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Find rhythm, harmony

and melody every Friday.

Enjoy a smash hit with Take5.

We’re proud to support local perorming arts. And we’re proud to be Asheville’sfrst choice or local entertainment news with more than 110,000 readers each week.

Look to Take5 or inormation about area music, opera, dance, theatre, dining,estivals, movies and more.

Join our audience o thousands — read Take5 in the Asheville Citizen-Timesevery Friday and online 24-hours a day at CITIZEN-TIMES.com.

Source: 2007 SRBI Asheville Market Study

2 Brevard Music Center 2 Brevard Music Center Electronic Version by CJ Pletzke

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800 388 9695 or 585 274 1060

[email protected]

www.esm.rochester.edu.

Inside Overture

2009 Summer Institute and Festival 3 2009 Summer Institute and Festival 3

Information and Patron Services ............................. 4

Dining and Concessions ........................................... 5

Letter from the President .......................................... 7

Brevard Music Center Staff ...................................... 8Letter from Keith Lockhart ........................................ 9

About Keith Lockhart .............................................. 11

Season at a Glance................................................ 12

Why We Are Here .................................................... 13

Faculty Perspective ................................................ 15

2009 Student Roster ................................................ 17

Student Facts ........................................................... 21

Brevard Music Center Ensembles ......................... 23

Brevard Music Center Orchestra ....................... 24

Brevard Sinfonia .................................................. 25

Transylvania Symphony Orchestra .................... 27

Transylvania Symphonic Band ........................... 27

Distinguished Alumni Award .................................. 30

Gina Bachauer Artistic Chair ................................. 31

Janiec Opera Company ....................................... 32

Opera Faculty and Staff ........................................ 33

Distinguished Service Award .................................. 34

Campus Facts.......................................................... 36

Letter from the Chairman ...................................... 40

In Memoriam ........................................................... 41

Named Concerts & Sponsorship Opportunities... 42

Funding Needs ........................................................ 452009 Faculty Artists .................................................. 48

Consider a Planned Gift to Brevard ...................... 60

The Encore Planned Giving Society ...................... 63

Brevard Music Center Association ........................ 65

Friends of Brevard Music Center Association....... 66

Brevard Music Center Association Volunteers ..... 67

Prelude Auction Donors and Sponsors ................. 69

Lifetime Giving Society ........................................... 70

Brevard Music Center 2009 Season Calendar ..... 71

Contributors to the Brevard Music Center ........... 72

Brevard Music Center Raffle .................................. 77

Gifts Made in Honor and Memory ........................ 78

Brevard Music Center Endowment ....................... 81

National Federation ofMusic Clubs Southeast Region ............................ 85

Concert Sponsors of the 2009 Season .................. 87

Advertisers Index ..................................................... 88

Media Sponsors of the 2009 Season ..................... 89

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Information and Patron Services

BOX OFFICEJune 26 – August 9Monday – Wednesday:

10 am to 5 pm or through intermission

Thursday – Saturday: 10 am through intermissionSunday: noon through intermissionPhone: (828) 862-2105; toll-free (888) 384-8682Email: [email protected]: brevardmusic.org

LATE ARRIVALS & SEATINGLatecomers will be asked to wait until an appropriatebreak in the performance before being seated.

PHOTOGRAPHY & RECORDINGPhotography and the use of recording devices arestrictly prohibited in all concert venues.

RESTROOMSRestrooms are located in the lobby of Whittington-Pfohl Auditorium and the adjacent building behind theconcession kiosks.

TELEPHONESPlease turn o all cell phones, pagers and alarmwatches during performances.

CHILDRENChildren are welcome at concerts if they sit quietlythrough the performance. All patrons, includingchildren, must have a ticket to attend, even for lawn

seating.LAWN ETIQUTTEWe welcome our patrons to enjoy a picnic and listento the concert from the lawn. Please rememberthat noise and excessive movement during theperformance can be distracting to the performers andthe other listeners.

PETSPets are not permitted at BMC concerts.

SMOKINGSmoking is strictly prohibited in all BMC buildings;smoking is also prohibited on the adjacent outdoorlawn seating area during all performances.

CONCESSIONSPlease enjoy your refreshments outside of the concertvenue. No food or drink, except bottled water, isallowed in any performance facility.

Audition Dates

for Fall 2010

December 5

January 29 & 31February 12 & 13

Admissions | The Hartt School | University of Hartford | 200 Bloomfield Avenue | West Hartford, CT 06117

860.768.4465 | 860.768.5923 (fax) | [email protected]/hartt

Undergraduate programs in performance, music education,jazz studies, composition, music production and technology,music and performing arts management, music theory,music history, music theatre, actor training, and dance

Graduate programs in performance, music education,composition, music theory, music history, Suzukipedagogy, and conducting

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Dining and Concessions

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On CampusPicnics, Presto!

Have a spur-of-the-moment picnic at the MusicCenter through Picnics, Presto! Choose from

a selection of picnic packages from Brevard’sown Poppies Market. Select a simple fruit andcheese package or choose a more completemeal with sandwiches, sides, and desserts.Picnics, Presto! will be available at orchestra andopera performances held at Whittington-PfohlAuditorium. You may pre-order online or visit thePicnics, Presto! kiosk at the Auditorium up to 2hours prior to the performance. Call (828) 862-

2123 for more information or visit our ticketingsite at brevardmusic.org to see picnic choicesonline and place an order.

Fanfare Carts

Located around the Whittington-PfohlAuditorium, carts provide gourmet snacks and aselection of beer, wine and soda.

Kiwi Gelato

Delicious desserts, including Cappuccino LatteGelato and Mango Sorbetto, are oered as a

refreshing nish to your Music Center experience.

Quotations Coee Café

Providing gourmet and specialty coees and lightdesserts before the concert andduring intermission.

O CampusThe following local restaurants support the

Brevard Music Center:

Ed Boudreaux’s: .....................................(828) 883-5598

Hobnob: ................................................. (828) 966-4662

Jordan Street Cafe: ................................ (828) 883-2558

Marco Trattoria: ..................................... (828) 883-4841

Poppies Market: .....................................(828) 885-5494

Quotations: ............................................ (828) 883-8966

Rocky’s Soda Shop & Grill: .....................(828) 877-5375

Sora Japanese Restaurant: ................... (828) 883-9809

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Extraordinary opportunities for exceptional students

Bienen School of Music NorthwesterN UNiversity

www.music.northwestern.edu 847 / 491-3141


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Letter from the President

In the autumn 2002 newsletter of our Brevard MusicCenter Association, I wrote, “We entered our 66thseason with some anxiety and concerns about our

ability to have a good year in the psychological wakeof 9/11, a weak national economy, a budget crisis inNorth Carolina and the unfavorable local economicsituation. Large unknowns included studentrecruitment, ticket sales, and fundraising in general.”As Yogi Berra said, “It’s déjà vu all over again.”

As we prepared for our 73rd season last fall, wewere well aware that 2009 would not be a business-as-usual year. We budgeted prudently, focusingour resources on achieving our mission of teachinggifted young musicians to prepare and perform

great musical works at a high artistic level - andwe will provide our students with yet anothersummer of unparalleled opportunity. They willstudy and rehearse and perform with our faculty of

gifted professionals. They will make life-changingdecisions about their future. They will experienceboth musical and personal growth. They will begin

lifetime friendships.

Giving our students this opportunity is worthy of thebest that we all have to give. These bright youngachievers are our future.

Thank you one and all for attending our concerts andso enthusiastically supporting our programs. You area key part of our success. Enjoy a wonderful seasonwith us.

John Candler, President and CEO

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Brevard Music Center Staff

John CandlerPresident

Keith LockhartArtistic Advisor and Principal Conductor

Instruction and PerformanceBruce Murray Artistic Administrator & DeanJason Posnock Associate Artistic AdministratorDorothy Knowles Admissions CoordinatorSean Manning System AdministratorMichael Schweppe Supervisor of Recording*Tom Stevens Orchestra Manager*Rachel Bellairs Head Librarian*Cassie Walck Assistant Librarian*

Lee Walck Assistant Librarian*Graham Anderson Piano Technician*Harry Weinhofer Manager, Guest Artist Services*Carter Stevens Instruction & Performance Intern*

Operations and Finance Claudia Hawkins Chief Financial and Administrative OcerFrank McConnell Director of OperationsBarry Williams Physical Plant SuperintendentEric Johnson Maintenance/GroundsNathan Kawa Maintenance/GroundsWilliam Selle Parking Supervisor*

Lora Shumate Housekeeping Manager*Ken Ge Housekeeping*Sarah Warren Concessions Manager*Elliot Sweat Head Grounds Crew*Ben Hawkins Grounds Crew*Kellin Vellenoweth Grounds Crew*

Oce Services StaAnn Wilkinson Oce Services SupervisorJennie Glesener Oce Services AssociatePenny Mann Oce Services AssociateNastassja Riley Oce Services Assistant*

Development and MarketingDavid Huskins Director of DevelopmentSarah Wallace Development OcerHelene Herbert Development Intern*Virginia Carter Marketing Ocer & Box Oce SupervisorKristine Fink McCreery Communications OcerKelly Jones Marketing Intern*Emily Gertsch Box Oce Manager*Zack Germain Box Oce Assistant Manager*Wallace Easter Box Oce Associate*Sarah Ann Huskey Box Oce Associate*

Student LifeJason Kistler Dean of Students*Wil Hansen Assistant Dean*Matthew Lawing Assistant Dean*Sarah Lawing Assistant Dean*

*denotes summer sta

OVERTURE 2009

Editor Kristine Fink McCreeAdvertising Virginia CarterCreative Design Sage Design HousePhotograph Credits John Allen

Adrianne BonafedePeter ChechiaMichael LutchTom NebbiaStu Rosner


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Dear Friends:

Welcome to the Brevard Music Center’s 2009 season! Here, in theinspirational setting of the western Carolina mountains, the air willbe alive for more than six weeks with great music – great orchestralstandards, intimate chamber music readings, spectacular operaproductions, and exciting new music initiatives.

Brevard’s primary focus is education and, as such, serves as a mecca forextraordinarily talented high school and college-aged musicians fromaround the world. Here, they are exposed to faculty performers, guestartists, and conductors of the highest international standard – learningfrom them, and from each other, directly and by observation of thethrilling process of creating art. As an alumnus of this institution, I cantestify personally to the profound impact this place can have on a young

musician. Life decisions are made here. Revelations occur on a dailybasis. Fuller understanding of the world of music and one’s place in it isgained. And great art is born.

The performance you have come to see is a product of the work thatgoes on in Brevard, individually and collectively, on a daily basis. I hopethe experience will leave you inspired and fullled. I would also like toinvite you to dig deeper into the rhythms of this place. Music rings outalmost constantly here, and often a simple student recital or facultymasterclass can be as extraordinary an experience for the listener as thegrandest orchestral spectacular.

The world needs more Brevards…places where the search for beautyand harmony is of primary importance, and where the “why?” ofexistence is given equal weight to the more commonly asked questionsof “when?” and “how much?” We, in turn, need you…to give voice toyour appreciation and to help us, through your attendance and nancialsupport, continue to inspire future generations of young minds andhearts. Fall in love with Brevard! I did, over 40 years ago, and I feeltremendously fortunate to now be in a position of stewardship for aninstitution that has meant so much, to so many, for so many years.

Yours truly,

Keith LockhartArtistic Advisor and Principal Conductor

I hope theexperiencewill leave you

inspired andfullled.


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MUSICSCHOOLof DISTINCTION

A NDERSON UNIVERS ITY Academic and Christian Discovery

anderson.edu • (800) 428-6414 • Anderson, Indiana

Undergraduate Degrees

Bachelor of Arts• Music• Music Business• Church Music

Bachelor of Music• Music Performance• Music Education

DEGREE PROGRAMS

Summer Study

• Graduate Music Courses

• Orff Schulwerk Level I, II,

and III CertificationJuly 13-24, 2009

• Orff Electives in Technologyand CompositionJune 29-July 2, 2009

• Conversational Solfege,June 15-19, 2009John Feierabend

• Drumming,July 6-10, 2009Jim Solomon

For information about auditions, scholarships, or summer programs,

call (800) 619-3047 or e-mail [email protected].

Now offeringDance Majors!• Dance Performance• Dance Business• Complementary Major

in Dance

Audition Dates

• November 6, 2009

School of Music Visit Day

• November 16, 2009

• January 18, 2010

• February 6, 2010





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Keith Lockhart, Artistic Advisor and Principal Conductor David Effron Principal Conductor Chair

Keith Lockhart returns for hissecond summer as Artistic Advisorand Principal Conductor at the

Brevard Music Center. An alumnusof the Music Center, Lockhartattended as a teenager in 1974 and1975, returning to BMC as guestconductor in 1996 and numeroustimes since.

Mr. Lockhart became the twentiethconductor of the Boston Pops in1995, adding his artistic vision tothe Pops tradition established byhis predecessors John Williams

and Arthur Fiedler. Mr. Lockharthas worked with a wide array ofestablished artists from virtuallyevery corner of the entertainmentworld, while also promotingprograms that focus on talentedyoung musicians from theTanglewood Music Center, BostonConservatory, and Berklee Collegeof Music. During his 15-year tenurehe has conducted more than 1,000Boston Pops concerts.

Under his leadership, the BostonPops has commissioned severalnew works and dozens of newarrangements. Keith Lockhart isloved by audiences far and widefor his inimitable style, expressed

not only through his consummatemusic-making, but also by hisunique ability to speak directly

to the audience about the musicto which he is so passionatelycommitted. Mr. Lockhart andthe Boston Pops have releasedfour self-produced recordings(available at bostonpops.org),including Sleigh Ride, America,Oscar & Tony, and this spring, theRed Sox Album. Keith Lockharthas made 66 television shows withthe Boston Pops, most recentlyleading a concert featuring jazz

trumpeter Chris Botti, and specialguests Sting, John Mayer, andSteven Tyler, which was broadcastnationally on PBS in March 2009.

The annual Boston Pops FireworksSpectacular is broadcast nationallyon CBS Television. Mr. Lockhart hasalso led the Boston Pops in manyHoliday Pops telecasts, as well as38 new programs for Evening atPops, the long-running PBS series.Under his direction, the BostonPops has presented 32 nationaltours, performed at CarnegieHall and Radio City Music Hall, andbrought the music of “America’sOrchestra” overseas in four toursof Japan and Korea.

Born in Poughkeepsie, N.Y., KeithLockhart began his musical studieswith piano lessons at the age of

seven. He holds degrees fromFurman University in Greenville,S.C., and Carnegie-MellonUniversity in Pittsburgh, and haspreviously served as associateconductor of both the CincinnatiSymphony and Cincinnati Popsorchestras. As Music Director ofthe Utah Symphony since 1998, Mr.Lockhart led that orchestra at the2002 Olympic Games; he willconclude his tenure there after

the 2008-09 season, after whichhe will return as the orchestra’sLaureate Conductor. As a guestconductor, Mr. Lockhart hasappeared with virtually every majororchestra in North America, as wellas orchestras in Europe and Asia.Next season, he will conduct Bizet’sCarmen with the Boston LyricOpera, make debut appearanceswith the NHK Symphony in Tokyoand the Melbourne SymphonyOrchestra in Australia, and returnto conduct the BBC ConcertOrchestra.

Visit keithlockhart.comfor further information.

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Friday, June 26 at 7:30Opening Night with Stanford Olsen

Vocal Selections from Broadway and OperaBernstein Symphonic Dances from West Side StorySteven Smith, conductorStanford Olsen, tenor

Saturday, June 27 at 7:30 pmRhythm & Brass

The six musicians in Rhythm & Brass perform an exciting andeclectic program incorporating all genres of music. Bernstein,The Beatles and Duke Ellington are among the composerswoven into this musical presentation.

Sunday, June 28 at 3 pmThe Firebird

Barber Overture to The School for Scandal

Rimsky-Korsakov Suite from Le Coq d’Or

Stravinsky The Firebird

Steven Smith, conductor

Friday, July 3 at 7:30 pmBeethoven 7

Weber Overture to Der FreischützTchaikovsky Suite from Sleeping Beauty

Beethoven Symphony No. 7Andrew Grams, conductor

Sunday, July 5 at 3 pmBrahms Piano Concerto No. 2

Hindemith Mathis der Maler

Brahms Piano Concerto No. 2Andrew Grams, conductorNorman Krieger, piano

Friday, July 10 at 7:30 pmLockhart Conducts Tchaikovsky 4

Tchaikovsky Symphony No. 4

Keith Lockhart, conductorNational Federation of Music Clubs Competition winner

Sunday, July 12 at 3 pmLockhart Conducts Mahler

Puts Two Mountain Scenes

Mahler Das Lied von der ErdeKeith Lockhart, conductor

Friday, July 17 at 7:30 pmVaughn Williams

Vaughn Williams A London SymphonyLarry Rachle, conductor

Saturday, July 18 at 7:30 pmLockhart Conducts Tchaikovsky 5

Stravinsky Suite from Pulcinella

Tchaikovsky Symphony No. 5Keith Lockhart, conductor

Sunday, July 19 at 3 pmBerlioz, Barber and Ravel

Berlioz Le corsaire OvertureBarber Violin ConcertoRavel La ValseRavel Suite No. 2 from Daphnis et Chloé

Larry Rachle, conductorElena Urioste, violin

Friday, July 24 at 7:30pmAn American in Paris

Aldridge Violin ConcertoBarber Adagio for StringsCopland Lincoln PortraitGershwin An American in Paris

Keith Lockhart, conductorJ. Patrick Raerty, violin

Sunday, July 26 at 3 pmLockhart, Eron and Janiec: TOGETHER!

The most memorable BMC event of 2009 features KeithLockhart, David Eron and Henry Janiec – together under oneroof – sharing the podium for a very special program.

Friday, July 31 at 7:30 pmSoloists of Tomorrow

This concert showcases the winners of the annual Jan andBeattie Wood Concerto Competition. The best of BMC

students perform as soloists with the BMCO.Ken Lam, conductor

Saturday, August 1 at 7:30 pmEnigma Variations

Elgar Variations on an Original Theme, “Enigma”Grant Llewellyn, conductor

Sunday, August 2 at 3 pmBeethoven 9

Beethoven Symphony No. 9Grant Llewellyn, conductor

Friday, August 7 at 7:30Symphonie Fantastique

Rossini Overture to La Gazza Ladra

Respighi Ancient Airs and DancesBerlioz Symphonie fantastiqueAndré Raphel Smith, conductor

Sunday, August 9 at 3 pmRachmanino Piano Concerto No. 3

Shostakovich Symphony No. 5Rachmanino Piano Concerto No. 3André Raphel Smith, conductor

Olga Kern, piano

Season at-a-GlanceWhittington-Pfohl AuditoriumOrchestra Concerts


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James Christian Pfohl invented theBrevard Music Center in the 1930s,except that it wasn’t in Brevard,

and it wasn’t called “Brevard MusicCenter.” No matter. Pfohl movedhis operation from Charlotte toBrevard in 1945. The name became“Brevard Music Center” in the early1950s. At the outset Brevard’sthree themes were summer, music,young persons. In this respect theplace has not changed one whit.

Brevard was conceived as “theInterlochen of the South”;obviously, Brevard shares its mainthemes with its older Michigancousin. But Interlochen has ayear-round presence as one ofAmerica’s most prestigious highschools for the arts. It turns outthat other notable “summer musicfestivals” are less than completelysummery. Aspen Music Festivaloers concerts throughout theyear (admittedly many more in

the summer than in the winter),and Tanglewood is simply wherethe Boston Symphony Orchestrahangs its hat when it’s nice outside.Brevard is dierent. It locks thedoors in August and hibernatesuntil the following June. Theebb and ow of momentum atBrevard can be extreme. Everysummer is an arduous, wrenchingresurrection—just ask the intrepidmen who maintain the property.

Why does Brevard keep comingback? What is it about theenterprise that makes it worthdoing?

It’s not the money, because thereis no money. Brevard is a non-prot institution; rest assured,dear patron, that all of the salariesare modest. Some year-round

employees have taken pay cuts towork at Brevard.

It’s not the hours. At certain timesduring the year the notion of“business hours” becomes a crueljoke. Work proceeds until the job isnished. During the season, 12- andeven 14-hour days are common.

In season the setting is gorgeous,and the music is wonderful. Thereare some good restaurants aroundand some nice things to see andto do. None of this is enough, notclose to enough. There has to besomething stronger that instigatesan annual rebirth, something thatkeeps the year-round sta vital anddraws an artist faculty again andagain to the humble dwellings onthe campus.

It is the students. Or, rather, it iswhat happens to students.

If you are a young musician,Brevard lets you decide. Brevardis where you go to make up yourmind. You can make up your mindhere because Brevard extracts fromyou the potential that people havebeen talking about your whole life.It goes into the pan with everyoneelse’s potential, and out comes a

feast of great music. During thesummer you learn whether musicis more important to you thananything else in the world andwhether you have the perseveranceto give it a shot. You come tounderstand the profession as youcome to understand yourself.

The Greek letter Δ (Delta) is used

in mathematics to denote change.The greater the Δ, the greater thechange. Given a proper diet ofinstruction, a young musician willreveal a positive Δ over time. AtBrevard, however, Δ is simplyhuge, more huge than it can beanywhere else, so huge that theword “change” ceases to tellthe story. “Change of state” isbetter, or perhaps the operativeword is “transform.” The butterysculpture outside the auditorium isno accident.

Yes, there is great musicthroughout the summer, andthere is tremendous camaraderie.But Brevard’s innate energy, thething that powers its cycle ofresurrection, is more personal andmore profound.

It is the proper arrangementof priorities.

Intention.

Awakening.

