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Hymn For Her

A local rock ’n’ roll family band recounts life on the road. PAGE 4

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Keeping one of Sarasota’s most beautiful landmarks in shape is no small task.

Meet the man, who for the last 35 years, has worked to preserve a piece of history.

NICK FRIEDMAN

Ringling by the Bay Wondering what to attend this week? Check out the top events in our calendar.

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R

on McCarty walks along the ornate balustrade sur-

rounding the Cà d’Zan’s bayfront terrace. His red hair and floral tie blow in the breeze as he crouches down to inspect the intricate Masonic designs.

To the layperson, these handcrafted balusters are just a small sampling of the mansion’s dizzying intricacies and sprawling beauty. To McCarty, it’s a

La Musica The third concert of the organization’s 30th season was a satisfying selection.

PAGE 10

scratch on the surface of an unceasing list of repairs.

SEE PAGE 2

Top: Ron McCarty has been Keeper of the Cà d’Zan for 35 years.

Above: Completed in 1926, the Cà d’Zan was home to extravagant parties.

Below: Ron McCarty’s personal favorite view of the mansion.

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THURSDAY, APRIL 14, 2016

FROM PAGE 1

“These will need to be redone soon,” he says, pointing to a few small fractures. “The humidity gets into all the little cracks and pulls them apart.”

As Keeper of the Cà d’Zan (at the top of the list of enviable job titles), McCarty has spent the last 35 years maintaining the structural — and historical — integrity of the 36,000-square-foot, fivestory historic mansion and former winter residence of John and Mable Ringling.

“When I walk around the grounds,” he says, “I almost don’t see the beauty of the big picture.

I see a never-ending list of what needs to be done. This is Sarasota’s most beautiful and elegant structure, but it’s located in the harshest environment, just feet from the bayfront. There’s always something.”

LAVISH BEGINNINGS

The Cà d’Zan — or House of John, in the Venetian dialect of the culture that inspired its architecture — was built in 1926 as the winter residence of circus icons John and Mable Ringling.

The mansion represented the couple’s vision for Sarasota as a burgeoning tourist destination.

The project was Mable’s baby — she brought inspiration from her European travels to architect Dwight James Baum and builder Owen Burns and was heavily involved in the construction and furnishing.

After its completion, the $20.9 million estate (by today’s standards) was home to lavish Prohibition-era parties and concerts, entertaining celebrities and dignitaries alike.

When John Ringling died in

1936, he left the house to the state of Florida, but due to legal battles and a lack of funds, the estate sat neglected and closed for more than a decade. It reopened in 1946, but by the mid ’90s, the mansion had fallen into a state of extreme disrepair. The condition was so poor that director Mike Newell chose it to film scenes for his 1996 film adaptation of Charles Dickens’ “Great Expectations” — specifically for its dilapidated appearance.

A SPECIAL PLACE

In 1980, McCarty was working in The Ringling’s curatorial department as collections manager, when he was asked if he would be interested in taking over the restorations of the mansion.

He didn’t hesitate. He’d gained valuable restoration experience in his previous job at the NelsonAtkins Museum of Art in Kansas City, Mo., and as a painter and artist himself, he had an indepth understanding of many of the materials. Not to mention, the building is also dear to his heart.

“This mansion is special to me,” he says. “The architecture is amazing; the vivid colors and glazed tiles are beautiful, and

Photo by Nick Friedman

Ron McCarty shows off the original architectural rendering of the Cà d’Zan.

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the setting is serene. It all fell into place — I was happy to help restore a piece of history.”

Starting in 1996, the mansion closed to undergo an extensive, three-phase restoration that included matching the interior paint, installing a new roof, restoring original furniture and replacing most of the marble, rails and balusters on the terrace, as well as the exterior terra cotta and glazed tiles. Six years and $15 million later, the mansion was restored to its former glory.

Now, 20 years later, McCarty says the historic landmark is due for additional upgrades. He’s inside now, on the second floor, surveying one of the bedrooms.

“There’s always something that needs to be done,” he says, running his hand over an almost unnoticeable bubble beginning to form in the paint of one wall.

