passion, the manuscript of which he had recently received as a gift from his grandmother. The outer sections of the quartet’s second movement is a kind of chorale, a sacred choral genre bent here to Mendelssohn’s more secular will. The middle of the movement, however, is a lamenting fugue, filled with neo-Baroque anguish. The chorale returns, and the soul drifts off to heaven. The third movement alternates between a solemn dance and a frolicking scherzo, a trademark of Mendelssohn. We’re back to the anguish of Bach’s Passion in the final movement, which opens with a violin recitative in the style of Bach’s Evangelist-narrator. This serves to launch the music forward like a giant rubber band, and from there, it flies with fury. The second movement’s lamenting fugue returns but cannot quench the fire; only the first violin’s recitative, searching for answers, somehow manages to find its way back to the opening chords of the first movement. What was once a question now appears to be the answer – not satisfying, exactly, but acceptable. Call it the wisdom of a teenager.

The Edge of Everything: Elegy for Rachel Louise Carson GABRIELA LENA FRANK (B. 1972) Gabriela Lena Frank’s evocative music often takes the listener far away in place and time. Many of the Pulitzerprizewinning composer’s works lead down paths of selfdiscovery, since her Peruvian-Chinese-Lithuanian-Jewish ancestry is rich and remote from the Berkeley, California, where she grew up. However, this new work hits much closer to her current home in rural California, where environmental concern is a matter of survival. About the work, Frank writes: Before she was the woman who changed how the world understood its own fragility, Rachel Louise Carson was a writer. Not a scientist who happened to write well, but a writer whose instrument was language, whose ear for cadence and image drew readers into the breathing,

Our thanks for your wonderful generosity and support: Sam & Carol Nappi and Meg O’Connell & Eric Allyn 16

teeming, imperiled world she loved. Her sea trilogy – Under the Sea-Wind, The Sea Around Us, and The Edge of the Sea – won a National Book Award and made her the foremost science writer in America, lauded not merely for her rigor but for her lyrical and poetic voice. She understood what too many still resist: that precision and beauty are not enemies, that the most faithful rendering of the natural world demands both the microscope and the poem. She was also a woman who had to fight to be heard. Early in her career she signed her articles “R. L. Carson,” obscuring her gender so that readers would take her science seriously. When she finally claimed her full name-Rachel Louise Carson – It was an act of defiance as much as identity. J. Drew Lanham captures this moment in his text with the incantatory insistence of her name, spoken aloud like a spell against erasure: “Rachel Louise Carson. Rachel. Louise. Carson.” And then there is the bitter irony of her death. Carson’s Silent Spring warned the world that the indiscriminate use of chemical pesticides was poisoning the earth and everything that lives on it, including us. She linked these poisons to cancer, to cellular damage, to the slow unraveling of bodies exposed to what industry called progress. She was right, and she was also dying. Breast cancer had metastasized even as she wrote, and she hid her illness so that chemical companies could not weaponize it against her credibility. She wore a wig before Congress, argued

with a typewriter and the truth, and died in 1964 at the age of fifty-six – taken by the very blight she had spent her final years trying to name.

fifth voice whose silences are as composed as the quartet’s, whose breath and timing shape the music.

I wanted the text for this elegy to come from someone for whom Carson’s work was not simply admirable but personally urgent – someone who lives at the intersection of science and poetry, of witness and advocacy. Drew is a MacArthur Fellow, an ornithologist, and the author of The Home Place: Memoirs of a Colored Man’s Love Affair with Nature. He is a Black man in America who has written unforgettably about what it means to love the natural world from a body that the natural world’s gatekeepers have not always welcomed. His voice carries the authority of a working scientist and the music of a poet laureate, and when he channels Rachel Carson’s first-person in this text – her wonder at tide pools, her fury at poisoned fields, her quiet insistence on kinship with every living thing – you hear not ventriloquism but recognition. One witness calling across the decades to another. In setting Drew’s text, I worked as dramaturg alongside my role as composer, shaping the words so that the narrator has genuine dramatic scope – room to inhabit Carson as a character, to build from quiet wonder through defiance into the devastating momentum of the central climax, where Carson’s tireless labor and the cancer consuming her converge: “I warned of this. And... it found me first.” The narrator is not someone to be merely accompanied. She is a full member of the ensemble, a

A “NU” Era Begins Introducing Music Director

Austin Chanu The Brazilian-American conductor opens our exciting 26-27 season featuring Ravel’s Piano Concerto in G Major and Stravinsky’s The Firebird October 17 in Syracuse

26-27 SEASON

(315) 299-5598 Scan for tickets & more information. SyracuseOrchestra.org

The quartet, in turn, is no backdrop but carries the elegy’s emotional undertow – the tidal pull that runs beneath Carson’s words. In passages where the narrator speaks freely, the quartet answers, comments, breathes with her, sometimes falling silent at precisely the moments where the weight of a word needs space to land. In the work’s most intense pages, the instruments surge forward on their own, carrying what language alone cannot hold. This is ensemble music: five voices sharing the labor of mourning and insisting that attention itself is an act of love. I write this from the hills of rural northern California, where I live with my husband on land we tend with great care and not a little anxiety. We are in fire country. We have watched neighbors lose homes, watched smoke turn our sky the color of rust, stored thousands of gallons of water against catastrophe. We tend our forest, grow food on terraces, keep chickens, forage and process acorns in the indigenous way, and try to live in some version of the reciprocal relationship with the earth that Carson spent her life articulating and defending. Her warnings are not historical to me. They are the view from my kitchen window – the drying forests, the unpredictable seasons, the insurance companies fleeing because they have done the math on what unchecked human appetite will cost. Carson wrote, near the end of her life, that “it is a wholesome and necessary thing for us to turn again to the earth and in the contemplation of her beauties to know the sense of wonder and humility.” She did not write from despair. She wrote from love – fierce, precise, unsentimental love for a world she knew was worth saving, even as she knew she would not live to see whether we would listen. This elegy carries both her urgency and her hope. The final words – “Same air, same water, same soil, same earth, same faith” – are not a requiem’s closing darkness but an invocation, a reminder that we share one world and one fate with every creature that breathes, swims, creeps, or flies. We are, all of us, saltwater kin. —Gabriela Lena Frank, Boonville, CA January 2026

Steps for Justice (2026) JENNIFER HIGDON (B. 1962) As a listener of her music, you might appreciate knowing that Jennifer Higdon started her musical life by playing percussion in a marching band, in Tennessee. Rhythmic vitality is a signature of the Pulitzer Prize and three-time GRAMMY winning composer’s music, but not the only one. Her primary instrument was flute, which she studied in college, and she has a gift for lyrical melodies as well. She eventually studied composition at the Curtis Institute of Music, where she now teaches, as well as at the University of Pennsylvania with George Crumb (whose seminal work, Voice of the Whale,

7/30 Program Notes (continued)

you can hear at the Festival on August 14). Her Violin Concerto won the Pulitzer Prize in 2010; it was written for fellow Curtis alum and Skaneateles Festival favorite, violinist Hilary Hahn. Higdon is among the first American women composers whose works appear regularly on concert programs, just as Ruth Bader Ginsburg was one of the first women to join the Supreme Court. Both have been part of a change, inspiring younger women to follow in their footsteps. Steps for Justice was commissioned by the 92nd Street Y in New York and Washington Performing Arts for the Fourth Annual Ruth Bader Ginsburg Memorial Concert in Washington, D.C. About it, Higdon writes: The challenge of creating a musical portrait of Supreme Court Justice Ruth Bader Ginsburg allowed me to wade into a wealth of available material: a goldmine of wisdom from a lifetime of contemplating the law and how it relates to our humanity. This moment in our history, the founding ideas of personal liberty, freedom, and the empowerment of our fellow citizens, as reflected in her writing, provided the pillars of this piece. I was fortunate to have several opportunities to talk with the Justice. The first time was at Santa Fe Opera, when she came backstage following a performance of my first opera. I was so awestruck by her graciousness and appreciation for what

everyone brought to the performance; her telling me that the music moved her was something I will never forget. Every subsequent meeting evoked the same feeling when we spoke: here was a brilliant, compassionate, and considerate human being. There are those individuals who go through life breaking down boundaries and working to make the world better for everyone. Justice Ruth Bader Ginsburg was one of those angels. The opportunity to honor her, while shining light on those beliefs that she held as the highest hopes for her fellow citizens, is an aspiration that I hope this piece conveys. If it reveals even a glimmer of her brilliance, I will be thrilled.

String Quartet in F Major, Op. 96 (“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. If you’d imagine yourself in her shoes, your first choice might not be a Czech viola-playing son-of-a-butcher who had never even set foot in the United States. The trouble was that no one quite knew what American music in the European tradition was supposed to sound like. Thurber sent pianist Adele Margolies to Europe to persuade Antonin 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 entire family, and now he had to figure it out: What is American music? 40 years later, jazz would have provided an obvious pathway. But in 1893, Dvořák felt the answer ought to reside 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 always simple. Dvořák’s “American” music is optimistic and openhearted, if only a few degrees less Bohemian than his Slavonic Dances. The String Quartet in F Major, Op. 96, is at the very least American in the sense that he composed it on American soil. Although Dvořák spent most of his American sojourn in New York City, he composed the Quartet 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. Upon arriving in Spillville, the notes spilled right out: the quartet was sketched within three days and finished in twelve. “Thank God. I am pleased,” Dvořák wrote. “It all went so quickly!” Dvořák gave the quartet’s sunny opening theme to his own instrument, the viola, accompanied by shimmering tremolos. As in his other chamber music, Dvořák shows himself a master of both melody as well as texture, the often-intricate halo of sound surrounding the melody. Like his “New World” Symphony, the Quartet’s pentatonic melodies have an air of American folk music, alternately peppy and plaintive. These are developed into a grand narrative, a canvas more national than local. The second movement sings with a solitary voice of the hardship endured on the empty prairie, which Dvořák referred to as “the Sahara.” “Everything is so wild here,” he wrote to a Bohemian friend. “Sometimes it is extremely bleak, enough to make a person despair.” The third movement introduces a new character, the scarlet tanager, a bird whose song Dvořák recorded on walks near Spillville; listen for its insistent calls in the highest notes of the first violin. The rollicking Finale is the Quartet’s most famous, and smile-inducing, movement. It seems to capture the optimistic mindset and vigorous work ethic of an emergent American idealism that is still attractive today. Dvořák would return to Europe permanently in 1895, but he did not regret his time here. “I would have never written…the String Quartet in F Major,” he later said, “if I had never seen America!”

IS A PROUD SUPPORTER OF THE

SKANEATELES MUSIC

FESTIVAL 2026 THANK YOU FOR BRINGING MORE THAN 40 YEARS OF BEAUTIFUL MUSIC TO THE FINGER LAKES. capstonecontractinggroup.com 315-447-7434

Friday, July 31 7:30 PM Concert First Presbyterian Church

Tonight’s concert is sponsored by

97 East Genesee St, Skaneateles

Pacifica Quartet & Aaron Wunsch HAYDN

String Quartet in B minor, Op. 33, No. 1 Allegro moderato Scherzando: Allegro Andante Presto

BARBER

String Quartet, Op. 11 Molto allegro e appassionato Molto adagio [attacca] Molto allegro (come prima)

Pacifica Quartet Simin Ganatra, violin Austin Hartman, violin Mark Holloway, viola Brandon Vamos, cello

I N T E RM I SSI ON

FRANCK

Piano Quintet Molto moderato quasi lento – Allegro Lento con molto sentimento Allegro non troppo ma con fuoco

Pacifica Quartet Simin Ganatra, violin Austin Hartman, violin Mark Holloway, viola Brandon Vamos, cello Aaron Wunsch, piano

ARTIST SPONSORSHIPS

The Pacifica Quartet is sponsored by the Gladys Krieble Delmas Foundation Aaron Wunsch is sponsored by the Skaneateles Consortium: George Bain, Sam and Debby Bruskin, Dana and Susan Hall, Judy Robertson, and Duane Wunsch Steinway Piano is sponsored by Sarah and Kevin Goode

Steinway Piano generously donated by Artist Pianos

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

Program Notes String Quartet in B minor, Op. 33, No. 1 (1781) FRANZ JOSEPH HAYDN (1732-1809) Not for nothing is Joseph Haydn called “the father of the string quartet.” By the time he composed his Quartet in B minor, Op. 33, No. 1, his musical progeny were already running all around Europe, inhabiting the drawing rooms of London, Paris, and Vienna. Haydn did not invent the quartet, but his works certainly helped foster its rise in popularity. The long-lived Haydn oversaw the emergence of the quartet out of the symphony (his Op. 1 quartets are “Symphonies or Quartets”); its development into a sophisticated, intimate medium, the equivalent of witty Parisian conversation; and, finally, its transformation back into a more public idiom, in his quartets specially designed for performance in the concert hall. The Quartet in B Minor falls into the middle category, even though we typically hear it in concert today. So imagine you just walked on the set of Bridgerton and get ready for a serious conversation. Late-18th century manuals for cultivating intelligent conversation (yes, there were manuals) suggest that an ideal conversation happens between several people, not just two. (If you chitchat with just one other person, you are merely gossiping.) The salon host – here, the first violinist – can

Proudly supports the Skaneateles Festival

“Fightnote for the that you care Every is things a journey, a story about but do it in a way that will waiting to be told. lead others to join you.” BRuth É L Bader A B AGinsburg RTÓK

Robert Lieberman, Principal RAV Properties, LLC 315-403-9000 www.ravproperties.com

establish the topic, but all should contribute. She starts with an optimistic idea, to which the second violinist nods in agreement. The cellist remains silent, however, and when he enters, he expresses grave concerns. These are perilous times. His point of view is cause for concern, but the first violinist persuades the others to reconsider, and the first half of the movement ends on a contented note. The cellist won’t give up so easily, however, and by the end of the movement all agree with him instead. While these thoughts may be troubling, isn’t it inspiring to hear an intelligent conversation that actually changes people’s minds? The brief scherzo begins urgently, a heated conversation that borders on argument. But these four can get along, too, as they show in the amiable middle section. The third movement, Andante, dances as much as it sings. Its gentle, effortlessly jaunty character is full of good humor. The last movement, however, finds our first violinist in an especially willful, even stubborn, mood. The others stay out of her way for a while, but eventually, the second violinist challenges her, and all four have it out in a heated debate. Haydn’s music proves that one can provoke, debate, and challenge without losing nuance in an argument nor respect for those who disagree. It is not so much a mirror of what society is – as we know all too well – but rather a vision of what society could be.

String Quartet, Op. 11 (1936) SAMUEL BARBER (1910-1981) You probably know Samuel Barber’s String Quartet better than you think. The middle movement is, note for note, his ultra-famous Adagio for Strings. But can you guess where this iconic American music was composed? In the Austrian Alps, almost on the very spot where Julie Andrews would later sing “The Hills are Alive,” outside Salzburg. “Skyscrapers, subways, and train lights play no part in the music I write,” Barber told a music critic in 1935, the year he started his String Quartet. You won’t hear much yodeling in this quartet, however. Barber’s point of departure seems to be the late quartets of Beethoven. Bold, brusque statements alternate with searchingly lyrical melodies, set within tightly controlled classical forms. Despite thematic and formal similarities with Beethoven, Barber’s vocabulary is noticeably darker hued and more modern. The first movement is taut and pensive. Reflective chorales provide some relief from urgent thoughts but can’t escape a growing sadness borne of foreboding. Perhaps we shouldn’t read too much into Barber’s own psyche here; his partner, the composer Giancarlo Menotti, said that their summer in Austria was so happy that “you have to stop in the middle of the day to say to yourself: ‘this is too wonderful.’” Yet one wonders whether the dark hues of this music foreshadow his later life, overtaken by loneliness, 21

7/31 Program Notes (continued)

depression and alcoholism. “I write what I feel,” Barber later said to explain his compositional method. Like poor Pachelbel and his Canon, Samuel Barber scarcely could have anticipated the extraordinary fame his second movement would attain. The circumstances that propelled it to become the universal embodiment of grief in America – the assassination of Kennedy and the Vietnam War – were far off. Whether or not Barber intended this music as an expression of grief, it’s certainly easy to hear it that way. Barber indicates to the players that the Adagio should be played “very slowly, expressively singing.” Its simple, stepwise melodic line is emotional but dignified, like a mourner maintaining outward (if not inward) composure. The darkly shaded harmonies underneath are perhaps the most essential and masterful part of the work – hymn-like and comprehensible, but not familiar. The melody leads ever forward, phrase after phrase, to a climax that cries out in anguish. From here, the melody starts to find catharsis, if not comfort. Barber discarded his first attempt at the quartet’s last movement, a sunny and conventional rondo, in favor of a much shorter and more unsettling conclusion. Here he takes up the opening theme from the first movement, starting in the key of the second movement. His theme moves inevitably and all too quickly toward a tragic and rousing conclusion in

the home key of B Minor. Among composers of his generation, grand emotions like these were out, and irony was in. Yet concertgoers loved Barber’s sincerity from the beginning. As Aaron Copland said about the Adagio, “It comes straight from the heart.”

Piano Quintet (1879) CÉSAR FRANCK (1822-1890) One could call César Franck the patron saint of lateblooming composers – a real achievement considering that he was a child prodigy. A brilliant pianist by age 10, his early compositions are, by general agreement, atrocious. His father had paraded him around like a show pony and encouraged the young César-Auguste to provide audiences with musical popcorn: vapid variations and potpourris on opera tunes (the pop songs of their day). Such piano music was the norm in 1830s Paris, aside from Chopin; be glad you will never hear in concert such chestnuts as The Omnibus Variations, inspired by the sound of a horse-drawn carriage. (Alas, poor Franck later died after being hit by one.) Franck finally detached himself from his overbearing father at age 23 and started down a path of musical penance. He switched his focus from piano to organ, and turned from secular to sacred music, taking on a series of church positions. His skills of improvisation, enhanced by the awesome powers of Cavaillé-Coll’s new organs, became legendary, and in 1872, the Paris Conservatory engaged him as organ

Enjoy farm-to-fork dining, our innovative beverage program, rejuvenating spa services, and variety of leisure activities – all infused with signature local touches. skaneatelesfields.com

@skaneatelesfields

professor. The real attraction of his organ classes, however, were his sermons about composition, so the finest young composers in France turned out to study “organ.”

many sides of a single, peripatetic soul. Franck had five given names, César-Auguste-Jean-Guillaume-Hubert, and we get to know them all.

By viewing composition through the critical lens of a teacher, Franck, now nearly 60 years old, started to compose masterpieces. Still, not all French musicians regarded them as such. The curmudgeonly Camille Saint-Saëns agreed to play piano at the premiere Franck’s new Piano Quintet in 1880 but stalked off the stage without even so much as a bow, leaving the score – dedicated to him – on the piano. To SaintSaëns’s dismay, Franck’s score bore the influence of opera composer Richard Wagner, whose passionate, chromatic intensity Franck adapted to the genre that Wagner had most rejected: chamber music.

In the second movement, Franck shows himself a master of what one French critic called “serene anxiety.” The piano gazes to the eternal sky, where chords float overhead, while the violinist shivers with self-doubt. These shivers grow into the painful groans of a tormented lover, almost Dantesque in intensity, until a vision of Beatrice soothes from above. A yearning theme from the first movement reappears, setting off new feelings of passion and desperation. This cycle continues but ends in hopelessness. The Finale, however, churns with determination. This is music of action, coursing through countless Major and minor keys. (Franck’s primary advice to young composers who were not sure what to do next in their music was “Modulate!”) The music expands to a dynamic range unprecedented in chamber music, vigorously searching for conclusion and catharsis. It finds the former, if not the latter. Franck proves that in music, young people have no monopoly on passion.

Many feel that Franck expressed in the Quintet his forbidden love for a talented student, Augusta Holmès, à la Wagner’s Tristan and Isolde – including, apparently, Franck’s wife, who openly (and understandably) detested the work. The first movement starts with a “dramatico” cry of passionate despair from the strings, to which the piano responds only with a calm meditation. This unlikely combination of sensual outburst and prayer-like reflection, as if from a dating app for church organists, forms the rhetorical basis for the work. It allows Franck to chart a remarkably wide emotional progression, into which the players must fully invest themselves. Themes multiply and interconnect, the

Legal counsel that strikes the right chord.

Week 1

Tonight’s concert is sponsored by:

Joan Christy & Tom Bersani, Ed & Paula Conan and Linda & Dan Roche

Saturday, August 1 • 8:00 PM Robinson Pavilion at Anyela’s Vineyards Rain location: Skaneateles High School 49 East Elizabeth St, Skaneateles

Broadway by the Lake with Norm Lewis Norm Lewis, baritone Isaac Harlan, piano This is a don’t miss night for Broadway musical fans! Norm Lewis, a mainstay of the Great White Way for over three decades, makes his Festival debut with his one-man show. Known for his TONY nominated performance as Porgy in The Gershwins’ Porgy and Bess, he has also starred in The Phantom of the Opera, Once on This Island, The Little Mermaid, Chicago, and Les Misérables.

Selections to be announced from the stage.

ARTIST SPONSORSHIPS

Norm Lewis is sponsored by Tom and Camille Potter Isaac Harlan is sponsored by Kim & Charley Driscoll and Joe & Marie Grasso Steinway Piano is sponsored by Sarah and Kevin Goode FEATURED ADVERTISER: Parsons & Associates, Inc.

MEDIA SPONSOR he Skaneateles Festival is made possible T with funds from the General Operating Support program, a regrant program of the County of Onondaga with the support of County Executive, J. Ryan McMahon II, and the Onondaga County Legislature, administered by CNY Arts.