By Bruce Murray,Dean of the Brevard Music Center

Why

We AreHere


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Faculty Perspective: Eric Ohlsson

A perspective of my experiences atthe Brevard Music Center beginsand ends with the music, but atthe same time I realize that weare all given, through our dayshere, many of our most wonderfullife experiences, both musicaland personal. When I rst camehere in 1994, I was tremendouslyimpressed with the dedicationand spirit of the faculty, students,

administrators, audience members,and the community surroundingthe Center. There was an auraaround this place to which I wasimmediately drawn. I believe thisattraction is the combined eect ofthe institution, its leaders, faculty,students, traditions, and history;the buildings and the land on whichit is situated, and maybe something in the water . The spirit and essenceof Brevard transcend any single

element of the many parts of whichit is made.

There are individuals without whomthis special place of ours wouldnot exist. They are the people whotranslate ideas into reality everyseason, year after year. Recognitionof this core begins with its mostvisible leaders, and it has beenmy privilege to make music with

three of the music directors of theBrevard Music Center: Henry Janiec,David Eron, and Keith Lockhart.

Each of these gentlemen has aunique musical gift and personalstyle and, at the same time, eachone was, and is, perfect for theMusic Center. You will be treatedto an historic concert this summerin which all three of these menwill conduct the BMC Orchestraon one program. Our other“translators,” John Candler andBruce Murray, other administrators,sta, and the trustees, are a less

visible but equally vital part of ourorganization -- without them ourdoors would close.

The fact that Brevard has had onlyfour music directors in its history -James Christian Pfohl, our founderand rst director, joins the threepreviously mentioned - speaks tothe continuity that is a key to thesuccess of most ne organizations.Likewise, the artist faculty hashad a very low turnover rate, withsome principal chairs being heldby a single player for 30 years. Thegreatest resources of the MusicCenter, its students, are continuallynew: they refresh us, energize us,teach us, inspire us, and remind usof why we are here.

Those of us who love Brevardand have spent signicant parts

of our lives here can measure thepassing of years by the highlightsof our Brevard summers - watchingchildren grow, adding friends toour lives, and making music. Aswe continue the traditions of BMCin 2009, I am pleased to invite allof you to a summer lled withinspiration, memories, and the joythat music, family, and communitycan bring in this wonderful setting.

Eric Ohlsson is Professor of Oboeat Florida State University and in his16th summer as a BMC artist faculty.

Thegreatestresources ofthe (Brevard)

Music Center,its students


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Degrees

Bachelor of Music· Performance· Music Education· Music Theory· Composition· Music History· Music Therapy

Bachelor of arts· Music

Master of Music(for Men and woMen)

· Performance· Music Education

Performance

oPPortunities· Opera Theatre· Orchestra· Wind Ensemble· Chorale· Spartanburg Festival Chorus· Chamber Singers· Chamber Ensembles

· Young Artist Competition

converse college· Founded in 1889· Charter member National

Association of Schools of Music· Nation’s only comprehensive

professional school of musicwithin a liberal arts college forwomen

· All-Steinway School· Ranked as a Top Ten Best Value

in the region by U.S. News &World Report

the Peeshl Mumiles Hoffman, Dean

contact inforMation

Ofce o AdmissionConverse College580 East Main Street • Spartanburg, SC 29302864-596-9040 or [email protected]


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2009 Student Roster The Brevard Music Center welcomes over 400 students to its campus this summer from around the world,represented by 41 states and 11 foreign countries. The following presents a list of students enrolled as of May15, 2009. Thanks to generous contributions from donors, Brevard Music Center continues to attract the mosttalented young musicians. To learn more about sponsoring a student or establishing an endowed scholarship

fund, contact the Development O ce at (828) 862-2121 or visit brevardmusic.org.

ViolinScotty Allen – Blythe, GA

Erik Anderson – Shelby, NCTimothy Angel – Port Orchard, WA

Kiley Arbo – Bradenton, FLLindsey Baggett – Cambridge, MA

Kristin Bakkegard – Ithaca, NYHannah Barrow – Tallahassee, FL

Annie Bender – Franklin, TN

Susan Beresko – Haughton, LALars Berggren – Lindsborg, KSMelissa Burgess – Dallas, TX

Courtney Burris – Jeerson City, MOMagee Capsouto – Greenville, SC

Keuna Cho – Cleveland Heights, OHAlexander Corbett – Moorhead, MN

Karen Dahl – Lakewood, OHAngelica D’Costa Lundberg – Oshkosh, WI

Paulo Diaz – Miami, FLElizabeth Ehrlich – Macon, GA

Spencer Ekenes – Rexburg, ID

Alicia Enstrom – Topeka, KSJulia Fanjoy-Labrenz – Hickory, NCJia Rong Gan – Kuala Lumpur, Malaysia

Brandon Garbot – Portland, ORMarissa Goodman – Lexington, KY

Stephanie Greco – Tallahassee, FLSarah Harmsworth – Corvallis, MT

Chelsea Hill – Avon, NYAlexandra Hill – Oxford, OHIsaac Hinchman – Chattanooga, TN

Marie Hollield – Dallas, TX

Avril Javel – Eugene, ORCarmen Johnson – Birmingham, ALChristopher Jones – Lumberton, NJ

Anmol Joseph – Alpharetta, GAJonathan Karp – Lexington, KY

Sandro Ladu – Las Vegas, NVMichael Lambert – Louisville, KY

Amelia Lant – Newburgh, INSean Larkin – College Park, MD

Lianna Llewellyn – West Palm Beach, FL

Andrea Lockard – Annandale, VA

Meghan Lyons – Memphis, TNMatthew Madonia – Mobile, AL

Elizabeth Martin – Winston-Salem, NCAlexandra Matlo – Nashville, TN

Amanda McLaren – Tacoma, WANatalia McGee – Landover, MD

Kaitlyn McLeod – Tucson, AZKristyn McLeod – Tucson, AZ

Nicholas Montopoli – Washington, DC

Sarah Jane Naillon – Wineld, KSEri Park – Winter Park, FLBecky Pernicano – Winston-Salem, NC

Caroline Plott – Annapolis, MDKristin Presley – Richmond, VA

Athri Ranganathan – Wilson, NCMelinda Rice – Pasadena, CA

Tiany Rogers – Tucker, GAMaria Romero – Denton, TXJob Salazar – Rexburg, ID

Lena Seeger – Madison, WI

Julia Shannon – Lubbock, TXJennifer Sherman – Norman, OKRyan Silvestri – Tallahassee, FL

Meagan Slattery – Satellite Beach, FLTamiko Terada – Appleton, WI

Conrad Thomas – Beaufort, SCJennifer Van Eenam – Cincinnati, OH

Hope Vannucci – Pittsburgh, PAEmily Wait – Oxford, OH

Sarah York – College Park, MDGrace Youn – University Place, WA

ViolaMelissa Alberque – Morgantown, WVJoelle Arnhold – Macon, GA

Sara Burley – Hollywood, FLTonya Burton – Camas, WA

Leigh Crivaro – Newtown, PAYi Fei Deng – Shanghai, China

Jessica Dunn – Cambridge, MAJames Franco – Cincinnati, OH

John Grigsby III – Lilburn, GA

Anders Janson – Raleigh, NCBrianne Lugo – Pittsburgh, PA

Sarah Lyle – Warren, PADiana Mayne – Iowa City, IA

Johnathan McNurlen – Lansing, MIKathryn Middel – Greensboro, NC

Jonathan Moore – Mobile, ALJacob Parr – Athens, GA

John Petrey – Lynchburg, VA

Ingrid Popp – St. Louis, MOErin Raerty – Cincinnati, OHAaron Rose – Dallas, TX

Zachary Saunders – Fredericksburg, VALacie Savage – Oklahoma City, OK

Arian Shaw – West Palm Beach, FLAndrew Stiefel – Waco, TXVivian Torres – Miami, FL

Trevor Wadleigh – Auburn, WAYun Wang – Greensboro, NC

CelloJudith Benoit Crew – Amherst, MAAndrew Borkowski – Snyder, NY

Mira Chang – Nashville, TNSung Bin Choi – Amherst, NY

Chelsea Crawford – Churchville, PAOlivia Culpo – Cranston, RI

Logan Dailey – Burlington, NCApril Dannelly – Raleigh, NC

Jamie Davis – Madison, WIMichael DePasquale – Pittsburgh, PA

Allison Drenkow – Loveland, COChristopher Erickson – Greenville, SC

Cody Green – Waco, TXRachel Halverson – Marietta, GA

Michael Harper – Nashville, TNHannah Homan – Fleming Island, FL

Lavena Johanson – Macon, GANicolas Johnson – Alexandria, VA

Andrea Kleesattel – Lexington, KYPatrick Kole – Culiacan, Sinaloa, Mexico


7/31/2019 2009 Overture


For inormation, contact the Ofce o Admissions

Toll Free 800-368-2521, in Maryland 410-659-8110

1 East Mount Vernon Place, Baltimore, MD 21202

www.peabody.jhu.edu

Compose your uture…whatever your passion.

T HE PEAB ODY CON SE RVATORY

OF THE JOHNS HOPKINS UNIVERSITY

Peabody Faculty artist

2009 bMc suMMer institute & Festival

Kevin Puts, Composition

MM candidate Peter Tomaszewski,GPD candidate Curtis Bannister (seated), andBM candidate Nathan Wyatt in Peabody Opera

Theatre’s Fall 2008 production of Janácek’sThe Adventures of Sharp-Ears the Vixen

2009 Student Roster

Eleanor Lee – Washington, PA

Jean Lin – Singapore

Julia Marshall – Salt Lake City, UT

Lauren Nickolo – Valrico, FLMaura O’Loughlin – Tuckahoe, NY

Sophia Potter – Lincoln, NEMiguel Quijano – Leesburg, VA

Kelsey Smith – Scottsdale, AZCole Tutino – Walnut Creek, CA

Erik Wheeler – Houston, TX

Double BassRobin Abeles Pfeer – Santa Fe, NM

Adam Bernstein – Oberlin, OHMatthew Carson – Harrisonburg, VA

Samuel Casseday – Jacksonville, FLIan Edwards – Marietta, GAEsther Erbe – Pittsburgh, PA

Kevin Kearney – Oberlin, OHAdriel Lyles – Denton, NC

Tyson Martin – Jacksonville, FL

Steve Metcalf – Bloomington, IN

Zachary Painter – Sneads Ferry, NCLauren Pierce – Columbia, SC

Christopher Pike – Oberlin, OHAndrew Potter – East Lansing, MI

Sean Raerty – Louisville, KYKatherine Saalbach – Fairfax Station, VA

Lauren Taylor – East Lansing, MINathan Varga – North Olmsted, OH

Alyson Walters – Belcamp, MDGabriella Watts – Atlanta, GA

Stefan Zavalin – Nashville, TN

FluteCynthia Friedman – Kew Gardens, NY

Paul Gardner – Bloomington, INChia-Jung Lee – Allston, MAClaire Mashburn – Zachary, LA

Jenna Rice – Edgewater, MDBrendan Ryan – Needham, MA

Mackenzie Slottow – Ann Arbor, MI

Caroline Sonett – Ho-ho-kus, NJ

Sarah Steranka – Harvard, MAJenna Taylor -- Jupiter, FL

Emily Theobald – Reading, MATeresa Villalobos – San Antonio, TX

OboeOlivia Bona – Atlanta, GALaura Cressman – St. Petersburg, FL

Caroline Cross – Columbia, SCDaniel Klaeren – Greenville, SC

Evan Ocheret – Scarsdale, NYJocelyn Plant – Pittsburgh, PA

Evelyn Sedlack – Chicago, ILBriana Tarby – Bloomington, IN

Jessica Warren – Columbus, OH

ClarinetBen Adler – Evanston, ILElise Bond – Rochester, NY

Alison Bradley – Evans, GA

Continued


7/31/2019 2009 Overture


Overture

Brad Cherwin – Oberlin, OH

Jonathan Cohen – Chicago, ILLouis Coy – San Antonio, TX

Rebecca Graham – Rochester, NYJarrett Homan – Morgantown, WV

Morgan Kent – Metairie, LASung Jun Kim – New York, NY

Holly Kortze – Chicago, ILLara Neuss – Wayne, NJ

Trevor Sparks – Springville, ALRebecca Tobin – Glen Ellyn, IL

Elisha Willinger – Lake Worth, FL

BassoonKian Andersen – Harvest, AL

Genevieve Beaulieu – Columbus, OHMatthew Capone – Bloomington, INAdam Drake – Satellite Beach, FL

Vincent Karamanov – Cleveland, OHMadelyn LaPrade – Charlottesville, VA

Dillon Meacham – Blacksburg, VAJoseph Merchant – Pittsburgh, PA

Danielle Osbun – Sandusky, OHMidori Samson – Portland, OR

SaxophoneJoseph D’Aleo – West Hartford, CT

Christin Garcia – East Lansing, MICaitlin Riddle – Clemmons, NC

Brandyn Taylor – Alpharetta, GA

HornBrittany Cooper – Nashville, TN

Megan DeRubeis – Kalamazoo, MI

Julia Dombek – Charleston, WVPhilip Emmons – Athens, GAAndrew Fierova – Moore, SC

Ally Fion – Newnan, GAStephanie Freeman – Tyrone, GA

Jonathan Groszew – Denville, NJElizabeth Hartin – Greenville, SC

Cyrus Henson – Lenoir, NCWilliam Keene – Carrollton, GA

James McCardel – Canton, GAJordan Miller – Charlotte, NC

Daniel Omer – Salt Lake City, UTJoshua Paulus – Dayton, OH

Alex Seoh -- Dunwoddy, GADerek Wright – Phoenix, AZ

TrumpetShaun Branam – Columbus, GAJoseph Burleson – Alachua, FL

Noah Dugan – Scottsdale, AZPaul Ginsberg – Macomb, IL

Andrew Harrison – Pittsburgh, PAAcadia Kocher – Columbia, MD

Christopher Lane – Winter Park, FLBaldvin Oddsson – Reykjavik, Iceland

Benjamin Pattison – Tallahassee, FL

Kevin Paul – Manhattan, NYAlexander Samawicz – Richmond, VA

Casey Tamanaha – Boston, MA

TromboneJordan Christensen – Blackfoot, ID

Scott Hartman – Orlando, FLMatthew Henderson – West Columbia, SC

Alex Macdonald – Jupiter, FLIan Maser – Tallahassee, FL

Justin Moore – Baton Rouge, LANick Plato – Woodbridge, CT

Brett Tolcher – Chicago, IL

Bass TromboneDavid Hagee – Chicago, IL

EuphoniumCaleb Cranton – Mobile, AL

Timothy Gladding – Winston-Salem, NC

TubaSpencer Brown – Oak Park, IL

Wiley Greene – Austin, TXRobert Lufrano – Rochester, NY

Rachel Matz – Tampa, FL

PercussionJacob Cavell – Winston-Salem, NC

Michael Kemp – Pittsburgh, PALucia Leon – Chicago, IL

Damon Martinez – Rochester, NYColin McCall – Knoxville, TN

Joel Panian – Pittsburgh, PAJacob Rodin – Tallahassee, FL

Marcelina Suchocka – Chicago, ILJohn Sullivan – Pittsburgh, PA

Keith Williams – College Park, MDJason Yoder – Pittsburgh, PA

HarpLiann Cline – Muncie, INMason Morton – Houston, TX

Kathryn Sloat – Potsdam, NYAshley Wells – Houston, TX


7/31/2019 2009 Overture


Eleventh Opera Season

FALL 2009 • WINTER 2010SPRING 2010

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Information 828-236-0670 or 828-257-4530

Great Quality and Value for all!

For additional information visit our website at: www.ashevillelyric.org

2009 Student Roster

PianoShanice Aaron – Sherman Oaks, CA

Lydia Aluri – Greenville, SC

Elizabeth Armistead – Chesapeake, VADiana Bai – Jericho, NYThomas Ballew – Opelika, AL

Matthew Barnhill – Raleigh, NCJacob Berntsen – Pittsburgh, PA

Molly Berntsen – Pittsburgh, PAGeorge Bowerman – Carlisle, PA

Sondra Boyle – Catonsville, MDValerie Brankovic – Palm Beach Gardens, FL

Claire Brown – Raleigh, NCNicholas Cain – Tucson, AZ

Paul Caracciolo – Harrisonburg, VAWei-Chien Chen – Columbia, MO

Rudy Chen – Phoenix, AZStephanie Chiu – Greer, SC

Christina Chiu – Greer, SCPaul Dab – Nashville, TN

Luisa Violetta Donini – New York, NY

Rebecca Dudley – Gloucester, VARebecca Ehren – Ottawa, ON, Canada

Kenneth Ekman – Camden, SCMichael Eleby – Atlanta, GA

Kelly Estes – Norman, OKEmilee-Mae Feely – Brantford, ON, Canada

Yiwen Fei – Tryon, NCBen Fiedler – Biltmore Lake, NC

Richard Foo – Somerville, MASami Froncek – Waco, TX

Jessica Fuquay – West Palm Beach, FLEsteban Gavilanes – Quito, Ecuador

Sergio Godinez – Brownsville, TXAndrew Goldman – San Diego, CA

Joshua Grayson – Los Angeles, CAMariam Hassan ElMamlouk – Cairo, EgyptBenjamin Heifetz – Newberg, OR

Benjamin Hopkins – Los Angeles, CACaleb Houck – Greenville, SC

Martin Jacobs – New York, NY

Maryam Kheirbek – Bethesda, MDHyunjung Kim – Ann Arbor, MI

Katherine Kim – Sicklerville, NJHeyne Kim – Chapel Hill, NC

Ryan Krause – Marengo, ILJoana Kung – Somerville, MA

Kunal Lahiry -- Flowery Branch, GAHedy Lee – Huntington Beach, CA

Yoolim Lee – Cincinnati, OHJoshua Levitin -- West Orange, NJ

Luis Levy – Tucson, AZZhong Bei Lin – Mesa, AZ

Ann Lin – Brevard, NCMarkus Ling – West Nyack, NY

Lauren Mann – Boulder, COAaron Mathews – Atlanta, GAJeannette Mathieu – Winchester, VA

John Metz – Edwardsville, ILElizabeth Monroe – Eugene, OR

Continued


7/31/2019 2009 Overture


Overture

Alana Murphy – Bloomington, IN

Stone Ng – Jersey City, NJPeter Oehrtman – Bowling Green, OH

Kiyona Ohshika – Orland Park, ILHaejin Om – Harrisonburg, VA

Nicole Peter – Macomb, ILAndrew Pham – Harrisonburg, VA

Samuel Prescott – Roanoke, VAMary Price – Marion, AL

Christine Pursell – Auburn, ALNicholas Reynolds – Lincoln, NE

Rebecca Roden – Notre Dame, INJessica Roderer – Los Angeles, CA

Lonnie Russell – Summerville, SCDan Sato – Cincinnati, OH

Marjorie Saviano – Acworth, GAAoi Senju – Chappaqua, NYEsther Shin – Bayside, NY

Jacob Sievers – Nashville, TNKatherine Siochi – Iowa City, IA

Christian Smith – Hurricane, WVCurtis Smith – Interlochen, MI

Evan Snyder – Kalamazoo, MIMatthew Stephens – Harrisonburg, VA

Sarah Stern – Glendale, AZDaniel Szymczyk – Charlotte, NC

Kristen Tchernesho – Valley Head, ALAdriana Teodoro-Dier – Cincinnati, OH

Jennifer Thwaites – Pinehurst, NCAngela Triandallou – New London, CT

Joshua Wang – Mason, OHRebecca Willett – Virginia Beach, VA

Thomas Williams – Rome, GA

CompositionJulia Alford-Fowler – Philadelphia, PA

Thomas Brennan – Winston-Salem, NCDavid Carpenter – Philadelphia, PA

Molly Joyce – Pittsburgh, PA

Benjamin Krause – Eugene, OR

Thomas Linger – Waynesville, NCThomas McCarley – Greenville, SC

Stephen Mitton – Saratoga Springs, UTRyan Olivier – Merion Station, PA

David Roberts – Eugene, ORGreg Simon – Boulder, CO

Daniel Temkin – E. Brunswick, NJJason Thorpe Buchanan – Las Vegas, NV

Patrick Valentino – Roslindale, MAAlex Weston – Pittsburgh, PA

Janiec Opera CompanyKatie Abraham – Chicago, ILNicholas Allen – Montreal, QC, Canada

Antony Bitar – Little Falls, NJBrooke Bovard – Coventry, RIAnthony Bucci – Ann Arbor, MI

Jeremy Carver-James– Montreal, QC, Canada

Andrew Coniglio – Ann Arbor, MIKathryn Crabb – Evanston, IL

Denise Crawfort – Plantsville, CTAbbey Curzon – Houston, TX

Kevin Delaney – Rochester, NYClaire De Sevigne – Hudson, QC, Canada

Chance Eakin – Waco, TXHunter Enoch – Bellevue, KY

Emily Ford – Montreal, QC, CanadaHarrison Fulop – Walla Walla, WA

Calvin Gri n – Columbus, OHJasmine Habersham – Rome, GA

Rebecca Henry – Houston, TXChristine Jarquio – Independence, MO

Laura Kachurek – Chicago, ILWill Liverman – Wheaton, IL

Andrew Miller – Arkadelphia, ARMatt Moeller – Baton Rouge, LA

David Moote – Montreal, QC, Canada

Christopher Oliveira

– Montreal, QC, CanadaEric Olsen – Gibsons, BC, Canada

Nathaniel Olson – Wheaton, ILLori Paradoski – New York, NY

Georey Penar – Rochester, NYLiliana Piazza – Montreal, Quebec, Canada

Kelly Price – Los Angeles, CARishi Rane – Coral Gables, FL

Carrie Reid-Knox – Ann Arbor, MINicole Rodin – Boston, MA

Margaret Rood – Montreal, QC, CanadaJonathan Rose – College Park, MD

Courtney Ross – Fort Worth, TXHillary Schranze – Lawrenceville, NJ

Emily Wells – Syracuse, NY

High School VoiceMolly Abbott – Simpsonville, SCMicaela Aldridge – Montclair, NJ

Justine Berger – Raleigh, NCBethany Coey – Andrews, NC

Kristine Eckmann – Charlotte, NCKatharine Ferdman – Jacksonville, FL

Elizabeth Freeman – Whiteville, NCKyle Gee – Oldsmar, FL

Ann Hill – Mt. Pleasant, SCCaroline Jansen – Rogersville, MO

Haley King – Mt. Airy, GATaylor Malajati – Asheville, NC

Jennie Moser – Pisgah Forest, NCKellie Motter – Johns Creek, GA

Danielle Naber – Jacksonville, FLMargaret Salley – Augusta, GA

Laura Snyderman – Dunwoody, GAVirginia Weant – Salisbury, NC

Becca White – Marietta, GA

STUDENTFACTSRECORD ENR

OLLMENT

IN 2009!