“This room is ready for a new roof.

We’ve re-done this wall probably 20 times in the last 10 years.”

At times, the job is an overwhelming one. Maintaining the mansion’s delicate artistry in the face of the elements is an uphill battle — a constant fight against the forces of nature. With an annual budget ranging from $150,000 to $250,000, McCarty’s task is to prioritize the maintenance needs, search for grant opportunities and organize the logistics of any repairs. Structural needs come first, but even seemingly superficial damages can quickly become unmanageable.

Moisture seeps into every crack in the house, bubbling paint, eroding the grout around the terrace marble, splitting balusters, pulling apart window casements and destroying McCarty’s prized feature — the exterior terra cotta.

“It’s absolutely my favorite

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THURSDAY, APRIL 14, 2016

3

Photos by Nick Friedman

If not maintained, window casements will peel away until panes fall completely out.

part about the house,” he says.

“It almost has to be. It’s so beautiful, but it’s extremely delicate and requires constant care. If it wasn’t my favorite, I’d be banging my head against the floor.”

ALMOST FAMILY

With three decades at the helm, McCarty knows the mansion as well as anyone. Touring the house, he effortlessly rattles off facts about its every detail — from the origins of the two-story pipe organ to where John stashed his booze in case of a raid. He’s become an authority on the mansion.

He’s not the only one drawn to its beauty; several movies have been filmed onsite, as well as multiple PBS specials.

“They even asked me to portray John Ringling in one of the specials,” he says with a laugh. “You can see me walking down from

the balcony, mourning Mable. It was an honor. After spending so much time here, you almost start to feel like family.”

McCarty says the next budget will come through in July, and his next project will be to oversee the meticulous replacement of the windows in the solarium.

The balusters will also soon need repair and glazing, and he’s seeking grant money for a new roof. To him, the effort is well worth it.

“I love keeping it beautiful,” he says. “The story of John and Mable is so fascinating, and the Cà d’Zan, to me, represents the beauty of Sarasota and their impact on the community. It’s a symbol of elegance and a reflection of the family who built it.

They loved this house — Mable especially — and restoring it to their vision is my way of paying tribute.”

The mansion’s original glazed tile work, shown here, features more detailed, vibrant glaze.

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THURSDAY, APRIL 14, 2016

For local rock duo Hymn For Her, home is wherever they park their Airstream.

MARTY FUGATE STAFF WRITER

H

ymn for Her is the name of a psychedelic, bluegrass rock ’n’ roll duo. But it’s really a rock ’n’ roll family — namely Lucy Tight, Wayne Waxing and their 9-year-old daughter, Diver.

For five months of the year, they live in a funky shotgun shack somewhere in downtown Sarasota. When the family’s on tour, they take their home with them in the form of a flying saucer-like, gleaming, metallic 1961 Bambi Airstream trailer.

Right now, they’re in the home without wheels. I knock. Wayne and Lucy let me in — and instantly make me feel right at home.

Inside, the place is bursting with the instruments and evidence of creativity. The front porch/recording studio is a tightly packed tangle of wires, amps, keyboards and guitars.

The living room has its own share of keyboards and a violin — both

of which Diver is mastering. The living room, or “inspiration corner,” boasts an old-school turntable and a collection of vinyl LPs ranging from Bob Dylan to Frank Sinatra. Wayne smiles as I read off the band names. “Yeah, it’s an eclectic mix,” he says. “We’ve got everything from Abba to ZZ Top.” Lucy and Wayne are true believers in the superiority of vinyl recordings. Of course, when they hit the road, the turntable stays home. iPods and the radio will just have to do.

I picture them on one of their journeys — a vivid glimpse of their trailer in my mind’s eye. But why not see it for real?

They take me out back to check out their chariot. The Airstream trailer gleams in the sunlight.

The workhorse that pulls it is right beside it — a 10-cylinder Ford van. Right now, they’ve put 460,000 hard miles on it. To put that in perspective: the distance to the moon is 230,100 miles. So, they’ve made it to the moon and back.

“I think we’re due for an oil

change,” says Wayne, with a laugh.