Kearstin Piper Brown and the Jasper Quartet perform Moonstrike by Jerod Impichchaachaaha' Tate for KidsFest at Baltimore Woods Nature Center.

Specializing in Skaneateles Lake and surrounding properties. Past Board Member

8/12 Program Notes (continued)

present throughout Vivaldi’s music. In this Flute concerto, titled “Il gardellino” (“the goldfinch”), Vivaldi draws upon music’s ability to depict animals, which he had recently honed to ingenious effect in his famous “Seasons” concertos. Here, the flute plays the role of the goldfinch, a chipper little bird with a red and black face and yellow wings. Because it eats the seeds of the prickly thistle plant, however, Italians see this bird as a harbinger of suffering. In Raphael’s Madonna of the Goldfinch, a cherubic baby Jesus and John the Baptist cradle a goldfinch in their hands, a symbol of the gruesome deaths they will eventually meet.

those in his piano work, From the Bohemian Forest, and arranged it for cello and piano (later orchestra) for concerts with cellist Hanuš Wihan, who would inspire Dvořák’s famous Cello Concerto. The two were on something of a “farewell to Bohemia tour”; Dvořák had recently signed a contract to join the National Conservatory of Music in New York City, where there was – and is – a distinct lack of both silence and woods. Fortunately, the Silent Woods he composed could be packed in a suitcase.

Why not...

l? ee F u o y s a d o o Look as G

Eclogue for Piano and String Orchestra, Op. 10 (ca. 1928) GERALD FINZI (1901-1956)

Vivaldi’s goldfinch, however, is happy as can be. It After Gerald Finzi’s death, his family and friends blithely improvises itsBersani own pace, do, and Dr. Carruth at | Dr. | Dr.as Hillbirds | Dr. Salloum named this tender movement Eclogue, referring to the Boardlittle Certified, Fellowship-trained Oculofacial takes notice of the rhythmic melody Plastic playedSurgeons by genre of pastoral poetry (and later, music) with a carethe strings. Gradually, however, the flute and the free tone. Finzi loved poetry and set much of it in his ensemble come to agreement; the flute joins in the songs, so the title is apt in that sense. But for somerhythm, and the strings echo the bird’s calls. A few one like Finzi, and perhaps anyone whose life was so completely sandwiched between the two World darker chromatic moments hint at troubles ahead, Wars, a pastoral state was far more aspirational than but for the time being, all is well. The pure, lilting real. Finzi’s father died when he was eight; his three second movement is a birdsong of true love, more of Syracuse Binghamton • Utica Ithaca • Watertown brothers and music teacher followed, killed at the heaven than• of earth – for the bird •flits perpetually Western front during World War I. Much of his early between the two. The final movement, however, is full music is sorrowful in tone, perhaps his way of coming of earthly vigor; our bird seems to fly down right into to terms with the world around him. A retiring person one’s hand, as one always hopes such a bird might. by nature, he pursued quietude in the Hampshire countryside, where he cultivated rare apple varieties Silent Woods for Cello and Orchestra (1893) and composed. One could consider Eclogue an autoANTONÍN DVOŘÁK (1841-1904) www.crazydaisiesflowers.com biographical work in which a shy protagonist, deeply The concerto is a distinctively human, even societal, wounded by life’s tragedies, searches for enduring genre. An individual protagonist alternately leads, folsolace in the countryside. From vivacious flower lows, and cajoles a large group of players, mirroring arrangements to While the idioms of this music are unmistakably the way an individual seeks a meaningful and prosparkling mimosa English, recalling Elgar ductive role in society. Antonín Dvořák’s Silent Woods flights, we have it and all. Vaughan Williams, it has a distinctly Bach-like quality of unfolding, in counterbasically throws that whole concept out the window. 4693 Road thoughts and emotions point, as ifKasson one’s innermost The title itself removes all humans (save perhaps for Syracuse NY 13215 one who doesn’t speak) and even many animals from the picture. The original Czech title, “Quiet,” offers the ultimate challenge to musicians: How can one convey silence while making sounds? Well, tread softly. The strings, presumably the murmuring forest animals, play with mutes, and the cellos and bass offer the lightest of pizzicatos. The solo cello treads delicately and carefully, but the overwhelming beauty of the natural world causes a surge of emotion to well up in both the cellist and the orchestra. Every forest also has a darker side, which comes briefly to the fore in the middle section before a retreat back toward www.purecateringevents.com stillness. Dvořák drew this movement from among

Forehead, Upper & Lower Eyelid, and Mid-facial Cosmetic Surgery Botox • Filler Injections • Tearing Issues eyeplasticcny.com | 315-422-3937

Crazy Daisies Flowers & The Garden Cafe

50 26

SUMMER SUITE 2026

Many thanks to our hosts The Falcone Family

THANK YOU TO OUR

GENEROUS DONORS

1911, Beak & Skiff Bianchi’s Bluewater Grill Cafe 108 Clover’s Crazy Daisies Folls Flowers Gilda’s Joelle’s French Bistro Mirbeau Inn & Spa Pure Catering Scratch Farmhouse Catering Sherwood Inn Skan Cake Lady Skaneateles Fields Inn & Spa Vine & Voyage

Week 2

Tonight's concert is sponsored:

Helga Beck

Thursday, August 6 6:30 PM Backstage Pass (for ticket holders only)

7:30 PM Concert First Presbyterian Church 97 E. Genesee St, Skaneateles

Backstage Pass: A Conversation with Imani Winds & Andy Akiho Join the Imani Winds and composer Andy Akiho for a conversation about their collaboration and music’s role as a force for social change. Hear their insight into the music they will perform together on this evening’s program.

Imani Winds & Andy Akiho ANDY AKIHO PAQUITO D’RIVERA

ANDY AKIHO

Longing

Andy Akiho, steel pan

A Little Cuban Waltz*

Synesthesia Suite Beige Crimson Purple Red

Imani Winds Monica Ellis, bassoon Brandon Patrick George, flute Mekhi Gladden, oboe Mark Dover, clarinet Kevin Newton, horn Imani Winds Andy Akiho, steel pan

I N T E RM I SSI ON LALO SCHIFRIN STEVIE WONDER arr. MARK DOVER ANDY AKIHO

La Nouvelle Orleans (New Orleans) Overjoyed BeLoud, BeLoved, BeLonging BeLoud BeLoved BeLonging

Imani Wind Imani Winds Imani Winds Andy Akiho, steel pan

*Written for Imani Winds and commissioned by the Imani Winds Foundation. Premiered on June 16, 2023, New York City. Imani Winds are represented by: ARTS MANAGEMENT GROUP, INC. ARTIST SPONSORSHIPS

The Imani Winds are sponsored by Anne Messenger Andy Akiho is sponsored by Andrea Latchem 28

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

Program Notes Longing (2024) ANDY AKIHO (B. 1979) It’s no surprise that last year’s GRAMMY nominees for Best Classical Instrumental Solo included violin, cello, guitar, and piano, but there was one instrument among them you might not guess: steel pan. The national instrument of Trinidad and Tobago is more associated with Calypso bands that play outdoors rather than in the concert hall. But Andy Akiho envisioned other possible pathways for his own instrument, to include more tender expression, like longing. This mesmerizing solo ruminates on a single scale, finding a vast variety within it. Due to their speed, the resonances of the individual notes blend to create kaleidoscopic harmonies. The longing builds, grasping at fragments from other scales, but resumes its original state, unquenched. Alas, Longing lost out to a piano solo in 2025 but give the GRAMMY panel a few more turns to come around to the steel pan. A Little Cuban Waltz PAQUITO D’RIVERA (B. 1948) The waltz may not seem inherently Cuban, but music travels wherever people do. Almost as soon as it appeared in Europe, Spanish immigrants brought the waltz to Cuba, where it cross-pollinated with Afro-Cuban rhythms. No longer associated with the European ballroom, a Cuban

waltz can do what it pleases. This one, by Cuban American clarinetist, saxophonist, and bandleader Paquito D’Rivera, started life as pure improvisation. D’Rivera recorded it over a song with his longtime pianist, Chucho Valdés, and DownBeat magazine published a note-for-note transcription. With the transcription in hand, D’Rivera crafted a new work for the Imani Winds, premiered in 2023. In this version, every instrument, not just the clarinet, gets a turn to dance in the spotlight at a Havana nightclub.

Synesthesia Suite (2007, revised 2026) ANDY AKIHO (B. 1979) As the unusual combination of steel pan and wind quintet might suggest, Andy Akiho’s road to composer-hood has not been conventional. Raised in South Carolina, his older sister played in a band and helped him pick up the drum set. In college, he Majored in percussion, trying out various instruments until he developed an obsession with the steel pan. Following his new passion to Trinidad, he learned first-hand what the instrument could do – and then he came home and did even more with it. He found that the instrument opened a pathway toward composition beyond the pan itself; in an interview, he explained: Because of the way it’s patterned, it probably gets you to think about different combinations of notes than you

Clay Zeller-Townson from the band Ruckus shows a bassoon reed to the KidsFest audience.

8/6 Program Notes (continued)

would if you were creating from a piano or a marimba... As a result, certain kinds of figurations emerge in that music which are directly based on how the instrument is designed… When you then take those ideas and work them out for other instruments, say, writing for a string quartet, since steel pan is in the DNA of how you think, it creates a different kind of music.

Olivier Messiaen, but he was already dabbling in jazz, playing in nightclubs. Oh, and he studied African drumming, played with tango master Ástor Piazzolla, and in Dizzy Gillespie’s jazz quintet. These diverse influences come out in his own music, including his most famous work – wait for it - the theme from the TV show Mission: Impossible. (Perhaps there should be a film about Schifrin called “Musician: Impossible.”)

The Synesthesia Suite started as a series of pan solos. At the time, Akiho was exploring two parts of himself: his Japanese cultural heritage (on his father’s side), and his own synesthesia, a condition where the brain associates each pitch with a particular color. Eventually, he expanded several movements to include parts for other instruments. The Imani Winds joins Akiho for four movements, Beige, Crimson, Purple, and Red, based around the fundamental pitches that he associates with each one.

The oft-imitated blend of classical, jazz, and world music in his famous theme song is typical of his style. Schifrin’s La Nouvelle Orleans is a raucous, unpredictable mix of Stravinsky-like dissonance, jazz, and tango from his native Argentina. The scenario is a jazz funeral in New Orleans. First, there is a somber march to the gravesite, where each instrument pays its respects, along with some wailing and moaning. But then it’s time to dance together – an expression of community and the highest form of respect. The oboe shares a final word before the collective “Amen.”

La Nouvelle Orleans (New Orleans) (1987) LALO SCHIFRIN (1932-2025) If you had asked Argentine American composer Lalo Schifrin what kind of music he played, he might as well answer “All of it.” The son of a Jewish violinist father and Catholic mother, he studied piano with famous pianist Daniel Barenboim’s father. He headed to the Paris Conservatoire to study with classical modernist

Overjoyed (1983) STEVIE WONDER (B. 1950), arr. MARK DOVER If you were lucky enough to get tickets to Saturday Night Live on May 7, 1983, you were treated to a skit in which Eddie Murphy gives tips to a Stevie Wonder impersonator played by…Stevie Wonder. This required Wonder to sing

composers. When playing the violin right-side up, Finale from Three Romances (2017) he was for his tender, tone and elegant Finale from Three Romances badly soknown that Murphy could coachpure him.(2017) But following the STEVEN FRANKLIN (b. 1995) phrasing. An Wonder 1805 review praised his “wholly song, individhilarious FRANKLIN skit, a never-before-heard STEVEN (b.shared 1995) Overjoyed, whichwhich he performed at as an acoustic piano. ual lightness, makes italone seem ifFranklin he merely As an accomplished trumpeter, Steven Franklin As an accomplished trumpeter, Steven This ravishing performance stole the show. Wonder’s perfortoys with the most incredible Theseto understands the potential potential for difficulties.” brass ensembles ensembles to understands the for brass mance is the basis for clarinetist Mark Dover’s arrangement, qualities – and his legendary photographic memory create lush, romantic sonorities. Theand Philadelphia create romantic sonorities. The Philadelphia a tributelush, to Wonder’s effortless lyricism sophisticated –Inquirer inspired Beethoven’s conception of his Violin Inquirer writes that his post-romantic style “looks rhythm and harmony. About halfway through arrangewrites that his post-romantic stylethe “looks Concerto, (inabiding manuscript) “to Clement back longingly…to the abiding tonal sensibilities sensibilities of ment,longingly…to you’lldedicated be treated to athe Stevie Wonder impersonation back the tonal of that will take you right back to 1983. Richard Strauss.” The last of his Three Romances by Clemenza”; Beethoven’s casting of himself as Richard Strauss.” The last of his Three Romances certainly does this, summoning thecertainly richnessdidn’t) and vigor vigor “one whodoes offers mercy” (which he certainly this, summoning the richness and BeLoud, BeLoved, BeLonging (2022) of a whole orchestra. This thrilling, symphonic ode was presumably another in a long line of jokes of a whole orchestra. This thrilling, symphonic ode ANDY upon AKIHO (B. 1979) indulges the violinists. ardent and heroic heroic qualities qualities associated associated visited indulges the ardent and Our lives tend to settle into a weekly rhythm, freedom with brass music since the 19th century. Franklin is with brass music since the 19th century. with Franklin is From the start, this concerto itself is upside down. to deviate, should we choose. But people who are detained currently a a member member of of the the Kansas Kansas City City Symphony Symphony and and currently orbegins incarcerated an imposed daily without freeIthas with aface timpani solo. Thisrhythm drum set’s usual frequently served as a substitute trumpeter not has served as aBeLoved, substitute trumpeter not dom.frequently Theisgenesis ofpower BeLoud, BeLonging a rare function add and weight to thewas orchestra, so far far from fromto here, in the the Rochester Rochester Philharmonic. so here, in Philharmonic. instance where detained people created their own rhythm: In but here the timpani quietly play five quarter notes, a the winter of 2019, detainees at the Metropolitan Detention bare rhythm that later turn melodic. orchesParaphrase on will “See thethe Conqu’ring Hero Center in Brooklyn protested lack of heat The and sanitation Paraphrase on “See the Conqu’ring Hero tral introduction (tutti) gains in walls, grandeur as it develby pounding on the windows and which could be Comes” from Judas Maccabeus (1746) Comes” from Judas Maccabeus (1746) heard from the street. “As musicians, we couldn’t hear such ops, but the soloist’s entrance is again the opposite G. F. F. HANDEL HANDEL (1685-1759) (1685-1759) // ALEXANDRE ALEXANDRE GUILMANT GUILMANT G. rhythmic sounds of protest and not be moved by them,” of what one arr. expects; rather than declare its arrival, (1837-1911), Robert A. Hobby Hobby (1837-1911), arr. Robert A. initial ideahas was finished, to compose a work itAkiho stepsremembered. out before Their the orchestra easing Many listeners will know this tune as “Thine is the that could be played outside the detention center and heard Many listeners will know this tune as “Thine is the into a soaring, angelic melody. Beethoven uses the within it,a “commune” with them. Glory,” a to perennial favorite at weddings weddings and and church church Glory,” perennial favorite at direction “dolce” (tender) four times during the first holidays, to to be be found found in in almost almost every every Protestant Protestant holidays, solo alone, as if the violin has a supernatural power to hymnal. When it comes to singable, festive music, hymnal. When it comes to singable, festive music,

Serving Lunch and Dinner 11:30am – 9:00pm

tame hearts, like Orpheus’s lyre. When played Handel has violinist, no equal. equal.the Fortunately for Handel, Handel, theof Handel has no Fortunately the by a great stratospheric Before starting the work, Akiho visitedfor the solo Rikerspart Island people of his adopted homeland, England, loved both people of his adopted homeland, England, loved this movement truly has the power to enchant correctional facility to lead a percussion workshop withboth singing and festivities, separately and together. Georg inmates. He put what he learned into and the music and Georg singing and festivities, separately together. and enrapture. returned to Rikers to perform the completed work for them. Friederich Händel became George Frederick Handel, Friederich Händel became George Frederick Handel, While it was not possible to perform at the detention center The beginning of the second movement is like a just as as his his employer, employer, another another Georg, Georg, of of Hanover, Hanover, hymn just in Brooklyn, this music speaks from, with, and to thecase, detaindrifting King out from a distant village (In church across a still became George I of of England. England. (In this rare rare became this case, ees, in an King effortGeorge both to Icommune and to communicate. forest; the violins are muted, and once again, all the line line of of succession succession jumped jumped across across the the water water to to are the instructed play dolce (tenderly). Thehad violin offers continental Europe.) Handel’s specialty had been Former Imanito Winds oboist Toyinspecialty Spellman-Diaz writes continental Europe.) Handel’s been about each movement: Italian opera, but but on when this provedscene financially risky its commentary thisthis peaceful in ever more Italian opera, when proved financially risky (as opera always is), he found enormous success in to ethereal variations, until, finally, there is nowhere BeLoud begins with a unison, lock-stepped meandering (as opera always is), he found enormous success in loop, interspersed with a repetitive clanging from the lower remolding thedown Italian oratorio genre to English English tastes. go but back tooratorio earth. Bygenre this point, the listener remolding the Italian to tastes. instruments, perhaps evoking the sound of people bangHis popular Judas Maccabeus Maccabeus is typical typical in that that it it adopts (and, presumably, the soloist) are delighted toadopts hear His popular Judas is in ing on the walls of the detention center. The movement athe Biblical story (Judas Maccabeus’s inspiring leaderjaunty theme of the last movement in the violin’s a Biblical (Judas Maccabeus’s inspiring leadergrows instory density and virtuosity as it progresses, ending with ship of the Jewish people) to British circumstances lowest register. Although the theme floats back ship of the Jewish people) to British circumstances tightly wound swirls that come to an abrupt end. up (the Duke of Cumberland’s Cumberland’s victorythe overspirit the recent recent intoDuke the clouds (“delicatamente”), of this final (the victory over the BeLoved of is open arms, it is circling high above the ground Jacobite uprising). The triumphant tune was later movement remains the realmto of earthly delight. Jacobite uprising). tune wasitlater on a cloudless day,The itin istriumphant a moment breathe, is a comtaken up by Beethoven Beethoven for finally a set set ofreleases cello variations, After a cadenza, the coda the state of taken up by for a of cello variations, posite sound equally made by all the players. and then by by numerous numerous others,this including the French French suspension that simply so pervades concerto, rewarding and then others, including BeLonging starts with militaristic andthe percussive organist, Alexander Guilmant, and the American organist, Alexander Guilmant, and the American our extended contemplation with a blast of euphomotives, and adds more and more layers of virtuosity as organist, Robert A. Hobby. Feel free to join the silent it moves inexorably forward. The extended clarinet solo organist, A. Hobby. Feelsuch free to join the silent ria. With Robert what can one follow glorious music? provides a welcome in the performance momentum, butofbythe sing-along: sing-along: After he finished hisbreak premiere the end, the movement has become both firmly rooted concerto, on December 1806, Franz Clement proSee, the the conqu’ring 23, hero comes! conqu’ring hero comes! andSee, flying free, with a complicated bassoon reveille that ceeded to violin upside down. The last joke Sound thethe trumpets, beat the the drums. Sound the trumpets, beat drums. signals itsplay close. was on Beethoven. Sports prepare, the laurel bring, Sports prepare, the laurel bring, Songs of of triumph triumph to to him him sing! sing! Songs

CRAFT BEER MADE RIGHT HERE!

Folls Flowers

Come visit our tasting room and see our brewhouse! Outside seating available. SUSTAINABLY GROWN GROWN FLOWERS FLOWERS AND AND HERBS HERBS SUSTAINABLY Flights, Pints, Crowlers & Cans to go. RARE AND HEIRLOOM VARIETIES

RARE AND HEIRLOOM VARIETIES UNIQUE FLORAL FLORAL DESIGN DESIGN & & PERSONAL PERSONAL SERVICE SERVICE UNIQUE

WEDDINGS •• CELEBRATIONS CELEBRATIONS •• SYMPATHY SYMPATHY WEDDINGS SEASONAL WEEKLY WEEKLY BOUQUET BOUQUET DELIVERY DELIVERY SEASONAL

28 Jordan St. Skaneateles, NY Serving Lunch and Dinner www.moroskitchen.com 315.685.6116 11:30am – 9:00pm

4022 Mill Rd. Skaneateles, NY • 315-975-1 SIP (1747) www.skanbrewery.com • Dogs are welcome

Has you you covered covered from from A A to to Z! Z! Has

4396 Harter Road, Owasco, New York follsflowers.com

28 COMMERCIAL Jordan St. Skaneateles, NY COMMERCIAL PRINTING PRINTING MARKETING SOLUTIONS www.moroskitchen.com MARKETING SOLUTIONS MAILING SERVICES MAILING SERVICES 315.685.6116

Joelle’s French Bistro

upstateprinting.com upstateprinting.com

FOR RESERVATIONS RESERVATIONS CALL CALL 315-685-3063 315-685-3063 FOR

FULFILLMENT || PRINT-ON-DEMAND PRINT-ON-DEMAND FULFILLMENT

315.475.6140 || 433 433 West West Onondaga Onondaga Street Street 315.475.6140 Syracuse, NY 13202 Syracuse, NY 13202

OPEN THURSDAY, THURSDAY, FRIDAY FRIDAY & & SATURDAY SATURDAY OPEN SEATING FROM FROM 5:30-8:30 5:30-8:30 P.M. P.M. SEATING 4423 STATE STATE STREET STREET ROAD, ROAD, SKANEATELES SKANEATELES 4423

T A P R O O T F I E L D S . C O M

We are a smalL group that’s pasSionate about creating high-quality, craft farm products while providing the best value for everyday home use. @TapRootFields

@taprootfields

@taprootfieldsfarmer

@TapRootFields

2955 29 31

Week 2

Today’s concert is sponsored by:

Friday, August 7 2:00 PM May Memorial Church 3800 E Genesee St, Syracuse

A matinee with the Imani Winds at May Memorial Imani Winds Monica Ellis, bassoon; Brandon Patrick George, flute; Mekhi Gladden, oboe; Mark Dover, clarinet; Kevin Newton, horn MENDELSSOHN arr. FRIEDRICH GABLER

“Scherzo” from A Midsummer Night's Dream

PAQUITO D’RIVERA

A Little Cuban Waltz*

SHAWN OKPEBHOLO

Rise i. Seeds ii. Deep Harmony iii. Spark!