Applicants: 2226

Enrolled students: 421

States represented: 41

Countries represented: 11

Percentage of students who

receive nancial aid: 91%

High School Division: 176

College Division: 245

Male: 198

Female: 223

Hours Practiced: countless!


7/31/2019 2009 Overture


Tradition

Innovation

Inspiration

Improvisation

Chamber Music

Orchestras

Opera

Jazz

Boston

Snow

BSO

Red Sox

Challenges

Great teachers

Masterclasses

Visiting artists

Opportunities

Comraderie

Standing ovations

Admissions Office: 617-585-1101

[email protected]

www.newenglandconservatory.edu

More


7/31/2019 2009 Overture


7/31/2019 2009 Overture


Ensembles

Brevard Music Center Orchestra

Violin

Thomas Joiner *‡William Preucil *‡J. Patrick Raerty *‡

Dr. and Mrs. William J.PendergrastConcertmaster Chair

Timothy Christie *+Margaret Karp *Jason Posnock *Tina Raimondi *Wendy Rawls *Maria Sampen *

Corinne Stillwell *Byron Tauchi *Lindsey BaggettKristin BakkegardHannah BarrowMelissa BurgessCourtney BurrisMagee CapsoutoKeuna ChoAlexander CorbettKaren DahlAngelica D’Costa

LundbergPaulo DiazElizabeth EhrlichSpencer EkenesAlicia EnstromJia Rong GanStephanie GrecoChelsea HillAlexandra HillAvril JavelChristopher Jones

Sandro LaduMichael LambertAmelia LantSean LarkinMeghan LyonsMatthew MadoniaElizabeth MartinAlexandra MatloAmanda McLarenNicholas MontopoliEri ParkBecky Pernicano

Kristin Presley

Melinda RiceMaria RomeroJob SalazarLena SeegerJennifer ShermanRyan SilvestriTamiko TeradaConrad ThomasJennifer Van EenamEmily WaitSarah York

ViolaScott Rawls *+Susan Culpo *Jennifer Snyder Kozoroz *Maggie Snyder *Melissa AlberqueJoelle ArnholdLeigh CrivaroJessica DunnJames FrancoBrianne LugoDiana Mayne

Johnathan McNurlenKathryn MiddelIngrid PoppErin RaertyAaron RoseZachary SaundersLacie SavageAndrew StiefelVivian TorresTrevor WadleighYun Wang

CelloDavid Premo *+Brinton Averil Smith *+Felix Wang *+Andre Gaskins *Benjamin Karp *Judith Benoit CrewAndrew BorkowskiMira ChangSung Bin Choi

Chelsea Crawford

April DannellyJamie DavisMichael DePasqualeChristopher EricksonCody GreenMichael HarperLavena JohansonAndrea KleesattelPatrick KoleJean LinMaura O’LoughlinSophia Potter

Cole Tutino

Double BassCraig Brown *+ Walter Linwood

PendergrastDouble Bass Chair

Kevin Casseday *Robin Abeles PfeerAdam BernsteinMatthew CarsonEsther Erbe

Kevin KearneySteve MetcalfZachary PainterLauren PierceChristopher PikeAndrew PotterLauren TaylorNathan Varga

FluteMarianne Gedigian *+Renee Krimsier *+ Martha Pendergrast

Coursey Flute Chair Dilshad Posnock *Cynthia FriedmanPaul GardnerChia-Jung LeeClaire MashburnBrendan RyanMackenzie Slottow

Oboe

Eric Ohlsson *+Paige Morgan *Evan OcheretJocelyn PlantEvelyn SedlackBriana TarbyJessica Warren

ClarinetSteve Cohen *+Eric Ginsberg *Ben Adler

Elise BondBrad CherwinJonathan CohenRebecca GrahamSung Jun KimHolly Kortze

BassoonWilliam Ludwig *+Susan Barber *Genevieve BeaulieuMatthew CaponeVincent KaramanovDanielle Osbun

SaxophoneJoseph Lullo *+Joseph D’AleoChristin GarciaBrandyn Taylor

HornRichard Deane *+

Je Garza *+Jean Martin-Williams *Robert Rydel *Brittany CooperMegan DeRubeisPhilip EmmonsJonathan GroszewElizabeth HartinDaniel OmerJoshua PaulusDerek Wright

The following artist faculty and students comprisethe Brevard Music Center Orchestra. The personnel

for each concert vary, depending on the requirementsof the repertoire. Principal players are listed rst,

followed (alphabetically) by artist faculty and students.


7/31/2019 2009 Overture


7/31/2019 2009 Overture


TransylvaniaSymphony Orchestra

TransylvaniaSymphonic Band

Overture

ViolinScotty Allen

Erik AndersonTimothy AngelKiley ArboAnnie BenderSusan BereskoLars BerggrenJulia Fanjoy-LabrenzBrandon GarbotMarissa GoodmanSarah HarmsworthIsaac HinchmanMarie Hollield

Carmen JohnsonAnmol JosephAaron KarpJonathan KarpLianna LlewellynAndrea LockardNatalia McGeeKaitlyn McLeodKristyn McLeodSarah Jane NaillonCaroline PlottAthri Ranganathan

Tiany RogersJulia ShannonMeagan SlatteryHope VannucciGrace Youn

ViolaSara BurleyTonya BurtonYi Fei DengJohn Grigsby III

Anders JansonSarah LyleJonathan MooreJacob ParrJohn PetreyArian Shaw

CelloOlivia CulpoLogan DaileyAllison DrenkowRachel Halverson

Hannah Homan

Nicolas JohnsonEleanor Lee

Julia MarshallLauren NickoloMiguel QuijanoKelsey SmithErik Wheeler

Double BassSamuel CassedayIan EdwardsAdriel LylesTyson MartinSean Raerty

Katherine SaalbachAlyson WaltersGabriella WattsStefan Zavalin

FluteJenna RiceCaroline SonettSarah SterankaEmily TheobaldJenna TaylorTeresa Villalobos

OboeOlivia BonaLaura CressmanCaroline CrossDaniel Klaeren

ClarinetAlison BradleyLouis CoyJarrett HomanMorgan Kent

Lara NeussTrevor SparksRebecca TobinElisha Willinger

BassoonAdam DrakeMadelyn LaPradeDillon MeachamJoseph MerchantMidori Samson

SaxophoneCaitlin Riddle

HornJulia DombekAlly FionStephanie FreemanCyrus HensonWilliam KeeneJames McCardelJordan MillerAlex Seoh

TrumpetJoseph BurlesonNoah DuganPaul GinsbergAcadia KocherChristopher LaneBaldvin OddssonBenjamin Pattison

TromboneJordan ChristensenScott HartmanAlex MacdonaldIan MaserNick Plato

TubaSpencer BrownWiley Greene

PercussionJacob CavellLucia LeonColin McCall

Jacob RodinMarcelina SuchockaJason Yoder

FluteJenna Rice

Caroline SonettSarah SterankaEmily TheobaldJenna TaylorTeresa Villalobos

OboeOlivia BonaLaura CressmanCaroline CrossDaniel Klaeren

ClarinetAlison BradleyLouis CoyJarrett HomanMorgan KentLara NeussTrevor SparksRebecca TobinElisha Willinger

BassoonAdam DrakeMadelyn LaPradeDillon MeachamJoseph MerchantMidori Samson

SaxophoneJoseph D’AleoChristin GarciaCaitlin RiddleBrandyn Taylor

HornJulia Dombek

Ally FionStephanie FreemanCyrus HensonWilliam KeeneJames McCardelJordan MillerAlex Seoh

TrumpetJoseph BurlesonNoah DuganPaul Ginsberg

Acadia KocherChristopher LaneBaldvin OddssonBenjamin Pattison

TromboneJordan ChristensenScott HartmanAlex MacdonaldIan MaserNick Plato

EuphoniumCaleb CrantonTimothy Gladding

TubaSpencer BrownWiley Greene

PercussionJacob CavellLucia Leon

Colin McCallJacob RodinMarcelina SuchockaJason Yoder


7/31/2019 2009 Overture


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7/31/2019 2009 Overture


Janiec Opera Company, DAVID GATELY, Director

David Gately returns for a secondseason as the Director of the JaniecOpera Company at the Brevard

Music Center. Gately has been afrequent contributor to the MusicCenter, having delighted Brevardaudiences with productions of TheMagic Flute, Little Women, Rigoletto,Madama Butterfly, Ariadne auf Naxos, Orpheus in the Underworld,Kiss Me Kate and Sweeney Todd.From his “ebullient skill in comicworks”, to his ability to stagescenes ...“imaginatively and deftly”and ...“tell the dramatic story with

remarkable clarity”, David hasbeen hailed from coast to coast asa consummate artist who bringsopera to life with a kinetic, sensitiveand meticulous style.

In demand across the continent,recent productions of note includehis direction of L’Elisir d’Amore withDallas Opera, Madama Butterywith Seattle Opera, La Boheme withFlorida Grand Opera, Carmen in

New Orleans, Les Contes D’Hoffman in Edmonton, Die Zauberflote withthe Cincinnati and Vancouver

Operas, A Midsummer Night’sDream with both the FlorentineOpera and Glimmerglass Opera,

Falstaff with Opera Omaha, andRigoletto with Utah Opera. The2008 - 2009 season for the directorincluded productions of Rigoletto with Arizona Opera, La Cenerentola with Atlanta Opera, Carmen withVancouver Opera, Le Nozze di Figaro with the Utah Opera, and Lucadi Lammermoor with L’Opera deMontreal.

His hugely successful “wild west”

production of Don Pasquale whichwas most recently hailed as a“contemporary classic” by theDenver Post has been mountedby the opera companies ofSan Diego, Kentucky, Calgary,Chautauqua, Virginia, Dayton, FortWorth, Omaha, Edmonton and theCanadian Opera Company. Gately isknown for his vivid story telling andlively and clever productions. OperaNews has commended him for his

“stylish direction [which] put the

cast through well-timed paces andcoaxed telling characterizations,”and the Vancouver Sun recentlywrote that his “conception wasalways theatrically eective, and hisapproach to the long wordy librettowas briskly entertaining.”

Opera 2009Tales of Homann by Jacques OenbachThursday, July 9 at 7:30 dress rehearsalSaturday, July 11 at 7:30 performanceSworn to never love again, Homann tells a trio of tales

involving an automaton, a death song, and a reection.This comic opera is lled with twists and turns and amultitude of interesting characters and familiar music.

Hello, Dolly! by Jerry HermanWednesday, July 22 at 7:30 dress rehearsalThursday, July 23 at 7:30 1st performanceSaturday, July 25 at 7:30 2nd performanceMade famous by Carol Channing and Barbara Streisand,this light-hearted musical follows Dolly Gallagher Levias she works her magic on six “love seekers,” only tond love herself.

Opera Scenes at the Porter CenterWednesday, July 29 at 7:30The Janiec Opera Company presents a delightfulevening of favorite arias and staged opera scenes.

Suor Angelica and Gianni Schicchi by Giacomo PucciniThursday, August 6 at 7:30 dress rehearsalSaturday, August, 8 at 7:30 performanceJoin us for two of Puccini’s famous one-act operas.Sister Angelica, her life in the convent and asubsequent life-changing decision, and GianniSchicchi’s tale of wealth and greed, including thefamous aria “O mio babbino caro.”

Tales of Homann by Jacques OenbachThursday, July 9 at 7:30 dress rehearsalSaturday, July 11 at 7:30 performanceSworn to never love again, Homann tells a trio of tales

involving an automaton, a death song, and a reection.This comic opera is lled with twists and turns and amultitude of interesting characters and familiar music.

Hello, Dolly! by Jerry HermanWednesday, July 22 at 7:30 dress rehearsalThursday, July 23 at 7:30 1st performanceSaturday, July 25 at 7:30 2nd performanceMade famous by Carol Channing and Barbara Streisand,this light-hearted musical follows Dolly Gallagher Levias she works her magic on six “love seekers,” only tond love herself.

Opera Scenes at the Porter CenterWednesday, July 29 at 7:30The Janiec Opera Company presents a delightfulevening of favorite arias and staged opera scenes.

Suor Angelica and Gianni Schicchi by Giacomo PucciniThursday, August 6 at 7:30 dress rehearsalSaturday, August, 8 at 7:30 performanceJoin us for two of Puccini’s famous one-act operas.Sister Angelica, her life in the convent and asubsequent life-changing decision, and GianniSchicchi’s tale of wealth and greed, including thefamous aria “O mio babbino caro.”

Lucile Parrish Ward Opera Chair


7/31/2019 2009 Overture


Overture

Opera Faculty and Staff

David Gately Director Lucile Parrish Ward Opera Chair Patrick Hansen Associate DirectorDorothy Danner Visiting Director

Sandra Rovetta ChoreographerDean Anthony Assistant Directorof the Janiec Opera Company

Elizabeth Koch Vocal CoachDavid Richardson Vocal CoachJordan DeSouza Chorus Master/ Sta Assistant ConductorMichael Shannon Rehearsal Pianist/ Apprentice Coach

Production StaffAndrea Boccanfuso Production ManagerLeah McVeigh Assistant Production Manager/

Company ManagerRalph Carhart Assistant Company Manager/

Master Electrician

Adam Schwartz Production Stage ManagerKyle Urquart Stage ManagerDerek Wael Assistant Stage ManagerTara Foster House ManagerKara Teolis Stage Crew SupervisorErika Binninger Maciula Orchestral Information CoordinatorAllison Youngblood Assistant Stage Crew SupervisorKara Berardi Stage CrewCharlene Lennon Stage CrewMelissa Hermes Stage CrewCasey Malone Stage CrewJames Adams Stage CrewGlenn Breed Costume DesignerTony Sirk Costume Shop Manager/ Cutter

Caitlin Beacham Wardrobe SupervisorAlexandra Marsh Costume Intern/Production AssistantSarah Redding Wig and Make-up DesignerAshley Callahan Wig and Make-Up InternJessie Combest Prop MasterEvelyn Pearson Prop InternScott Aronow Scenic DesignerAdam Koch Scenic DesignerJack Brady Technical DirectorRob Sturgess Assistant Technical DirectorEric Brooks Master CarpenterJulie Allen Lead Stage CarpenterNate Fessler CarpenterRion Mora Carpenter

Eugene Kuzmin Carpentry InternKate Stephens Scenic ChargeKatie Springmann Scenic PainterAnna Peterson Lighting DesignerJoe Saint Lighting DesignerGarrett Kesler ElectricianJason Korczynski Electrics InternBrady Hislop Sound EngineerDevon Farris A-2/Props ArtisanPeter Botzenmayer A-2/ElectricianFrancia DeFrancisco Production Management Intern/

Production AssistantPhillip Perez Production Assistant


7/31/2019 2009 Overture


7/31/2019 2009 Overture


Overture

Chamber Music

2009 Chamber Music Series

A great many of the students and faculty artists who bringto life the Brevard Music Center each summer participatein some form of chamber music activity. For an aspiringyoung artist, chamber music can be an important part

of the overall learning experience. It teaches groupcollaboration, and with only one instrument per part,the musician is far more exposed than in a section of a100-piece orchestra.

The Brevard Music Center endeavors to provide as manystudents as possible with a chamber music experience.Students may be assigned to a chamber ensemble for thesummer, receive coaching from a faculty artist and thenperform on a student concert. Each year, more than 50groups are formed – many of them trios, quartets, andquintets. On any given evening, it is not unusual to see

friends get together, a stack of music in hand, for a fewhours of reading – just for fun.

Chamber music is an intimate experience for all thoseinvolved, from the musicians to the listener, and at BrevardMusic Center, there are numerous chamber outlets forstudents, faculty and patrons to enjoy. One can attendsuch free events as the Transylvania County Library series,afternoon student recitals at Straus Auditorium and facultychamber concerts at the Porter Center.

This season’s eleven-concert Chamber Music Series, heldat the acoustically acclaimed 700-seat Porter Centerfor Performing Arts at Brevard College, includes manywonderful performances by BMC artist faculty playingworks of Beethoven, Brahms, Schumann and others.Returning to the Music Center are world-class guestartists, including violinist William Preucil, violist RobertoDÍaz and cellist Andrés DÍaz, and new this summer -- twoperformances by the acclaimed Biava Quartet, BMC’s 2009Quartet-in-Residence.


7/31/2019 2009 Overture


7/31/2019 2009 Overture


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Letter from the ChairmanH. Mitchell Watson, Chairman of the Board of Trustees

It is my pleasure to welcome you

to the 73rd season of the BrevardMusic Center.

Education at Brevard continues toexcel despite a tough economy, andwe have a full student enrollmentfrom across the country and theworld. They come to live andlearn with our excellent dedicatedfaculty and conductors. This year’srepertory is the most challengingyet for these talented youngpeople, and we hope that theirperformances will bring you joy andexcitement.

The Brevard Music Center is alearning community designed formusicians. My personal thanks to allof you who support our students bygiving to the Brevard Music CenterScholarship Fund. Please know thatyou are making an investment infuture artistic leaders.

Doug Booth has retired from ourboard after 38 years of service.

He served as our chair and led the

nance committee for many years.We thank Doug for his commitment,dedication and countlesscontributions. We will miss hiswisdom and his leadership.

On the weekend of July 25th and26th, we will honor the life andmany gifts of BMC President JohnCandler’s late wife, Linda. Join KeithLockhart, David Eron and HenryJaniec as we pay tribute to thisgreat lady.

Over 400 students from highschools and colleges across theworld are here for seven weeks ofstudy, practice and performances.We all benet from the vibrantsynergy of their eorts and thecollegial atmosphere that is theheart and soul of this speciallearning community. We haveplanned a very special season andthis beautiful valley will be alive withgreat music.

Thanks for sharing your summerwith us.

H. Mitchell Watson

Chairman of the Board of Trustees

Bruce BerryhillCashiers, NC

John CandlerBrevard, NC

George CatesMemphis, TN

Ken CribbNew Castle, DE

Bobby DowdeswellFlat Rock, NC

Jerusha FadialCharlotte, NC

Betsy FlemingSpartanburg, SC

John GardnerPisgah Forest, NC

Nancy GlassHouston, TX

George GoosmannAsheville, NC

William HabermeyerAsheville, NC

Falls HarrisGreenville, SC

Phillip JeromePisgah Forest, NC

Donna LohrLandrum, SC

Marcia MillarPisgah Forest, NC

Beth McAuleyTupelo, MS

Charlotte SloanGreenville, SC

Dick StoweCharlotte, NC

Joella UtleySpartanburg, SC

Mitchell WatsonPalm Beach, FL

Bill WhiteCharlotte, NC

Lynn WilliamsBrevard, NC

Beattie WoodAtlanta, GA

Executive Committee

Mitchell WatsonJohn CandlerKen CribbJerusha FadialNancy GlassGeorge GoosmannFalls Harris

Phillip JeromeLynn Williams

Ocers

Mitchell Watson,ChairmanJohn Candler,President & CEOPhillip Jerome,Secretary

Trustee Emeriti

Bill BoswellHendersonville, NC

Dicksie CribbSpartanburg, SC

Mary Helen DaltonAtlanta, GA

Bob DaltonCharlotte, NC

Fred DentSpartanburg, SC

Josephine RenzulliNew York, NY

Kurt ZimmerliSpartanburg, SC

Life Trustee

Karl StrausAsheville, NC

Board of Trustees


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In Memoriam

One of Linda Candler’s many talents, and one that becameapparent only over time, was her ability to live well. “Livingwell” does not mean “living extravagantly”; on the contrary,it implies almost the opposite. For Linda, living well was aprocess of altering the environment subtly and gradually.Over time, each piece became a object of delight, capable ofbeing enjoyed and appreciated for its own sake. Living wellfor Linda Candler was essentially a creative act. She did notthink about it; it was a necessary part of her.

Linda created several homes. Her home at Brevard may beher magnum opus, a superb manifestation of her creativegift. The space is dened in ways that seem somehowuniversal, perfect. Each item of furniture, each photographand painting, each ornamental piece is integrated into seamlessforms. Do not misunderstand; the home is a home, not a mere showplace. Purely decorous objects are rare;everything has a meaning in the lives of Linda and her family. Yet the sheer aesthetic eect is unmistakable.Linda would create a meal or a garden or an event from exactly the same perspective, and the result wassomething wondrous and unforgettable.

Linda, ever the creator, looked out at the Brevard Music Center and had an idea. She took all of the personswho work here, pulled them together, and created a new, large, very unwieldy family. The family persiststoday, demonstrating that she did her job exceedingly well.

For Linda the family had open enrollment. Persons who came to work or perform or teach at Brevard weresigned up automatically. Students were signed up when possible, not easy with hundreds of new faces eachsummer. There was no expiration date for membership, and somehow Linda could keep track of personsyears and years after their time at Brevard.

Anyone who met Linda, even the most curmudgeonly souls, felt an instant connection. Sometimes theybecame part of the Brevard family in spite of themselves. Connection to Linda meant connection, throughher, to everyone else in the family. Many enduring friendships have been formed in that seemingly inniteweb of connections.