That happens to be the basis of their latest Kickstarter campaign.

(Which ends May 3.) A basic oil change goes for $49.99. Anything beyond that goes to their next album: “Drive Til U Die.” “It’s our fourth album,” says Wayne. “We’ve put out about 20 grand on the record so far.”

“Our rock ’n’ roll road show isn’t cheap,” says Lucy.

So who takes the wheel of their rolling review?

Usually Wayne — maybe 75% of the time. Lucy generally gets the late shift. And they both take the responsibility very seriously. The consensus? Four hours of continuous driving is ideal. They try not to drive more than six, though they will if they have to. But only if the driver is well-rested, bright eyed and bushy tailed.

Driving aside, is it lonely away from home?

“Never,” says Wayne. “That’s the good thing about doing this together.”

And, for these rock ’n’ roll

gypsies, “home” is where you park the Airstream. The couple considers themselves “sortof” Sarasotans who were born in Philadelphia and left their hearts in Maine. Their network of friends is nationwide, consisting of musicians and music-lovers in Michigan, Wisconsin, Philadelphia, Pennsylvania, upstate New York, Arizona, Nashville, New Mexico and points in-between.

“We have a long list of trusted nannies across the country,” says Lucy. “Our support system is in place.”

So how does Diver acclimate to life on the road?

“Well, actually that’s normal for her,” says Wayne. “Being off the road is what she has to acclimate to.”

Lucy compares their child to a second-generation astronaut.

“If you grow up in space, you don’t have to get used to it,” she says. “If you grow up on the road, the same applies.”

She adds that the adaptable Diver often falls asleep in the bass drum case.

Photo by Jeff Fusco

IF YOU GO HYMN FOR HER When: Friday, April 15, 7:30 to 9:30 p.m.

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For band information and a link to their Kickstarter project, visit hymnforher. com.

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“That’s like her crib,” she says.

“She’s been sleeping in an instrument case since she was born. She started out in a violin case, moved up to a guitar case and finally graduated to the bass drum size.”

Diver’s latest accommodations: a miniature circus tent from IKEA, which they set up on stage.

According to Wayne, “The audience will be watching us, then someone will notice two little feet sticking out and kicking in time to the song.”

What does Diver do in the long miles?

“She’s an obsessive reader,” says Lucy. “We tracked our last tour by how far along she was in the Harry Potter series. We read the books together and finished a couple of months after we got back.”

“I think Diver might be a writer when she grows up,” adds Wayne.

“I know she’ll have plenty of material.”

Indeed. The family’s stories of life on the road are legion. (For bad luck tales, ask about “The Saga of the Exploding Porta Potty.”) But Wayne has a good-luck story. It

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THURSDAY, APRIL 14, 2016

5

was a Tuesday night in Minnesota, and the duo found themselves playing to a dead venue — maybe three people. So they decided to have some fun with it, digging deep into their repertoire.

“It turns out that one of the three people was a record-label producer from Paris,” says Waxing. “Long story short, we’re now on the NATO label in Paris.”

But here in America, they’re independent touring road warriors. Wayne and Lucy handle all the production and promotion expenses of making their own CDs and vinyl albums. Bottom line? They’re in it for the music, not the money.

“We play because we love to play,” says Lucy. “That’s the only good reason to do it. If you want to be rich, don’t play rock ’n’ roll. Be a college football coach, instead.”

Chances are, Diver isn’t taking that path. As to writing, she’ll probably do it on the side.

“Diver’s getting pretty good on the violin,” Lucy says proudly.

“She’ll be playing with us on our next tour.”

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THURSDAY, APRIL 14, 2016

DANCE CRITIC

Sir Frederick Ashton’s “Engima Variations” and George Balanchine’s “Stars and Stripes” could not be more different ballets, yet the commonality between the two lies within the patriotism of the pieces.

“Enigma Variations” is very English with its 19th century sets and costumes and music by one of England’s most celebrated classic composers, Edward Elgar.