LALO SCHIFRIN

La Nouvelle Orleans (New Orleans)

*Written for Imani Winds and commissioned by the Imani Winds Foundation. Premiered on June 16, 2023, New York City. Imani Winds are represented by: ARTS MANAGEMENT GROUP, INC.

ARTIST SPONSORSHIP

The Imani Winds are sponsored by Anne Messenger

he Skaneateles Festival is made possible T with funds from the General Operating Support program, a regrant program of the County of Onondaga with the support of County Executive, J. Ryan McMahon II, and the Onondaga County Legislature, administered by CNY Arts.

Family Fun at the 2025 KidsFest concert with Ruckus.

Include the Festival in your will or estate

Help keep the future bright

How to word it

Ensuring the music of the Festival will continue to enrich our community for years to come is as easy as naming the Skaneateles Festival in your will, or designating it as a beneficiary of your retirement plan, IRA, or other financial account.

I give, devise, and bequeath to the Skaneateles Festival, Inc., a 501(c)3 non-profit located in Skaneateles, New York [written amount or percentage of the estate or description of property] for [designate the purpose, if desired, or leave blank for gifts to be used to address the greatest need].

An easy way to give... • There is no minimum amount for the gift. • You can change your plans at any time. • Help keep world class music by the lake.

www.SkanFest.org 315-685-7418 33

Week 2

Tonight’s concert is sponsored by:

Larry and Tracy Sala

Friday, August 7 7:30 PM First Presbyterian Church 97 E. Genesee St, Skaneateles

Garrick Ohlsson in Recital SHOSTAKOVICH

Prelude and Fugue in E minor, Op. 87, No. 4 Prelude: Andante Fugue: Adagio

BRAHMS

Variations and Fugue on a Theme by Händel, Op. 24

CHOPIN

Barcarolle in F-Sharp Major, Op. 60

I N T E RM I SSI ON

CHOPIN

Piano Sonata No. 3 in B minor, Op. 58 Allegro maestoso Scherzo: Molto vivace Largo Finale: Presto non tanto

ARTIST SPONSORSHIP

Garrick Ohlsson is sponsored by Donna Himelfarb Steinway Piano is sponsored by Sarah and Kevin Goode Steinway Piano generously donated by Artist Pianos

he Skaneateles Festival is made possible with funds T from the General Operating Support program, a regrant program of the County of Onondaga with the support of County Executive, J. Ryan McMahon II, and the Onondaga County Legislature, administered by CNY Arts.

Program Notes Prelude and Fugue in E minor, Op. 87, No. 44 (1951) DMITRI SHOSTAKOVICH (1906-1975) To compose a prelude and fugue in the 20th or 21st centuries is a bit like walking down the street in a powdered wig: Either you’re participating in some kind of historical reenactment or you’re just eccentric. The prelude and fugue genre was already outmoded in the time of Beethoven, who only composed them as student exercises. Composers might write either preludes (Chopin) or fugues (Mozart), but to write a “prelude and fugue” was to tread on the front stoop of a musical deity: J. S. Bach. Bach’s two volumes of preludes and fugues, The Well-Tempered Clavier, have been called the Old Testament of piano music. One rewrites the Old Testament at one’s own peril. By age 11, Dmitri Shostakovich had memorized Bach’s entire Old Testament, 48 preludes and fugues in all Major and minor keys – a rare feat for someone so young. Thirtythree years later, he returned to the prelude and fugue, upon the 200th anniversary of Bach’s death, in 1950. The inspiration to compose his own set of 24 came from a young pianist, Tatiana Nikolayeva, who he heard as a jury member of the Bach competition in Leipzig, then behind the iron curtain. He shared each new prelude and fugue with her as he dashed them off, often in just a couple of days, and she premiered the entire cycle in Leningrad, in 1952.

The Prelude and Fugue No. 4 in E Minor is a tour de force within the cycle. Shostakovich’s fugue applies almost every complicated device that Bach had ever employed: double fugue, diminution, augmentation, stretto, double stretto, and invertible counterpoint. However, this music is fundamentally emotional, not cerebral. The prelude’s melody sings of suffering while the moving notes underneath whimper and the bass moves inexorably, with heavy steps. Bach often used the key of E Minor to express Christ’s crucifixion, the suffering of one person with universal significance. The four-voice fugue begins somberly and patiently. As it unfolds, one senses a glimmer of hope, which begets persistence, then determination, then fortitude. The final Major chord may only represent emotional survival, rather than any external accomplishment, but in the Stalinist era of repression through which Shostakovich suffered, that was significant enough.

Variations and Fugue on a Theme by Händel, Op. 24 (1861) JOHANNES BRAHMS (1833-1897) In the nineteenth century, the theme and variations were the pianist’s bread and butter. Whether in private salons or public concerts, every pianist had to know how to take a popular tune and squeeze some new expression out of it – fast, faster, slow, Major, minor, upside down – like a juggler

Esperanza Spalding thrills the crowd at Robinson Pavilion. 35

8/7 Program Notes (continued)

Brahms’s model could only have been J. S. Bach’s Goldberg Variations. But Brahms envisioned an effective and brilliant concert piece, not variations that would (supposedly) put poor insomniac Goldberg to sleep. And he wanted someone specific to play it: Clara Schumann, its dedicatee and unquestionably one of the greatest living pianists. (Oh, and Brahms may have been in love with her.) The sheer ambition of the work shows that Brahms dressed (his theme) to impress.

vying for your continued attention. First, one had to play the tune unadorned, like karaoke. One can tell a lot about a composer by their selection of themes. Beethoven felt a perverse attraction to lowbrow themes, such as “Before I go to work, I must have something to eat” (in his Trio, Op. 11) and “I’m the tailor cockatoo” (Variations for Piano Trio, Op. 120a). It seems Beethoven relished a personal challenge to out of a trashy theme. Programwrestle Notes meaning (continued) Congress. In 1955, he borrowed a few lines from a One of the great challenges of variations is all the starting novel and adapted a Broadway melody when fromyou anare Irish Brahms, on the other hand, preferred themes of dignity. For Russian and stopping, like driving down in a t: “I got rhythm” – yes, George, you certainly do. his Variations, Op. 24, Brahms chose a theme from the dis- American song to create “Where HavehisAll the Flowers hurry. Brahms solved this by subtly linking current variaond: “Who for anything more?”Suite By 1930, tant could past, anask air from Handel’s Keyboard No. 1 (1733).Gone?” tion with thePeter, one before andand afterMary it. Thispicked gives theup listener Soon, Paul the a It is simple, noble,hit andsongs understated. But Brahms found himfeeling of continuation, as if the variations build an elevated shwin had numerous and concert pieces song, andexplores hundreds of others followed. self more interested in the bass line than in the melody. He antiwar highway. Brahms the festive character of Handel’s er his belt, plenty of money in his wallet, and, at wrote to his friend, violinist Joseph Joachim, “The Ancients Seeger did compose “We Shall Overcome,” but theme in not the first several variations, which gradually become 27, hadwere already appeared on the very strict about retaining thecover bass ofof theTime theme, which he certainly more brilliant and orchestral. helped popularize it. Its origin is credis their actual felt Gershowitz, that more recenta composazine. This was thetheme.” son ofBrahms Moishe to Methodist minister, Charlesvariations, Albert Tindley, are sensitive and expressive personal ers kept too closely to the melody in composing variations, ited Interlaced sian Jewish immigrant and cutter of leather for rather than communal. Two variations in the Hungarian tending to “rummage around the theme. We keep anxiously the son of a slave. His 1901 song, “I’ll Overcome men’s shoes. “I Got Rhythm” quickly a jazz style offer a diversion: a lugubrious lament with rolled to the melody, but we do not treat itbecame freely, do not actually Someday,” was inspired by the life experiences of chords followed by a lively dance with syncopations. From create anything fromare it, but only load down.” ndard, the chords ofnew which known as it“rhythm many ex-slaves in his congregation and provided the here, the variations approach the difficulty of Brahms’s nges” – Brahms the basis forcould countless by felt he do better.improvisations He composed 25 variations Second Piano Concerto, composed 20 years later in the songs basis for what became one of the great rallying in all,Dizzy followed by a monumental fugue. Given its scale, rlie Parker, Gillespie, and others. same key of B-flat Major. These culminate in a grand fugue,

ur American Folk Songs

Catalyst Quartet

can compose in the folk style, but no one person ermines what becomes a folk song. It is a truly mocratic, if mysterious, process. Typically, one is d and forgotten by the point one’s song inspires ny folks – unless you are Pete Seeger. Granted, man knew a thing or two about folk songs. His er, Charles Seeger, collected them professionand young Pete soon found himself working for Archive of American Folk Song at the Library of

of the 1960s Civil Rights movement. During the same era, Joni Mitchell composed “Both Sides Now” on an airplane, where she sang, “I’ve looked at clouds from both sides now.” At love, too. Judy Collins got hold of it first, then Frank Sinatra, and Neil Diamond. In another anthem of Molly innocence vs. experience, Will Holt Elliott adapted a BrazilianLicensed melody Real for Estate“Lemon Salesperson Tree,” a tree that requires a Brazilian climate. Here, the lemon is a cell. 315-730-1745 office. 315-685-0111 metaphor for the sour potential beneath love’s seemMollyElliott@HowardHanna.com ingly sweet surface. This song was Peter, Paul and MollyElliott.HowardHanna.com Mary’s first hit; their album sold over 2 million copies, 28 E. GENESEE STREET, SKANEATELES, NY 13152 launching “Lemon Tree” toward folk song status.

CLASSIC GUITAR SERIES www.scratchfarmhousecatering.com

ept 24 36

as virtuosic for the composer as for the performer. Brahms integrates advanced fugal techniques with variation techniques to produce a fusion of both. Apparently, he even impressed the not-easily-impressed opera composer Richard Wagner, for whom Brahms performed the work in 1863. Wagner’s underhanded compliment spoke the truth: “One sees what still may be done in the old forms when someone comes along who knows how to use them.”

Barcarolle in F-Sharp Major, Op. 60 (1846) FRÉDÉRIC CHOPIN (1810-1849) The current rate for gondola rides in Venice is around $200 per hour. Most gondoliers will happily sing for you as well – for an extra charge, of course. One can imagine the Italophile Chopin might spring for a ride and song, or, more likely, his girlfriend, George Sand (nom de plume of countess and writer Amantine Dudevant) would have paid. This could have been excellent field research for his Barcarolle, but alas, Chopin never made it to Italy except in his dreams. And what an exquisite dream the Barcarolle is, regarded by pianists as eight of the most perfect minutes of piano music ever composed. His Venetian boat song may begin in a Venetian canal but it soars right out of the water and into a vast, starry sky. Chopin’s Barcarolle begins with a surprising splash of water that settles into gently rocking waves, generated by the pianist’s left hand. The song above them turns out to be a duet, two voices singing in harmony as found both in Italian opera and folk music. As the voices reach their apex, the water glistens underneath. But a cloud soon casts its shadow over the water, now full of darker hues that lead the eye to its depths. This is a reminder of how Nature both affects one’s mood and reflects one’s own interior psychology. The boat seems to take course through the Grand Canal, as the view broadens. Eventually, its pace quickens, gliding on smoother waters. When the duet returns, transfigured, Chopin casts it airborne into the heavens. He was clearly proud of the work and was determined to give the first performance in 1848, despite his declining health. Unfortunately, his struggles were all too evident, and he died the following year. If only

Chopin could know how many pianists are now gondoliers because of him.

Piano Sonata No. 3 in B minor, Op. 58 (1844) FRÉDÉRIC CHOPIN (1810-1849) So, you want to compose a piano sonata? Technically speaking, that should be easy: sonata, from the Italian word, sonare, simply means any work for instruments “that sounds.” If, like Chopin, you want to compose in the tradition of the sonata, however, that will take some further know-how. By 1844, relatively few composers devoted much effort to this outdated genre, the cobwebbed province of Haydn, Mozart, and Beethoven. Instead, publishers’ catalogs were filled with variations, dances, fantasies, potpourris, and programmatic works with fanciful titles. Of Chopin’s 250+ works, just three are sonatas. But to these he devoted much effort, and his Sonata No. 3 proved it was possible to reconcile contemporary style with an archaic form. If Mozart had lived to age 88, he might have composed something like this – except, of course, in that it sounds 100% like Chopin. Chopin composed the sonata at the height of his powers, when his ambitions were high but his self-criticism not yet debilitating. Some credit belongs to his romantic partner, the novelist George Sand (who went by her male pseudonym), for providing Chopin with the ideal circumstances under which his creativity could flourish. He composed this and most of his mature works at Sand’s summer estate in the village of Nohant, where she cared for him as one of “my three children.” (She had two real ones.) The sonata is in the stormy key of B Minor, but there was no happier time in Chopin’s life since he had left Poland at age 20. The Sonata begins in a grand orchestral manner, molto serioso. The sonatas of Mozart and Beethoven were strictly the province of drawing rooms during their time, but it’s clear Chopin conceived this as a public-facing work. The lyrical second theme (a traditional sonata necessity), however, draws upon Chopin’s solitary nocturne style before resuming an even stormier path. Chopin’s music had turned more contrapuntal by this time, and melodies are coming out of every orifice, as if the pianist had several hands. Having worked through every conceivable key and melodic configuration, the movement ends triumphantly in B Major. The second movement, a scherzo, flies like the wind, but that wind soon dies down to allow for an idle daydream. This fleeting movement gives way to a lengthy slow movement, one of Chopin’s greatest romantic outpourings. It seems to bare an entire soul, layer by layer. By turns it is determined, tender, amorous, pure, melancholy, yearning, hopeful. Chopin calls the last movement “Finale,” and there’s no doubt about that: The movement is one of Chopin’s most virtuosic. Chopin chooses Mozart’s favorite last-movement form, the rondo, in which the defiant theme returns again and again, ever more so. As the music finally reaches skyward, one can imagine the 88-year-old Mozart smiling back down, in appreciation. 37

Week 2

Tonight’s concert is generously sponsored by:

Saturday, August 8 • 8:00 PM Robinson Pavilion

Peter and Elsa Soderberg

at Anyela’s Vineyards Rain location: Skaneateles High School 49 East Elizabeth St, Skaneateles

Beethoven Under the Stars with Garrick Ohlsson Garrick Ohlsson, piano Skaneateles Festival Orchestra • Marcelo Lehninger, conductor JESSIE MONTGOMERY BEETHOVEN

Starburst Symphony No. 4 Adagio – Allegro vivace Adagio Scherzo – trio: Allegro vivace Allegro ma non troppo I N T E RM I SSI ON

BEETHOVEN

Piano Concerto No. 4

Garrick Ohlsson, piano

Allegro moderato Andante con moto Rondo (Vivace) Skaneateles Festival Orchestra • Marcelo Lehninger, conductor VIOLIN 1 Edson Scheid de Andrade, concertmaster Jeremy Mastrangelo Shannon Nance Sonya Stith Williams Benjamin Mygatt

VIOLIN 2 Sara Mastrangelo Susan Spafford Qiyue He Charles Loh James Zabawa-Martinez VIOLA Melissa Matson Olita Povero Neil Miller

CELLO Julia Bruskin Rosemary Elliott Lindsay Groves BASS Edward Castilano FLUTE Juliana May Pepinsky

ARTIST SPONSORSHIPS

Garrick Ohlsson is sponsored by Donna Himelfarb Marcelo Lehninger is sponsored by Bousquet Holstein Steinway Piano is sponsored by Sarah and Kevin Goode FEATURED ADVERTISER: Via Mondo Travel

OBOE John Lathwell Erica Howard

HORN Tyler Ogilvie Madison Warren

CLARINET Allan Kolsky Vicki Krukowski

TRUMPET Wesley Nance John Raschella

BASSOON Daniel McCarty Lisa Seischab

TIMPANI Michael Cirmo

Steinway Piano generously donated by Artist Pianos The Skaneateles Festival is supported in part by an award from the National Endowment for the Arts.

Exclusive Representation of Garrick Ohlsson by: Opus 3 Artists

Exclusive Representation of Marcelo Lehninger by: Kirshbaum Associates Inc. 307 Seventh Avenue Suite 506, New York, NY 10001 www.kirshbaumassociates.com

Program Notes Starburst (2012) JESSIE MONTGOMERY (B. 1981) Jessie Montgomery is a native of New York City’s Lower East Side, where her parents worked in music and theater. She studied violin at Juilliard and composition at NYU, building a career both as a founding member of PUBLIQuartet and later the Catalyst Quartet (which appeared at the Skaneateles Festival in 2022). Many of her works feature string instruments and blend elements of classical music, vernacular music, improvisation, and themes of social consciousness. She has long been a leading light of the Sphinx Organization, which supports young African American and Latinx string players and commissioned Montgomery’s Starburst. About it, she writes: This brief one-movement work for string orchestra is a play on imagery of rapidly changing musical colors. Exploding gestures are juxtaposed with gentle fleeting melodies in an attempt to create a multidimensional soundscape. A common definition of a starburst: “the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly” lends itself almost literally to the nature of the performing ensemble who premieres the work, The Sphinx Virtuosi, and I wrote the piece with their dynamic in mind. Symphony No. 4 (1806) LUDWIG VAN BEETHOVEN (1770-1827) For Beethoven the composer, 1806 “was a very good year,” to quote Frank Sinatra. Among his prodigious output were what are now classics: the Violin Concerto, all three “Razumovsky” String Quartets, his opera Fidelio, and, heard on tonight’s concert, his Fourth Piano Concerto and his Fourth Symphony. But for Beethoven the man, a more apt Sinatra lyric might be “I got it bad, and that ain’t good.” Firstly, his hearing had deteriorated to the point that he could no longer cover it up. He scribbled to himself on some music paper: “Your deafness shall be a secret no more, even where art is involved!” Secondly, he lost his business manager, aka his brother, Caspar Carl Beethoven, when Caspar married Johanna Reiss, who Beethoven called “depraved, evil, malevolent, and treacherous.” (Ouch.) Thirdly, he struggled with anger management, nearly smashing a chair over the head of his primary patron, Prince Karl von Lichnowsky. The man who stepped in between them, keeping Beethoven out of jail, was Count Franz von Oppersdorff. Soon after, Oppersdorff commissioned Beethoven’s Symphony No. 4. After his altercation with Lichnowsky, Beethoven left his patron’s Silesian estate and moved in with Oppersdorff, who had a private orchestra. The orchestra played Beethoven’s Second Symphony for him, rather than his recently completed Third (“Eroica”), which had been panned by the local

press as “completely disjointed,” “endless,” and “unbearable.” The review ended with a stern warning: “If Beethoven continues on this path, he and the public will come off badly.” While Beethoven was not typically one to take criticism to heart, his Fourth Symphony does return to the classical values of his earlier symphonies, even if its musical ideas are direct and powerful. This Symphony won’t smash a chair over your head, but it does smash a few chairs. This is the first of Beethoven’s orchestral works to begin quietly, and in a minor key, as if danger lurks nearby. Napoleon’s troops were everywhere by this time, often showing up unannounced. But this symphony quickly finds its courage and therein lies its optimism. The first movement keeps the timpani player very busy, driving the music forward. The winds, however, use their brief solos to say, “Hey, relax,” in a preview of the “Pastoral” Symphony (No. 6, heard at the Festival in 2024). They don’t succeed until the second movement, an outdoorsy Adagio. The strings provide the gentle murmuring of birds and brook so conducive to contemplation. Listen out for the various animals (bassoon, clarinet, timpani, horn) that appear one at a time. Nature can also inspire awe, which we feel in a few panoramic fortissimos from the full orchestra. The third movement, a scherzo, is a game of what goes up must come down. Pick your favorite image: throwing a ball, swinging on a swing, bouncing on a trampoline. (OK, there were not many trampolines in 1806.) A passing wind band draws our attention for a while, after which our spirits are

Concert-goers arrive for an evening of music by the lake. 39

8/7 Program Notes (continued)

higher than ever. The last movement is great fun for conductors at the expense of the string players, who are on a relentless treadmill of sixteenth notes. The composer Carl Maria von Weber imagined the consternation of the double bass player here: “I have been made to caper about like a wild goat, and to turn myself into a mere fiddle to execute the no-ideas of Mr. Composer!” The aerobic exercise of the orchestra lifts our mood higher than ever. The bass player may be suffering, Beethoven may have been suffering, and the world may always be suffering, but for half an hour we receive a gift we both want and need: joy.