Somehow Linda was able to infuse the idea of living well into the whole campus. She made the Brevard Music

Center a welcoming, hospitable place for all of the artists and teachers and others who have come here. In areal sense she made the institution non-institutional. For those who work here in summer it does not feel likea workplace. It feels like a second home.

For Linda Candler, then, living well meant improving the lives of others. It was, in truth, an act of love.

Bruce Murray

Our Friend Linda Candler


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Overture

Audrey LoveCharitable FoundationAudrey Love Charitable Foundation

has supported the Brevard MusicCenter for the past several years.The foundation was established byand named for Audrey B. Love, thedaughter of Edythe Guggenheimand Admiral Louis Josephthal, and isactive nationally in supporting artsand culture programs, protectionand humane treatment of animals,medical research and othercharitable programs. This year thefoundation is the exclusive concert

sponsor of the performances ofHello, Dolly! on July 23 and 25,Beethoven’s 9th Symphony onAugust 2, the operas Suor Angelicaand Gianni Schicchi on August 8, andpartial support of the Season Finale:Rachmanino Piano Concerto No. 3on August 9.

The CannonFoundationThe Cannon Foundation recentlymade a generous grant to supportthe purchase and installation ofBlackbaud integrated softwareat the Music Center. This majorsoftware upgrade has providedsignicant customer service ande ciency improvements to theBox O ce, Business and FinanceO ce, and the Development O ce.The Brevard Music Center is trulygrateful to the Cannon Foundation

for providing major funding for thisproject as well as a number of othercritical capital improvement grantsduring the past decade.

The Cannon Foundation is anindependent foundation that givesprimarily to organizations acrossNorth Carolina. The foundationbegan in 1943 and has givenhistorically to local healthcare,as well as education, especially

independent liberal arts colleges inthe Piedmont and Western regionsof the state. In recent years, there

has been an increase in grants tohuman and social service programsand organizations. A limitednumber of grants are made in theelds of arts and culture, historicpreservation and environmentalconcerns. The Foundation makesgrants for capital purposes such asnew construction, renovation andexpansion projects and programs.

Rauch Foundation

The Rauch Foundation’s mainfunding areas are in helpingchildren and families, improvingthe environment, and developingleadership skills for the nonprotsector. Louis J. Rauch started thefoundation in 1961 with his brotherPhillip. Louis’ wife Ruth has beena long-term scholarship donor toBMC in honor of her friend andformer trustee of the BrevardMusic Center George Betsill. This

year the foundation has generouslyunderwritten the Young Artist VoiceProgram, a program for high schoolstudents who plan to pursue seriousvocal study at the college level.

Rogow GreenbergFoundationJacquelyn and Bruce Rogow areresidents of Cedar Mountain andFort Lauderdale. Through theRogow Greenberg Foundation, theyhave been supportive of projectsthroughout the country includinghere in Transylvania County.They generously supported theconstruction of the TransylvaniaCounty Library and during thesummer season Brevard MusicCenter students perform freeconcerts at 12:30 pm on Tuesdayand Friday in the Rogow Roomat the new library. This year the

foundation is the exclusiveconcert sponsor Brahms’Piano Concerto No. 2 by

Norman Kreiger on July 5,Keith Lockhart conductingTchaikovsky SymphonyNo. 5 on July 18, and the AnAmerican in Paris concert onJuly 24.

Surdna FoundationThe Surdna Foundation of NewYork is a family foundationestablished in 1917 by John EmoryAndrus. In 2008, the Surdna

Foundation made a three-yearcommitment to the Brevard MusicCenter to provide support foreducation programming in thehigh school division, believingthat “high-impact, long-termexperiences creating art,in all disciplines, withaccomplishedprofessional artists,contribute toteens’ ability to

explore theirown identitiesand relationshipsto the world.” TheFoundation makesgrants in the areasof environment,communityrevitalization, eectivecitizenry, the arts and thenonprot sector, withannual grant making ofapproximately $37million. The SurdnaFoundationhas also madegenerouscontributionsto BMC’shigh schooldivision inpreviousyears.

Foundation Support

43Electronic Version by CJ Pletzke

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June 26, 20097:30 PM

Whittington-Pfohl Auditorium

Friday

Brevard Music Center OrchestraSteven Smith, conductorStanford Olsen, tenor

Gioachino Rossini Overture to William ell (1792 - 1868)

Giuseppe Verdi “Questa o quella” from Rigoletto(1813 - 1901)

Gaetano Donizetti “Una furtiva lagrima” from L’elisir d’amore (1797 - 1848)

Verdi “De’ miei bollenti spiriti” from La raviata

Mr. Olsen

Pietro Mascagni Intermezzo from Cavalleria rusticana(1863 - 1945)

Ruggiero Leoncavallo Mattinata(1857 - 1919)

Eduardo di Capua O Sole Mio(1865 - 1917)

Rossini La danza

Mr. Olsen

Intermission

Leonard Bernstein Symphonic Dances from West Side Story

(1918 - 1990)

George Gershwin By Strauss(1898 - 1937) I Got Rhythm

“Summertime” from Porgy and Bess Love Is Here To Stay

Mr. Olsen

Sponsored by

Jaquelyn and Bruce Rogow and the Rogow Greenberg Foundation

2009 Summer Institute and Festival IElectronic Version by CJ Pletzke

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June 27, 20097:30 PM


Saturday

II Brevard Music Center

Rhythm & BrassTonight’s program will be announced from the stage.

“Beyond Category” was a term the great Duke Ellington

used as the highest form of praise for those artists who

transcended normal boundaries. Since their inaugural

season in 1993, Rhythm & Brass has lived up to the ideal

of a musical presentation that is not bound by time,

geography or culture. With the unique ability to incorporate

influences as divergent as Josquin Des Prez, Pink Floyd,

John Coltrane, Johann Sebastian Bach, and, of course,Duke Ellington, Rhythm & Brass searches for the

commonality in these influences and fearlessly

weaves them all into a single concert experience.

While maintaining an active touring schedule,

Rhythm & Brass has also performed at numerous

special events including a 1994 New York concert

debut at Carnegie Recital Hall with celebrated jazztrumpeter Randy Brecker. Commissions have been

premiered at Chicago’s Mid-West International Band

and Orchestra Clinic and the national convention

of the Music Educators National Conference.

R&B has also been featured at the New York Brass

Conference, the International Trumpet Guild

Conference, the Raphael Mendez Brass Institute,

Kentucky’s Great American Brass Band Festival, theNational Trumpet Competition and the National

Association of Music Merchants Convention in

Los Angeles. Internationally, Rhythm & Brass has

concertized in Canada, Saudi Arabia, the United Arab

Emirates, Japan, the Virgin Islands and Thailand.

Song & Dance (1994), the group’s first CD on d’NoteRecords, is an immensely versatile program of works

from the 17th century composer Samuel Scheidt to the

World Premiere recording of “Dance Suite” by LeonardBernstein, his last composed work. Their second album,

Time in September (1995), includes original jazz compositions

by R&B members and features award-winning guitaristGene Bertoncini as well as a commissioned work by the

Grammy-nominated composer Maria Schneider. Christmas

Time is Here (1996) was hailed by the national press as one

of the most creative recordings for the holiday season.

R&B’s recording More Money Jungle. . .Ellington Explorations

(1998), on the KochJazz label, celebrates the centenary (1999) of one of America’s most significant composersand musical ambassadors, Duke Ellington. The album was

described by Entertainment Weekly as “...smart and deliciously

off-centered...” and was named by the New York Times

as “Album of the Week” (May 7, 1999). Rhythm & Brass

has been featured on “BET on Jazz” (Black Entertainment Television) performing several segments of the Ellington

album. Sitting in an English Garden Waiting for the Sun , is an

outrageous salute to the British invasion and includes music

by The Beatles, Pink Floyd, and Led Zeppelin. Rhythm& Brass just released “Inside the Blue Suitcase” featuring

original compositions from within the group.

The members of Rhythm & Brass maintain an active

involvement in music education. The group is often

found at major educators conferences and in residence

at universities throughout the nation as well as summer

music camps and festivals such as Bands of America and

the Brevard Music Center. After several years of full-time

touring together, the members of Rhythm & Brass have

each found a home in various university music programs:

Charles Villarrubia (tuba): Senior Lecturer in chamber

music at the University of Texas—Austin; David Gluck (percussion): Chair of Studio Composition, State University of New York—Purchase; Alex Shuhan: Associate

Professor of Horn, Ithaca College (NY); Rex Richardson: Assistant Professor of Trumpet and Jazz Trumpet, VirginiaCommonwealth University; Tom Brantley: Assistant

Professor of Trombone, University of South Florida; Wiff Rudd: Professor of Trumpet/Brass Area Coordinator,

Baylor University (TX).

Rhythm & Brass is a Yamaha Performing Ensemble.


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http://slidepdf.com/reader/full/2009-overture 49/2162009 Summer Institute and Festival III

June 28, 20093:00 PM


Sunday

Brevard Music Center OrchestraSteven Smith, conductor

Samuel Barber Overture to Te School or Scandal, Op. 5(1910 - 1981)

Nikolai Rimsky-Korsakov Suite from Le Coq d’Or (1844 - 1908) Tsar Dodon in his Palace

Tsar Dodon on the MarchTsar Dodon with the Queen of Shemakhae Wedding and Lamentable End of Dodon

Intermission

Igor Stravinsky e Firebird(1882 - 1971)

Sponsored in part by the

Audrey Love Charitable Foundation

Samuel Barber (1910-1981):

Overture to The School for Scandal

Samuel Barber’s Overture to The School for Scandal

holds the same place in his career as the Overture to

A Midsummer Night’s Dream held in the career of FelixMendelssohn a century earlier. Both were astonishing

efforts from precocious youngsters, breakthroughs

that established their respective composers as

important new voices. Barber was twenty-one when

he composed his piece, so he was not quite the

prodigy that the seventeen-year-old Mendelssohn had

been. (However, Barber in subsequent years learnedto compose better; it can be argued that Mendelssohndid not.)

By the time Barber composed the Overture in

1931, he had been enrolled at the Curtis Institute in

Philadelphia for seven years. He studied not only

composition but also piano and voice (Barber himself

sang the premiere of his Dover Beach for baritone and

string quartet). The Overture was not performed

immediately. In 1933, probably through the influenceof the moguls at Curtis, it was given its premiere by

the Philadelphia Orchestra; not a bad outcome for astudent piece. The Overture won for its composer

the Joseph H. Bearns Prize from Columbia University,awarded “for outstanding musical compositions by

Americans 25 years old or younger.” Beyond its

general high spirits, the Overture to The School for

Scandal seems to bear no connection to its namesake,

Richard Sheridan’s 1777 comedy—one presumes thatBarber liked the play.

The format could hardly be more conventional. It

is a traditional sonata movement in D minor, scoredfor a standard orchestral group. The greatness of

the work rests precisely in those qualities that have

endeared Barber’s music to us all: color, flawlessharmonic timing, and, above all, a unique, profound

gift for melody. As in Mendelssohn’s Overture, we

find the optimism of youth, as we would expect, but

also an irresistible joy in the sheer act of creation. At

twenty-one, the possibilities were endless. Barber

was America’s first and greatest neo-Romantic, or,perhaps, as another American composer said to me

once, “there was nothing ‘neo-’ about it.”

N o t e s


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Nikolai Rimsky-Korsakov (1844-1908):

Suite from Le Coq d’Or (“The Golden Cockerel”)

Rimsky-Korsakov composed fifteen operas, but even opera

fans would be hard-pressed to name more than a few. The

Golden Cockerel , the last, was a political statement, an anti-

Tsarist rant that brought the composer trouble from the

government. The work, completed in 1907, was banned

instantly. Rimsky died the following year without ever

hearing the piece. Perhaps his death softened the climate,and the opera was premiered in 1909. Within a few years the

opera traveled around the world, but it soon fell completely

off the radar, as did most of Rimsky’s other operas.

There is little doubt that the point of The Golden Cockerel was

to rail against Tsar Nicholas II, whose administration had

caused the Russo-Japanese War and provoked the infamousevents of 1905—“Bloody Sunday,” the massacre on the

Odessa steps, the Potemkin affair. However, the tone of theopera is not tragic but satirical. Had it been otherwise, one

suspects that a different punishment would have been metedout against the composer, something more severe than mere

silence.

The suite performed today was compiled after the

composer’s death by two of his former students, Alexander

Glazunov and Maximilian Steinberg. The four short

movements are orchestrated with Rimsky’s mastery and

suggest the ambiance of the opera, but they go hardly any

further. The last movement may seem familiar, as it has

cropped up in soundtracks for film and television.

Igor Stravinsky (1882-1971): The Firebird

In 1906 the Russian impresario Serge Diaghilev made

his first trip to Paris. Over the next few years he would

present to Parisians demonstrations of Russian artworks in various media: concerts, opera, ballet, art exhibitions. In

1909 he invented the Ballet Russes, featuring extraordinary

Russian dancers (including Nijinsky and Pavlova) andchoreographers, using music by Russian composers.

Diaghilev pushed all the boundaries of production, Orson

Welles-like, to create something new; the result was asensation.

For his 1910 season, Diaghilev imagined a new ballet based

on a Russian folk tale about the magical Firebird. Hedecided to commission an original score, and he turned to

the venerable composer Anatol Lyadov. That didn’t work

out, so he went down the list to see who was available.

Nikolay Sokolov: no. Alexander Glazunov: no. Having no luck, Diaghilev decided to go younger. He approached

the up-and-coming Igor Stravinsky, who had studied with

Diaghilev’s own teacher Rimsky-Korsakov. If Diaghilev is

remembered for nothing else, he will always be remembered

for hiring Stravinsky. The pair wrote history.

The Firebird made Stravinsky an international music celebrity,

but a 45-minute ballet score would not travel well. On three

separate occasions (1911, 1919, 1945) Stravinsky reworked

the full score into shorter orchestral suites. With the 1919

suite, Stravinsky created what may be the most popular

orchestral work composed in the twentieth century. (In

America the honor might fall to Rhapsody in Blue, but likely

the Firebird Suite would be in second place.) The Suite has

been performed often at the Brevard Music Center, but

today’s performance of the original 1910 score is a Brevard

premiere. The Firebird was first heard in this world exactly

ninety-nine years and three days ago.

Hearing Firebird on the same program with a work by

Rimsky-Korsakov is instructive. In his handling of

the orchestra Stravinsky almost out-Rimsky’ed Rimsky,

employing a massive force that included exotic instruments

like the “Wagner tuba.” However, on the purely musical

side Stravinsky was in another world. It has been said that

practically any single bar of Firebird could be dropped into

a Rimsky work, and no one would be the wiser. Yes, butas Eric Clapton sang, “It’s in the way that you use it.” In

pieces like Scheherazade Rimsky-Korsakov perfected a type

of programmatic technique in which full musical themes are

mapped precisely to characters or plot elements of a story.

This creates a rudimentary musical narrative at best but

phenomenal use of the orchestral always saves the day.

Stravinsky’s concept of narrative could hardly have been

more different. A small group of motives (or cells, or sets)

generates an elaborate, organic structure, highly detailed and

sometimes mosaic-like on the surface, but utterly organic.

This process drew him close to the main trunk of European

musical thought, it provided a foundation for all of hissubsequent evolution.

The plot of The Firebird is Diaghilev’s conflation of itemsfrom Alexander Afanasyev’s story collection Russion Folk

Tales , published in the middle of the nineteenth century.

Very generally, Prince Ivan is messing about in the gardenof the hideous Koschei the Deathless. Ivan catches the

Firebird but releases it when the Firebird promises to helpout. Ivan discovers an enchanted princess, falls in love,

fights with Koschei, somehow kills Koschei the Deathless. All ends well. The story dances better than it reads.

Regardless of the plot or any of the externals, regardless of

how many times you’ve heard it, Firebird remains an inspired

and inspiring work. If one were to list the signal moments

of sheer beauty in Western music, a few items from the

twentieth century would have to be included: the closing

phrases of Appalachian Spring, the Adagietto from Mahler’s

Fifth Symphony and, indeed, the magical horn solo near theend of The Firebird .

IV Brevard Music Center

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July 1, 20097:30 PM

Porter Center Concert Hall

Wednesday

Chamber Music

Ludwig van Beethoven Septet in E-at major, Op. 20(1770 - 1827) Adagio; Allegro con brio

Adagio cantabileTempo di minuettoTema con variazioni: AndanteScherzo: Allegro molto e vivaceAndante con moto alla marcia – Presto

Byron auchi, violinMaggie Snyder, viola

Alistair MacRae, celloCraig Brown, bass Steve Cohen, clarinet William Ludwig, bassoonJeff Garza, horn

Intermission

Robert Schumann Piano Trio No.1 in D minor, Op.63(1810 - 1856) Mit Energie und Leidenschaft

Lebhaft, doch nicht zu raschLangsam, mit inniger EmpndungMit Feuer

Corinne Stillwell, violinBenjamin Karp, celloBruce Murray, piano

VI Brevard Music Center Electronic Version by CJ Pletzke

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July 3, 20097:30 PM


Friday

Brevard Sinfonia Andrew Grams, conductor

Carl Maria von Weber Overture to Der Freischütz (1786 - 1826)

Peter Ilyich Tchaikovsky Suite from Sleeping Beauty (1840 - 1893) I. Introduction: La fée des lilas

II. Adagio -- Pas d’actionIII. Pas de caractèreIV. PanoramaV. Valse

Intermission

Ludwig van Beethoven Symphony No. 7 in A major, Op. 92(1770 - 1827) Poco sostenuto — Vivace

AllegrettoPresto: Assai meno prestoAllegro con brio


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Carl Maria von Weber (1786-1826):

Overture to Der Freischütz (1820)

First Perormed: Berlin, 1821

Weber’s tale o a young huntsman, Max, who nearly loses his soul to Satan has long been viewed as aseminal work o German Romantic opera, pavingthe way or Richard Wagner’s later music dramas.The story, quintessentially German, is drawn rom

olklore; Weber cast it as a Singspiel , similar structurally to Mozart’s Abduction from the Seraglio and Magic Flute . Heretained the use o spoken dialogue but also inuseda realistic treatment o nature as both picturesqueand violent derived rom French opera. Among hisimportant achievements are shaping extended, uniedscenes through the use o musical themes, harmonicrelationships, and instrumental colors. His particularstrength is or orchestration—the way he treatsindividual instrumental colors and the striking huesand blends he creates through combining instruments.

The Freischütz o the title is a “reeshooter,” a huntsman

who always hits his target. In order to become one,the hunter receives seven bullets cast by means o the dark arts. Six o the bullets are inallible, butthe seventh belongs to Satan’s emissary, Samiel,

who controls its target. The cost or the bullets isthe huntsman’s immortal soul. More specically, theopera tells the story o Max, a young orest warden

whose shooting ability has let him. Fearul that he will lose the upcoming contest that will win him thehand o his beloved Agathe, he makes a bargain orthe unerring bullets with Samiel, an emissary o Satan(his willpower having been weakened by a magicelixir added to his wine). Agathe’s goodness, helpprovided by the “white” magic o an old hermit, andthe intervention o a generous prince redeem Maxin the end. At the crux o the drama, however, is theknowledge that evil is always lurking beneath thesurace o things that appear peaceul and innocent.

In the Overture, Weber draws on several themesrom the opera to describe the nature o the strugglebetween good and evil to ollow. The music beginsat an adagio tempo with a stark introduction—stringsplaying in octaves. The beautiul horn quartet thatollows represents the orest and hunting. (It is ironicthat the tune was later taken up in Protestant hymnals

to accompany a text about submitting to the will o Jesus.) Sustained pitches in the clarinet sound overstring tremolos in diminished seventh chords, chords

which are associated with Samiel throughout theopera. The diminished seventh chord has a orebodingsound and creates harmonic instability through its twotritones, musical intervals reerred to since medievaltimes as “the devil in music.” Thus, a shadow is castover the orest. The tempo changes to molto vivace andthe key rom major to C minor or a theme rom Max’srst-act aria where he sings: “But powers o darknessare weaving about me. Despair clutches, mockery

torments me!” Ater the ull orchestra plays a passageo powerul chords that transition to a major key (E-fat), the horns make an emphatic return that leadsto the second main theme rom the opera, Agathe’sjoyul reaction upon seeing Max in Act 2 (“And my heart pants wildly, ull o sweet enchantment at hisapproach!”). This joyul theme also reappears at theopera’s conclusion. From here on out, the elements o

good and evil contend, with Samiel and evil appearingto have the upper hand. Eventually the tremolos beginto be punctuated with pauses, signaling the returno Agathe’s theme in a brilliant C major to bring theOverture to a triumphant ending.

Peter Ilyich Tchaikovsky (1840-1893):

Suite from The Sleeping Beauty

Tchaikovsky described this classic ballet, whichpremiered in January, 1890, as a “dancing symphony.”From the time the project was rst proposed to himby Ivan Vsevolozhsky, director o the Imperial Theaterin St. Petersburg, he was attracted to the poeticsubject. The new ballet was to be based on CharlesPerrault’s well-loved tale, La belle au bois dormant (TheSleeping Beauty), about a princess who pricks hernger and alls into a hundred-year sleep but can thenbe awakened by the kiss o a handsome prince. Uponrequesting that the choreographer, Marius Petipa,provide him with a detailed scenario and the specictypes o music required to accompany it, he receiveda meticulously prepared blueprint. In it the airy tale isexpanded by a concluding wedding celebration (thelength o an entire act) and allows the opportunity or the arrival o a whole host o airy tale characters

as guests, among them Cinderella, Little Red RidingHood, and Puss-in-Boots. Perrault’s unnamed princessand her rescuer prince were given the names Auroraand Desire. Tchaikovsky set to work composing atonce and wrote to his beneactor Nadezhda von Meckthat his music or The Sleeping Beauty was among his best.