“Stars and Stripes” is all-American with sets and costumes in red, white and blue, celebrating the U.S.A.’s armed forces with pieces set to John Philip Sousa’s marches. The music of both really was the driving force behind the Sarasota Ballet’s latest show, so it was integral to have Ormsby Wilkins at the helm conducting the Sarasota Orchestra.

The Sarasota Ballet is the first company outside of The Royal Ballet and Birmingham Royal Ballet to perform Ashton’s “Enigma Variations (My Friends Pictured Within),” a ballet based on composer Elgar’s path to fame and the friends that surrounded him during that period.

The piece is composed of 13 variations, and the dancers did an excellent job playing the different characters. The elaborate costumes and sets were stunning, complete with a winding staircase the dancers bounded up and down throughout.

David Tlaiye was a stately and stoic Elgar and the mainstay of the piece. The role of The Lady Elgar suited Amy Wood perfectly; she danced it with elegance and grace. Ricki Bertoni added his signature gait to the eccentric character of Richard Baxter

Sarasota Ballet shows patriotic pride

Photo by Frank Atura

Townsend. Juan Gil leapt down the staircase to dance the role of William Meath Baker, which included multiple cabrioles, fouetté chugs and sharp slides across the stage.

Alex Harrison was flawless as Arthur Troyte Griffith, performing fast-paced jumps with sharp changing arms and an échappé pirouette sequence.

Logan Learned was playful and fun as George Robertson Sinclair performing flips over his cane.

And Danielle Brown was ethereal as the vision of Lady Mary Lygon with a chiffon cape that swirled around her, almost giving the illusion of wings.

Balanchine’s “Stars and Stripes” has five campaigns, including three regiments, a pas de deux with variations and coda and a finale with the entire cast.

tell he was having fun. He was also a strong partner to Victoria Hulland, who danced the role of Liberty Bell in their pas de deux.

Rhodes’ variation was spot-on where he soared in the air with cabrioles and three double-knee saut de basques. Hulland pulled off some technically difficult steps in her variation.

Elizabeth Sykes led the first regiment of sassy Corcoran Cadets with her baton through a series of tricky formations and kick lines. Kristianne Kleine led the rifle regiment where they performed multiple emboîtés and can-can kicks where they tapped the tips of their toes. The ballet ends with great fanfare in the finale with the entire cast of all the regiments performing a kick line while the American Flag rises on the backdrop.

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Shine On Shine On

Sorry ladies, the men were the absolute standouts of this show.

Logan Learned was the commander of the Thunder and Gladiator all-male regiment and he commanded the stage, performing multiple tricks, like three consecutive double tour en l’air into a split and sticking them with a perfect fifth position landing. The men impressed the audience with a giant grand jeté manèges around Learned while he turned in the center. Then the troops performed a series of double tour en l’air interspersed with marching all in unison that ended with a salute.

Ricardo Rhodes carried the fourth campaign as El Capitan.

His performance was strong, clean and executed with great musicality. His smile radiated from the stage, and you could

The Sarasota Ballet in George Balanchine’s “Stars and Stripes.”

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FRIDAY

suspected improper relations of Father Flynn with a young, male student. Runs through April 24.

APRIL MACIE 7 and 9:30 p.m. at McCurdy’s Comedy Theatre, 1923 Ringling Blvd. $15 to $19 Call 925-3869.

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Where: Sweetgrass Farms, 8350 Carolina St. Tickets: $115 Info: Call 350-3596.

‘PIPPIN’ 7 p.m. at the Sarasota Visual and Performing Arts Center, 3201 N. Orange Ave. $10 or $5 for students Call 355-2967.

Join Chef Paul Mattison as he serves up a five-course farm-tofork wine dinner in collaboration with Sweetgrass Farms to benefit Caring for Children Charities.

The meal will be matched with wines from Landmark Vineyards and Justin Winery.

Based in the Middle Ages, this play by Booker VPA tells the story of Pippin, a young prince searching for his own significance. Runs through April 16.

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SATURDAY

Arts Center, 1 Indian Ave., Venice $35 Call 480-3191.