Piano Concerto No. 4 (1806) LUDWIG VAN BEETHOVEN (1770-1827) Most composers are pianists, so the piano concerto is where they tend to stand or fall. Mozart stood, but most others seemed to fall. Among those panned include what are now classics: Brahms’s No. 1 (“unbearable,” “a decisive failure”), Tchaikovsky’s No. 1 (“worthless and unplayable”), Liszt’s No. 1 (basically just a “concerto for triangle”), Prokofiev No. 2 (“The cats on the roof make better music!”). Beethoven tread very carefully into his first concerto, so carefully that it was published as No. 2; it took fourteen years and four revisions to reach its final form but did receive “unanimous applause” at its Viennese premiere. But Beethoven, beware! One success does not ensure

future successes. His Piano Concerto No. 4 would not fare so well. Therefore, we shall hereby provide the following Maxims for Composers of Piano Concertos™: No. 1: This had better be something new. The concerto is almost by definition a space for innovation, to showcase the novel pianistic technique of the composer. But what if others try to steal your ideas? Beethoven refused to publish his first piano concerto for this reason, and his first published work, a set of variations, was only to “embarrass those Viennese pianists, some of whom are my sworn enemies,” who copied “several peculiarities of my style and palming them off with pride as their own.” Well, the opening of the Fourth Concerto is startlingly unique, when compared with every concerto that came before: It begins with the pianist playing all alone. This puts the soloist in a vulnerable and solitary position, and the orchestra responds gently and encouragingly. Beethoven leaves out the trumpets and drums from this movement altogether, casting the orchestra in a supportive rather than a confrontational role. The soloist soon feels emboldened to bare all sides of their authentic self: fanciful, capricious, ironic, bold, stubborn, mercurial, radiant. To do so, Beethoven devised his most innovative and imaginative figuration (the “little notes”). No. 2: Let not the concert last four hours. Theater rentals do not come cheap, so Beethoven took the opportunity to showcase as many of his new works as he

could cram on the program: The Fifth Symphony, Sixth Symphony, a concert aria, movements from the Mass in C, and the Choral Fantasy.

stay passably warm by playing energetically, but the audience did not gain the same advantage by listening energetically.

The concert was interminable. As his fellow composer Johann Friedrich Reichardt pointed out, “We found by experience that one might easily have too much of a good thing.” It seems the Fourth Concerto was drowned out of most listeners’ minds by the end.

In the second movement, the relationship between soloist and orchestra shifts from mutual support to confrontation. The foul-tempered strings stand in opposition to the pianist, who tries (and eventually succeeds) to calm them down. This unusual scenario for a concerto movement caused Beethoven’s biographer, A. B. Marx, to call the movement Orpheus taming the Furies.

No. 3: Make sure the soloist is not deaf. This would be the last of Beethoven’s concertos that the composer himself performed, and with good reason: He could barely hear the orchestra. Beethoven had recently given up trying to hide his disability but felt he was the only one qualified to premiere this music. In the Choral Fantasy, also for piano and orchestra (with choir), Beethoven accidentally took a repeat while the orchestra plowed forward; Beethoven could not hear well enough to adjust, causing a musical train wreck. The entire work had to be restarted, to the consternation of the orchestra. No. 4: If in winter, make sure the theater is heated. The Theater an der Wien was new, but its heating system consisted of huddling close to whomever was nearby. Beethoven had bad luck with the weather, which on December 22, 1808, was bitterly cold. The musicians could

No. 5: Let not the slow movement lull your listeners to sleep.

No. 6: End thy concerto joyfully so thy audience erupts with applause. You may barely hear the start of the final movement, marked pianissimo, but the jolly spirit of the movement can’t be contained for long. Finally! Out come the trumpets and drums, which have been waiting patiently on stage for almost half an hour. For all its building exuberance, a wonder of this concerto is that it somehow retains the intimate, personal expression with which it began. Alas, not enough of the above criteria were fulfilled to render Beethoven’s Fourth Concerto a success. And thus, the second performance had to wait almost 30 years, until 1836, when a young Felix Mendelssohn tried again – in warmer weather and on a shorter concert. From then until now, it has remained a beloved part of the concerto repertoire.

Week 3

Today’s concert is sponsored by:

Wednesday, August 12 2:30 PM First Presbyterian Church 97 E. Genesee St, Skaneateles

An Afternoon with Friends VALERIE COLEMAN

Maombi Asante (A Prayer of Thanks)

BERNSTEIN

Two Meditations from Mass for Cello and Piano

Erin Lesser, flute David McCarroll, violin Julia Bruskin, cello

Julia Bruskin, cello Aaron Wunsch, piano

Lento assai, molto sostenuto Presto

DVOŘÁK

Piano Trio, Op. 90 (“Dumky”) Lento maestoso – Allegro quasi doppio movimento Poco adagio – Vivace non troppo – Vivace Andante – Vivace non troppo – Allegretto Andante moderato – Allegretto scherzando – Quasi tempo di marcia Allegro Lento maestoso

ARTIST SPONSORSHIP

David McCarroll, violin Julia Bruskin, cello Aaron Wunsch, piano

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

Program Notes Maombi Asante (A Prayer of Thanks) (2006) VALERIE COLEMAN (B. 1970) Louisville native Valerie Coleman is among a recent cohort of enterprising flutists who have built flourishing careers as composers. Coleman started younger than most, jotting down notes as a child. She didn’t consider herself a “composer” until many years later, when, as a founder of the Imani Winds, she composed new works for wind quintet, a genre with a comparatively small repertoire. Today, she has commissions from Major orchestras and the Metropolitan Opera, and she is on the composition faculty at The Juilliard School. Gratitude is a theme in her life and her music. After her father died at age nine, her mother guided her through the turmoil and sent her off to college, a flute student at Mannes College of Music in New York City. Maombi Asante is Swahili for “A prayer of thanks.” African rhythms propel this joyful and jaunty work. Each instrument has something to say, but the overall spirit is communal and cooperative. After a moment of prayer and a bit more dancing, this short work ends with a smile.

Two Meditations from Mass for Cello and Piano (1977) LEONARD BERNSTEIN (1918-1990) Mass was Leonard Bernstein’s most ambitious work and his most controversial. It was composed during the Vietnam War era, at (yet another) time of great political polarization and cultural fragmentation. He envisioned a work to engage such cultural divides by bringing together different kinds of music: classical, blues, rock, gospel, folk, Broadway, hymns, Middle Eastern dances, and chorales. Movements from the Catholic mass in Latin are punctuated by English texts that raise doubts, in an attempt to reconcile ancient spirituality and modern life. The New York Times dismissed its effort to unite such disparate styles as “fashionable kitsch,” while The Washington Post called it “the greatest music Bernstein has ever written.” Even today, listeners tend to love it or hate it. In its complete form, Mass requires everything but the kitchen sink: full orchestra, two organs, three choirs, vocal soloists, dancers, rock band, and marching band. Unsurprisingly, performances are few. Bernstein later arranged these “meditations” from within Mass, the cello and orchestra version of which was dedicated to the great

2025 Robinson Award winner, Abigail Feng, performs at the Baltimore Woods event. 43

celebrating the arts that bring us together.

Whether on the page, on the screen, on the stage, or anywhere else, art brings life to life. KeyBank is grateful for the passion and creativity that inspire and enrich all our lives, and we’re proud to support the arts. Thank you, Skaneateles Festival | World Class Music by the Lake, for making a difference.

8/12 Program Notes (continued)

Russian cellist, Mstislav Rostropovich. This music poses some fraught spiritual questions, sometimes with frustration – like asking “Why?” to the universe, with a raised fist. In reply, there is only a great calm. Eventually, a dance begins, led by a drum, the Middle Eastern darbuka. More people seem to join, and it becomes a raucous, cross-cultural celebration of life and community. After the dance fades away, Bernstein’s tender chorale, “Almighty Father,” offers healing, if not answers. The cellist will learn to live with its unanswered questions. Mass was composed for the opening of the John F. Kennedy Center, in 1971, which has offered many thousands of rich cultural events to the people of Washington, D.C., since that time. The Center is now shuttered, and our hearts go out to all the musicians affected by its closure and the cancellation of its programming.

Piano Trio, Op. 90 (“Dumky”) (1891) ANTONÍN DVOŘÁK (1841-1904) One could easily tell the story of 19th century music as a tale of big and bigger. Add a chorus to that symphony, Beethoven, why don’t you! No, six hours is not too long for your opera, Herr Wagner! What your overture really needs, Tchaikovsky, is a cannon! Where did all this expansionary exuberance leave chamber music, which is by definition a more intimate genre? In 1848, Liszt had already declared Schumann’s dazzling Piano Quintet merely provincial (“Leipzig music”), hopelessly stuck in the past; he and Wagner ignored the genre entirely. But if you are going to declare chamber music dead, just don’t do it to a violist, like Antonín Dvořák. And if you are going to call his chamber music “provincial,” well, Dvořák would happily thank you for the compliment. By 1891, when Dvořák composed his Piano Trio No. 4 (“Dumky”), he could easily have given up chamber music for symphony and opera. He was financially secure, celebrated

throughout Europe, and fresh off successful tours to England and Russia. Yet his preference was for the local, not the international, and his musical inspiration flowed most freely at his small summer house in the Bohemian countryside where there was not an orchestra for miles. The nickname “Dumky” nods to this work’s regional origins. Contrary to what string players sometimes feel in rehearsals of Dvořák’s music, this work is not in a ‘dumb key’ (that would be Dvořák’s String Quartet in A-flat Major, Op. 114). Rather, “Dumky” is the plural of “dumka,” a Slavic lament in the folk style. Rising pan-Slavic nationalism turned this vocal genre into a symbol of regional pride. Dvořák made the dumka his own and used it in several of his works. In his hands it is exceptionally moody, but not static. His dumky typically start in a melancholy mood before giving it up for a spirited folk dance. These two states are like alter egos, with frequent shifts from one to the other. The format of the trio, with six shorter movements and numerous contrasting episodes, might cause you to lose track of the work’s structure. No matter: This is music driven by mood changes, not by intellect, so just go with the flow. The trio begins with an anguished cry from the cello and piano. The cello will often play the role of a soulful tenor who seems to express not only his own emotions but those of the folk at large. The violin joins to sing a slow lament. Soon, however, all three instruments lighten up with a vigorous folk dance. After more wailing and dancing, the trio ponders the meaning of it all (the second movement), which is not forthcoming – so, back to dancing. The tender and vulnerable third movement is followed by a stoic march (fourth movement), which lightens up in three whimsical episodes. Grab a partner for the fifth movement, a carefree whirling dance. The last movement widens our view from the personal to the national. The Czech people were still under the rule of the Austrian Empire, but the courageous cello melody near the end of the trio predicts freedom. Forget the chamber altogether – this is music of an entire people, a declaration of unity. Chamber music is dead. Long live chamber music.

Tonight’s concert is sponsored:

Week 3

In memory of David Graham by his family and friends: Ginger Livingston and Wendy Graham, Fred & Ginny Marty, and Pete & Betsy McKinnell

Thursday, August 13 6:30 PM Prelude Concert (for ticket holders only)

7:30 PM Concert First Presbyterian Church

Elizabeth Sutphen is sponsored by Shelley Spooner, the Valenti Investment Group and Les Allen & Steve Moyer

97 E. Genesee St, Skaneateles

Prelude Concert Featuring the 2026 Robinson Award Winner Hudson Brenner, piano BEETHOVEN

Sonata in C Major, Op. 53 Allegro con brio

RACHMANINOFF SCHUMANN

Etude Tableaux in C-Sharp minor, Op. 33, No. 8 Fantasiestücke: Rasch und mit Feuer, Op. 73

with Julia Bruskin, cello

American Revolutions AMY BEACH

Three Browning Songs, Op. 44 The Year's at the Spring Ah, Love, but a Day! I Send My Heart up to Thee!

SAMUEL BARBER TOM LEHRER COPLAND

Nuvoletta “Poisoning Pigeons in the Park” Duo for Flute and Piano Flowing Poetic, somewhat mournful Lively, with bounce

COPLAND

Erin Lesser, flute Aaron Wunsch, piano

Selections from Old American Songs “Zion’s Walls” “Long Time Ago” “At the River”

LEONARD BERNSTEIN

“Glitter and Be Gay” from Candide I N T E RM I SSI ON

CHARLES IVES

Elizabeth Sutphen, soprano Aaron Wunsch, piano

Two Memories Very Pleasant Rather Sad

CHARLES IVES

Piano Trio Moderato TSIAJ (“This scherzo is a joke”). Presto Moderato con moto

David McCarroll, violin Julia Bruskin, cello Aaron Wunsch, piano

8/13 Program (continued)

STACY GARROP

The Legacy of Susan B. World Premiere, Commissioned by the Skaneateles Festival We, the people We old fighters have prepared the way

ROBERT LOWRY arr. DOV SCHEINDLIN

“How Can I Keep from Singing?”

Elizabeth Sutphen, soprano Erin Lesser, flute David McCarroll, violin Dov Scheindlin, viola Julia Bruskin, cello Aaron Wunsch, piano

ARTIST SPONSORSHIPS

Julia Bruskin and Aaron Wunsch are sponsored by the Skaneateles Consortium: George Bain, Sam and Debby Bruskin, Dana and Susan Hall, Judy Robertson, and Duane Wunsch Erin Lesser is sponsored by Ginger Livingston and Wendy Graham, Fred & Ginny Marty, and Pete & Betsy McKinnell David McCarroll is sponsored by Madonna and Jeff Meyer Dov Scheindlin is sponsored by Sharon and Marshall Magee The World Premiere is made possible with the Creative Endeavors Fund sponsored by Doug Sutherland and Nancy Kramer

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

In Memoriam Dave Graham When I think of lake life, or a quintessential all-American dad, I think of Dave Graham. He seemed to be one with Skaneateles: his house, land, the village, the lake. I’m sure many people knew him as a community member, but I knew him as a home farmer with the best raspberry bushes, too many zucchini every summer, Corgis, a boat, a ride-on lawn mower, a coffee pot that he preset every night, and fishing gear in the garage. He was the first person I met who was like that, when I was 12 and stayed at Dave and Jean’s house with my parents while playing at the Skaneateles Festival. My mom worked in an office back home, and hearing her talk and laugh with Dave who also worked in an office gave me insight into the rhythms of casual conversation. From what I remember from those summer weeks at their house, Dave was always up early. He watched tv at the same time every day. He was often outside with a garden hose, with a Corgi meandering around and a tennis ball in the grass. I could hear Dave’s guffaw from probably a mile away. Joe, the first Corgi I ever met, started a lifelong appreciation for dogs with short legs. As I got older, I noticed that Dave had lots of friends: neighbors, church members, festival connections, golf friends, and seemingly everyone around town. He took on responsibilities willingly and without airs, and people appreciated him. Dave was jovially abrupt, usually on his way to something or coming back from something; I don’t think I ever saw him looking lost, bored, or without a plan. And he was a sweetie. In all the years I knew him, he was always himself. Also, perhaps this is a strange observation, but I keep thinking about it: I’ve never known a person who seemed more like their name. If you try to imagine what someone named Dave Graham might be like, you’re probably spot on. I feel lucky to have met Dave all those years ago and to have known him for so long. He was so proud of his family, and he welcomed me in. The closer I get to the age Dave was when I met him, the more I see how, in his steady, humble way, he was a stalwart of the Skaneateles community. He led by example. With his passing, it feels like the torch is being handed to the next generation. He left some big shoes to fill, but he also showed us how to walk in them. ~ Hilary Hahn 49

The Robinson Award

In 1980, David and Louise Robinson opened their hearts and their home to Festival musicians, their families, and the audiences who came 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 recognizes a young musician who exemplifies the values cherished and embodied by Festival co-founders, David and Louise. It is presented annually to a young musician whose character, musicianship, and community service reflect the Robinsons’ values—enthusiasm and dedication to music of high quality. Applications for the Robinson Award are available January 15 – March 15. Visit skanfest.org for details. David and Louise Robinson

2026 Robinson Award Winner Hudson Brenner is a 2026 graduate of Fayetteville-Manlius High School and currently studies piano with Ida Tili-Trebicka. His accomplishments include winning first place in both the Senior and Intermediate Divisions of the CNY Association of Music Teachers Piano Competition, earning second place in the Civic Morning Musicals/Syracuse Orchestra Youth Concerto Competition, and receiving the Klingerman Award from Civic Morning Musicals. An active performer and leader, Hudson serves as President of Chorale and Secretary of the Tri-M Music Honor Society and has performed extensively as a solo pianist, vocalist, and violist in community and youth orchestra ensembles throughout Central New York. Hudson will attend Johns Hopkins University this fall, where he plans to major in Physics while minoring in Piano.

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

If you would like to contribute to the Robinson Award Fund, please call 315-685-7418. 50

Diane Walsh and Dick Pollak Suzanne Weitz Welch Allyn

Program Notes Three Browning Songs, Op. 44 (1900) AMY BEACH (1867-1944) If you had purchased one of the 300+ works published by Amy Beach during her lifetime, you would have learned exactly two things about her from her byline, “Mrs. H. H. A. Beach”: (1) She was married, and (2) she was married to Mr. H. H. A. Beach. This was by design, for a woman of that era typically found her place in society through her husband. The story of Amy Cheney, one of the true child prodigies in American music, was left untold. She had perfect pitch before the age of 2, when she could sing over 40 melodies by ear. She started composing at 4 and was soloist with the Boston Symphony Orchestra by age 18, performing Chopin’s difficult Concerto No. 2 (heard last season at the Skaneateles Festival). Shortly after this debut, she married Dr. H. H. A. Beach, lecturer on anatomy at Harvard, who asked her to stop the unseemly activity of performing in public. However, Dr. Beach encouraged her to continue composing, especially parlor music targeted to women. Yet her ambition went beyond the drawing room: She taught herself to compose fugues and to orchestrate; in her own words, she “copied and memorized whole scores of symphonies. It was

like a medical student’s dissection.” Her “Gaelic” Symphony, Op. 32, was premiered by the Boston Symphony in 1896. Four years later, she was asked by the Browning Society to compose a song on a poem by Robert Browning to commemorate the poet’s birthday. She composed it on a train to Boston, “allowing it and the rhythm of the wheels to take possession of me. By the time I reached Boston, the song was ready.” The song, “The Year’s at the Spring,” captures a Nature-inspired sensation, fleeting then as now, that “All’s right with the world.” Although asked only for one song, Beach couldn’t stop. She continued by setting Browning’s poem, “Ah, Love, but a day!” Here, Nature shifts in the other direction, turning dreary and dismal. Fearing an omen of future relationship trouble, the lover asks the beloved: “Look in my eyes, Wilt thou change too?” Beach sets this line three times: She really wants to know the answer. The final song, “I send my heart up to thee!”, is a gondola song. If you’re going to be this unabashedly romantic, you might as well be in Venice. Beach did make it to Italy, but only after her husband died. Her lover was gone, but she was finally free to give concert tours.

Commissioned Works Series We are delighted to present the World Premiere of The Legacy of Susan B. by composer Stacy Garrop on August 13, 2026. This is the seventh commission made possible by the Skaneateles Festival’s exciting Commissioned Works Series. This series provides talented composers across the globe the opportunity to introduce our Festival audiences to the art and magic of musical composition. With generous support from Nancy Kramer and Doug Sutherland through their Creative Endeavors Fund, the Skaneateles Festival will, on a biennial basis, host a Composer-in-Residence program and, in alternating years, premiere Festival-commissioned works by those composers.

8/13 Program Notes (continued)

Nuvoletta (1947) SAMUEL BARBER (1910-1981) Finnegan’s Wake is one of those books that everyone knows but no one reads. Samuel Barber got further than most. He had learned Latin and French as a teenager and was editor of his high school literary journal. However, even he admitted to not fully comprehending the text he selected for Nuvoletta, a five-minute tour-de-force for soprano. He set Joyce’s multilingual puns “instinctively, as abstract music, almost like a vocalise.” We can tell that Nuvoletta (Italian for “little cloud”) is an alluring young woman in a “lightdress” with “sfumastelliacinous hair” (whatever that is). In Barber’s setting, she waltzes in, capriciously. Her exaggerated, princess-like behavior is calculated to seduce you (cue an exaggerated musical quotation from Wagner’s opera, Tristan and Isolde). Her flirtations are not yet working, you say? She tries out a more serious approach but can’t help dissolving in irony. Ah well, she’s “cancelled all her engauzements” and disappears in an instant. “Poisoning Pigeons in the Park” (1959) TOM LEHRER (1928-2025) The title of the song “Poisoning Pigeons in the Park” already tells you a lot about Tom Lehrer, but not that he was also a mathematician. Not many successful musical entertainers

retire to a career as a mathematics professor, as Lehrer did to UC Santa Cruz, where he taught “Math for tenors.” (Math humor is a special kind of humor, as fans of the song “100 Digits of Pi” can tell you.) Lehrer had simultaneously worked on his math PhD at Harvard (he was still ABD last year, at age 97) while touring the world as a musical satirist. In this delicious satire of the springtime lovers’ song, Lehrer draws upon his experience growing up near Central Park, which, perhaps you will agree, would be a lot better without so many pigeons. Well, “It’s not against any religion to want to dispose of a pigeon.” If you don’t approve, perhaps you’ll be glad to know that the Skaneateles Festival paid nothing for performance rights to this song, thanks to Lehrer’s selfless statement: “I no longer retain any rights to any of my songs. So help yourselves, and don’t send me any money.”