Soon ater the ballet’s premiere, Tchaikovsky decidedto make an arrangement o some o the music intoa suite or concert perormance. Because he likedall the music so well, however, he ound makingselections dicult; no suite was completed by thetime o the composer’s death. Tchaikovsky’s publisher

nally asked pianist and conductor Alexander Siloti, whom the composer had earlier consulted, to selectand organize the movements or the suite. He didso, and the work was published as Tchaikovsky’sOp. 66A in 1899. Movements may vary in orchestralperormance but typically include the “Introduction:The Lilac Fairy,” where her tender theme rom theballet’s prologue is juxtaposed with the threateningmusic o the evil airy, Carabosse; the “Rose Adagio,”

when Aurora dances with our suitors, each o whompresents her with a rose; the “Pas de caractère (Puss-in-Boots & the White Cat)” portraying the tom’s

VIII Brevard Music Center

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2009 Summer Institute and Festival IX

pursuit o the White Cat and her eventual escaperom his amorous clutches; “Panorama,” a gentleandantino depicting Prince Desire’s journey throughthe rivers o the enchanted orest to the castle

where Aurora sleeps. The amiliar “Waltz” with itssupple melody ends most versions o the Suite.

As you listen to Tchaikovsky’s enchanting music andimagine the dancers, keep in mind that The Sleeping

Beauty is the ballet that inspired both Anna Pavlovaand Georges Balanchine to devote their lives tothe genre and sparked Stravinsky’s great love o dance—a remarkable legacy.

Ludwig van Beethoven (1770-1827):

Symphony No. 7 in A Major, Op. 92 (1812)

First Perormed: Vienna with the composerconducting, December 8, 1813

The Seventh Symphony, described by Beethoven as“one o the happiest products o my poor talents,”is a work o striking originality. Its extraordinary

vitality lies in the composer’s use o rhythm.Melodies, while discernable, are clearly subservientto rhythm and constructed so as to propel themotion orward. Each movement, as you will hear,is characterized by an obsessive rhythm. Berlioz,

Wagner, and others have commented on how theserhythms refect the strong infuence o dance—

Wagner going so ar as to call this symphony the“apotheosis o the dance.” It had its premiere ona concert organized by Johann Nepomuk Maelzel(inventor o the metronome) to benet soldiers

wounded in a battle o the Napoleonic wars at

Hanau. A report in the press noted that the applauseat the end o the perormance “rose to the point o ecstasy.”

The rst movement begins with the longest andmost complex o Beethoven’s slow introductions (62bars). Through two distinctive themes, the composertelegraphs the principal harmonic journeys o the

whole, creating a new level o harmonic integration.The rst theme, a hal-note melody passed romoboes to clarinets to horns, is separated rom thesecond theme by a series o ascending scales inthe strings. The oboes, supported by clarinets

and bassoons, also introduce the graceul melody that unctions as the second theme. Ater a nalstatement o this theme in the futes, Beethovenmakes his transition to the Vivace through octaverepetitions o a single pitch which is transormedinto a mesmerizing dotted rhythm. This rhythmdenes the rest o the movement—an exuberantdance led by the futes and cast in sonata orm.

Wildly popular with audiences throughout the 19th century, the Allegretto still has the power to inspiremusicians o our own time. The jazz pianist Jacques

Loussier, who claimed to have been long hauntedby this movement, recorded an arrangement withhis trio. The same year, 2003, the gited classicalpianist Hélène Grimaud recorded John Corigliano’smeditation on the Allegretto entitled “Fantasia onan Ostinato.” What imbues this movement withsuch extraordinary power? Perhaps its economy and transparency. The timbres are dark and

mellow; the dynamics, understated. An arch orm,it is ramed by an unstable woodwind chord thatHector Berlioz described as a “proound sigh.” Asingle, omnipresent rhythm (long-short-short-long-long) drives the movement. There are ve clearly dened sections: (A) the rerain—a theme withcountermelody that becomes increasingly uller andlouder through three variations; (B) a more tuneulpastoral episode that retains the rhythmic ostinato asan underpinning; (A) the rerain with a greater levelo surace activity, a second variation that builds toa ugato (the highest point o the arch), and a third,climactic variation; (B) the pastoral episode; (A) the

rerain in ragments concluding with the woodwindchord.

The scherzo is an expanded orm with two trios(ABABA). The rerains are presto, ebullient, and,o course, dance-like. Beethoven organizes themusic in regular our-bar phrases, but throws inan extra two bars every now and again just tokeep us on our toes. His little rhythmic joke. Thetrios have a dierent character. They ocus on

wind-band sonorities and shit to a tempo thatBeethoven has marked ambiguously as “very muchless ast.” (Perhaps Beethoven was testing the

conductors o his day.) He seems to suspend timeby beginning with a single high, sustained pitch inthe violins which is given only the slightest bit o ornamentation and to which trumpets and timpaniare eventually added. The winds provide themelodic interest.

By now it won’t surprise you to learn that the nale, Allegro con brio, begins with a repeated rhythm and hasbeen described as a work o “controlled rhythmicrenzy.” The orm is a sonata-rondo synthesisthat moves at breakneck speed. The main themecontinues the obsessive rhythm (long-short-short-

long), while the second theme is more a syncopatedgallop than a tune o any kind. The coda can bestbe described as breathless and loud. It is peppered

with sforzandi and reaches a dynamic o fff twice.Sir Donald Francis Tovey’s words serve as an aptsummation: “The nale remains unapproached inmusic as a triumph o Bacchic ury. I can attemptnothing here by way o description.”

S. Kay Hoke


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July 4, 20092:00 PM


Saturday

Transylvania Symphonic BandKraig Alan Williams, conductor

Pendergrast Family Patriotic Pops!

Meredith Willson 76 Trombonesarr. Ricketts

John Philip Sousa National Emblem March

J.S. Smith and F.S. Key e Star Spangled Banner

John Philip Sousa e underer

Jack Stamp Pastime

S. Ward and K. Lee Bates America the Beautifularr. Carmen Dragon

David Reeves Yankee Doodle Fantasy, Humoresque

William Steffe Battle Hymn of the Republicarr. Zaninneli

arr. Bob Lowden Armed Forces Salute

John Philip Sousa Fairest of the Fair

Irving Berlin South Pacic Selectionsarr. Leidzen

Intermission

Joe Garland In the Miller Moodarr. Barker

Pytor Ilyich Tchaikovsky 1812 Overturearr.Godfrey

John Philip Sousa Stars and Stripes Forever


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July 5, 20093:00 PM


Sunday

Brevard Sinfonia Andrew Grams, conductorNorman Krieger, piano

Paul Hindemith Symphony, Mathis der Maler (1895 - 1963) Engelkonzert (Angelic Concert)

Grablegung (Entombment)Versuchung des heiligen Antonius (e Temptation of St. Anthony)

Intermission

Johannes Brahms Piano Concerto No. 2 in B-at major, Op. 83(1833 - 1897) Allegro non troppo

Allegro appassionato AndanteAllegretto grazioso

Mr. Krieger

Sponsored by

Jacquelyn and Bruce Rogow and the Rogow Greenberg Foundation


7/31/2019 2009 Overture


Paul Hindemith (1895-1963):

Symphony, Mathis der Maler

The German composer Paul Hindemith began lie asa late Romantic, morphed into an expressionist andthen into a “neo-classicist” (not really), and endedup as a bulwark o musical conservatism. Along

the way he developed an elaborate, not altogetherrevered system o music theory. He spent the years1940 to 1953 in America. Through his teachingat Yale University he altered the course o seriousmusic in this country. Among his students were thecomposers Lukas Foss and Norman Dello Joio.

Another student was the lm director George Roy Hill; would we have had Butch Cassidy and the Sundance

Kid (or “Raindrops Keep Fallin’ on My Head”) withoutPaul Hindemith?

In 1934 Hindemith—busy, connected, infuential—

was a central gure in the German music scene. Attimes he was a thorn in the side o the Nazi arbiterso culture. (Hindemith also had a Jewish wie, sohe never really stood a chance.) As he worked onhis opera Mathis der Maler (or “Mathias the Painter”);he considered ways to secure a perormance. I hecould get public opinion on his side in advance, howcould the authorities say no? Hindemith adaptedthree large orchestra pieces rom the unnishedopera and assembled the “Symphony, Mathis der

Maler.” Conductor Wilhelm Furtwängler and theBerlin Philharmonic gave the premiere on November25. Audience reaction was positive; ocial reaction

was not. No less than Joseph Goebbels condemnedHindemith and his music; in hindsight, Hindemithshould not have been surprised. A production o theull opera in Germany was impossible. Hindemithnished the opera the ollowing year, and thepremiere came in Zurich in 1938.

In the opera the protagonist Mathis is a metaphorical version o the Reormation-era painter MatthiasGrünewald, renowned or creating the Isenheim

Altarpiece in Alsace and considered the last o thegreat Gothic artists in Germany. The historical

backdrop o the plot is the Peasants’ War o 1523-24; Grünewald’s connection to historical events were Hindemith’s own invention. Mathis der Maler isconnected thematically to at least two earlier Germanoperas, Ferruccio Busoni’s Doktor Faustus (1924) andHans Ptzner’s Palestrina (1917). In each work thetitle character is an artist-hero who recognizes thesupremacy o the creative act. Art outranks politics,social concerns, and even (in Doktor Faustus ) morality.Richard Strauss stuck his toe in these waters as well,in a ew o his lesser-known operas; there must

have been something in the air. None o thesephilosophical operas are perormed very oten(audiences seem to preer storylines with romance orsome blood and guts).

Each movement in the symphony corresponds toa panel in the Iselheim Altarpiece. In the music

Hindemith reers to medieval hymns and to Lutheranchorales to create a sense o time, or timelessness,and place. No doubt these gestures make themusic more accessible or some listeners. They alsoimpart a unique tonal quality to the proceedings

which carries the listener into a spiritual world thatHindemith never inhabited otherwise. It is hardto escape the notion that Matthias’s journey o thesoul was akin to the composer’s own. The operais Hindemith’s magnum opus. The symphony is one o the most satisying orchestral works o the twentiethcentury, the work that makes Paul Hindemith a greatcomposer.

Johannes Brahms (1833-1897):

Piano Concerto No. 2 in B fat, Op. 83

Brahms’s Piano Concerto No. 1 in D minor,completed when the composer was twenty-six, revealed a structure modeled closely aterBeethoven’s Third Piano Concerto but an affekt closerto the turbulent concertos in D minor o both Mozartand Bach. In its early perormances the D minorConcerto ailed with audiences; it was perceived astoo long, too serious, and too complicated. Theseparticular criticisms have not stood the test o time.

A more technical criticism, that the young Brahmsmade tactical errors in his handling o the orchestra,holds up. However, a good conductor and a goodorchestra will deal with the diculties to the point

where they are all but unnoticeable.

Brahms grew dissatised with the First Concerto early on. He expressed that someday he’d do anotherpiano concerto and that it would be “dierent,”but some years passed beore he delved in. Workcommenced in 1878 and concluded in 1881. Ater

a private run-through with conductor Hans vonBülow and his superb orchestra in Meiningen, thepublic premiere was in Budapest, with Brahms at thepiano. The Budapest audience received the work

with enthusiasm, as did audiences all over Europe;Brahms toured widely with the piece. The concertoentered the standard repertoire almost beore it wasprinted.

The standard observation about the Second Concertois that it does not adhere to the traditional concerto

XII Brevard Music Center

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N t

2009 Summer Institute and Festival XIII

ormat. (Neither do Liszt’s two piano concertos,but Liszt was always messing around.) Specically,Brahms wrote a concerto in our movements insteado the usual three, adding a scherzo as the secondmovement. Symphonies had scherzos, concertosdid not.

Scherzo (skĕr’tsō), noun. Fromthe Italian scherzo, “joke.” A quickmovement in triple time, commonly alling as the third movement o ourin a symphony or other work withmultiple movements.

Or sometimes the second movement o our, as inBeethoven’s Ninth Symphony or some works by Mendelssohn, or example.

The corollary to the standard observation aboutthe Second Concerto is that although Brahms

added a scherzo, the work as a whole is typicalo the mature Brahms, the bastion o musicalconservatism. In act, the corollary is wrong. TheSecond Concerto is so packed with ironic, evensubversive elements that it is, at some level, a sorto anti-concerto. A concerto and an anti-concertoall at once. O course, i listeners choose to hearonly the “concerto” part, that would have been ne

with Brahms—that was his intention, ater all. The“anti-” part he reserved or his musical intimates.One clue: none o the movements is a concertomovement in the usual sense.

The rst movement opens with the rst themestated as a horn call. The pianist interrupts a coupleo times, then sits back as the orchestra providesan exposition so extended as to make one orgetthat there is a soloist. The piano writing, althoughhugely dicult, reveals not a hint o acile virtuosity.Not to downplay the importance o the piano,but there is nothing concerto-like here; it is in theorchestra where the action takes place. The pianopart is less a solo than a very, very elaborate pianoobligato.

The title “scherzo” or the second movement isobviously ironic, since there is nothing remotely

“joking” here. The movement is in D minor,the same key as the First Concerto. This is notcoincidental; Brahms is re-imagining, in eectrewriting the First Concerto here. Perhaps the realirony is not that Brahms used the title “scherzo,” butthat Brahms took the ethos o the most passionate

work o his youth, the First Concerto, and crammed

it into a single movement, a “scherzo” at that.Brahms is saying either “this is how it should havegone the rst time” or “pay no attention to all thatnoise I made as a child.”

The exquisite, expansive third movement is oneo the slowest pieces in the repertoire and one o Brahms’s greatest slow movements. Brahms createdthe song Immer leiser wird mein Schlummer (“My slumbergrows ever more peaceul”) out o the amous cellosolo. The dialog between piano and cello is purechamber music. Chamber music would seem to bethe opposite o concerto music.

So ar we have a rst movement that’s really asymphony, a scherzo that shouldn’t be here at all,and a slow movement that is really chamber music.By now we don’t know what to expect or thenale, yet Brahms manages to conound us still withsomething light, playul, domestic. It doesn’t really end so much as it zzles out.

But where is the heaven-storming Johannes? Where is the creator who brought home the FirstSymphony on such a triumphal note? Shouldn’t

we get something like that here, considering all

that has gone beore? Perhaps, but the notion o “triumph” in a concerto generally means that thesoloist plays louder and aster than the orchestra.Brahms would have none o that. Instead, heturns or inspiration to Bach, Bach who ended hissublime Goldberg Variations with a “quodlibet,” justa mishmash o popular tunes (albeit one constructed

with the most proound contrapuntal skill). Here isBrahms’s “quodlibet”: a taste o the beer hall, a littleHungarian, some scales on the piano, pretty muchhis daily routine. A gesture o victory would havebeen insincere; the personal touch is right as rain.Brahms winks.

- Bruce Murray


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July 8, 20097:30 PM


Wednesday

Chamber Music William Preucil and Friends

Ludwig van Beethoven Sonata in A major no. 9, op. 47 “Kreutzer”(1770 - 1827) Adagio sostenuto - Presto

Andante con variazioniFinale – Presto

William Preucil, violinBruce Murray, piano

Intermission

Felix Mendelssohn String Quintet No.2 in B-at major, Op.87(1809 - 1847) Allegro vivace

Andante scherzandoAdagio e lentoAllegro molto vivace

William Preucil, violinTomas Joiner, violin

Scott Rawls, viola Maggie Snyder, violaFelix Wang, cello

XVI Brevard Music Center Electronic Version by CJ Pletzke

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July 10, 20097:30 PM


Friday

Transylvania Symphony OrchestraKeith Lockhart, conductor Angela Park, cello

W.A. Mozart Symphony No. 29 in A major, K. 201(1756 - 1791) Allegro moderato

AndanteMenuettoAllegro con spirito

Camille Saint-Saëns Cello Concerto No. 1 in A minor, Op. 33

(1835 - 1921) Ms. Park

Intermission

Peter Ilyich Tchaikovsky Symphony No. 4 in F minor, Op. 36

(1840 - 1893) Andante sostenuto; Moderato con animaAndantino in modo di canzonaScherzo - Pizzicato ostinato: Allegro

Finale - Allegro con fuoco

Hinda Honigman Memorial Concert Angela Park is the 2009 National Federation of Music Clubs Young Artist Winner

Sponsored by

United Community Bank


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N o t e s


Symphony No. 4 in F Minor (1877)First Perormed: St. Petersburg, 1878

The Fourth Symphony was written during a time when Tchaikovsky was, in his words, “terribly depressed.” The primary source o his distress wasa persistent ormer student, Antonina Milyukova,

who had declared her love or him. A ew yearsbeore he met her, he had determined to marry inan eort to quell the (accurate) rumors that he washomosexual. Tchaikovsky was rightly concernedabout maintaining a respectable reputation in Russiansociety and entered into a disastrous marriage withMilyukova which lasted a mere three months anddrove him to a suicide attempt.

Tchaikovsky’s marital crisis surely aected his workon the Fourth Symphony. Fortunately, there was acountervailing positive infuence o Nadezhda vonMeck, who entered his lie in 1876 and to whom the

symphony is dedicated. The unusual, extraordinary relationship between the wealthy middle-aged widowand the composer was carried out entirely througha correspondence o more than a thousand lettersover ourteen years. A condition o her patronage,however, was that they never meet in person. VonMeck commissioned works, provided him with loans,and later on, with an allowance. In the atermath o his suicide attempt, she also provided the unds ora recovery trip to the Swiss Alps and Italy where hecompleted the nal three movements o the FourthSymphony. Tchaikovsky states in an oten-quotedletter to her that the work “serves as a true echo o

what I went through then. But it is no more than anecho.”

It shouldn’t come as a surprise that the FourthSymphony speaks through emotion and begins

with a “ate” motive, a recurring motto in polonaiserhythm (a dance associated with the Russianaristocracy), described by Tchaikovsky as “the seed o the whole symphony” and that “orce which preventsthe impulse to happiness rom attaining its goal….”He looked to Beethoven’s Fith Symphony with itsamous opening depicting “ate knocking at thedoor” as a model.

Although Tchaikovsky supplied a program or theFourth Symphony, he also noted its “vagueness andinadequacy.” The program makes or interestingreading, but the magnitude o his achievement—hisability as a symphonist—speaks more loudly than anautobiographical interpretation o the music.

The rst movement, Andante sostenuto. Moderato con anima

(in movimento di Valse ) , opens boldly, ominously withoctave unisons in horns and bassoons, a polonaiserhythm repeated as a anare in brass instrumentsand acting as a “ate” motive. It interrupts at each

section o the orm to remind us that ate can alwaysintervene. The polonaise creates rhythmic confict

with the turbulent rst theme, a waltz in 9/8 meterplayed by the strings. The second theme, a plaintivetune in the clarinets, takes up a dialogue with other

woodwinds. The sinuous lines in the winds combine with a lyrical countermelody in the cellos. Thenstrings take up the second theme over an insistent

timpani beat. The anare tops the movement’sclimax and marks the beginning o the recapitulationand, later on, the coda. Although the overall moodo the movement is dark and brooding, Tchaikovsky provides a lovely moment o respite near the end

with the return o the second theme played by bassoon and complemented by woodwind fourishes.

The second movement, marked Andantino in modo

id canzone , begins with a sad, beautiul tune in theoboe that is simplicity itsel. The tune moves tocellos with wind commentary and then grows inpassion as violins take it over. The B section, in

major, oers contrast with a more stolid theme ina stately rhythm. When A returns in the strings, theedge o melancholy is at rst sotened by whimsicalfourishes in the woodwinds Eventually the tunereverts to its initial sadness, particularly when sungby bassoon.

The amous Scherzo demonstrates Tchaikovsky’s gitor creating musical structures rom instrumentalcolors and techniques. Here he has three groups:pizzicato strings, woodwind groupings that eaturebrilliant fourishes in piccolo, and military soundingbrass. There are virtuosic passages at either end o

the sound-color spectrum and a general mood o capriciousness. The orm is typical: A (scherzo), B(trio), A (scherzo), with pizzicato strings leadingthe way and the other two groups creating contrastin the Trio. With the return o A, however, thecomposer also incorporates ideas and colors rom thetrio.

The brilliant, rousing rst theme o the Finale:

Allegro con fuoco takes o immediately and is lled with Tchaikovsky’s signature cascading scales. Themovement may also take the record or the numbero cymbal crashes in a movement. The second

theme, based on a amous Russian olk song entitled“In the Field a Little Birch Tree Stood,” makes thisthe least “western” (i.e., most nationalistic) o theour movements. The overall mood is so joyul thateven the intervention o the “ate” motto, a gesturalconnection to the opening movement, cannotdampen the atmosphere. As Tchaikovsky notes in hisprogram, “Rejoice in others’ rejoicing. To live is stillpossible!”

S. Kay Hoke


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July 11, 20097:30 PMWhittington-Pfohl Auditorium

July 9, 2009 7:30 PM(Dress Rehearsal)


Saturday

Thursday

The Tales of HoffmannJaniec Opera CompanyBrevard Festival OrchestraDorothy Danner, directorChristopher Larkin, conductor

Music by Jacques Offenbach

(1819 - 1880)

Prologue

Act I

Intermission

Act II

Intermission

Act IIIEpilogue

Scott Aronow, scenic designer Andrea Boccanuso, lighting designer Glenn Avery Breed, costume designer Sarah Redding, wig and makeup designer Brady Hislop, sound designer and engineer

Sponsored by the

Zimmerli Family Opera Endowment

The Tales of Hoffmann Music by Jacques OenbachLibretto by Jules Barbier and Michel Carré and basedon the stories o E.T.A. HomannPremiere: Paris, Opéra-Comique, 1881

Jacques Oenbach (1819-1880) did not live to seethe premiere o his nal and most ambitious opera,The Tales of Hoffmann . This was to be the work that

would gain Oenbach recognition as a seriouscomposer, and it presents a striking contrast to thelight, humorous works or which he is justly amous,

among them La belle Hélène, Orphée aux enfers, La Périchole,and La Vie Parisienne . The libretto by Jules Barbierand Michel Carré is based on their play rom 1851,Fantastiques d’Hoffmann , which skillully confates severalstories by E.T.A. Homann. The author himsel is depicted as the principal character, a man whoseeks eternal love with a series o quite dierent

women, all unattainable. The central acts are ramedby a prologue and epilogue set in a tavern whereHomann waits or his current lover, the amousoperatic soprano Stella. She beguilingly blends aspectso all the women he has loved. Fascinating, too, is the

N o t e s

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Das Lied von der Erde

nach Hans Bethge's "Die chinesische Flöte"

1. Das Trinklied vom Jammer der Erde

Li-Tai-Po

Schon winkt der Wein im goldnen Pokale,Doch trinkt noch nicht, erst sing ich euch ein Lied!Das Lied vom Kummer soll auflachendin die Seele euch klingen. Wenn der Kummer naht,liegen wüst die Gärten der Seele,

Welkt hin und stirbt die Freude, der Gesang.Dunkel ist das Leben, ist der Tod.