WORLD CIRCUS DAY OPEN HOUSE 11 a.m. to 4 p.m. at Showfolks of Sarasota, 5204 N. Lockwood Ridge Road Free Call 812-9297.

This concert features the Ariel Quartet, known for its soulful performances.

‘SNOW QUEEN’ 6 p.m. at the Sarasota Opera House, 61 N. Pineapple Ave. $17 to $37 Call 328-1300.

In celebration of World Circus Day, visit the 50-year-old Showfolks of Sarasota club.

14TH ANNUAL SARASOTA ART AND CRAFT FESTIVAL 10 a.m. to 5 p.m. at Five Points Park, N. Pineapple Ave. Free Call 746-6615.

The Sarasota School of Russian Ballet debuts the first original ballet created for the students and guest artists.

This two-day event showcases crafts, functional art, pottery, clothing, stained glass and more.

4TH ANNUAL SWEETWATER 420 FEST 1 p.m. at World of Beer, 8217 Tourist Center Drive Free Call 306-5868.

Enjoy Sweetwater beer specials and live music, featuring The I.P.A. Band and SowFlo. ‘FACES OF CHANGE’ 2 p.m. at the Asolo Repertory Theatre, 525 Kumquat Court Free; reservation required Call 351-8000.

This annual project portrays important events and people in American history. Runs through April 18.

PERLMAN MUSIC PROGRAM ALUMNI: IN CONCERT 3 p.m. at the Venice Performing

NATIONAL COMPETITION FOR VOICE 7:30 p.m. at the Beatrice Friedman Symphony Center, 709 N. Tamiami Trail Free; ticket required Call 306-1202 or visit artistseriesconcerts.org.

Twelve young singers from around the country will compete for recognition and thousands of dollars in prize money.

THURSDAY, APRIL 14, 2016

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SUNDAY O SOM DO JAZZ 1 p.m. at Selby Gardens, 900 S. Palm Ave. Free for members; $10 for member guests; $19 for adults; $6 for kids Call 366-5731.

Part of the Garden Music Series, this St. Petersburg-based jazz band features singer Andrew Moraes Manson along with experienced Brazilian jazz musicians.

THE MUSIC OF HARRY JAMES 7:30 p.m. at the Riverview Performing Arts Center, 1 Ram Way $20 for Jazz Club members, or $25 for guests Call 366-1552.

Celebrate the centennial of Harry James’ birth with The Nate Najar Trio and trumpeter James Suggs for an evening of jazz.

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MONDAY

NICK’S PICK RINGLING BY THE BAY 5 to 8 p.m. at The Ringling, 5401 Bay Shore Road $10; free for members Call 358-3180.

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TUESDAY

WEDNESDAY

‘MAMMA MIA!’ 8 p.m. at the Van Wezel Performing Arts Hall, 777 N. Tamiami Trail $50 to $75 Call 953-3368.

‘DRIVING MISS DAISY’ 8 p.m. at the West Coast Black Theatre, 1646 10th Way $36, or $22 for students and active military with valid ID Call 366-1505.

This renowned musical tells the story of Sophie, who uncovers family secrets on the eve of her wedding. Runs through April 20.

See the classic story that follows the evolving relationship between a stern Jewish widow and an African-American chauffeur. This timeless tale, directed by Howard Millman, runs through May 28.

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ON THE FLIP SIDE: A+E <Keeper of Cà d’Zan. Meet the man behind the mansion’s preservation.

Paws on the Catwalk Humane Society struts its stuff at fashionable fundraiser. 6

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Children First hosted its 16th annual Fairytale Ball Saturday, April 9

HEATHER MERRIMAN SABA BLACK TIE EDITOR

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ea of

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THURSDAY, APRIL 14, 2016

Alexandra Jupin and John Beam

Dreams” was the theme

of this year’s Fairytale Ball. Imagine chandeliers resembling bubbles and jellyfish, water effects and

David and Robin Shapiro

sea-life gobos, coral-inspired centerpieces — this and more transformed the Michael’s On East ballroom into underwater elegance. The ambiance must have

Alan and Leslie Jones

set the mood for generosity: Guests in attendance gave more than $100,000 in the paddle raise alone, and Photos by Heather Merriman Saba

Above: Nearly 350 guests attended Children First’s Fairytale Ball ‘Sea of Dreams.’