Duo for Flute and Piano (1971) AARON COPLAND (1900-1990) Flutists stick together. Should you happen to play the world’s oldest instrument (played by neanderthals ca. 50,000 BCE), you may consider joining the National Flute Association, which hosts thousands of flutists at its convention each year. Once there, you can attend the workshop “How to Start a Flute Club.” Or you may simply join your local chapter, whether the New York Flute Club, Texas Flute Society, or especially the Rhode Island Flute Center (with a current

Patricia A. Lynn-Ford, Esq. Thomas F. Shannon, Esq. Walter F. Benson, Esq. Martin A. Lynn, Esq. Kelsey W. Shannon, Esq. Kaitlyn M. Guptill, Esq. Hon. John V. Centra (Ret.) of counsel

membership of one). It seems fitting, therefore, that 70 flutists banded together to commission Aaron Copland’s Duo for Flute and Piano in a kind of pre-internet GoFundMe campaign. The organizer was (surprise) the vice president of the New York Flute Club who wanted a new work in honor of the recently deceased William Kincaid, longtime flutist of the Philadelphia Orchestra and beloved professor at the Curtis Institute of Music. His former students and friends provided Copland with $2,500. Flutists unite! Copland remained conscious of the commission’s unusual origin while composing the work. “Being aware that many of the flutists who were responsible for commissioning the piece would want to play it,” he later explained, “I tried to make it grateful for the performer.” He also considered the nature of the flute itself. “Lyricism seems to be built into the flute,” he wrote. He had already proven himself a master of flute expression in Appalachian Spring, where the flute is both leader and emblem of the music’s simplicity, transparency, and grace. Although composed almost 30 years later, the Duo connects back to the style of Copland’s enduring classic ballet. As a starting point, he drew unused melodies from his old sketchbooks, treating them rhapsodically. He asks the flute to play “freely,” and this music might well represent freedom itself. The work begins with the flute all alone but not lonely, as if sounding across an open field. The piano is in no hurry to join and then does so supportively, as the two play “with delicacy.” Both instruments become more assertive and energetic, as if dancing a pas de deux. Toward the end of the first movement, the flute resumes its more reflective state. A cloud passes over the second movement, which Copland calls “somewhat mournful.” One of Copland’s gifts was directness of expression, a sincerity of very few notes. This touching movement is a space for the many flutists who commissioned the work to mourn the passing of their teacher and friend. Fans of Copland’s hoe-down style from Rodeo and Billy the Kid will appreciate the last movement (marked “with bounce”), about as earthy as the perpetually sky bound flute can get. With so many flutist-commissioners taking up the new work, it almost immediately became a classic of the flute repertoire – as anyone in your local flute club can tell you.

“Zion’s Walls,” “Long Time Ago,” and “At the River” from Old American Songs (1950/1952) AARON COPLAND (1900-1990) By 1950, Aaron Copland had already penned many new American songs, but after the success of his ballet, Appalachian Spring, everyone wanted him to write old ones. The ballet had brilliantly employed the old Shaker hymn “Simple Gifts” as an emblem of American virtue. Even abroad, listeners wanted to hear more music like that. Ironically, it was the quintessentially English composer, Benjamin Britten, who commissioned Copland to write his first set of Old American Songs, which Britten himself

premiered with his partner, tenor Peter Pears. Based on their success, Copland composed a second set two years later. “Zion’s Walls” is a plainspoken revivalist hymn by John McCurry, who wrote songs when he wasn’t busy farming in northeastern Georgia. It invites you and everyone else (fathers, mothers, sisters, brothers) to dance on over to the great camp meeting. Copland later reused this vigorous music in his opera, The Tender Land, about a midwestern farm family. Copland found the minstrel song “Long Time Ago” in the Brown University Library’s collection. Copland attempted to remove the saccharine parody that is typical of minstrelsy in favor of a pure and direct expression of grief and memory. Copland didn’t need to search far for “At the River,” a beloved hymn by Robert Lowry (also author of the song that ends tonight’s program). Charles Ives had already arranged it, more provocatively, in 1916, but Copland opts for a straightforward approach that looks the listener straight in the eyes. It is an optimistic take on crossing over to the great beyond, but death is never an easy topic. This music moves inexorably forward, with measured steps, eyes in the distance. It was sung at Copland’s own memorial concert upon his death in 1990.

“Glitter and Be Gay” from Candide (1956) LEONARD BERNSTEIN (1918-1990) By Hamilton’s standards, Bernstein’s Candide was not a hit. Its premiere on Broadway, in 1956, received mixed reviews, and it ran for only two months. In fairness, the work of Enlightenment philosopher Voltaire does not exactly exude “Broadway hit.” But Bernstein liked the idea of recasting the 18th century absurdist satire as a parallel to his own day, just after the height of McCarthyism. In 1956, he explained why: “Puritanical snobbery, phony moralism, inquisitorial attacks on the individual, brave-new-world optimism, essential superiority – aren’t these all charges leveled against American society by our best thinkers? And they are also charges made by Voltaire against his own society.” Bernstein conjured a perfect musical counterpart to Voltaire’s blend of the knowingly zany and the innocently sincere that lies at the heart of the entertaining and savagely satirical story, subtitled, L’Optisme (Optimism). In the saccharine, all-too-perfect opening scene, the two lovers, Candide (an illegitimate nephew) and Cunegonde (the Baron’s daughter), hit it off, but that doesn’t last long; Candide is exiled and Cunegonde’s castle is destroyed by the “liberating” army to which Candide was conscripted. Cunegonde floats from brothel to brothel, where she learns to “Glitter and be Gay.” These are not easy circumstances, and yet, “Enough, enough of being basely tearful / I’ll show my noble stuff by being bright and cheerful.” She finds that diamonds help considerably: “If I’m not pure at least my jewels are!” This is a brilliant parody of a showstopper, à la Offenbach, as well as an actual showstopper.

8/13 Program Notes (continued)

Two Memories (ca. 1897) CHARLES IVES (1874-1954) There are unwritten rules for taking kids to concerts. Always bring a snack. Remember to use the bathroom. And don’t arrive too early: Every kid has a time limit on sitting still, and just a little anticipation goes a long way. In the first of his two memories, Ives remembers the impatient excitement just before the curtain opens. He’s trying to sit still at the Danbury Opera House, “waiting for the curtain to arise with wonders for our eyes.” To pass the time, he and his friend Jimmy “whistle and we hum and beat time with the drum.” This builds “a feeling of expectancy, a certain kind of ecstasy,” and finally: The curtain rises! But here ends the memory. Ives’s second memory is more nostalgic. It is triggered by overhearing a song once hummed by Ives’s uncle, probably Lyman Brewster, a prominent judge and future lieutenant governor of Connecticut who mentored his nephew. Whatever its title, the tune “’twas a common little thing and sweet / But ‘twas sad and seemed to slow up both his feet.” The piano’s resonant accompaniment perfectly captures the haze of memory, even if Ives was a mere 23-year-old when he composed these songs. Even the young have memories.

Piano Trio (1911) CHARLES IVES (1874-1954) What do you remember about your bright college years? How much of it would you like to set to music? Some of those late-night experiences are probably best forgotten, but there were also deep conversations with friends and revelations from your favorite professor that changed your life. Charles Ives, class of ’98 (1898, that is), will help you relive these days in his Piano Trio, based entirely on his college experiences – part Dead Poets Society and part Animal House. Ives’s four years at Yale University were deeply formative. The Danbury native was already an accomplished organist and composer of sacred and popular songs but had little knowledge of classical repertoire. He gained that and more from his composition teacher, Horatio Parker, but he was not really at Yale to study music. Like his classmates, he took Latin, Greek, history, math, literature, and philosophy. The last of these subjects features in the first movement of his trio, which represents a lecture given by a veteran philosophy professor. These are ideas to challenge and even provoke you, and they require your serious contemplation. They may not make sense the first time – but don’t worry, the professor reframes the 27-bar argument twice, first two-by-two, and then by the full trio. By the end, you’ll be ready for the midterm exam.

Stream the best Classical music in the Finger Lakes at WXXIClassical.org BECOME A CLASSICAL INSIDER WITH WXXI’S NEWSLETTER uu wxxiclassical.org Listen at 91.5FM in Rochester or on the free WXXI App! 54

The second movement is entitled “TSIAJ,” and before you try to pronounce that, consider it as an acronym: This Scherzo Is A Joke. One of the primary goals of a college education at this time was social, to bond with classmates who would later become your business partners. That meant getting silly together. Ives joined the Delta Kappa Epsilon fraternity and then Wolf’s Head, one of Yale’s secret societies that often help members with job placement through alumni connections. After some initial antics (a drinking game?), you’ll hear “A Band of Brothers in DKE,” his fraternity song, followed by a zany array of overlapping tunes. Some of these are still known today, like Dolly Parton favorite “In the Sweet By and By” and “My Old Kentucky Home,” sung annually at the Kentucky Derby; others are now mostly lost to history, like “The Campbells Are Coming” and the glorious protestant hymn, “There Is a Fountain Filled with Blood.” Ives was the first to harness the listener’s capacity to perceive multiple, independent sounds at the same time, a radical innovation that would influence later composers like Ruth Crawford and Elliott Carter. Ives may have partied late on Saturday night, but he got up in time to attend the congregationalist Center Church at the New Haven Green on Sunday morning. The choirmaster there was a mentor to Ives, and the young composer provided a steady stream of new choral anthems for the choir to try out. The Trio’s third movement more than atones for the second. It is a religious experience that reaches an apotheosis

with the classic hymn, “Rock of Ages.” Like most church services, this may last a little too long – but try to let the spiritual fervor of this music carry you upward: “When I soar to worlds unknown / See thee on thy judgment throne / Rock of Ages, cleft for me / Let me hide myself in thee.”

The Legacy of Susan B. World Premiere, Commissioned by the Skaneateles Festival STACY GARROP (B. 1969) Stacy Garrop’s music often tells a story. When very young, she heard a local production of Leonard Bernstein’s West Side Story, and she could feel the role music can play in a narrative. She started composing as a teenager and learned to craft musical stories of her own. Garrop takes care that her stories resonate in the communities where her music will be heard, such as Forging Steel, for the Pittsburgh Symphony Orchestra. Other commissions have come from the Chicago Symphony Orchestra, the St. Louis Symphony, and the Kronos Quartet. In her new work for the Skaneateles Festival, The Legacy of Susan B., she sets the words of suffragist and social reformer, Susan B. Anthony, a local presence in Rochester and Syracuse. About this new work, she writes: Susan B. Anthony (1820-1906) was born into a world in which a small number of land-owning white men possessed the right to vote, to the exclusion of all others

BECOME

Lic#:OCM-MICR-24-000090

INFLUENCER IN (315) 554-8001

A S A N RMS INFLUENCER, YOU’LL HAVE THE OPPORTUNITY TO S HARE YOUR THOUGHTS A ND GET PAID.

RMS

RESEARCH & MARKETING STRATEGIES , INC.

RMS is a full-service market research firm helping industry leaders and organizations make effective decisions.

Shop online. Pay online. Pick up in store. Cannabis is not recommended for use by persons who are pregnant or nursing. For use only by persons 21 years of age and older. Keep out of reach of children and pets. If someone accidentally consumes cannabis, contact the Poison Center. Consume responsibly. Concerned about your cannabis use? Contact the New York State HOPELine by texting “HopeNY”, calling 1-877-8-HOPENY, or visiting oasas.ny.gov/HOPELine.

YOUR VOICE MATTERS.

WE MAKE IT EASY TO SHARE WHAT YOU HAVE TO SAY.

JOIN SKANEATELES & UPSTATE NEW YORK’S PREMIER ONLINE RESEACH PANEL. 15 E. Genesee St., Ste. 210, Baldwinsville, NY 13027 | rmsresults.com/participate

Go with your heart. You trust your heart with life’s biggest decisions. When something’s off, trust the team that brings it back on track. St. Joseph’s Health offers the most advanced cardiac care in Central New York—we’re named among the top 10 hospitals in the country for the lowest bypass surgery mortality rates* and recognized by U.S. News & World Report as a High Performing Hospital in Heart Attack, Heart Failure and Heart Bypass Surgery. Your heart takes care of you; we take care of your number-1 decision maker. Cross our hearts.

A H I GH ER L E V EL O F C A RE

| sjhsyr.org/cvi

* According to data from the Centers for Medicare & Medicaid Services (CMS) for the years 20202023. St. Joseph’s Health has the third lowest rate in New York state, after hospitals in New York City and Long Island. © 2025 St. Joseph’s Health. © 2025 Trinity Health. All rights reserved.

56 SJH10558_CVI-Skaneatteles-Festival_7.25x9.75_CMYK_Final3.indd 1

6/12/25 10:08 PM

8/13 Program Notes (continued)

who lived in the United States. Susan was raised in a Quaker household with the belief that women were equal to men, both spiritually and socially. It soon became apparent to her that not having the right to vote kept women from having a say virtually all aspects of life. Susan succinctly summed up the situation when she said, “Seek first the kingdom of the ballot, and all things else shall be given thee.” For over fifty years, Susan strove to secure the vote for women. She constantly traveled across the United States to form and run Suffragist organizations, lobby Congress for an amendment to the Constitution, make speeches to convince citizens on the need for Suffrage, gain new supporters, and raise money for various aspects of the cause. Susan also wrote articles for newspapers and kept up a steady stream of correspondence. By the end of her life, she realized that she wouldn’t live to see the day that women would secure the right to vote but she held on to the hope that the next generation of Suffragists would ultimately succeed. The Legacy of Susan B. features two songs that I originally composed for my large orchestral song cycle Frederick and Susan B. The first song, titled “We, the people,” draws its text from a speech she gave in 1873, in which Susan discusses her interpretation of the opening of the Declaration

of Independence. The text of the second song, “We old fighters have prepared the way,” is from a 1902 newspaper article that she penned, in which she passes the torch onto the next generation of Suffragists to complete the work to which she dedicated her life.

“How Can I Keep from Singing?” ROBERT LOWRY (1826-1899) Can one compose a folk song? Perhaps not, but your original song might just become one over time. Of course, it helps if Pete Seeger sings it. Seeger learned “How Can I Keep from Singing?” from a woman who told him it was probably an old Quaker hymn. However, the music was actually composed in 1869 by Baptist minister, Robert Lowry (also author of “At the River,” performed earlier on tonight’s program). It seems that Lowry was an avid reader of the New York Observer, where he found his lyrics: an inspiring poem by a mysterious “Pauline T.” about whom we still know nothing further. Its call to cut past today’s anxieties (“No storm can shake my inmost calm”) and work toward tomorrow’s hopes resonated in Lowry’s 1860s as in Seeger’s 1960s, and today we can still aspire to the poem’s first line: “My life flows on in endless song.”

ARTIST PIANOS is the proud PIANO SPONSOR for this and many local fine-arts organizations. We invite you to visit us and experience the all new SPIRIO HD player piano by STEINWAY & SONS. With SPIRIO, the worlds finest pianists are ready to play just for you. 5780 CELI DRIVE, EAST SYRACUSE, NY 13057 PH(315) 446-5660. All artist pianos Steinways provided to the Festival are available for purchase. Skaneateles Festival attendees will receive exclusive, special pricing.

Week 3 Friday, August 14 7:30 PM First Presbyterian Church

Tonight’s concert is sponsored by:

Chris Johnson and Barbara Durr

97 E. Genesee St, Skaneateles

From the Forest to the Ocean BEETHOVEN

Cello Sonata No. 4, Op. 102, No. 1 Andante – Allegro vivace Adagio – Tempo d’Andante – Allegro vivace

GEORGE CRUMB

Voice of the Whale Vocalise (…for the beginning of time) Sea Theme Archeozoic [Var. I] Proterozoic [Var. II] Paleozoic [Var. III] Mesozoic (Var. IV) Cenozoic (Var. V) Sea-Nocturne (…for the end of time)

Julia Bruskin, cello Aaron Wunsch, piano

Erin Lesser, flute Julia Bruskin, cello Aaron Wunsch, piano

I N T E RM I SSI ON

BRAHMS

Piano Quartet No. 2 in A Major, Op. 26 Allegro non troppo Poco adagio Scherzo: Poco allegro Finale: Allegro

ARTIST SPONSORSHIP

Julia Bruskin and Aaron Wunsch are sponsored by the Skaneateles Consortium: George Bain, Sam and Debby Bruskin, Dana and Susan Hall, Judy Robertson, and Duane Wunsch Erin Lesser is sponsored by Ginger Livingston and Wendy Graham, Fred & Ginny Marty, and Pete & Betsy McKinnell David McCarroll is sponsored by Madonna and Jeff Meyer Dov Scheindlin is sponsored by Sharon and Marshall Magee Steinway Piano is sponsored by Sarah and Kevin Goode 58

David McCarroll, violin Dov Scheindlin, viola Julia Bruskin, cello Aaron Wunsch, piano

Steinway Piano generously donated by Artist Pianos

Program Notes Cello Sonata No. 4, Op. 102, No. 1 (1815) LUDWIG VAN BEETHOVEN (1770-1827) Beethoven inhabited a world of kings, princes, countesses, dukes, and barons. While he preferred others to assume that he, too, belonged on that list, “musician” was barely one rung above “servant.” His relationships with his aristocratic patrons were complicated by feelings of envy, disdain, admiration, and very occasionally, even friendship. His music was always for them, but was it ever about them? In the case of his Cello Sonata No. 4, dedicated to Countess Marie Erdödy, we might have cause enough to wonder. Beethoven met Erdödy in 1802 during a time of crisis over his hearing loss. She, too, suffered from a debilitating illness that often left her bedridden, possibly the result of a difficult pregnancy. Soon, she was advising Beethoven in business matters, and she persuaded three wealthier patrons to pay Beethoven an annuity, keeping him permanently in Vienna. Beethoven even lived in her house for a time, leading to speculation that she might have been “Immortal Beloved” of Beethoven’s affections. However, he referred to her as “Father Confessor” - not exactly a turn-on – so the relationship seems more likely to have been an intimate but platonic friendship. When she hired Beethoven’s regular cellist, Joseph Linke, as her family’s music tutor, Beethoven decided to write cello sonatas that both Linke and the piano-playing countess could enjoy.

Intimate friendship seems to be the starting point for this cello sonata. The music unfolds in a relaxed manner, at close range, as the two friends exchange thoughts and easily come to an agreement. This is Beethoven, however, so don’t assume that any agreement will last. A brusque, even aggressive theme soon destroys the mood. The rest of the movement remains argumentative, aside from a few reflective moments. In 1809, Beethoven had moved out of the Erdödy home in a rage after he found out the countess had been secretly paying his servant (for what, we can only speculate). He scribbled amidst his sketches, “Beethoven is no servant… you wanted a servant, now you have one!” It took five years for them to mend their relationship. The two instruments share more serious thoughts at the start of the second movement, and after working through these together, they briefly return to the amiable music that started the sonata. The breach has been repaired, and spirits are high. The final Allegro is jovial but not simple. Its multifaceted good humor is quirky, a bit rough, and occasionally ironic, but there is always a foundation of goodwill, as if to say: Let’s stay friends forever.

Voice of the Whale (1971) GEORGE CRUMB (1929-2022) What did music sound like before humans walked the earth? George Crumb was just the composer to find out. The West Virginia native cultivated an eclectic interest in sounds that produce wonder. As much influenced by the sonic textures

A great night for world class music and a picnic! 59

8/14 Program Notes (continued)

of Debussy and Ravel as by the world music he heard on Folkways records, Crumb became a virtuoso of sound invention. Often, he achieved this by manipulating familiar instruments to render them both strange and captivating. In Vox Balaenae (Voice of the Whale), the flutist must sing while playing, the pianist plays inside the piano rather than just on the keyboard, and the cellist slides their finger along the string to imitate a seagull. If this all seems a bit theatrical, you’ll soon realize it’s more than a bit: He also suggests that all three players wear masks and for deep blue stage lighting so they can represent the pre-human forces of Nature. Welcome to the Archeozoic Era; humans won’t appear for another, say, four billion years. Crumb’s imagination was sparked when he heard a recording of humpback whales singing. The movements are like a tour through the geological-era dioramas at your local natural history museum: Archeozoic, Proterozoic, Paleozoic, Mesozoic, and Cenozoic. A prologue precedes these five variations, and a ravishing “Sea Nocturne” concludes them. Crumb’s own words can guide you through the work: The opening vocalise, marked in the score, ‘Wildly fantastic, grotesque,’ is a kind of cadenza for the flutist, who simultaneously plays his or her instrument and sings into it. This combination of instrumental and vocal sound produces an eerie, surreal timbre, not unlike the sounds of the humpbacked whale. The conclusion of the cadenza is announced by a parody of the opening measures of Strauss’s Also Sprach Zarathustra [also used in the then-new film, 2001]. The sea theme, marked in the score, ‘Solemn, with calm majesty,’ is presented by the cello in harmonics, accompanied by dark fateful chords of strummed piano strings. “The following sequence of variations begins with the haunting sea gull cries of the Archeozoic era, marked, ‘Timeless, inchoate,’ and, gradually increasing in intensity, reaches a strident climax in the Cenozoic

Thank you First Presbyterian Church for your hospitality!

era, marked, ‘Dramatic, with a feeling of destiny.’ The emergence of man in the Cenozoic era is symbolized by a restatement of the Zarathustra reference. “The concluding Sea Nocturne, marked, ‘Serene, pure, transfigured,’ is an elaboration of the sea theme. The piece is couched in the luminous tonality of B Major, and there are shimmering sounds of antique cymbals played alternately by the cellist and flutist. In composing the Sea Nocturne I wanted to suggest a larger rhythm of nature and a sense of suspension in time. The concluding gesture of the work is a gradually dying series of repetitions of a ten-note figure. In concert performance the last figure is to be played in pantomime to suggest a diminuendo beyond the threshold of hearing.