Herr dieses Hauses!Dein Keller birgt die Fülle des goldenen Weins!Hier, diese Laute nenn' ich mein!Die Laute schlagen und die Gläser leeren,

Das sind die Dinge, die zusammen passen.Ein voller Becher Weins zur rechten ZeitIst mehr wert, ist mehr wert, ist mehr wertals alle Reiche dieser Erde!Dunkel is das Leben, ist der Tod.

Das Firmament blaut ewig und die Erde Wird lange fest stehen und aufblühn im Lenz.Du aber, Mensch, wie lang lebst denn du?Nicht hundert Jahre darfst du dich ergötzen

An all dem morschen Tande dieser Erde!

Seht dort hinab! Im Mondschein auf den Gräbernhockt eine wildgespenstische Gestalt— Ein Aff ist's! Hört ihr, wie sein Heulen hinausgelltin den süßen Duft des Lebens!

Jetzt nehm den Wein! Jetzt ist es Zeit, Genossen!Leert eure goldnen Becher zu Grund!Dunkel ist das Leben, ist der Tod!

Song of the Earthafter Hans Bethge's "The Chinese Flute"

1. Drinking Song of Earth’s Misery

Already the wine is ca lling in golden goblets,but do not drink until I sing you a song.The song of misery shall laugh

within your soul. If grief approaches,then the gardens of the soul become a desert.

Withered, dying are joy itself, and song.Dark is life, dark is death.

Lord of this house, your cellar may be full of golden wine,but this lute is my own.Strumming the lute and draining the glasses--

these are things that are right together. A glass of wine at the right timeis better, better, better than all the riches of this earth.

Dark is life, dark is death.

The sky is forever blue, and the earth will hold fast for a long while, and bloom in spring.But you, Man, how long will you live?Not for a hundred years can you enjoy the wretched trinkets of this earth.

Look there; in the moonlight, on the gravescrouches a wild, ghostly shape— a monkey! Hear how his howling piercesthe sweet air of life.Now take the wine. Now is the time, friends.Empty your golden cup!Dark is life, dark is death.

XXII Brevard Music Center

July 12, 20093:00 PM


Sunday

Brevard Music Center OrchestraKeith Lockhart, conductorMary Phillips, mezzo-sopranoMichael Hendrick, tenor

Kevin Puts Two Mountain Scenes(1972 - )

Intermission

Gustav Mahler Das Lied von der Erde(1860 - 1911) Das Trinklied vom Jammer der Erde

Der Einsame im HerbstVon der JugendVon der SchönheitDer Trunkene im FrühlingDer Abschied

Ms. Phillips, Mr. Hendrick


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5.Der Trunkene im FrühlingLi-Tai-Po

Wenn nur ein Traum das Leben ist, Warum denn Müh und Plag?Ich trinke, bis ich nicht mehr kann,Den ganzen, lieben Tag!

Und wenn ich nicht mehr trinken kann, Weil Kehl' und Seele voll,So tauml' ich bis zu meiner TürUnd schlafe wundervoll!

Was hör ich beim Erwachen? Horch!Ein Vogel singt im Baum.Ich frag ihn, ob schon Frühling sei,Mir ist, mir ist als wie im Traum.

Der Vogel zwitschert: "Ja! Der Lenz,der Lenz ist da, sei kommen über Nacht!"

Aus tiefstem Schauen lauscht' ich auf,Der Vogel singt und lacht!

Ich fülle mir den Becher neuUnd leer ihn bis zum GrundUnd singe, bis der Mond erglänzt

Am schwarzen Himmelsrund!

Und wenn ich nicht mehr singen kann,So schlaf ich wieder ein,

Was geht mich denn der Frühling an!Laßt mich betrunken sein!

5. The Drunkard in Spring

If life is just a dream, why the tears and torments?I drink as long as I canthe whole blessed day!

And when I can no longer drinkbecause my belly and my soul are full,I stagger back to my doorand sleep wonderfully!

What's that I hear when I wake up? Hark,a bird sings in the tree.I ask him if spring has come.It's as if I'm dreaming.

The bird chirps, "Yes! Springis here, it came during the night."I listen intently.The bird sings and laughs.

I fill my cup againand drink to the last dropand sing until the moonlight shinesthrough the dark night sky.

And when I can' t sing any moreI sleep again.

What do I care about spring?Let me be drunk!

N o t e s

XXIV Brevard Music Center

4. Von der Schönheit

Li-Tai-Po

Junge Mädchen, pflücken BlumenPflücken Lotosblumen an dem Uferrande.Zwischen Büschen und Blättern sitzen sie, .....Sammeln Blüten in den Schoß und rufenSich einander Neckereien zu.

Goldne Sonne webt um die Gestalten,Spiegelt sie im blanken Wasser wider.

Sonne spiegelt ihre schlanken Glieder,Ihre süßen Augen widerUnd der Zephir hebt mit SchmeichelkosenDas Gewebe ihrer Ärmel auf, Führt den ZauberIhrer Wohlgerüche durch die Luft.

O sieh, was tummeln sich für schöne KnabenDort an dem Uferrand auf mut'gen Rossen,

Weithin glänzend wie die Sonnenstrahlen;Schon zwischen dem Geäst der grünen Weiden

Trabt das jungfrische Volk einher!Das Roß des einen wiehert fröhlich auf Und scheut und saust dahin;Über Blumen, Gräser, wanken hin die Hufe,Sie zerstampfen jäh im Sturm die hingesunknen Blüten.Hei! Wie flattern im Taumel seine Mähnen,Dampfen heiß die Nüstern!

Goldne Sonne webt um die Gestalten,Spiegelt sie im blanken Wasser wider.

Und die schönste von den Jungfraun sendetLange Blicke ihm der Sehnsucht nach.Ihre stolze Haltung ist nur Verstellung.In dem Funkeln ihrer großen Augen,In dem Dunkel ihres heißen BlicksSchwingt klagend noch die Erregung ihres Herzens nach.

4. Of Beauty

Young women pick flowers,lotus flowers at the edge of the water.Sitting among piles of leaves they gather flowers in their laps and callto each other playfully.

Golden sunlight weaves through the figures,reflecting them on the shiny water.

Sunlight shines on their slender limbs,on their sweet eyes,and a breeze flutters the soft fabric of their sleeves, sending the magic of their fragrance through the air.

See the handsome young men gallopingalong the shore on playful horses,gleaming like the sun's rays.Through the boughs of the green willows

the young men are approaching now.One of the horses neighs happily and then, afraid, rushes away.Its hooves tramp through the flowers and the grass,raising a storm from the wilted blossoms.Its mane flutters wildly,and there is steam from its flaring nostrils.

Golden sunlight weaves through the figures,Reflecting them on the shiny water.

And the prettiest of the maidens sendsa longing glance after him.Her haughtiness is just a pretense.The fire in her wide eyes,the intensity of her gaze,her trembling heart betray her arousal.


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6. Dre Abschied

Mong-Kao-Jen and Wang-Wei

Die Sonne scheidet hinter dem Gebirge.In allen Tälern steigt der Abend niederMit seinen Schatten, die voll Kühlung sind.O sieh! Wie eine Silberbarke schwebtDer Mond am blauen Himmelssee herauf.Ich spüre eines feinen Windes WehnHinter den dunklen Fichten!

Der Bach singt voller Wohllaut durch das Dunkel.Die Blumen blassen im Dämmerschein.Die Erde atmet voll von Ruh und Schlaf,

Alle Sehnsucht will nun träumen.Die müden Menschen gehn heimwärts,Um im Schlaf vergeßnes GlückUnd Jugend neu zu lernen!Die Vögel hocken still in ihren Zweigen.Die Welt schläft ein!

Es wehet kühl im Schatten meiner Fichten.Ich stehe hier und harre meines Freundes;Ich harre sein zum letzten Lebewohl.

Ich sehne mich, o Freund, an deiner SeiteDie Schönheit dieses Abends zu genießen.

Wo bleibst du ...? Du läßt mich lang allein!Ich wandle auf und nieder mit meiner Laute

Auf Wegen, die vom weichen Grase schwellen.O Schönheit! O ewigen Liebens - Lebenstrunkne Welt!

Er stieg vom Pferd und reichte ihm den TrunkDes Abschieds dar. Er fragte ihn, wohinEr führe und auch warum es müßte sein.Er sprach, seine Stimme war umflort: Du, mein Freund,Mir war auf dieser Welt das Glück nicht hold!

Wohin ich geh? Ich geh, ich wandre in die Berge.Ich suche Ruhe für mein einsam Herz.Ich wandle nach der Heimat, meiner Stätte.Ich werde niemals in die Ferne schweifen.

Still ist mein Herz und harret seiner Stunde!

Die liebe Erde allüberallBlüht auf im Lenz und grünt aufs neu!

Allüberall und ewigBlauen licht die Fernen!Ewig... ewig...

6. The Farewell

The sun leaves behind the mountains.In all of the valleys evening arrives

with its cool shadows.Look! Like a silver boatthe moon floats upon the blue sea in the sky.I feel a gentle breeze blowingbehind the dark spruce trees.

The brook sings with full voice through the darkness.The flowers pale in the dim twilight.The earth breathes peacefully in sleep,and all yearning turns to dreaming.Tired men head home,and in sleep they recallthe happiness of their youth.The birds crouch silently on their branches.The world sleeps.

The breeze is cool in the shadow of the spruce.I stand here waiting for my friend,

waiting for his final farewell.

I long, my friend,to enjoy the beauty of this evening with you.

Where are you? You make me wait alone. With my lute I walk up and downon the paths swelling with soft grass.O beauty! O eternal love--love-drunk world!

He dismounted the horse and handed him the drinkof farewell. He asked wherehe was going and why he must go.He said, in a pained voice: My friend,in this world fortune has not been kind to me.

Where am I going? I go to wander in the mountains.My lonely heart needs rest.I head homeward, to my own place.I will never roam again in distant lands.

My heart is still, waiting for its final hour.

All around me the beloved earthblossoms in spring and turns green again.Everywhere and foreverthe blue horizon.Forever... forever...

—English translation by Bruce Murray

N t


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Guest Artist Biographies

Dorothy Dannerdirector

Dorothy Danner returns or hersecond season at the BrevardMusic Center. Ms. Danner has

directed nearly 200 productionso operas, operettas, musicalsand plays throughout theUnited States, Canada andBelgium. She has staged operas

or many companies including Glimmerglass, Houston,Minnesota, Cleveland, Philadelphia, San Francisco andPortland. Ms. Danner garnered wide critical acclaimor A Midsummer Night’s Dream at Juilliard, as well as PBS’showing o Ballymore and the Boston Pops’ “A Tribute toGilbert and Sullivan.”

Recent productions include Hansel and Gretel or theOpera Company o Philadelphia, Lucia di Lammermoor and Susannah or Virginia Opera, Die Fledermaus orOrlando, Barber of Seville or Portland, La Fille de Régiment

or Cincinnati, Tartuffe or Skylight Opera, La Bohème orSan Antonio, Three Penny Opera or Opera Omaha, Audition,

starring Plácido Domingo and Kristin Chenoweth,or Washington Opera and the premiere o TheaMusgrave’s Voices of Power and Protest at the UnitedNations.

Prior to launching her directing career, Dorothy (Frank)Danner perormed in a variety Broadway shows,

rom Once Upon a Matttress to Michael Bennett’s Ballroom .Ms. Danner was co-ounder o the Glimmerglass Young Artist program, has served on the aculties o the Juilliard School and the Curtis Institute o Musicand has been a guest director at New York, Boston,Carnegie-Mellon and Indiana Universities.

debut appearances with many o the great orchestraso the world including the Philadelphia Orchestra,the Chicago Symphony, the St. Louis Symphony, theNational Symphony Orchestra, the Orchestra o SantaCecilia Rome and the orchestras o Baltimore, Dallas,Houston and others.

Mr. Grams made his rst subscription series appearance with the The Cleveland Orchestra in May, 2006conducting Schoenberg’s Second Chamber Symphony and conducted his rst series o ull-length subscriptionconcerts with the Cleveland Orchestra in November,2006. He led programs with the orchestra at theBlossom Music Center in 2006 and 2007 as well as atthe new Miami Perorming Arts Center in the winter o 2006/07. This season will bring debuts or Mr. Grams with the

New Jersey Symphony Orchestra, the Utah Symphony,the National Arts Centre Orchestra Ottawa, theEdmonton Symphony, the Melbourne Symphony, andthe Hamburg Symphony among others and he willreturn to conduct the Cleveland Orchestra as well ina perormance o Balanchine masterpieces with theMiami City Ballet.

In 2002, Grams was appointed the assistant conductoro the Reading Symphony Orchestra in Pennsylvaniaand returned to conduct that orchestra again in 2005.He was selected to spend the summer o 2003 studying

with David Zinman, Murry Sidlin and Michael Stern

at the American Academy o Conducting at the AspenMusic Festival, and returned to that program again in2004.

A Maryland native raised in Severn, Andrew Gramsbegan conducting at the age o 17, when he directedthe World Youth Symphony Orchestra at Interlochen

Arts Camp in Michigan. In 1999 he received a bacheloro music degree in violin perormance rom the JuilliardSchool, where he was a student o Stephen Clapp,and in 2003 he received a conducting degree romthe Curtis Institute o Music, where he worked withOtto-Werner Mueller. Also an accomplished violinist,

Mr. Grams was a member o the New York City BalletOrchestra at Lincoln Center rom 1998 to 2004, servingas acting associate principal second violin in 2002 and2004. In addition, he has perormed with ensemblesincluding the Orpheus Chamber Orchestra, theOrchestra o St. Luke’s, the Brooklyn Philharmonic, andthe New Jersey Symphony.

Andrew Gramsconductor

Young American conductor

Andrew Grams has servedas the Resident Conductoro the Florida Orchestra andcompleted his three-year termas Assistant Conductor o TheCleveland Orchestra in 2007.

He was appointed to that post by Franz Welser-Möst in June, 2004.

As one o America’s most promising and talented young conductors, Mr. Grams has already made


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Michael Hendrick tenor

Michael Hendrick hasperormed with leading operacompanies and orchestras

both in Europe and in North America. He has earned criticalpraise or his appearances asDon José in Carmen , with LIV Festival Ópera de a Coruña

(Galicia, Spain), Palacio de Festivales in Santander(Cantabria, Spain), New York City Opera and OperaPacic (U.S.); as Bacchus in Ariadne auf Naxos withPittsburgh Opera, L’Opera de Montréal and SeattleOpera; as the title role in Parsifal , with Lyric Operao Chicago; as Lennie Small in Carlisle Floyd’s Of

Mice and Men with Washington National Opera; and asDon Jose and Male Chorus in The Rape of Lucretia with

New York City Opera. Mr. Hendrick has appeared at Amsterdam’s Concertgebouw as Midas in Strauss’ Die

Liebe der Danae with Radio Filharmonisch Orkest Holland,and at Washington’s Kennedy Center as the titlerole in La clemenza di Tito with the National Symphony Orchestra; His Czech repertoire includes appearancesas Laca in Janacek’s Jenufa with Asociacion Bilbaina de

Amigos de la Opera (Bizkaia, Spain) and as Zivny in Janacek’s Osud , with Bard Summerscape Festival (U.S.)In Russian opera, he has appeared as Count Vodémonin Tchaikovsky’s Iolanta in New York, as Levko inRimsky-Korsakov’s May Night with Sarasota Opera, andShuisky in Boris Godunov with Milwaukee Symphony . His Hungarian repertoire includes Dvorak’s Psalmus

Hungaricus with Detroit Symphony.

Recent engagements include Verdi’s Messa di Requiem with National Philharmonic; Mahler’s Das Klagende Lied with the Rotterdam Philharmonic Orchestra (Vladimir Jurowski, conductor), Sergei in excerpts rom Lady

Macbeth of Mtsensk with the Los Angeles Philharmonic(Esa-Pekka Salonen, conductor) and as Menelaus inStrauss’ Die Aegyptische Helena (Fabio Luisi, conductor) orhis debut at New York’s Metropolitan Opera.

Last season, he appeared with the LondonPhilharmonic as tenor soloist in Mahler’s Das Klagende

Lied and as the Stranger (der Fremde) in Korngold’s Das

Wunder der Heliane , both conducted by Vladimir Jurowski,in Malaga, Spain as La_a in Jenufa , in Bilbao, Spain inthe title role o Verdi’s Aroldo, Palm Beach as Florestanin Fidelio, the Festival Amazonas in Manaus, Brazil asBacchus, tenor soloist in Mahler’s Das Lied von der Erde and the Verdi Requiem.

This season, he will debut with the PhiladelphiaOrchestra as tenor soloist in Mahler’s Das Klagende Lied ,return to Bilbao to sing the title role in Aroldo, Malaga,

Spain as Laca in Jenufa , and the title role in Samson et

Dalila in Manaus, and appearance at the Brevard MusicFestival as tenor soloist in Mahler’s Das Lied von der Erde .

Next season includes debuts at the Bavarian StateOpera in Munich as Bacchus and at the Opera Nationalde Lorraine as Paul in Die Tote Stadt , and a return to the

Metropolitan Opera as Bacchus.

Norman Krieger piano

Norman Krieger returns to theBrevard Music Center or the2009 season as a soloist andmember o the piano aculty.He will perorm the dramaticBrahms’ Piano Concerto No.

2 on July 5. A native o Los Angeles, Mr. Krieger is one o the most acclaimedpianists o his generation, highly regarded as an artisto depth, sensitivity and virtuosic fair.

Norman Krieger regularly appears with the majororchestras o North America, among them the New

York, Los Angeles, Bualo, Dayton and HamiltonPhilharmonics, the Minnesota Orchestra, the BostonPops Orchestra and the Baltimore, Caliornia,Chicago, Cincinnati, Florida, Hartord, Honolulu,Kansas City, Milwaukee, National, New Mexico, NorthCarolina, Oregon, Pittsburgh, Richmond, Saint Louis,

San Antonio, San Diego and Syracuse Symphony Orchestras. He has also been heard as guest soloist

with the Hong Kong Philharmonic, Prague’s CzechNational Symphony Orchestra, Turkey’s PresidentialSymphony Orchestra, New Zealand’s AucklandPhilharmonia Orchestra and Taiwan’s NationalSymphony Orchestra. In the summer o 1994, Mr.Krieger made his debut at New York City’s prestigiousMostly Mozart Festival, earning an immediate invitationto Lincoln Center or the Perorming Arts’ 1995-96“Great Perormers Series.”

Norman Krieger’s current season is highlighted by hisdebuts with Germany’s Philharmonisches Orchster Augsburg, Holland’s Orkest van het Oostenaand areturn to Mexico’s Orquesta Sinónica de Xalapa. Inthe United States, he appears as guest soloist with thesymphony orchestras o Caliornia, Canton, GrandRapids, Jacksonville, North Carolina, Richmond, San

Juan, Santa Fe and Southeast Texas. He is perormingthis summer at the Grand Teton Music Festival and the

Aloha Festival. He has recently recorded the BrahmsPiano Concerto No 2 with JoAnn Falletta and the

Virginia Symphony.

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Norman Krieger’s training began in Los Angeles underthe tutelage o Esther Lipton. At the age o 15, hebecame a ull scholarship student o Adele Marcus atthe amed Juilliard School, rom which he receivedboth Bachelor’s and Master’s degrees. Subsequently,he studied with Alred Brendel and Maria Curcio in

London, and was awarded an Artists Diploma rom theNew England Conservatory, where he worked withRussell Sherman.

A champion o contemporary music, Norman Kriegereatures the music o John Adams, Leonard Bernstein,

John Corigliano, Daniel Brewbaker, Judith St. Croix,Lukas Foss and Lowell Liebermann among his activerepertoire.

Norman Krieger has recorded extensively and can beheard on Artisie 4, Beauour, and Stradivari Classicslabels.

Norman Krieger is the ounding Artistic Director o ThePrince Albert Music Festival in Hawaii. In the springo 1997, he was appointed Associate Proessor o thedistinguished aculty o the University o SouthernCaliornia.

Christopher Larkinconductor

Christopher Larkin is a regularguest o companies throughout

North America. He hasappeared on the podiums o the Santa Fe Opera (La Traviata ),

Washington Opera (Samson et

Dalila, I Puritani ), New YorkCity Opera (Don Giovanni, La

Bohème ), Houston Grand Opera (Tosca, Romeo et Juliette, Le

Nozze di Figaro), Portland Opera (La Cenerentola, Il Viaggio

a Reims and Die Entführung aus dem Serail ), Opera Pacic(Little Women ), Florentine Opera and Utah Opera (Il

Barbiere di Siviglia ), Opera Carolina (La Cenerentola ), Fort Worth Opera (Falstaff, Little Women, Dialogues of the Carmelites,

and Angels in America ), Boston Lyric Opera (East Coast

premiere o Resurrection ), Nashville Opera (La Bohème ),Utah Opera (Il Barbiere di Siviglia ) Lake George Opera(L’Italiana in Algeri ), Kentucky Opera (Dialogues of the

Carmelites ), Music Academy o the West (Il Viaggio a Reims

and La Bohème ). He has also conducted Susannah at the Wexord Festival.