Right: Renee Phinney

the total raised looks like it may be a record as of press time.

Kristy and Tom Cail

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THURSDAY, APRIL 14, 2016

Honor & Celebrate Wednesday, April 6, at Ringling College of Art and Design Benefiting Ringling College

Sarasota Ballet dancers from the past 25 years gathered for a reunion to celebrate the companyâ&#x20AC;&#x2122;s 25th anniversary season.

25th Anniversary Dancer Reunion Photos by Heather Merriman Saba

Above: Dr. Larry Thompson, who was honored at the event, with wife, Pat Left: Steve Dixon and Peggy Allen Below: Joseph and Nancy Jacobson with Jerry and Marilyn Soble

Saturday, April 9 at Boathouse at Hyatt Sarasota Benefitting Sarasota Ballet Far Left: Merris Pope, Jamie Carter and Tracey Tucci Left: Sasha Yapparov and former Artistic Director Eddy Toussaint

Photos by Dex Honea

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Up Next...

HEATHER MERRIMAN SABA

Where will we be seeing you next? Here’s a list of events we have on our calendar.

Honoring Dr. Larry R. Thompson a cocktail hour — just like any other event — but to everyone’s surprise (even Dr. Larry Thompson’s), board chairwoman Cheryl Loeffler led everyone to join at the entrance of the center for a dedication — naming it the Dr. Larry R. Thompson Academic Center.

WEDNESDAY, APRIL 13 BLUE TIES AND BUTTERFLIES Benefiting: Child Protection Center When: 6 p.m.

Where: Michael’s On East Tickets: $175 Info: Call 365-1277

Photos by Heather Merriman Saba

#takemehome | Will McComb and Shane Powell

SATURDAY, APRIL 16

Haute Dogs ...

This year’s Paws on the Catwalk brought in a record-breaking number of men — for those who attend this event, you know that women tend to outnumber the men.

But this year, there were more men volunteers and guests than ever before.

This year’s event roped in the most ever “Hot Guys” (No, seriously. That’s what they’re called ...) who helped sell the raffle bracelets and hand out selfie sticks so guests could capture moments with the puppies at the puppy station. There were eight pups, many of which were rescued from a puppy mill/hoarding situation.

TIE

What appeared to be a low-key event last Wednesday evening turned into one of the most important events of the year. Honor and Celebrate hosted nearly 400 guests on the grounds of the Ringling College of Art and Design Academic Center. Live music ensued as guests enjoyed

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THURSDAY, APRIL 14, 2016

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Season Celebration on Stage decór, designed by Laura Stuart Wood.

Setting the stage Photo by Cliff Roles

The Dr. Larry R. Thompson Academic Center was unveiled Wednesday, April 6.

Havvvvvve you met Ted? BT ran into Josh Radnor (seen here with Jennifer Lafleur) at Sarasota Film Festival’s Cinema Politicale Friday night. You might know him from, you know, that one show ... “How I Met Your Mother.”

Laura Stuart Wood did it again with this year’s Season Celebration on Stage. Her creative vision transformed the stage at Asolo Rep into a stunning rain garden of sorts. Using the “Ah, Wilderness!” leaf backdrop, Stuart added umbrellas hanging from the stage ceiling, poms on the chair backs and gorgeous arrangements created by Becky Creighton — setting the stage for a fantastic event to kickoff Asolo Rep’s 2016-2017 Season.

STARRY NIGHT DINNER 3, HIGHLIGHTING ‘JOSEPHINE’ Benefiting: Asolo Repertory Theatre When: 6:30 p.m.

Where: The home of Jeff and Nikki Sedacca Tickets: $250 Info: Call 351-9010, Ext. 4702

MONDAY, APRIL 18 COMMUNITY VIDEO ARCHIVES HALL OF FAME INDUCTION LUNCHEON Benefiting: Community Video Archives When: 11:30 a.m.