Piano Quartet No. 2 in A Major, Op. 26 JOHANNES BRAHMS (1833-1897) In his very first public concert, organized by his father to raise money for his education, the 10-year-old Johannes Brahms performed a piano quartet by Mozart. An impresario in the audience was so impressed that he offered to turn Brahms into the next Mozart by taking the prodigy on a lucrative concert tour of the United States. His working-class mother was in favor: “We can live in hotels and I won’t have to do any more scrubbing!” It may amuse us to think of Brahms playing recitals in Schenectady and Albany, but that never happened; his teacher convinced his parents that

So Much n a h T More m a e r C Ice

Great Food • Ice Cream • Dog Park Playground • Friendly Staff 1659 Cherry Valley Turnpike, Skaneateles, NY 13152 www.skanellus.com

child exploitation was not the best way to alleviate household chores. They did not fully get the message, it seems, for instead, they sent the young Johannes to earn money by playing in a local brothel. 18 years later, Brahms returned to the piano quartet genre. If he were to become the next Mozart, it would be as composer, rather than as child prodigy. Mozart had invented the piano quartet, but most later composers, including Beethoven, preferred the more prestigious genres of string quartet or piano trio. To the self-critical Brahms, however, this was an advantage. “In everything I attempt, I step on the heels of my predecessors, who embarrass me,” Brahms confided to Clara Schumann. He waited another 15 years to finish his first string quartet, but in the piano quartet, Brahms could engage the legacy of Mozart without feeling constrained by it.

Li f e . C l a ssi c a l l y B a l a n c e d .

S K A N E AT E L E S , N Y | P LY M O U T H , M A A L BA N Y , N Y | R H I N E B E C K , N Y

Brahms cast his Piano Quartet No. 2 in one of Mozart’s favorite keys, A Major. The opening theme has a similar genial lyricism to many of Mozart’s A-Major works, like the Clarinet Quintet and the beloved Piano Concerto, K. 488. Sun shines on the opening theme. The music unfolds patiently, on a broader scale than Mozart’s music. The middle section draws out of the movement’s themes an unexpectedly passionate intensity more typical of the Romantic Era. This intensity subsides in the last part of the movement, which moves again toward repose. The piano melody of the second movement sings like Mozart, but the muted strings blend with it to create a unique sonic effect, as if the melody were underwater in a warm bath. Sinister arpeggios in the piano’s lowest register introduce the possibility of tragedy, later fulfilled by an anguished piano outburst. The strings console the piano with a heavenly chorale. In the second half of the movement, these roles are reversed, and in the coda, the piano and strings realize they are not so different from one another after all. The unusually expansive and dramatic scherzo later became a Brahms trademark, culminating in the pianist-pummeling scherzo from his Second Piano Concerto (which he jokingly referred to as a “tiny wisp of a scherzo”). This one starts amiably enough, but the piano and strings get into a Major argument, which continues in the middle section. The instruments seem to want to outdo each other, challenging each other to various rhythmic games. Everyone gets along in the Finale, however, which seems to dance right out the door of a tavern. Here Brahms adapts the Hungarian (“gypsy”) style, often a pathway to expression beyond central European social norms. The players seem to slap each other on the back with rustic offbeat accents, a mark of both celebration and friendship. Aside from a few reflective moments, spirits remain high. Brahms himself gave the quartet’s premiere in Vienna, on November 29, 1862, almost twenty years after his piano quartet debut. “I played as freely as though I had been sitting at home among friends,” he boasted. For that, he could thank the friendship expressed in the music itself.

MIRBEAU.COM

87 7- M I R B E AU

8 5 1 W G E N E S E E ST , S K A N E AT E L E S , N Y

Week 3

Tonight’s concert is generously sponsored by:

Saturday, August 15 • 8:00 PM Robinson Pavilion

Dan & Linda Scaia

at Anyela’s Vineyard Rain location: Skaneateles High School 49 East Elizabeth St, Skaneateles

Bluegrass with Carter & Cleveland Michael Cleveland & Jason Carter Two of the most decorated and dynamic bluegrass fiddlers join forces! Jason Carter is a three-time GRAMMY Award winner and veteran bandleader. 12-time fiddle champion Michael Cleveland caused a stir at the Skaneateles Festival in 2023 while performing with Béla Fleck; he won a GRAMMY in 2019 for his album, Tall Fiddler. Carter and Cleveland perform both new and classic bluegrass songs, joined by a full band.

Selections will be announced from the stage.

ARTIST SPONSORSHIP

FEATURED ADVERTISER: Stifel Financial Corp.

Jason Carter is sponsored by Koko Fuller Michael Cleveland is sponsored by Roland and Tacie Anderson This evening is made possible with additional support from Steven Ford & Patricia Lynn Ford The Physicians Consortium:

Tom Bersani, Donald Blair, Paul Cohen, Barb Connor, Brendan McGinn, Steven Scheinman, Oleg and Anna Shapiro, and Robert Weisenthal

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

The Physicians Consortium

PROUD SUPPORTER OF THE SKANEATELES FESTIVAL

We are grateful to the members of the consortium for their support of the Festival, as well as their love of music. Tom Bersani Donald Blair Paul Cohen Barb Connor

Brendan McGinn Steven Scheinman Oleg & Anna Shapiro Robert Weisenthal

“From the late 14th Century on, each medical student had to complete a course in music theory. Rooted in this centuries-old connection between music and medicine is the striking fact that greater than average numbers of medical doctors have had a special fondness for music and music making down through the ages.” Music & Medicine, by Anton Neumayr

Executive Director, Susan Mark, with current and past Board Presidents: Steve Scheinman, Joan Christy, Doug Whitehouse, Heather Carroll, Dave Birchenough, and Barb Connor.

Today’s event is sponsored by:

Week 3

Steve and Kelly Scheinman

Sunday, August 16 3:00 PM Doors open at 2:00 PM Mandana Barn 1274 Lacy Road Skaneateles

Special Event Carter & Cleveland “Unplugged” Michael Cleveland & Jason Carter Join longtime friends Jason Carter and Michael Cleveland for a special “unplugged” duo performance at the Mandana Barn, complete with food and drink! Don’t miss this exclusive opportunity to see the two fiddle champions up close!

Selections to be announced from the stage.

ARTIST SPONSORSHIP

Tom Bersani, Donald Blair, Paul Cohen, Barb Connor, Brendan McGinn, Steven Scheinman, Oleg and Anna Shapiro, and Robert Weisenthal

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

Today’s event is sponsored

Week 4 Wednesday, August 19 FREE Community Event 6:00 – 7:00 PM Baltimore Woods 4007 Bishop Hill Rd, Marcellus

In memory of David Graham by his family and friends: Ginger Livingston and Wendy Graham, Fred & Ginny Marty, and Pete & Betsy McKinnell

In Tune with Nature Special Event – A Musical Nature Walk

For all ages. Immerse yourself in the serenity of nature’s song as you take a stroll through a 1/4 mile trail featuring musicians who will be stationed along the way. So don’t miss out on this free event, and be sure to bring your walking shoes for this unique experience in the trails of Baltimore Woods! This event will run continuously from 6:00 – 7:00 PM and feature short performances from the Terra String Quartet: Harriet Langley, violin; Amelia Dietrich, violin; Chih-Ta Chen, viola; Audrey Chen, cello and members of the Syracuse Orchestra Wind Ensemble: Kelly Covert, flute; Eduardo Sepulveda, oboe; Allan Kolsky, clarinet; Jessica King, bassoon; Jon Garland, horn

ARTIST SPONSORSHIP

The Terra String Quartet, the 2026 Emerging Artists in Residence, is sponsored by the Andromeda Foundation

Week 4

Tonight’s concert is sponsored

Thursday, August 20 7:30 PM First Presbyterian Church

In memory of Carolyn Stein by her dear friends Joan Christy and Sharon Chardak Ryan

97 E. Genesee St, Skaneateles

Meet the Terra Quartet Harriet Langley, violin; Amelia Dietrich, violin; Chih-Ta Chen, viola; Audrey Chen, cello SCHUBERT

String Quartet, D. 804 (“Rosamunde”) Allegro ma non troppo Andante Menuetto: Allegretto – Trio Allegro moderato

JURI SEO

String Quartet No. 2 “Overgrown Paths” Chacony Aria, like an epilogue…

I N T E RM I SSI ON

BRITTEN

String Quartet No. 2 Allegro calmo, senza rigore Vivace Chacony: sostenuto

ARTIST SPONSORSHIP

The Terra String Quartet, the 2026 Emerging Artists in Residence, is sponsored by the Andromeda Foundation

Program Notes String Quartet, D. 804 (“Rosamunde”) (1824) FRANZ SCHUBERT (1797-1828) Composing a string quartet is a little like auditioning for a Broadway musical: You’re not the first one to do it, and you won’t be the last. Composers tend to approach this hallowed genre with trepidation. Beethoven waited to publish his first quartets until age 31, long after turning down a lucrative commission for them, and Brahms waited even longer, until he was over the hill. Schubert, who died at age 31, didn’t have that long. He had come out of the womb destined to play in a recreational string quartet with his father and two older brothers, who taught him to play the violin well enough so that he could pick up the viola on his own. Around age 12, he started composing quartets, finishing some and abandoning others. He referred to most such works as “worthless exercises,” waiting until he felt confident enough to promote one or more of them. Schubert was the son of a schoolteacher who preached modesty above all, so one can understand Schubert’s reticence. And if your friends had nicknamed you “Little Mushroom,” your self-confidence might not be off the charts, either. Finally, in 1824, Schubert wrote “Quartet No. 1” at the top of his twelfth complete effort. A recent encounter with the violinist, Ignaz Schuppanzigh, may have given him the confidence he needed. Schuppanzigh was the leader of Vienna’s foremost string quartet, which had already premiered some of Beethoven’s quartets. It seems Schuppanzigh requested a new quartet from Schubert, who he (and almost everyone else) primarily knew as a composer of songs. Schubert jumped at the opportunity and quickly composed his String Quartet in A Minor (“Rosamunde”), which Schuppanzigh premiered on March 14. Schubert was “only” 27 years old. Schubert capitalized on his songwriter status in this exceptionally lyrical quartet. The haunting melody that begins the first movement could easily be a song, but it lacks words. What is it about? Schubert adapts the texture from one of his best-known songs, “Gretchen am Spinnrade,” in which the abandoned heroine from Goethe’s Faust compares her incessant misery to the spinning wheel at which she sits. Just two weeks after the quartet’s premiere, Schubert applied her state of mind to his own life in a despondent letter to a close friend: “‘My peace is gone, my heart is sore, I shall find it nevermore.’ I might as well sing these words every day now, for upon retiring to bed each night I hope that I may not wake again, and each morning only recalls yesterday’s grief.” Schubert refers here to the incurable disease from which he suffered, syphilis (“Imagine a man whose health will never be right again”). Despite Schubert’s melodramatic pronouncement, the quartet does not merely indulge in doom and gloom. The music, at least, is ready to fight for life. The first movement would like to reconcile three opposing states: restless longing, peaceful resignation, and stubborn

defiance. Schubert is truthful: These can’t actually be reconciled, and the movement ends abruptly and defiantly. The second movement escapes to an idealized arcadia. Here, Schubert introduces the heroine of the quartet’s nickname, Rosamunde. This easy-going melody was originally designed for the performance of a play, Rosamunde, which tells the story of a queen who grows up incognito as a shepherdess, for her own safety. One can feel that she is not where she belongs, but at least she’s safe. Schubert would reuse this melody again in his beloved Impromptu in B-flat Major for solo piano. Schubert’s third movement applies yet another of his song melodies (“Die Götter Griechendlands,” D. 667), originally set to words by Friedrich Schiller, “O beautiful world, where are you?” There are no easy answers to this question. Schubert works through the possibilities using a folk dance that is by turns hopeful and then downcast. The restless accompaniment from the first movement’s opening melody returns, a reminder of the underlying heartache that is difficult to escape. The final movement continues to dance, finally in a more jovial mood. Yet doubt lurks around many of this music’s corners. Schubert mostly keeps it at bay, though not without some effort. This effort is a sign of his, and our, humanity, and perhaps also our mortality. His ability to express our condition with such insight is but one sign of his greatness as a composer and more than enough to justify a “String Quartet No. 1.”

String Quartet No. 2 “Overgrown Paths” (2025) JURI SEO (B. 1981) Korean-born American composer Juri Seo knows a thing or two about string quartets. She wrote her dissertation on the influential string quartets of British composer Jonathan Harvey, who preceded her as composition professor at Princeton University, and she has composed several works in the genre. While the quartet’s long history scares some composers away, Seo has said that “the tension between tradition and experimentation is the central tenet of my music.” Seo composed her Second Quartet specifically to be performed alongside Benjamin Britten’s Second Quartet. About her new work, she writes: When the Terra String Quartet asked me to write a piece to accompany Benjamin Britten’s Second Quartet – an homage in itself to Henry Purcell – I was immediately drawn to the third movement, Chacony. Popular during the early Baroque period, the chacony (the English spelling of chaconne) is a formal device in which music unfolds over a repeating bass line. Despite its cyclic harmonic motion and somewhat closed phrase structure, a successful chacony carries a sense of relentless forward momentum, like the cycles of the seasons or the passage of time. Along the way, it reveals an infinite path from one place to another. 67

delicious meals, delivered discover craveable favorites for lunch or dinner! order on the app or at meals2GO.com for delivery, carryout or curbside pickup.

8/20 Program Notes (continued)

Following Britten’s lead in deconstructing the form, I treat the chacony not as a fixed template but as a guideline – perhaps a spiritual root. The main theme of my first movement, also named Chacony, is a chromatically descending line, albeit with an unusual harmonization. This theme is embedded at various depths within the music, constantly rising to and receding from the surface. Smaller harmonic loops alight at various moments, forming chacony within chacony. The dynamic first movement is followed by a more introspective second: Aria, like an epilogue... I was thinking of something ephemeral, minute, and precious – like a little wildflower. The unconventional two-movement pair – dynamic-static, heavy-light, long-short – is meant to be heard as a journey and a reflection.

String Quartet No. 2 (1945) BENJAMIN BRITTEN (1913-1976) “Who’s your favorite composer?” is a question that performers are commonly asked. Were you to ask a composer that question, you’d risk their discomfort – “Uh, myself?” But Benjamin Britten would not have hesitated: “Henry Purcell.” That 17th-century English composer was not at the tip of many tongues in the early 20th century, when it seemed that Germany had a virtual monopoly on classical music. One German critic arrogantly called England “the land without music,” and Britten had plenty of criticism for his own national composers, too. He felt the “pastoral” style of Ralph Vaughan Williams, which derived from English folk music, was a dead end, and he was “absolutely incapable of enjoying Elgar for more than two minutes.” In Britten’s controversial opinion, “Henry Purcell was the last important international figure of English music,” over 200 years before Britten himself would become one. Time to catch up. The 250th anniversary of Purcell’s death in 1945 provided an opportunity for English audiences to reconsider his

music. Britten composed a new work with his idol in mind. His second string quartet was premiered on Purcell’s birthday, on November 21, 1945. Don’t expect a Neo-Baroque “Happy Birthday” song, however. Britten’s quartet may pay homage to Purcell, but its expression addresses Britten’s own more apocalyptic era. World War II had recently ended, and the full scale of its horror was still coming into view. In July, Britten and violinist Yehudi Menuhin had given recitals at Bergen-Belsen, a recently liberated concentration camp. The experience left a strong mark on Britten’s psyche. His string quartet is by no means full of doom and gloom, but one senses the end of the world may be at hand – and there is a fine line between awe, terror, and rapture. The opening of Britten’s first movement references a unique work of Purcell’s, “Fantasia on One Note,” for an ensemble of viols, the 17th-century version of a string quartet. That work plays a joke on one of the players, who has just one note to play, over and over, for the entire piece, a C. Here, too, the violist plays a drone C, and that note becomes central to Britten’s entire quartet. The musical language is fully contemporary here, but Britten does seek to summon the “mixture of clarity, brilliance, tenderness and strangeness which shines out in all Purcell’s music.” The opening melody asks questions that receive no response, so the players go off in search of answers. Their stubbornness and determination lead them to places of wonder and mystery, and to the border of a void best not crossed. Still lacking answers, the quartet plays the second movement with mutes (little pieces of rubber placed over the wooden bridge) that suppress their increasingly urgent cries. The majestic and revelatory third movement is longer than both other movements by far. The title “Chacony” is another tribute to Purcell, a practitioner of this genre, which consists of continuous variations over a harmonic or melodic pattern. (Today’s listeners may be more familiar with the equally weighty solo violin chaconne by J. S. Bach, the one German composer who gained Britten’s unqualified admiration.) Britten’s exploratory set of 21 variations are punctuated by solo cadenzas for each instrument. The quest here is both personal and communal, soul-searching and sometimes harrowing. After the final cadenza for violin, the theme returns, now transfigured into a blaze of 23 C-Major chords. This revelation might not provide easy answers, but it’s the closest one can get to the Infinite. “To my mind it is the greatest advance I have yet made,” Britten wrote about this quartet to its dedicatee, Mary Behrend. The English eventually came around to Britten’s music, too, and Queen Elizabeth II ennobled him with the title Lord, which topped Elgar’s mere “Sir,” in 1976, shortly before Britten died.

Week 4 Friday, August 21 8:00 PM The Vine Theater at del Lago Resort 1133 Route 414, Waterloo, NY 13165 *Please note: venue is for ages 21 and over

46th

Tonight’s concert is sponsored by:

Dave Birchenough & Carrie Lazarus, and Holly Gregg & Patience Brewster Rhiannon Giddens is sponsored by Don & Chacea Sundman

Sanctuary: The Power of Resonance and Ritual explores humanity’s enduring impulse to turn to music in moments of upheaval, grief, and transformation. The program emerged through a unique collaborative process in which each musician explored their own cultural background – Italian, Moroccan, Indian, Japanese, American – and personal experiences to share music that holds deep meaning and serves as a source of sanctuary for them. The rest of the ensemble learned each piece by ear, shaping semi-improvisatory arrangements together so that every performance becomes a unique, authentic musical response created in real time. Across cultures and throughout history, communal sound-making has served as a refuge and a way to process loss, forge connection, and restore balance in times of uncertainty. In Sanctuary, Silkroad invites audiences into this shared space, examining how music provides a deeply human response to the challenges of living together in an unsettled world.

Silkroad Ensemble with Rhiannon Giddens FEATURING Rhiannon Giddens, banjo, voice Shawn Conley, bass Sandeep Das, tabla Haruka Fujii, marimba, percussion Maeve Gilchrist, harp Karen Ouzounian, cello Mazz Swift, violin, voice Niwel Tsumbu, guitar Francesco Turrisi, frame drums, accordion Kaoru Watanabe, Japanese flutes, percussion Mehdi Nassouli (guest), guembri Selections to be announced from the stage. ARTIST SPONSORSHIPS

The Silkroad Ensemble is sponsored by Somak Chattopadhyay in honor of Sandeep Das

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

Sundman Stables

Boarding and Training, Specializing in Dressage and Eventing

FACILITY INCLUDES • 80 by 160 indoor arena with Tru-stride dust free footing • 120 by 220 outdoor arena with Tru-stride dust free footing • Five acre well maintained jump field with water, ditch, and bank complexes • 30 acres of lush pasture with wood fencing • Just 15 minutes from Syracuse INSTRUCTION Clinics with: Susan Gilson – Gold level dressage instructor Carol Kozlowski – Advanced level event instructor Or your own approved instructor

SUNDMAN STABLES Catering to the discriminating rider and owner. 1695 Stump Rd, Marcellus, NY Chacea Sundman, owner/manager 315-382-2790

Week 4

Tonight’s concert is made possible with generous support from:

Saturday, August 22 • 8:00 PM

The Bob and Sally Neumann Fund for Jazz & Innovative Programming

Robinson Pavilion

at Anyela’s Vineyard Rain location: Skaneateles High School 49 East Elizabeth St, Skaneateles

Festival Finale with Cécile McLorin Salvant Cécile McLorin Salvant, vocals Sullivan Fortner, piano Yasushi Nakamura, bass Kyle Poole, drums Celebrated jazz vocalist and three-time GRAMMY winner Cécile McLorin Salvant was described by the late Jessye Norman as “a unique voice supported by an intelligence and full-fledged musicality, which light up every note she sings.” us for a Renew. spectacular Festival Finale! Adapt.Join Develop. Wishing the Skaneateles Festival a successful 33 rd season!

Selections to be announced from the stage.

ARTIST SPONSORSHIP

MEDIA SPONSOR

Cécile McLorin Salvant is sponsored by brokerage and development at its best. Property management,

REFINED HISTORIC PROPERTIES.

424.1111 www.suttoncos.com

R o u D S P o n S o R o f t h e S k A n e At e l e S f e S t i vA l 221 WPDivision St,

Syracuse, NY 13204 Steinway Piano is sponsored by Sarah and Kevin Goode

spaces in Franklin Square.