As Music Director o the New York City Opera NationalCompany, he led national tours o Madama Butterfy andIl Barbiere di Siviglia . Prior to coming to New York, heheld the position o Associate Conductor with HoustonGrand Opera. While in Houston, he led the world

premieres o Little Women and Michael Daugherty’s Jackie

O with the Houston Opera Studio, and also conductedthe highly acclaimed multi-media productions o Carmen,

Madama Butterfy , and I Pagliacci .

Stanford Olsentenor

The American tenor, StanordOlsen, received the Bacheloro Music degree rom theUniversity o Utah and the

Artists Diploma in Opera romthe University o CincinnatiCollege-Conservatory o Music,

who named him Alumnus o the Year in 1992. Inaddition to the Naumburg award, Stanord Olsen was

the winner o the Metropolitan Opera National Council Auditions in 1986, and has received awards rom theRichard Tucker Foundation and the Eleanor SteberFoundation.

Since his debut in 1986 opposite Joan Sutherland,Stanord Olsen has perormed over 150 times with New

York’s Metropolitan Opera, and has been heard in suchmajor venues as La Scala, Australian Opera, DeutscheOper Berlin, San Francisco Opera, and most othersignicant opera companies in the USA and Europe.

One o this generation’s most versatile concert

perormers, Stanord Olsen regularly perorms withthe world’s top orchestras and conductors in repertory rom Bach to Béla Bartók. A requent collaborator

with Kurt Masur and the New York Philharmonic, hehas perormed with such notables as Pierre Boulezand the Ensemble Intercontemporain, Seiji Ozawa,the Saito Kinen Festival Orchestra, James Levine andthe Berlin Philharmonic, John Elliot Gardner and theEnglish Baroque Soloists, and Helmuth Rilling and theInternational BachAkademie. He has perormed at theestivals o Ravinia, Tanglewood and Salzburg, and is aregular guest with the orchestras o Philadelphia, SanFrancisco, Houston, St. Louis, Montreal, and Atlanta.

Winner o the 1989 Walter W. Naumburg Award orrecitalists, he debuted in Alice Tully Hall in 1989singing Schubert’s Die Schöne Müllerin , a piece he repeatedin 1997 in the 92nd St. Y’s nal “Schubertiade” recitals,stepping in or an ailing Hermann Prey with JamesLevine accompanying. He continues to be a sought-ater recitalist in the USA and Europe, and one o the

world’s leading light lyric tenors.

Stanord Olsen is now Proessor o Voice and ShelerEminent Scholar at Florida State University. A long-time


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coach or members o the Metropolitan Opera’s Young Artist Development Program, he has taught youngsingers in masterclasses at Santa Fe Opera, St. LouisOpera Theatre, The Eastman School, Tanglewood, NewEngland Conservatory, and The Manhattan School o Music.

Stanord Olsen’s recordings o Bach, Mozart andRossini have received critical praise, including a 1995nomination or a Grammy Award or Rossini’s Tancredi

with Alberto Zedda on the Naxos label. His 1999 Telarcrecording o Dvorak’s Stabat Mater , with the AtlantaSymphony Orchestra under the baton o Robert Shaw,also received a Grammy nomination.

William Preucilviolin

William Preucil was appointedconcertmaster o the ClevelandOrchestra in 1994. Previously,he perormed or seven seasonsas rst violinist o the Grammy

Award-winning ClevelandQuartet. As a member o

the quartet, he perormed more than 100 concertseach year in the world’s major music capitals andrecorded or Telarc International the complete cycleo Beethoven’s 17 string quartets, as well as a variety o chamber works by Haydn, Mozart, Schubert, andBrahms. Mr. Preucil also served or seven years as

concertmaster o the Atlanta Symphony, and earlierheld the same position with the Utah and Nashvilleorchestras.

During his tenure in Atlanta, Mr. Preucil appeared with the orchestra as soloist in 70 perormances o 15dierent concertos. Composer Stephen Paulus’ ViolinConcerto was written or, and dedicated to, Mr. Preucil,

who premiered it and then recorded it or New WorldRecords with the Atlanta Symphony and conductorRobert Shaw. He has also made solo appearances

with the symphony orchestras o Minnesota, Detroit,Rochester, Hong Kong, and Taipei.

Mr. Preucil regularly perorms at the most prestigiousNorth American chamber music estivals, includingthose in Seattle, Sitka, Sarasota, and Santa Fe, as wellas at international estivals in Switzerland, France, andGermany. He also serves as concertmaster and violinsoloist o the Mainly Mozart Festival Orchestra in SanDiego and continues to perorm as a member o theLanier Trio, whose recording o the complete Dvorakpiano trios was honored as one o TIME magazine’stop 10 compact discs or 1993. The Lanier Trio hasalso recorded the trios o Mendelssohn and Paulus orGasparo Records.

Actively involved as an educator, Mr. Preucil isDistinguished Proessor o Violin at the ClevelandInstitute o Music and Artist-in-Residence at theUniversity o Maryland School o Music. Also a membero the artistic advisory board or the InterlochenCenter or the Arts in Michigan, he previously was a

proessor o music at the Eastman School o Music anda distinguished lecturer in music at the University o Georgia.

Mr. Preucil began studying violin at the age o 5 withhis mother, Doris Preucil, a pioneer in Suzuki violininstruction in the United States. At the age o 16, hegraduated with honors rom the Interlochen Arts

Academy and entered Indiana University to study with Jose Gingold. He was awarded a prestigiousperormer’s certicate at Indiana University and alsostudied with Zino Francescatti and Gyorgy Sebok.

Mary Phillipsmezzo-soprano

The American mezzo-soprano,Mary Phillips, holds degrees inmusic and theater rom RhodeIsland College and a master’sdegree in music rom YaleUniversity. She is a recipient o the Kennedy Center National

Acting Award and was the Eastern Regional Winnero the 1994 Metropolitan Opera Auditions. She wasselected as an apprentice in the Santa Fe Opera andhas perormed at the Marlboro Festival and the RaviniaSteans Institute or Young Artists.

Mary Phillips has garnered praise or her compellingstage presence in a wide range o repertoire. Shemade her international opera debut in Tenerie(Canary Islands) in concert perormances o Die Walküre (Rossweise), and she has since repeated the role at theDallas Opera, in her Seattle Opera debut, and with theMetropolitan Opera. She made her debut at the Gran

Teatre Del Liceu in Barcelona the Sarasota Opera as theComposer in Ariadne auf Naxos in 2003-2004. Mary Phillips’ recent concert engagements include aCarnegie Hall concert perormance o Ernani with theOpera Orchestra o New York. She made her debutat the Gottingen Handel Festival last spring as Irenein Atalanta , a role she will repeat with PhilharmoniaBaroque Orchestra in all 2005. She also appeared atLincoln Center’s Avery Fisher Hall with the AmericanSymphony Orchestra led by Leon Botstein or a concertperormance o the rarely perormed Zemlinsky opera

Eine forentinische Trägodie in the role o Bianca.

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Mary Phillips made her New York PhilharmonicOrchestra debut in the world premiere o MichaelTorke’s Four Seasons and Aaron Jay Kernis’s Garden of Light under the leadership o Music Director Kurt Masur.Other concert appearances include Gustav Mahler’sSymphony No. 2 with the Los Angeles Philharmonic

Orchestra and the Hong Kong Philharmonic; a DallasSymphony debut in Szymanowski’s Stabat Mater andthe Mozart Requiem ; her Pittsburgh Symphony debutin Tchaikovsky’s rarely-heard Ophelia Songs ; andBeethoven’s Symphony No. 9 with the Boston Symphony Orchestra in perormances conducted by Hans Gra atTanglewood.

Kevin Putscomposer

Hailed by the press as “oneo the best young composersin America,” Kevin Puts hashad works commissionedand perormed by leadingorchestras, ensembles andsoloists throughout North

America, Europe and the FarEast. Known or his distinctive and richly coloredmusical voice, Mr. Puts has received many o today’smost prestigious honors and awards or composition.

In October 2007 the Miro Quartet premiered Credo,

commissioned by Chamber Music Monterey Bay, andthe Eroica Trio premiered a new work, commissionedby Music Accord, at the Krannert Center or thePerorming Arts (IL). In April 2008 Jerey Kahane andthe Los Angeles Chamber Orchestra give the premiereo a piano concerto commissioned through theLACO’s Sound Investment program. Other orchestralperormances this season include Symphony No. 1 by the Houston Symphony, Vespertine Elegy by Marin Alsopand the Tonhalle Orchestra in Zurich (where And

Legions Will Rise will also be heard in a preview chamberconcert), and the premiere o a new work or horn andorchestra by the Mobile Symphony, where Mr. Puts

holds a Music Alive residency.

As the Composer-in-Residence or the Fort WorthSymphony, Mr. Puts wrote a violin concerto orconcertmaster Michael Shih, which was given itspremiere in April 2007. He was selected as the 2007

American Composer-in-Residence or the Bravo! Vail Valley Music Festival, where his Two Mountain Scenes was premiered by the New York Philharmonic. In theall o 2006, The Chamber Music Society o LincolnCenter gave the New York premiere o And Legions

Will Rise , and the Atlanta and Baltimore symphoniesperormed River’s Rush .

Mr. Puts’ 2005-2006 season included the premiereso three major orchestral works: a percussionconcerto or Orange County’s Pacic Symphony andthe Utah Symphony, premiered by Evelyn Glennieand perormed again at the Cabrillo Festival o Contemporary Music; Sinonia Concertante or ve solo

instruments and orchestra or the Minnesota Orchestra;and a cello concerto, Vision , commissioned by the

Aspen Music Festival and perormed by Yo-Yo Ma inhonor o David Zinman’s 70th birthday. The New YorkPhilharmonic perormed Network in November 2005,marking Mr. Puts’ debut with that orchestra.

Mr. Puts’ honors include the 2003 Benjamin H. Danks Award or Excellence in Orchestral Composition o the American Academy o Arts and Letters, a 2001 JohnSimon Guggenheim Memorial Foundation Fellowship,a 2001-2002 Rome Prize rom the American Academy in Rome, and the 1999 Barlow International Prize orOrchestral Music.

A native o St. Louis, Missouri, Mr. Puts received hisBachelor’s Degree rom the Eastman School o Music,his Master’s Degree rom Yale University, and a Doctoro Musical Arts at the Eastman School o Music.

Steven Smithconductor

Steven Smith has served as

Music Director o Santa FeSymphony & Chorus since1999, a period during whichthe orchestra has achievednumerous goals: recognizedartistic growth, nancial stability

and enthusiastic community support. He also servesas Music Director o the Grammy Award-winningCleveland Chamber Symphony, an ensemble devotedto the perormance o contemporary music. Sincesummer 2004 he has conducted numerous orchestraland opera perormances at the Brevard Music Festival,

where he held the position o Director o Orchestral Activities or the 2008 season.

From 1997 to 2003, Steven Smith served as the Assistant Conductor o the Cleveland Orchestra,conducting subscription concerts, summer concertsat the Blossom Music Festival and holiday programs.Particularly interested in the role o orchestras in artseducation, he assisted in the planning and conductingo the Cleveland Orchestra’s educational and amily concerts and hosted the orchestra’s annual broadcast

videoconerence, which won an Emmy Award in 2001.


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For ve seasons he also served as Music Director o the Cleveland Orchestra Youth Orchestra. During histenure they were invited by Carnegie Hall to perormin that institution’s amed Isaac Stern Auditorium, anappearance that took place in March, 2000. During2002-05, he also served on the aculty o the Oberlin

Conservatory, leading both orchestral and operaticperormances.

Steven Smith’s recent guest-conducting activitiesinclude appearances with the San Francisco Symphony,Richmond Symphony, Puerto Rico Symphony,Kalamazoo Symphony, Milwaukee Symphony and

Akron Symphony and a return to Mexico’s OrquestaSinónica de Xalapa. In addition, he has conducted theCarnegie-Mellon Philharmonic and several programsat Indiana University, including their production o Carlisle Floyd’s “Susannah .” Orchestral guest conducting

has included several seasons with New Zealand’s Auckland Philharmonia, the Detroit Symphony,Houston Symphony, New Mexico Symphony, Taiwan’sNational Symphony Orchestra and the Hong KongPhilharmonic. During summers he has perormedat the Aspen Music Festival, and with the NationalRepertory Orchestra, Summer Music at Harkness,Chicago’s Grant Park Symphony and New York’sChautauqua Symphony.

Smith is also an active ASCAP award-winningcomposer. He was named 2008 Ohio Composer o the

Year and with that honor received a commission or

a new string quartet to be premiered in November,2008. The Cleveland Orchestra has perormed his La

Chasse at the Blossom Festival under the direction o Jahja Ling, and his One to One A Round or educationalconcerts at Severance Hall. His work, Tane Mahuta ,

was commissioned to celebrate the 20th anniversary o the Cleveland Orchestra Youth Orchestra and

was premiered in April, 2006. He has also receivedcommissions rom the Cleveland Orchestra, GrandRapids Symphony, Eugene Youth Symphony and soloartists.

In December, 1995, Shake, Rattle and Roar , an interactive

work or young audience and orchestra, was perormedby the Los Angeles Philharmonic; and previously by the National Symphony on the Kennedy Center’sEducational Concerts.

A native o Toledo, Ohio, Steven Smith earnedmasters degrees rom the Eastman School o Musicand the Cleveland Institute o Music. Mr. Smith is therecipient o the CIM Alumni Association 1999 Alumni

Achievement Award.

Kraig Alan Williamsconductor

Dr. Williams is Director o Bands and Associate Proessoro Conducting and coordinatoro the Wind Studies Divisionat the University o Memphis.His duties include the artisticguidance o the University

Wind Ensemble and administration o all aspects o adynamic and comprehensive university band program.Other responsibilities include teaching graduate andundergraduate conducting and the mentoring o Mastersand Doctoral students. Maintaining an active scheduleas a guest conductor, clinician and lecturer, he hasappeared in those capacities with such prominentensembles as the Dallas Wind Symphony and The

United States Air Force Band. Dr. Williams has led highly acclaimed concerts beore the College Band Director’sNational Association Southern Regional Conerence(2006), Tennessee All-West Concert Band Festival(2005), the and Mid-South Low Brass and Mid-SouthHorn Conerences (2007, 2009). Prior to Memphis,

Williams was on the aculty at Duke University servingas conductor o the Duke Wind Symphony and directoro the Duke in Vienna program. He has conductedperormances in Graz, Budapest, Malta, Marktoberdor and Prague. He has perormed in Carnegie Hall,conducted live radio broadcasts on NPR, and hasrecorded or Albany Records, Mark Records and ADK

in Prague, Czeck Republic. Dr. Williams joined theconducting aculty at Brevard in 2000 and was namedDirector o Bands in 2008.

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July 13, 200912:30 PM


Monday

Musical Ventures

Ludwig van Beethoven Sonata or Cello and Piano No. 5 in D major, Op. 102/2(1770 - 1827) Allegro con brio

Adagio con molto sentimento d’affetto Allegro ugato

David Premo, cello Craig Nies, piano

Felix Mendelssohn String Quartet in F minor, Op. 80(1809 - 1847) Allegro vivace assai

Allegro assaiAdagioFinale: Allegro molto

e Biava String Quartet Austin Hartman, violinHyunsu Ko, violinMary Persin, violaJason Calloway, cello

2009 Summer Institute and Festival IElectronic Version by CJ Pletzke

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July 13, 20097:30 PM


Monday


Chamber Music at Porter CenterAndrés Díaz and Friends

Andrés Díaz, celloBruce Murray, pianoJason Posnock, violinLavena Johanson, cello

Gian Carlo Menotti Suite or wo Cellos and Piano(1911 - 2007) Introduction

ScherzoAriosoFinale

Zoltán Kodály Sonata or Solo Cello, Op. 8(1882 - 1967) Allegro maestoso ma appassionato

Adagio con grand espressioneAllegro molto vivace

Intermission

Felix Mendelssohn Piano rio No. 1 in D minor, Op. 49(1809 - 1847) Molto allegro e agitato

Andante con moto tranquilloScherzo - Leggiero e vivaceFinale - Allegro assai appassionato


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July 14, 20097:30 PM


Tuesday

Transylvania Symphonic BandKraig Alan Williams, conductor

Jean Sibelius/arr. Cailliet Finlandia(1865 - 1957)

Percy Grainger Lincolnshire Posy (1882 - 1961)

Ney Rosauro/arr. McCutchen Concerto or Marimba and Wind Ensemble(1952 - )

Intermission

Donald Grantham Southern Harmony (1947 - )


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July 15, 20097:30 PM


Wednesday

Chamber Music at Porter CenterRoberto Díaz and Friends

Roberto Díaz, viola Andrew Tyson, piano


Manuel de Falla Suite Populaire Espagnole(1876 - 1946) El Paño Moruno

NanaCanciónPoloAsturianaJota

Johannes Brahms Sonata or Viola and Piano in D major, Op. 78 (arr. Csaba Eredélyi)(1833 - 1897) Vivace ma non troppo

AdagioAllegro molto moderato

Intermission

Wolfgang Amadeus Mozart String Quintet in G minor, K. 516(1809 - 1847) Allegro

Menuetto (Allegretto)Adagio ma non troppoAdagio: Allegro


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July 17, 20097:30 PM


Friday

Transylvania Symphony OrchestraLarry Rachle, conductor

Brevard Brass Symphony Ken Lam, conductor

Michael Tippett Fanare or Brass(1905 - 1998)

George Friedrich Handel Music or the Royal Fireworks/arr. Marlett Maestoso – Allegro

(1685 - 1759) Bourrée

Largo alla SicilianoAllegro con spiritoAllegro moderatoMaestoso

Steven Sherrill A Festival o the British Isles

(1955 - )

Brevard Brass Symphony

Intermission

Ralph Vaughan Williams A London Symphony (Symphony No. 2)(1872 - 1958) I. Lento-Allegro risoluto

II. LentoIII. Scherzo (Nocturne): Allegro vivace; AndantinoIV. Finale: Andante con moto-Maestoso alla marcia-Allegro-Lento-Epilogue

N o t e

sRalph Vaughan Williams (1872-1958):

A London Symphony

Ralph Vaughan Williams was a son o the Victorianupper middle-class and quite well connected. Hismother was a member o the Wedgwood amily, andCharles Darwin, who had married into that prosperousamily, was his great-uncle. Rather than ollowing theusual path or a young man o his class and movingdirectly into university, Vaughan Williams entered theRoyal College o Music where he studied with the great

Victorian composer Sir Hubert Parry. Ater a ew years o work at the conservatory, he read history at Cambridgeand counted Bertrand Russell and the respected historianG. M. Trevelyan among his close riends there.

Among the noted musicians who helped to shape hispath as a composer as either his teachers or importantstylistic inuences were Charles Villers Stanord, EdwardElgar, Gustav Holst, a ellow composition student,Max Bruch, Maurice Ravel, with whom he studiedorchestration, Claude Debussy, and Henry Purcell, acelebrated English baroque composer whose complete

works Vaughan Williams helped to edit. He elt a strongsense o continuity with his 19th-century predecessors,

which included an afnity or the music o Richard Wagner, and wished to “reinvent rather than reject” thepast.

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Like Cecil Sharp in England and Bela Bartók and ZoltanKodály in Hungary, Vaughan Williams conductedfeld work in the English countryside collecting some800 olk songs and adaptations. It should come as nosurprise that a distinctive element o his compositionalstyle is the assimilation o olksong. He also editedmusic or a new hymnal or the Church o England-another activity that served to shape his identity as acomposer.

The London Symphony, a loving and poetic portrait o thecity prior to the First World War by a true Londoner, ishis frst large-scale work or orchestra. Were it not orhis riend George Butterworth, who suggested in 1911that Vaughan Williams write a symphony, he mightnever have composed the piece. Writing a symphony

was, as he said, “a thing I had always declared I wouldnever attempt.” He had made some sketches or asymphonic poem about London inspired in part by a splendid view o the Thames rom the window o his study, an admiration or Monet’s impressionisticpaintings o the Waterloo Bridge and Houses o Parliament, and the fnal chapter o H. G. Wells’s bookTono-Bungay (Night and the Open Sea) in which theThames appears as “the symbol o England.” Vaughan

Williams adamantly insisted that even though hissymphony contained programmatic elements, such asthe chimes o Westminster Abbey and the street cries o ower sellers, it must “stand or all as absolute music.”

Writing in the New Grove Dictionary, Hugh Ottaway and Alain Frogley note that during the pre-war period it was A London Symphony that “fnally confrmed [Vaughan Williams] as the leading English composer o his

generation” and go on to say that the element o nationalism in his music was a signifcant reasonthe work was so well received. Soon ater the frstperormance in 1914, the ull score was lost intransit to Germany and never recovered. Assisted by Butterworth, Georey Toye, who had conducted thepremiere, and the critic and music historian Edward

J. Dent, Vaughan Williams was able to reconstruct thescore rom parts, but the composer made revisionsand cuts beore its publication in 1920. He also madesubsequent revisions, the last completed in 1933. This

version was published in 1936 and has come down

as the standard perormance edition. Some yearslater in a reerence to his symphonies as a “amily,”he admitted to the conductor Sir John Barbirolli thatthe London was “beyond mending” and that he lovedit despite its aults. It remains the most popular o

Vaughan Williams’s symphonies both in numbers o live perormances and recordings.