Where: Michael’s On East Tickets: $90 Info: Call 365-7052

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THURSDAY, APRIL 14, 2016

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THURSDAY, APRIL 14, 2016

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Left: Sonja Viklund, Michelle Perrone and Michele Burnett Far Left: Sara Ferguson and Ashley Guttridge with Buttercup

10th annual Paws on the Catwalk Thursday, April 7 at, The Ritz-Carlton, Sarasota Benefiting The Humane Society of Sarasota County Left: Deva O'Donnell, Ashley Ryan and Jennifer Miller with Bubbles the puppy.

Below: For a $75 donation, guests could purchase a light-up bracelet and be entered in a raffle to win prizes.

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YourObserver.com

30 years in the making

REVIEWS

La Musica celebrates anniversary with satisfying afternoon.

JUNE LEBELL STAFF WRITER

Cecilia Ziano

Courtesy

La Musica’s third program of its 30th anniversary season at the Sarasota Opera House Sunday was one of the most satisfying afternoons of chamber music we’ve heard on this series in a long time. There was only one small problem: in two of the three pieces, the musicians weren’t well matched.

For example, in the opening Kodaly Duo for Violin and Cello, the cellist, JeongHyuon Lee, had a big, warm resonant sound, while the violinist, Claudio Cruz, had a sweet but comparatively small and introspective way of playing. And in the closing Brahms Piano Quartet in A, the pianist, Derek Han, and the violinist, Cecilia Ziano, each played with full, muscular tones, while violist, Bruno Giuranna, and cellist, Antonio Meneses, were both more reticent and delicate.

Mismatched, but not enough to spoil the overall musicality of the concert.

It’s interesting to think of a new work as the lynchpin of a concert featuring older, wellknown masters like Kodaly and Brahms, but Jerry Bilik, a name known well in Sarasota (we just heard one of his pieces played by the Sarasota Orchestra), has a hit on his hands with his Quintet for Piano and Strings.

Played by violinist Federico Agostini, violist Giuranna, cellist

Jerry Bilik, a name well known in Sarasota, has a hit on his hands with his Quintet for Piano and Strings — June LeBell

Lee and bassist Scott Faulkner, it made a great first impression and, despite a few kinks that need to be worked out in the opening movement that seemed a bit disjointed and unsettled, the other three movements were inspired gems.

The second movement, marked Canzone, was stunningly romantic with colorful melodies and harmonic twists that were very 21st century concepts. The charming Minuetto was, like its tempo marking, dancelike and graceful. And the final Rondo, opening with a descending two-plus octave scale, was fun in its alternating three and four pattern, giving us measures of 11 beats like a big, slightly tipsy circle dance.

The grand ending was a sudden denouement bursting into “Happy Birthday,” a fitting finale for a work written for La Musica’s 30th anniversary season. (Bilik purposely called it his Opus 30.) It was such fun and so right, we can’t help but hope that future performances (of which there should be many), will call it “La Musica Piano Quintet,” an homage through

this well-earned title.

Back to the opening Kodaly.

The Hungarian composer’s Opus 7 is filled with folk-like melodies and rhythms, but it’s also very impressionistic and colorful. As we said, Cruz and Lee were somewhat mismatched, with Lee painting sounds from an abundantly colorful palette, while Cruz was more muted and mellow in his moods. Still, it was an exciting reading that reminded us why we like this work so much. It’s also fun to hear other voices within the young Kodaly’s grasp, including allusions in the finale to Vaughan Williams’ “The Lark Ascending.” Who knows who influenced whom, since both pieces were written in the same year but went unplayed for a while after. But Kodaly’s passage is definitely a Hungarian bird without a trace of Britain anywhere near its feathers.

The Brahms, an old and dear friend, was well played except for the aforementioned mismatch among the performers and a few problems with intonation in the Finale. Interestingly, it also brought strains of musical influences but here, they were all Brahmsian. The A Major Piano Quartet, Brahms’ Opus 26, is an early work but, if you listen carefully, you hear themes of great symphonies to come, especially the First and the Fourth. They’re dim but they’re there. And it was fun hearing them in their formative stages.

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