Leasing by Sutton Companies 315.424.1111

FEATURED ADVERTISER: Delmonico Insurance The Skaneateles Festival is made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

In Memoriam Dave Duggan David Duggan was a man of many passions, including his love of the Festival and indeed all things Skaneateles. He lived his entire life here, except only for several years of medical training in Boston where he met his wife Lynn Cleary. He was part of David Robinson’s “motley crew” taking down the stage, seating and lighting after the Saturday concerts at Brook Farm. He served on the SkanFest Board for 6 years, volunteered as an usher, and was a generous donor for many decades. Dave shared his love of the Festival with everyone he knew and especially his family. He and Lynn brought their children Abby, Joe and Sam to concerts from their earliest ages, when they might bring books to read or end up lying down in the pews at the back of the church. He helped his 3 kids bake brownies and cookies for sale with lemonade at Festival concerts. He performed as a giraffe in the Festival’s 1999 presentation of Benjamin Britten’s Noye’s Fludde in a cast that included little Abby and Joe. Dave will of course be remembered for his many virtues and the innumerable lives he touched. He was a caring and selfless physician, nationally recognized for his leadership in cancer research, an inspiring teacher and role model, and former dean of Upstate Medical University’s College of Medicine. He has left an indelible mark on the world, on medicine, and on this community. The Skaneateles Festival is fortunate to have counted him as part of our family for so many years. ~ Steven Scheinman

42ndseason! Wishing the Skaneateles Festival a successful 42nd 42nd

Kim Driscoll and son Zach... always happy to volunteer!

OUR PURPOSE IS TO EXCEED YOUR EXPECTATIONS. With the personal commitment and value you deserve.

Your Bonadio team works with numbers every day, but it’s our commitment to your success that really counts.

Musician Profiles Andy Akiho, steel pan, composer Pulitzer Prize finalist and seven-time GRAMMY-nominated composer Andy Akiho is celebrated for pushing the boundaries of contemporary classical music. Praised by the Los Angeles Times as “trailblazing” and by The New York Times as “increasingly in demand,” Andy is known for large-scale works that combine rhythmic complexity with the theatrical energy of live performance. He is the only composer to receive GRAMMY nominations for Best Contemporary Classical Composition in 2022, 2023, and 2024. Recent highlights include Nisei, a concerto for cellist Jeffrey Zeigler; Sculptures, a three-time GRAMMY-nominated work for the Omaha Symphony honoring artist Jun Kaneko; and BeLonging, created with Imani Winds. A virtuoso pannist, Andy’s years performing steel pan in Trinidad and New York continue to shape his distinctive compositional voice. He currently serves as the Oregon Symphony’s composer-in-residence. Julia Bruskin, cello, co-artistic director Cellist Julia Bruskin made her concerto debut with the Boston Symphony Orchestra at age 17, has performed Samuel Barber’s Cello Concerto with conductor Jahja Ling at Avery Fisher Hall, and was soloist with the Nashville,

Utah, Virginia, and Pacific symphony orchestras, among others. Her CD of music by Beethoven, Brahms, and Dohnanyi was praised by Fanfare Magazine for its “exquisite beauty of sound and expression.” Julia won first prize in the Schadt String Competition and was a prizewinner in the International Johannes Brahms Competition in Austria. A founding member of the Claremont Trio, Julia plays frequent solo recitals with her husband, pianist Aaron Wunsch, including tours in China and concerts in New York, Massachusetts, New Jersey and Texas. She has performed at La Jolla Summerfest, Mostly Mozart, Caramoor, Saratoga, Bard, and Norfolk festivals, and toured with Musicians f rom Ravinia. She has given numerous master classes and currently teaches at the Juilliard Pre-College and is on the cello faculty of the Aaron Copland School of Music at Queens College. Carter & Cleveland Jason Carter, fiddle Jason Carter is one of bluegrass music’s most celebrated fiddlers, known for his unmistakable sound and deep Kentucky roots. A native of Lloyd, Kentucky, Jason is honored with a marker on the Country Music Highway, recognizing a career that has earned multiple GRAMMY

A FILM BY WAER SYRACUSE PUBLIC MEDIA

A STORY OF ARTISTRY, RESILIENCE & TRANSFORMATION COMING TO WAER’S YOUTUBE CHANNEL AUGUST 11 SUBSCRIBE TO WATCH 75

Musician Profiles Awards, international tours, and widespread acclaim. For more than 30 years, Jason has been the fiddler for the legendary Del McCoury Band, the most awarded group in bluegrass history. He is also a founding member of the Travelin’ McCourys, whose 2018 recording earned a GRAMMY for Best Bluegrass Album. A five-time International Bluegrass Music Association Fiddler of the Year, Jason is admired not only for his virtuosity but also for the authenticity and tradition he brings to every performance. Michael Cleveland, fiddle Widely regarded as one of the finest bluegrass fiddlers of his generation, Michael Cleveland combines extraordinary technical brilliance with a deep respect for tradition. Raised in Henryville, Indiana, Michael began playing fiddle at age 4 and developed his musicianship through old-time and bluegrass jams, formal violin study, and guidance from music historian Dave Samuelson. Michael launched his professional career after performing with the Bluegrass Youth All-Stars and has since become one of the genre’s most honored musicians. A 12-time International Bluegrass Music Association Fiddler of the Year, he was inducted into the National Fiddler’s Hall of Fame in 2018. His recordings include the GRAMMY-winning Tall Fiddler, and his latest collaboration with Jason Carter, Carter & Cleveland, received a 2026 GRAMMY nomination for Best Bluegrass Album. 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 served as principal bass in the Syracuse Symphony Orchestra until its demise in 2011, and appeared as soloist with that organization numerous times. A graduate of the Eastman School of Music, Ed participated for siseasons in Gian Carlo Menotti’s Spoleto Festivals in Italy and Charleston, South Carolina, where he made several appearances with the Lincoln Center Chamber Players. He has performed annually with the Skaneateles Festival since its inception in 1980. Additionally, he has appeared in concert with the Philadelphia, Savannah, and Spokane symphony orchestras. Michael Cirmo, percussion Michael Cirmo performs regularly with the Glimmerglass Opera Orchestra, Syracuse Orchestra, Skaneateles Festival, Catskill Symphony, Albany Symphony, and Binghamton Philharmonic, as well as the orchestras of Hamilton College and Colgate University. In 1988 he was principal percussionist / assistant principal timpanist of the Civic Orchestra of Chicago, the nation’s premier training program for young professional musicians. He studied percussion with Michael Bookspan and Donald Liuzzi of the Philadelphia Orchestra, James Ross of the Chicago Symphony Orchestra,

Gary Olmstead, James Petercsak, among others. A frequent guest conductor and clinician throughout New York State, Michael taught instrumental music in Whitesboro and Marcellus schools and has held long-term adjunct positions at Hamilton College and Colgate University. He currently serves as lecturer in music/percussion at Hamilton College. Rosemary Elliott, cello Rosemary Elliott is assistant professor of cello at the Eastman School of Music, as well as principal cellist of the Cayuga Chamber Orchestra. She serves on the artistic advisory board of that organization. She is a core member of the orchestra’s chamber music ensemble and has twice performed as soloist with the orchestra. Since 2005, she has been artistic director of Morning Chamber Music at Eastman. Rosemary has served on the cello staff at the Royal College of Music in London and performed regularly with notable chamber orchestras including the London Mozart Players, the City of London Sinfonia, and the Orchestra of St. John’s Smith Square. She has also been a member of the National Symphony Orchestra of Ireland and toured with the Halle Orchestra of Manchester, England. Julia Figueras, narrator Julia Figueras was the music director and mid-day host for WXXI Classical until 2023 when she retired after more than 26 years of service. She also hosted and produced the award-winning monthly interview/performance show, Backstage Pass. Figueras began her radio life in 1980 at WICN in Worcester, MA, and has been playing formats ranging from classical to rock to jazz, with a dash of talk in Boston, MA as well as at stations in Concord and Portsmouth, NH. She received her bachelor’s degree in theater from Brandeis University. Currently, Figueras sits on the Board of Directors for the Penfield Symphony Orchestra and holds an honorary seat on the Amadeus Children’s Chorale board. Previously, she spent 10 years on the board of the Rochester Philharmonic Youth Orchestra. Lindsay Groves, cello As co-founder and music director of the Skaneateles Festival, Lindsay Groves programmed and performed in approximately 140 concerts during the Festival’s first 11 years. Lindsay joined the Syracuse Symphony Orchestra as assistant principal cellist after graduating from Northwestern University in Chicago, where she studied with Chicago principal cellists Dudley Powers and Frank Miller. She has been a member of the North Carolina Symphony, JFK Center Opera House Orchestra, Chicago Civic Orchestra, and Hawaii Symphony Orchestra (principal) and performed with numerous other orchestras across the country. Her summer festival participation as chamber musician, orchestral cellist and soloist has taken her to North Carolina, Alaska, Colorado, California, Florida, Maine, China, Italy, and Switzerland. 77

2026 2027

SEASON

10.23.26

Chucho Valdés 85th Birthday Celebration with special guests Joe Lovano & Etienne Charles

11.21.26

Time for Three

with Cornell Symphony Orchestra

02.28.27 Isabelle Faust, violin & Kristian Bezuidenhout, harpsichord 03.20.27 Sunny Jain’s Wild Wild East

$25

Tickets and more info at cornellconcertseries.com

Musician Profiles Isaac Harlan, piano Pittsburgh native Isaac Harlan is a pianist, music director, and orchestrator based in New York City. A graduate of Penn State University, Isaac has built a versatile career accompanying many of today’s leading Broadway and concert artists, including Norm Lewis, Shoshana Bean, Brandon Victor Dixon, and Darius de Haas. In addition to performing, Isaac collaborates on the development of new musicals with writers including Michael McElroy, Tituss Burgess, AleGemignani, and Black Thought. He is committed to mentoring emerging performers through his work with New York University, YoungArts, and the National High School Musical Theatre Awards. Isaac also serves as pianist and orchestrator for Broadway Inspirational Voices, the GRAMMY-nominated gospel choir renowned for its powerful performances and community outreach. Qiyue He, violin Qiyue He is a classical violinist currently based in Rochester, NY. Originally from Beijing, China, she started playing violin at age 4, and came to the US in 2017 to attend the University of Rochester. She eventually moved to Toronto, Canada to pursue a master’s degree in violin performance where she played with the National Arts Centre Orchestra. In Central New York she plays in the violin section of The Syracuse Orchestra and does regular performances with her pianist husband Kevin Wang at the Eastman Community Music School, Dryden Theatre at the George Eastman House, and Sunday mornings at First Baptist Church of Williamson, NY. Erica Howard, oboe Erica Howard is a visiting lecturer at Cornell University and Ithaca College. Erica previously played English horn with the Alabama Symphony and taught at the Alabama School of Fine Arts. Erica is also principal oboe of the Columbus Symphony Orchestra (Georgia), with whom they have been featured as a soloist on several occasions, and former principal oboe of the Atlanta Ballet Orchestra. Imani Winds Monica Ellis, bassoon; Mark Dover, clarinet; Kevin Newton, horn; Mekhi Gladden, oboe; Brandon Patrick George, flute For nearly three decades, GRAMMY Award-winning Imani Winds has redefined the wind quintet through adventurous programming, dynamic performances and a commitment to expanding the chamber music repertoire. The ensemble has become one of the world’s leading wind quintets, championing both traditional masterworks and groundbreaking new commissions. Its 2024 recording BeLonging, created with composer Andy Akiho and exploring themes of mass incarceration, earned a 2025 GRAMMY nomination. Other recent collaborations include works by Arturo Sandoval, Jessie Montgomery and Carlos Simon, all part of the ensemble’s ambitious Legacy Commissioning Project, which has

produced dozens of world premieres. Beyond the concert stage, Imani Winds is deeply committed to education and mentorship. The ensemble founded the Imani Winds Chamber Music Festival in 2010, followed by the Imani Winds Foundation and Imani Winds Media, a recording label highlighting artists of color. Its recording of Jeff Scott’s Passion for Bach and Coltrane received a 2024 GRAMMY Award. Imani Winds’ lasting influence is recognized through a permanent installation at the Smithsonian National Museum of African American History and Culture. Allan Kolsky, clarinet Principal clarinet of the Syracuse Orchestra, Allan Kolsky held positions with the Louisiana Philharmonic Orchestra and the Utah Symphony before joining the Syracuse Symphony Orchestra (SSO) as principal clarinet in 2002. He has appeared as soloist with Symphoria and the SSO in clarinet concertos by Mozart, Nielsen, Finzi and Weber. He received a Tanglewood Fellowship in 1989, and holds music performance degrees from Temple and DePaul universities. A co-host and performer at the 2001 International ClarinetFest, Allan currently teaches clarinet at Hamilton College. He has also performed with the Cincinnati Symphony Orchestra, North Carolina Symphony, Buffalo Philharmonic, Skaneateles Festival, Glimmerglass Opera, and Colorado Music Festival. Victoria Krukowski, clarinet Victoria Krukowski was born in Syracuse, NY and has served in the position of Second and E-flat clarinet in Symphoria since 2012. She earned a Bachelor’s degree from the Curtis Institute of Music, and a Master’s from the Eastman School of Music. She was a frequent substitute with the Philadelphia Orchestra, traveling with them on their 1999 tour of Southeast Asia. Victoria has participated in summer music festivals such as the National Orchestra Institute, Interlochen Center for the Arts, Luzerne Music Camp, Evian Music Festival in Evian, France, and Blossom Music Festival. Victoria was also a member of the Philadelphia Opera Company Orchestra and a private clarinet teacher for students of all ages. Currently, Victoria is on the faculty at Onondaga Community College in Syracuse, and enjoys being the mother of seven children with her husband, Dennis. Victoria also serves as the Upstate Cancer Center Therapeutic Music Coordinator and as Symphoria’s Healing Harmonies Program Coordinator. John Lathwell, oboe John Lathwell currently serves as principal oboe of the Binghamton Philharmonic, the Tri-Cities Opera and the Cayuga Chamber Orchestra. He is also active as a chamber musician in Central New York and has appeared as a soloist with the Syracuse Society for New Music, the Binghamton Philharmonic and on numerous occasions with the Cayuga Chamber Orchestra. He has been an active freelance 79

musicals,

AT THE MERRY-GO-ROUND PLAYHOUSE IN AUBURN, NY

AND MORE!

The Award-WinningTribute!

Starring 2022 Grammy Winner for Best Opera Recording, Zachary James

8/12 - 8/29

9/16 - 10/3

get your tix now!

10/10

10/21 & 10/22

WWW.THEREVTHEATRE.COM OR CALL 315.255.1785

SEP. 16 - OCT. 11, 2026

NOV. 27, 2026 - JAN. 3, 2027

JAN. 27 - FEB. 14, 2027

MARCH 3 – 21, 2027

APRIL 7 - 25, 2027

JUNE 2 - 20, 2027

TICKETS

ON SALE NOW! 315.443.3275 SYRACUSESTAGE.ORG 80

Musician Profiles performer in the New York City area and in the Washington, DC, area, where he now lives. John taught at Ithaca College and was on faculty at Binghamton University for 27 years. His primary teachers have been Joseph Robinson, principal oboist of the New York Philharmonic, and Richard Killmer, professor of oboe at the Eastman School of Music. Marcelo Lehninger, conductor Brazilian-born conductor Marcelo Lehninger has served as music director of the Grand Rapids Symphony since 2016 and was recently appointed artistic director of the Bellingham Festival of Music in Washington state. Previously, he led the New West Symphony in Los Angeles, earning the League of American Orchestras’ Helen M. Thompson Award for Emerging Music Directors, and spent five seasons as assistant and associate conductor of the Boston Symphony Orchestra, highlighted by his Carnegie Hall debut in 2011. Marcelo has guest conducted many of the world’s leading orchestras, including the Chicago, Boston, and National symphonies, as well as major ensembles throughout Europe and South America. A passionate educator, Marcelo also leads the Bellingham Festival Conducting Institute for emerging conductors. Erin Lesser, flute Flutist Erin Lesser is an acclaimed soloist, chamber musician, educator, and recording artist whose performances have earned praise from The New York Times, The New Yorker, and NY Concert Review. She has appeared at leading venues including Carnegie Hall, Walt Disney Hall, the Kennedy Center, and Amsterdam’s Muziekgebouw, and has been featured on more than 40 recordings. Erin is a longtime member of Wet Ink Ensemble and Alarm Will Sound, two of today’s leading contemporary music ensembles, and is a founding member of the Argento Chamber Ensemble. She also performs with Decoda, Carnegie Hall’s affiliate ensemble dedicated to community engagement through music. Erin is professor of flute at Lawrence University and co-founder of Music for All, which brings live music to underserved communities throughout Wisconsin’s FoValley. Norm Lewis, baritone Emmy, Tony, and Screen Actors Guild Award nominee Norm Lewis is one of Broadway’s most acclaimed leading men. In 2014, he made history as the first African American to perform the title role in The Phantom of the Opera on Broadway. He also earned Tony, Drama Desk, Drama League, and Outer Critics Circle Award nominations for his performance as Porgy in The Gershwins’ Porgy and Bess. Norm’s distinguished stage career includes starring roles in Les Misérables, Once on This Island, The Little Mermaid, Chicago, Miss Saigon, Side Show, The Wild Party, Amour, and The Who’s Tommy, as well as London’s West End production of Les Misérables. Beyond the stage, he has appeared in numerous PBS specials and NBC’s Emmy Award-winning

Jesus Christ Superstar Live in Concert!. Norm is also a founding member of Black Theatre United, supporting equity and opportunity throughout the theater community. Charles Loh, violin Charles Loh currently attends the University of Michigan School of Music, Theatre & Dance where he is pursuing a master’s degree in violin performance. He studies with David Halen, concertmaster of the St. Louis Symphony Orchestra. Previously, he attended Brown University from which he holds bachelor of arts degrees in Music and Chemistry. At Brown, Charles was concertmaster of the Brown University Orchestra and an active chamber musician, as well as financial director of Healing Through Harmony, an organization committed to sharing music at hospitals, nursing homes, and prisons. Jeremy Mastrangelo, violin Jeremy Mastrangelo has performed with Ottawa’s National Arts Centre Orchestra since late 2011. Prior to that he served as associate concertmaster of the Syracuse Symphony Orchestra for ten years. He has been guest concertmaster with the Kalamazoo Symphony Orchestra, Fort Wayne Philharmonic, Omaha Symphony, Oregon Symphony, and National Ballet of Canada. Prior to his work in Syracuse, Jeremy was co-concertmaster of the New World Symphony in Miami. Jeremy has been featured on the Syracuse Friends of Chamber Music series and has also performed with the Chamber Players of Canada and Kathleen Battle. With his wife Sara, also a violinist, Jeremy spent seven summers performing in festivals in Colorado, first at the Steamboat Springs Strings Music Festival, and then with the Breckenridge Music Festival Orchestra. Sara Mastrangelo, violin In Ottawa, Ontario, Sara Mastrangelo is a member of Thirteen Strings and plays regularly with the National Arts Centre Orchestra. She has been a member of the Syracuse Symphony Orchestra and New World Symphony. An active chamber musician, Sara performs regularly at Music and Beyond (Ottawa) and the Skaneateles Festival. Past summers have included the Breckenridge Festival Orchestra, Tanglewood, Banff, Schleswig Holstein (Germany), Bach and Beyond (NY) and Domaine-Forget (PQ). As a teacher, Sara is a performance instructor at Carleton University and the founding director of Suzuki Violin West Ottawa. She has held teaching positions at Hamilton College and Hobart and William Smith Colleges, St. Peter’s Arts Institute (NY) and has taken Ottawa’s Stellae Boreales violin ensemble on tour to China, Argentina, Boston, and New York City. Melissa Matson, viola Melissa Matson has been a member of the Rochester Philharmonic Orchestra since 1983 (principal violist 1999-2019). She was a founding member of both the 81

Musician Profiles prize-winning Chester String Quartet and the Amenda Quartet, whose acclaimed Project Ludwig presented the complete string quartets of Beethoven in the Rochester area. Her solo appearances with the RPO have included Berlioz’s Harold in Italy and Mozart’s Sinfonia Concertante. She performs regularly with the Skaneateles Festival, and was founding artistic director of First Muse Chamber Music in Rochester. Melissa released Exploring Excerpts: A Violist’s Guide to Developing Skills for Orchestral Playing, which joins her popular One-Position Finger-Pattern Scales, an infinitely-variable approach to left-hand versatility. She also pursues visual arts and has built homes with Habitat for Humanity’s Women Build program. David McCarroll, violin David McCarroll has served as concertmaster of the Pittsburgh Symphony Orchestra since 2022. He has appeared as soloist with leading orchestras including the Pittsburgh Symphony, Vienna Radio Symphony Orchestra, Hong Kong Sinfonietta, and Tonkünstler Orchestra. A winner of the 2012 European Young Concert Artists Auditions, David performs regularly at major venues including Carnegie Hall, the Kennedy Center, Amsterdam’s Concertgebouw, Vienna’s Musikverein, and Berlin’s Konzerthaus. He also serves on the faculty of Carnegie Mellon University’s School of Music and has taught at the Mozarteum University in Salzburg and presented master classes throughout the US. Deeply committed to humanitarian causes, David has supported organizations including Doctors Without Borders and the Starcross Community. He performs on a 1761 A&J Gagliano violin. Daniel McCarty, bassoon Born in Massachusetts and raised in West Texas, music has been a part of Daniel McCarty’s life since he started playing instruments at age 6. Dan has performed with the New England Conservatory Philharmonia and Symphony orchestras and Boston Philharmonic Youth Orchestra in Boston’s Symphony Hall and Jordan Hall. He has also performed as a member of the Juilliard Orchestra in New York’s Carnegie Hall and Alice Tully Hall. Dan has participated in festivals across North America, including the Hidden Valley Festival of Winds, where he performed side-by-side with principals of the Metropolitan Opera Orchestra and the Baltimore Symphony. Other festivals include Sarasota Music Festival and PRISMA Festival in BC, Canada. Dan earned his bachelor’s degree at the New England Conservatory in 2022. Neil Miller, viola Neil Miller performs with the Rochester Philharmonic Orchestra. He holds both a Bachelor of Music degree in violin performance, and a Master of Music degree in viola performance from the Eastman School of Music. He was awarded the coveted Performer’s Certificate and was the 82

recipient of the Robert L. Oppelt Viola Prize at Eastman. Summer festivals have included the National Repertory Orchestra in Breckenridge, CO, where he performed in over 20 concerts playing 120 orchestral works. Neil has also participated in LyricaFest in Boston as well as Charles Castleman’s Quartet Program both in Boulder, CO, and Fredonia, NY. Benjamin Mygatt, violin Violinist Benjamin Mygatt completed a master’s in Classical Performance with a minor in Historical Performance Practice in 2023 at the Hochschule der Künste in Bern, Switzerland. Benjamin received his Bachelor of Arts in Music and Mathematics from Williams College in 2020, studying under Joanna Kurkowicz. In 2018, he was a winner of the Berkshire Symphony Soloist Competition, playing the Shostakovich Violin Concerto in A minor. An avid chamber musician, Benjamin has had quartet engagements at venues including Lincoln Center and BargeMusic in NYC. In addition to a performance career, he works part-time at the North Carolina Chamber Music Institute, a non-profit providing chamber music education and performance opportunities to students in central North Carolina.

Has you covered from A to Z!

COMMERCIAL PRINTING MARKETING SOLUTIONS MAILING SERVICES FULFILLMENT | PRINT-ON-DEMAND

upstateprinting.com 315.475.6140 | 433 West Onondaga Street Syracuse, NY 13202

Musician Profiles Shannon Nance, violin Shannon Nance, assistant concertmaster of the Rochester Philharmonic Orchestra, has been a member of the RPO violin section since 1993. She has appeared as soloist with the RPO, the Masterworks Festival Orchestra, and the Greater Rochester Women’s Philharmonic, among others. She has also served as associate concertmaster of the Arizona Musicfest in Scottsdale. Shannon frequently performs on the recital series of Society for Chamber Music in Rochester, Morning Chamber Music at Eastman, the Finger Lakes Chamber Ensemble, the Canandaigua Lake Chamber Festival, and WXXI’s Live from Hochstein series. A frequent faculty member at the Masterworks Festival, she has directed its String Intensive Study Program for several years. She also coaches advanced chamber groups for the Hochstein School. Wesley Nance, trumpet Wesley Nance is Second Trumpet with the Rochester Philharmonic Orchestra and holds bachelor’s and master’s degrees from the Eastman School of Music in trumpet performance. He has been on the faculty of the Eastman Community Music School since 1990. His trumpet studio is highly regarded, and he directs a trumpet ensemble made up of many of the finest young players in the area. Also a

composer, the RPO brass section premiered his piece “Two Beats!” on the RPO WPops concert series, and has performed it, as well as other compositions. He has received several commissions, ranging from full orchestra to five trumpets. Garrick Ohlsson, piano Since winning the International Chopin Piano Competition in Warsaw in 1970, Garrick Ohlsson has earned worldwide acclaim as one of today’s most distinguished pianists. Renowned for his authoritative interpretations of Chopin, Garrick is equally admired for performances spanning the full breadth of the piano repertoire, from Haydn and Mozart to major contemporary works. A student of the legendary Claudio Arrau, he has appeared with many of the world’s leading orchestras and conductors while maintaining a repertoire of more than 80 concertos. In 2025, Garrick became the first American invited to chair the jury of the International Chopin Competition. A native of White Plains, New York, he studied at the Westchester Conservatory of Music before entering The Juilliard School at age 13. Garrick is a Steinway Artist and lives in San Francisco. The 2008 GRAMMY Award-winner last appeared at the Skaneateles Festival in 2000.

American Dreams with Brian Stokes Mitchell Friday, August 7 A stirring tribute to America’s 250th, featuring Lincoln Portrait, Broadway classics, and Dvořák’s New World Symphony.

2026 Summer Season Celebrating 60 years of extraordinary music at SPAC!

August 5-22

Emanuel Ax Plays Beethoven Thursday, August 13 A piano legend, triumphant Beethoven and joyful Brahms– all in one unforgettable evening!

Josh Groban: Stage, Screen & Symphony Friday, August 14 Bringing together the magic of Broadway, the power of film, and the grandeur of the orchestra.

BUY TICKETS NOW SPAC.ORG 83

Musician Profiles Tyler Ogilvie, horn Freelance musician Tyler Ogilvie performs regularly with the Syracuse Orchestra, the Binghamton Philharmonic, the Northeastern Pennsylvania Philharmonic, the Catskill Symphony, and the Cayuga Chamber Orchestra. He is currently principal horn for the Clinton Symphony Orchestra, and formerly held this position in the Orchestra of the Southern Finger Lakes. Tyler teaches horn at Colgate University while maintaining an active private studio in the Syracuse area. He has previously served on the faculty at Dickinson College, Susquehanna University, and Ithaca College, where he continues to instruct horn at the college’s Summer Music Academy. Pacifica Quartet Simin Ganatra, violin; Austin Hartman, violin; Mark Holloway, viola; Brandon Vamos, cello Celebrating more than three decades of performance, the GRAMMY Award-winning Pacifica Quartet is internationally recognized as one of today’s premier chamber ensembles. Praised for its expressive artistry, technical brilliance, and adventurous programming, the Quartet has earned acclaim for performances that combine warmth, precision, and extraordinary ensemble playing. This season, Pacifica tours its new program, American Portraits, featuring Sigourney Weaver as narrator and world-premiere works honoring Ruth Bader Ginsburg and Rachel Carson by composers Jennifer Higdon and Gabriela Lena Frank. A leading advocate for contemporary music, the Quartet has commissioned and premiered works by many of today’s foremost composers while also earning recognition for complete quartet cycles of the great classical masters. Based in Bloomington, Indiana, Pacifica has served as quartet-inresidence and full-time faculty at Indiana University’s Jacobs School of Music since 2012. Juliana May Pepinsky, flute Juliana Pepinsky is a senior lecturer at Cornell University and flute instructor at Opus Ithaca. Since arriving in Ithaca in 2008, Juliana has performed regularly at Cornell and with the Ithaca Flute Duo, Ensemble X, Skaneateles Festival, Orchestra of the Southern Finger Lakes and the Fingerlakes Flutes. Prior to that she played with the New Britain Symphony and the Waterbury Symphony, and taught at the University of Colorado, Boulder, Metro State College, Regis University, and Southern Connecticut State University. In 2003, she performed in the inaugural concert of Zankel Hall, the then-new concert space at Carnegie Hall, under composer John Adams. She received her master’s degree from Yale University and her bachelor’s degree from the Oberlin Conservatory.

Olita Povero, viola Rochester Philharmonic Orchestra violist Olita Povero previously served as principal viola with the Dallas Opera and was a member of the Dallas Ballet Orchestra and Dallas Chamber Orchestra. 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 RPO and Hochstein Youth Orchestras. Povero is happy to be returning to the Skaneateles Festival, where she has performed in many concerts over the years. John Raschella, trumpet John Raschella is currently principal trumpet with The Syracuse Orchestra. For 30 years prior, he was principal trumpet and associate principal trumpet of the Syracuse Symphony Orchestra. He has performed as co-principal trumpet with the Pittsburgh Symphony and has performed with the Philadelphia Orchestra and the orchestras of Houston, Minnesota, Buffalo, Rochester and Jacksonville. He has also been a featured performer at the International Trumpet Guild Conference and has recorded with the Pittsburgh and Syracuse symphony orchestras. In the summers he has performed as principal trumpet of the Eastern Music Festival in North Carolina and the Spoleto Festival in Italy. When not playing the trumpet you will find John with his wife Bonnie aboard their boat “High C’s” where they love to cruise the Erie Canal and the great lakes! Cécile McLorin Salvant, composer, singer, and visual artist Composer, singer, and visual artist Cécile McLorin Salvant is celebrated as one of the most original voices in jazz today. Acclaimed for her remarkable storytelling and fearless musical curiosity, Cécile draws inspiration from jazz, blues, folk traditions, theater, and Baroque music while bringing forgotten songs vividly to life through her distinctive interpretations. After winning the Thelonious Monk International Jazz Competition in 2010, Cécile received GRAMMY Awards for three consecutive Best Jazz Vocal Albums and was awarded both a MacArthur Fellowship and a Doris Duke Artist Award in 2020. Her recent recordings include Ghost Song, Mélusine, and Oh Snap, each showcasing her imaginative songwriting and eclectic musical vision. Whether performing original compositions or rediscovered classics, Cécile continues to expand the expressive possibilities of jazz while captivating audiences around the world. Edson Scheid de Andrade, concertmaster A native of Brazil, violinist Edson performs with some of in New York City’s leading ensembles, including the Trinity Baroque Orchestra, Orchestra of St. Luke’s, American Classical Orchestra, Musica Sacra New York, The Clarion Orchestra, and the Oratorio Society of New York. He frequently performs throughout the United States, on both modern and period instruments, and in Europe, Asia,

Musician Profiles North and South America with such ensembles as Il Pomo d’Oro and Les Arts Florissants. His many performances of Paganini’s 24 Caprices, on both period and modern violins, have been received with enthusiasm around the world and his recording of the Caprices on the baroque violin for the Naxos label has been critically acclaimed. Since 2020 Edson has been a member of the Il Pomo d’Oro Academy, offering master classes on period instruments. Dov Scheindlin, viola Dov Scheindlin is a classical violist based in New York City. While his career has been spent primarily as a performer, he is also sought after as a teacher, arranger, and occasional public speaker. Dov is a member and former Artistic Director of the Orpheus Chamber Orchestra. Additionally, he has played thousands of performances in the Metropolitan Opera Orchestra. For five years he served as violist of the Arditti String Quartet, with whom he made dozens of recordings. Lisa Seischab, bassoon Lisa Seischab is a graduate of the Eastman School of Music and former member of the Charlotte Symphony Orchestra. As an arts administrator and fundraising professional, she has held development positions with the Eastman School of Music, Baltimore Symphony Orchestra, and Rochester Philharmonic Orchestra. She is currently the

George Eastman Museum’s vice president of development in Rochester and serves on the Advisory Board of the Collaborative Arts Institute of Chicago, an organization dedicated to the study and performance of art song and vocal chamber music repertoire. Silkroad Ensemble with Rhiannon Giddens Shawn Conley, bass; Sandeep Das, tabla; Haruka Fujii, marimba, percussion; Rhiannon Giddens, banjo, voice; Maeve Gilchrist, harp; Karen Ouzounian, cello; Mazz Swift, violin, voice; Niwel Tsumbu, guitar; Francesco Turrisi, frame drums, accordion; Kaoru Watanabe, Japanese flutes and percussion; Mehdi Nassouli (guest), guembri Yo-Yo Ma conceived Silkroad in 1998 as a reminder that even as rapid globalization resulted in division, it brought extraordinary possibilities for working together. Seeking to understand this dynamic, he recognized the historical Silk Road as a model for cultural collaboration – for the exchange of ideas, tradition, and innovation across borders. In a groundbreaking experiment, he brought together musicians from the lands of the Silk Road to co-create a new artistic idiom: a musical language founded in difference, a metaphor for the benefits of a more connected world. This initial gathering of artists was rooted in a simple, initial question: “What happens when strangers meet?” And thus Silkroad was born, as both a touring ensemble comprised of

Ziggy & Miles entertain at our Baltimore Woods Musical Nature Walk 85

Musician Profiles world-class musicians from all over the globe, and a social impact organization working to make a positive impact across borders through the arts. Today, under the leadership of Artistic Director Rhiannon Giddens, Silkroad creates music that engages difference, sparking radical cultural collaboration and passion-driven learning for a more hopeful and inclusive world. Pulitzer Prize winner and MacArthur “Genius Grant” recipient Rhiannon Giddens is a two-time GRAMMY Award-winning singer, multi-instrumentalist, and composer. She has built an extraordinary career exploring the rich history and enduring influence of American roots music. Through performances, recordings, and original works for opera, ballet, film, and television, Rhiannon shines a light on the overlooked contributions of musicians who helped shape America’s musical heritage. A founding member of the Carolina Chocolate Drops and Our Native Daughters, Rhiannon also serves as artistic director of the famed Silkroad Ensemble. She hosts the PBS series My Music with Rhiannon Giddens, has authored two children’s books, contributed music to the acclaimed video game Red Dead Redemption II, and appeared in Nashville and Country Music. Rhiannon was featured in Ken Burns’ 2019 PBS series, Country Music, where she spoke about the African American origins of country music, and performed on the soundtrack for Burns’ more recent series The American Revolution. In 2025, she launched the Biscuits & Banjos festival in Durham, North Carolina, celebrating Black culture and musical traditions. Her latest album with Justin Robinson, What Did the Blackbird Say to the Crow, was released in 2025. Susan Spafford, violin Susan Spafford is a member of the Richmond Symphony, Cayuga Chamber Orchestra, and Lancaster Festival Orchestra in Ohio. She has played regularly with the orchestras in Allentown and Harrisburg (PA), as well as Albany, Binghamton, and the Skaneateles Festival. Solo engagements include the Erie Chamber Orchestra and recitals at Mansfield University, Library of Congress, throughout the US and in South Korea. Spafford has been faculty guest artist for the String Institute at Ithaca College and presented hundreds of educational workshops throughout the country. She has been featured in the Philadelphia Orchestra’s Family Series and at Music Educators Association conferences. She is an adjudicator for NYSSMA, completed Suzuki teacher training courses, and graduated from the LAO Essentials of Orchestra Management course. Elizabeth Sutphen, soprano Praised by The New York Times as an “impressive coloratura soprano,” Syracuse native Elizabeth Sutphen has earned international acclaim for her brilliant technique, expressive 86

artistry and sparkling stage presence. Financial Times praised her ability to “soar deftly through stratospheric trills and arpeggios.” Elizabeth has appeared with leading opera companies in the US and Europe, including Glyndebourne Festival, Oper Frankfurt, Houston Grand Opera, Detroit Opera, Palm Beach Opera and Salzburger Landestheater. Notable roles include Sophie in Der Rosenkavalier, Zerbinetta in Ariadne auf Naxos, Atalante in Handel’s Xerxes, Valencienne in The Merry Widow, Gilda in Rigoletto and La Folie in Rameau’s Platée, a performance praised by Schmopera for its “impeccable comedic delivery.” Recent and upcoming engagements include appearances with The Glimmerglass Festival, Arizona Opera and the Metropolitan Opera. Equally at home in standard repertory and contemporary works, Elizabeth is recognized for combining technical brilliance with dramatic sensitivity, making her one of today’s most compelling lyric coloratura sopranos. She was the 2008 recipient of the Skaneateles Festival’s Robinson Award. Terra String Quartet Harriet Langley, violin; Amelia Dietrich, violin; Chih-Ta Chen, viola; Audrey Chen, cello Winner of the 2025 Naumburg Chamber Music Competition, the Terra String Quartet has quickly emerged as one of today’s most exciting young chamber ensembles. The New York City-based quartet also earned top honors at the 2025 Bordeauand Wigmore Hall international quartet competitions and previously received prizes at the Melbourne, Osaka and Fischoff chamber music competitions. Comprised of graduates of The Juilliard School, New England Conservatory, Harvard University and the Curtis Institute of Music, the quartet is recognized for its thoughtful musicianship, expressive storytelling and wide-ranging repertoire. The members are the 2024-26 Fellowship Ensemble-in-Residence at the Yale School of Music, where they coach undergraduate chamber ensembles, and recently served as Ernst Stiefel String Quartet-in-Residence at Caramoor Center for Music and the Arts, curating programs centered on Benjamin Britten’s string quartets and commissioning new works. The Quartet also participated in Project Music Heals Us’ Arts Leadership Ensemble. Madison Warren, horn Madison Warren is a freelance horn player based in Rochester, New York. She is a graduate of Oberlin Conservatory and the Eastman School of Music and regularly performs with several ensembles including the Rochester Philharmonic, the Buffalo Philharmonic, the Cayuga Chamber Orchestra, the Syracuse Orchestra, and the Binghamton Philharmonic, and she performs as principal horn with the Orchestra of the Southern Finger Lakes. Sonya Stith Williams, violin Sonya Stith Williams received her B.M. in violin performance and her M.M. in performance and literature from

Musician Profiles the Eastman School of Music, where her primary teachers were the esteemed teachers and performers, Zvi Zeitlin and Ilya Kaler. As part of her training, she also attended the Music Academy of the West, the Quartet Program, and the National Orchestral Institute, where she served as concertmaster. Sonya is assistant concertmaster of Symphoria and was a member of the Syracuse Symphony for ten years. In these organizations, she has been a member of both the second and first violin sections and has served as guest concertmaster. She has also performed with the Buffalo Philharmonic, the Binghamton Philharmonic as guest principal second violin, the Northeastern Pennsylvania Philharmonic, and the Rochester Chamber Orchestra. Aaron Wunsch, piano, co-artistic director Currently co-artistic director of the Skaneateles Festival with his wife, cellist Julia Bruskin, Aaron Wunsch enjoys a multifaceted career as an artist, presenter, and educator. Especially regarded for his chamber music performances, he has appeared at the Norfolk, Bowdoin, Sarasota, Great Lakes, and Yellow Barn chamber music festivals. Wunsch is a full-time faculty member at The Juilliard School, where

he teaches graduate studies, chamber music, music history, and keyboard studies, and directs Juilliard PianoScope, the Piano Department’s performance series. He teaches piano master classes and lectures at conservatories and universities in the US, Europe, and Asia. His awards for written work in musicology include the Henry Hart Rice and the Richard F. French prizes. Wunsch is also artistic director of the Music Mondays concert series in New York City. James Zabawa-Martinez, violin A native of Austin, Texas, violinist James Zabawa-Martinez has performed concerts and recitals throughout the US and Europe. Before joining the Rochester Philharmonic Orchestra in 2024, James was a member of the second violin section of the Kansas City Symphony and also served as a violin fellow at the New World Symphony for two seasons, where he performed frequently as concertmaster under the baton of Michael Tilson Thomas. James has performed with such orchestras as The Cleveland Orchestra, Minnesota Orchestra, Utah Symphony, and the Indianapolis Symphony Orchestra. James’ primary teachers include Sally O’Reilly, Brian Lewis, and Zoya Leybin.

Family time at the Festival. 87

Support for the Skaneateles Festival Donate for Music Today Donate today and support the 2026 season. Your gift will be recognized in next year’s program. o Platinum Guarantor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . $10,000+ o Gold Guarantor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $5,000 o Guarantor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $2,000 o Benefactor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $1,000 o Gold Patron. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $500 o Patron. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $200 o Contributor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $100 o Member. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $50

Online

www.SkanFest.org

Mail Skaneateles Festival 97 E. Genesee Street Skaneateles, NY 13152 Call

315-685-7418

Sponsorship for 2027 Sponsor a concert or musician for the 2027 season. Your gift of $1,500 or more can sponsor a musician or an entire concert in 2027. Your gift will be recognized in next year’s program and you will be invited to meet the musicians.

Endowment for the Future Your gift can provide beautiful music forever when you donate to the Festival Legacy Fund.

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

Our incredible student crew makes it all happen each Saturday!

Future-Focused Planning At the Skaneateles Festival your input is invaluable to us! Please take our audience survey and help guide the future of the Festival.

Concerts at the Pavilion: Carry In, Carry Out Policy

Host a musician Since the beginning of the Skaneateles Festival in 1980, Skaneateles community members have provided their homes as a place to stay for the performing musicians. This unique tradition continues today and many of the families in our community enjoy this experience and have hosted for many years. Each season new families step forward to share in this experience. We invite you to consider becoming an important part of this season by hosting musicians and sometimes their families. This is a rare opportunity that requires very little! The musicians will need a bedroom, breakfast, and not much else. In return, you and your family will get a special peek into the life of the performer, make a new friend, and if you are very lucky, get to hear their beautiful music in your home while they practice.

Learn more Skanfest.org/volunteer/

FAQs Tickets Tickets can be ordered at www.skanfest.org or by calling 315-685-7418.

Festival News & Updates Follow the Festival on social media and sign up for email updates.

Concerts Doors open 30 minutes prior to church concerts.

Photography and Cell Phones

Gates open at 6:00 pm for Pavilion concerts Please note: Anyela’s Vineyards has a NO SMOKING policy and no pets are allowed on the property with the exception of certified service dogs. Anyela’s offers a variety of wines, beers and snacks for purchase; visit www.anyelasvineyards.com to read about their wine selections. Outside alcohol is not permitted. To confirm the use of the Rain Location for Saturday Concerts: check skanfest.org or social media after 3:00 PM. Ticket Exchanges Ticket exchanges may be made up to 24 hours prior to concerts. Unused tickets returned less than 24 hours before the performance may be acknowledged as a contribution to the Skaneateles Festival

We would love for you to take lots of photos before and after the concerts and tag us on social media! Cameras and recording equipment may only be used with the permission of the Skaneateles Festival. Remember to silence all devices. Eating and Lodging in Skaneateles Skaneateles offers restaurants ranging from fish fry to gourmet French cuisine, and a variety of lodgings. Visit skanfest.org/tourism for more information. Please tell businesses listed in the program that you appreciate their support of the Skaneateles Festival. Skaneateles Festival 97 East Genesee Street Skaneateles, NY 13152 315-685-7418 • www.skanfest.org

SAVE THE DATE |

Saturday, December 12, 2026