O the our movements, the frst, Lento-Allegro risoluto, wasthe only one untouched by revision. It begins quietly

with a rising ourth idea that will recur throughout. Articulations o silence space the phrases, giving thelistener an opportunity to reect on the composer’s

use o instrumental color to visualize dawn in London.Then the harp chimes rom Westminster Abbey. Thereis another pause beore the allegro section, where thecity begins to awaken in a series o busy musical ideas,some o which are quite loud and robust. A themein woodwinds and brass (brightened with cornets)evokes, in the composer’s description, “HampsteadHeath on an August Bank Holiday.” There are quietmoments as well, the most beautiul o which is aninterlude or string sextet and harp oering respitebeore more assertive themes rom earlier in themovement return.

George Butterworth described the slow movementas “remote and mystical.” Vaughan Williams said themusic was intended to evoke “Bloomsbury Square ona November aternoon.” The prominent ideas are anEnglish horn solo against muted strings (that will alsobe heard in combination with trombones and harpsand in French horn) and a passage o dialogue begunby viola and taken up by various solo woodwinds.Here the composer is mimicking the street cries o lavender sellers. The rising ourth idea introduced inthe frst movement returns beore the music ends witha lone viola.

The Scherzo (Nocturne) asks the listener to imagine“standing on Westminster Embankment at night,surrounded by the distant sounds o The Strand, withits great hotels on one side and the ‘New Cut’ on theother, with its crowded street and aring lights.” Theprincipal ideas in this colorul movement are ragmentso themes that move playully rom instrument toinstrument. The trio section is meant to picture a

Cockney scene with the orchestra imitating the soundo a mouth organ and accordion.

The Finale-Epilogue begins with an expression o uneaseabout change rom an old, comortable societal orderto an unknown uture, a mood Michael Kennedy aptly describes as “wintry.” A tragic opening gestureprecedes a serious march theme in the cellos. Althoughthis solemnity is relieved by a lighter, more animatedsection, the dominating theme throughout is a grimmelody in strings and horns, said to represent some o the darker aspects o London lie. Ater a tremendous( fff ) climax, topped by a stroke o the tam-tam, the

Westminster chimes strike. The quiet epilogue thatbrings the symphony to a close is inuenced by apassage rom H. G. Wells that reads: “Light ater lightgoes down, England and the Kingdom Britain andthe Empire, the old prides and the old devotion, glideabeam, astern, sink down upon the horizon, pass-pass.

The river passes-London passes-England passes….”

S. Kay Hoke


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July 18, 20097:30 PM


Saturday

Brevard SinfoniaKeith Lockhart, conductor

Igor Stravinsky Suite rom Pulcinella(1882 - 1971) I. Sinonia

II. SerenataIIIa. ScherzinoIIIb. AllegrettoIIIc. AndantinoIV. arantellaV. occataVI. Gavotta con due variazioniVII. VivoVIIIa. MinuettoVIIIb. Finale

Intermission

Peter Ilyich Tchaikovsky Symphony No. 5 in E minor, Op. 64(1840 - 1893) Andante; Allegro con anima

Andante cantabile, con alcuna licenzaValse: Allegro moderatoFinale: Andante maestoso; Allegro vivace

Sponsored by

Jacquelyn and Bruce Rogowand the Rogow Greenberg Foundation


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Igor Stravinsky (1882-1971):

Suite from Pulcinella

Audiences have the remarkable Russian impresarioSerge Diaghilev to thank or enticing Stravinsky tocompose or the ballet. Their earthshaking trio o collaborations rom 1910-1913-The Firebird, Petrushka,

and The Rite of Spring -indelibly altered the landscape o dance in the 20th century. For nearly a century, the

music rom these ballets has also popularly survivedin concert version. So too has tonight’s piece, a suitecompiled rom the ballet that commentators agreemarked a turning point in the composer’s style toneoclassicism. Stravinsky wrote that Pulcinella was his“discovery o the past, the epiphany through whichthe whole o my late work became possible. It wasa backward look, o course-the frst o many loveaairs in that direction-but it was a look in the mirror,too.”

Diaghilev frst presented the idea or Pulcinella as heand Stravinsky were taking a stroll in Paris. The

proposal was a package deal. The music was to bebased on works by the early 18th-century composerGiovanni Pergolesi (musicological research has sinceshown that a number o the pieces were actually

written by others rom Pergolesi’s era, includingDomenico Gallo and Carlo Ignazio Monza), andthe story was to derive rom the comic episodesin the lie o Pulcinella, the traditional hero o theCommedia dell’arte . Leonid Massine had been tappedas choreographer and Pablo Picasso had agreedto design the costumes and sets. Stravinsky at frstshowed no interest but soon “ell in love” with theidea.

The ballet, which was frst perormed in 1920, wasscored or chamber orchestra with three singers. Theconcert suite, compiled two years later, uses eleveno the original eighteen movements but rewrites the

vocal solos as instrumental lines. The instrumentation was unchanged: a small string orchestra dividedinto groupings o tutti and a concertino quintet,

woodwinds without clarinets, solo trumpet andtrombone as sometime walk-ons, and no percussion.

In his two-volume study o Stravinsky, RichardTaruskin reminds us that what we are listening to

tonight is “ar less an original composition-even a‘recomposition’-than a reewheeling and imaginativearrangement.” Stravinsky once commented that theremarkable thing about the piece was in “not howmuch but how little has been added or changed.” Yethe marked the music as his own. Pulcinella is a witty,charming, sophisticated transormation o its modelsthrough the addition o astringent inner harmonies,repetitions o patterns to create extended ostinatos,displacement o beats, the occasional use o irregularphrasing or olding an upbeat into a downbeat, andbrilliant orchestration. Reecting on the piece in his

old age, Stravinsky quipped that Pulcinella was “theonly work o Pergolesi’s that he really liked.”


Symphony No. 5

During the eleven years between Tchaikovsky’sFourth and Fith symphonies, his reputation spreadthrough signifcant works, among them the opera

Eugene Onegin , the Violin Concerto, the 1812 Overture,the Serenade for Strings , and Capriccio italien . He was alsoone o the frst Russian composers to conduct his

works outside the country. Tchaikovsky’s travels tookhim to Berlin, Leipzig, Hamburg, Prague, Paris, andLondon. Along the way he met a number o the mostimportant composers o the day: Johannes Brahms,Edvard Grieg, Jules Massenet, Charles Gounod,

Antonin Dvorak, and the young Richard Strauss. Work on the Fith began in May o 1888, ater hisreturn rom touring.

As he began to gather material or the new

symphony, Tchaikovsky wrote to his brother Modestethat he was apprehensive about having either thenecessary reserve o inspiration or the drive to createmusic. A letter to his beneactor, Nadezhda von Meck,some weeks later expresses anxiety about provingthat he is still a credible composer. Despite hismisgivings, Tchaikovsky pressed on with the work.It helped that he was living on his own in a summerhouse in the country and was able to establish thehabit o sketching music in the mornings and takinglong, restorative walks later in the day.

The extreme mood shits he experienced in lie

reect themselves musically in the Fith throughan alternation o strong emotions ranging romutter despair to passionate lyricism to ebullienttriumph, rom minor to major, rom dark to bright.Like Tchaikovsky’s Fourth, this symphony has beencompared to Beethoven’s Fith Symphony. Thereis a motto theme representing Fate that appearsin all our movements (a motto is a concise,recognizable musical idea which recurs at variouspoints throughout a composition). This one derivesrom Mikhail Glinka’s opera A Life for the Tsar andaccompanies the words “turn not into sorrow.” Anapt choice or a composition that gives the listenera sense, when all is said and done, that a nearly insurmountable obstacle has at last been conquered.

In the slow introduction to the frst movement,a pair o clarinets playing in their lowest registerintroduces the motto. The somber atmosphere issustained into the Allegro where the frst theme is asomber march in clarinet and bassoon over a sparestring accompaniment. The gloom lits when thetune moves to the strings. Listen or the energeticdialogues between winds and strings, stronginterruptions rom the brass, lovely sighing passages


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2009 Summer Institute and Festival IX

in the strings and an elegant waltz theme that couldeasily be at home in one o Tchaikovsky’s ballets. Themusic surges to eloquent climaxes then subsides, and,at the end, descends broodingly into the cellar o theorchestra.

The Andante cantabile begins with a solemn wall o strings that soon become the backdrop or a poignant,caressing solo or horn, one o the most amousmelodies in the whole o the orchestral literature.

A throaty clarinet sings a counterpoint to the tuneas it progresses, but the ull passion o the theme isunleashed only when the strings take it up. Anotherprominent theme, introduced by the clarinet andanswered by the bassoon leads to a climactic returno the motto, a kind o clearing o the air beore theprincipal theme returns in the cellos with woodwindelaboration. The music ebbs and ows until trumpetsexplode with the motto as i in a surprise attack. Thesound then begins to recede as Tchaikovsky takesthe music into the lowest register o the orchestra and

ends the movement with a solitary clarinet. What could possibly ollow but a delicately orchestrated balletic waltz cast in ABA orm? Thefrst melody in strings is ollowed by a theme in thebassoon, an inspired choice. The middle sectionis lively with urrying strings and colorul sideconversations in the winds. The waltz returns, frst inoboe and then in lush strings. Near the end the mottoreturns, this time sounding perectly benign in lowclarinets and bassoons.

The long, slow introduction to the fnale, Andante

maestoso: Allegro vivace , opens with a ully harmonizedrendering o the motto. It sounds quite stately inmajor mode and becomes ever more insistent throughsuccessive repetitions. A timpani roll marks thetransition to the Allegro vivace. The dramatic change intempo gives a sense o urgency to the strident frsttheme. Returns o the motto tend to complement

rather than interrupt themes. Much o the movementcaptures the spirit o a grand march. The composer’semphasis on “band” instruments o the orchestra andstirring moments or trumpets and horns underscorethe eect. The coda is bright and cheerul. You mustjudge or yourselves whether it is an almost too happy ending to the symphony.

Although audience reception to Tchaikovsky’s Fith was consistently enthusiastic, critics in Russia andabroad were requently severe in their response. Oneparticularly hostile example comes rom an articlein the Boston Evening Transcript ollowing a premiere

in 1892, where the reviewer noted that the fnalepossessed “all o the untamed ury o the Cossack, whetting itsel or deeds o atrocity, against all thesterility o the Russian steppes. The urious perorationsounds like nothing so much as a horde o demonsstruggling in a torrent o brandy, the music growingdrunker and drunker.” Fortunately, 121 years o well-received perormances have dulled such invective.

S. Kay Hoke


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July 19, 20093:00 PM


Sunday

Brevard Music Center OrchestraLarry Rachle, conductorElena Urioste, violin

Hector Berlioz Overture, Le Corsaire (1803 - 1869)

Samuel Barber Violin Concerto, Op.14(1910 - 1981) Allegro

AndantePresto in moto perpetuo

Ms. Urioste

Intermission

Maurice Ravel La Valse(1875 - 1937)

Maurice Ravel Suite No. 2 rom Daphnis et Chloé (1875 - 1937) Lever du jour

PantomimeDanse générale

Hector Berlioz (1803-1869):

Overture, Le Corsaire

Berlioz’s Le Corsaire began lie as an orchestra piece insearch o a title. It was dished up while the composer

vacationed in Nice in 1844 and premiered theollowing year. However, the title on the program wasnot Le Corsaire but La tour de Nice (“The Tower o Nice”).Later Berlioz tried Le corsaire rouge , purportedly aterFenimore Cooper’s sea novel The Red Rover . Finally itbecame the Le Corsaire that we know and love, in honoro Byron’s poem The Corsair .

A “corsair” is, o course, a pirate, but a pirate o thegenuine Barbary Coast variety, not the Somali variety,and certainly not the ersatz Depp variety. Trying tomatch up Berlioz’s music to anything in the Cooper’sRed Rover or in the Byron poem is an exercise in utility.Sufce to say that Berlioz’s pirates are happy andathletic, and they are prone to dramatic outbursts. Itis a visceral test o an orchestra’s (and a conductor’s)ability, packed with complicated rhythms and high-ying licks. Fun.

Samuel Barber (1910-1981):

Violin Concerto, Op. 14

Samuel Barber was graduated rom the Curtis Instituteo Music in 1934, the same year as the Odessa-born

violinist Iso Briselli. Briselli spent the next ew yearstrying to develop his career, and by 1939 he haddecided to commission a new work. The obviouschoice or composer was Sam Barber Not only wasBarber his old schoolmate, but by 1939 Barber wasrecognized as perhaps the most important younger

voice in American music. Toscanini had already

perormed Barber’s Adagio for Strings with the NBCSymphony. Barber and Briselli agreed on a $1000 ee.Samuel Fels, Philadelphia businessman and Briselli’spatron, put up the money. (Briselli had lived in Fels’shouse since his arrival in America in 1924.)

Barber worked on the piece in Switzerland. Atera ew months he dispatched the frst and secondmovements to Briselli, who received them withenthusiasm. It took Barber a year to come up witha fnale, and this movement did not please Briselliat all. He complained that it didn’t ft with the other

movements, it wasn’t as good, it wasn’t big enough,

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etc. The ot-told tale that Briselli ound the fnale toodifcult to play seems to be an urban myth.

There were hard eelings on both sides, and Brisellinever played the Concerto in public. Instead, thepremiere was given in 1940 by a Curtis student,Herbert Baumel, with Fritz Reiner conducting theCurtis Orchestra. (Baumel later made quite a careerin the pit orchestras o Broadway.) Albert Spalding

gave the proessional premiere in 1941 with EugeneOrmandy and the Philadelphia Orchestra.

Despite this glamorous introduction, the Concerto didnot catch on right away. It was fnally recorded in1951, to little notice, by violinist Louis Kauman, whohad been the concertmaster on the soundtrack orGone with the Wind . The crack in the dam seems to havecome in 1964 when Robert Gerle made the frst stereorecording. Even orty-fve years later Gerle’s readingremains stunningly eective, and it must have donemuch to change minds about the piece. (Robert Gerlespent several summers teaching and conducting at the

Brevard Music Center with his wie, the pianist MarilynNeeley.) A year ater Gerle’s recording came onerom Isaac Stern and Leonard Bernstein. With thesetwo heavyweights involved, Barber’s Violin Concertotook o. Today it is a staple o the violin repertoire.Certainly no American violinist can ignore it.

The model or the work would seem to be Beethoven’sFourth Piano Concerto, in which an incongruously lyrical opening movement is ollowed by a slowmovement that is even more songul but also deeply sorrowul. Barber does exactly these things in hisConcerto but deviates rom Beethoven’s model in thefnale. Beethoven’s fnale is a vast tonal journey thatevinces a sort o giddy, joyous virtuosity throughout.Perhaps this is what Iso Briselli had wanted romBarber way back when. However, in the year 1940this route was utterly closed to Barber and, indeed, toany composer; Barber’s fnale, aphoristic and a littlemysterious, was the only one he could have written.In 1940 there could be hardly anything except doubt.

Maurice Ravel (1875-1937):

La Valse

La Valse, un poème choréographique is Ravel’s homage to Vienna and to the waltz, but an homage viewedthrough a dark glass. Here the waltz is no longer justa dance or a ritual o courtship or the symbol o acity. Now it represents an entire culture, battered andultimately disintegrated by the First World War.

As early as 1906 Ravel had imagined an orchestralri on Johann Strauss to be titled Wien. By 1911 he’dcomposed and orchestrated something else in this

vein, Valses nobles et sentimentales (the title comes rom twoseparate piano sets o Franz Schubert, the Valses nobles and the Valses sentimentales ). Valses nobles et sentimentales wasessentially a straight take on Viennese waltz rhythmsand waltz orm, albeit recast in Ravel’s distinctive

harmonic language. It did not satisy his desire tomake something like La valse .

The proximate cause or La valse was the impresarioSergei Diaghilev, he o the Stravinsky ballets, oneo the most important arts presenters in history.Diaghilev asked Ravel or a Viennese ballet; Ravel

was only too happy to work on his longstanding idea,and he produced La valse . But Diaghilev rejected thescore on the grounds that it was too much a concert

work, not enough a ballet or dancing. Ravel did not

take kindly to rejection, and he reused to deal withDiaghilev any more except to challenge him to a duel(merciully aborted). Ravel need not have worried;La valse went on to become one o his most successulconcert works. He provided a preace to the printedscore:

“Through whirling clouds, waltzing couples may be aintly distinguished. The clouds gradually scatter: one sees at letter A an immense hallpeopled with a whirling crowd. The sceneis gradually illuminated. The light o thechandeliers bursts orth at the ortissimo letter B.Set in an imperial court, about 1855.”

Maurice Ravel:

Suite No. 2 from Daphnis et Chloé

By the time o the La valse debacle, Ravel and Diaghilevhad already enjoyed a mutually proftable relationshipcreating Daphnis et Chloé rom 1909 until 1912. Diaghilevcommissioned Daphnis or his Ballets Russes, andthe premiere in Paris in June 1912 was packed withluminaries: Pierre Monteux conducted the orchestra,Michel Fokine was the choreographer, and VaslavNijinsky was Daphis.

The source material was a second-century Greeknovel by Longus. Daphnis and Chloe: childhoodsweethearts, separated (Daphis captured by corsairs),reunited. Enough said. The occasion allowed Ravel tocompose his longest, most ambitious work, the workgenerally regarded as his masterpiece. In 1911, evenbeore the ballet was completed, Ravel extracted somepieces or a concert suite, now known as Suite No.1. Suite No. 2, compiled in 1913, has become Ravel’smost popular orchestral work save or the ubiquitousBolero. The two suites share no material.

Ravel claimed that the ull ballet was structured upon

elaborate tonal relationships to which no excerptscould do justice. Perhaps, but the sixteen-minute SuiteNo. 2 could hardly be more eective as a showpieceor orchestra. The frst movement, Lever du jour , isRavel’s pastoral mode perected; this describes thebreaking o the day, with Daphis and Chloe amongthe shepherds in the meadow. In the Pantomime thelovers recreate the legend o Pan and Syrinx. Thebacchanalic Danse generale is the close o the entire ballet,as the entire population revels in the reunion o thelovers.

- Bruce Murray


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July 20, 200912:30 PM


Monday

Musical Ventures

Johannes Brahms Sonata or Cello and Piano in E minor, Op. 38(1833 - 1897) Allegro non troppo

Allegretto quasi MenuettoAllegro

Alistair MacRae, celloDeloise Lima, piano

Astor Piazzolla Selections rom ango Etudes

(1921 - 1992) Joseph Lulloff, saxophone

Intermission

Charles Gounod Petite Symphonie or 9 Winds in B-fat major(1818 - 1893) Adagio; Allegretto

Andante cantabileScherzo: Allegro moderatoFinale: Allegretto


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July 20, 20097:30 PM


Monday

Chamber Music at Porter Centere Biava String Quartet Austin Hartman, violinHyunsu Ko, violin Mary Persin, viola Jason Calloway, cello

Franz Joseph Haydn Quartet in E fat, Op. 33, No. 2, “Joke”(1732 - 1809) Allegro moderato

Scherzo: AllegroLargo

Presto

Alberto Ginastera Quartet No. 1, Op. 20(1916 - 1983) Allegro violento e agitato

VivacissimoCalmo e poeticoAllegramente rustico

Intermission

Edvard Grieg Quartet in G minor, Op. 27

(1843 - 1907) Un poco andante; Allegro molto ed agitatoRomanze: AndantinoIntermezzo: Allegro molto marcatoFinale: Lento; Presto al Saltarello


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July 23, 25 20097:30 PMWhittington-Pfohl Auditorium

July 22, 2009 7:30 PM(Dress Rehearsal)


Thursday & Saturday

Wednesday

Hello, Dolly!Janiec Opera CompanyBrevard Festival OrchestraDavid Gately, directorKen Lam, conductor

Music by Jerry Herman

Book by Michael Stewart

Act I

Intermission

Act II

Adam Koch, scenic designer Joe Saint, lighting designer Glenn Avery Breed, costume designer Sarah Redding, wig and makeup designer Brady Hislop, sound designer and engineer

Sponsored by the


Hello, Dolly! begins in New York City in the 1890s, where Dolly Gallagher Levi, a well-known widowedmatchmaker, is boarding a train to Yonkers, New

York to attend to one o her clients, Mr. Horace

Vandergelder, a successul but miserable hal-a-millionaire in the hay and eed business (Call On

Dolly ). While there, Dolly meets Ambrose Kemper,an artist who is in love with Horace’s niece,Ermengarde, but does not ft Horace’s requirements.Dolly tells Ambrose why she loves her business (I Put My Hand In ) and promises to help Ambrose earnHorace’s blessing. Alone, Dolly confdes to her latehusband Ephraim that she has her own plans tomarry Horace and escape the solitude she has livedin since her husband died.

At the hay and eed store, Horace reveals that whilehe marches in the Fourteenth Street Parade and goesto court Irene Malloy, he wants Dolly to take weepy Ermengarde to the city to make her orget about

Ambrose. He leaves his two clerks, Cornelius Hackland Barnaby Tucker, to attend the shop while he’sgone and confdes in them that he hopes Irene willaccept his proposal (It Takes a Woman ). When Dolly learns o Horace’s intentions, she tries every trick todiscourage him. Dolly then meets Ermengarde and

Ambrose and tells them i they win the cash prizeat the Harmonia Gardens polka contest, they willconvince Horace that they should marry. Dolly slyly inorms Cornelius and Barnaby that she could setthem up with Irene and her shop assistant, MinnieFay. Excited by the adventure, the clerks close thestore and join Dolly, Ermengarde, and Ambrose on

the train to New York City (Put On Your Sunday Clothes ).

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Meanwhile, as Irene awaits Horace’s call at thehat store, Minnie asks her why she wants to marry Horace, to which Irene says that although she doesn’tlove him, she wants to escape the millinery business.She dreams about her perect match and how she

would attract his attention (Ribbons Down My Back).Minnie alerts her that two men, who turn out to beCornelius and Barnaby, are approaching the shop.

The men try to impress Irene and Minnie with liesabout a abulous liestyle, but when they fnd outthat Horace is about to come to the millinery, they run and hide. Minnie gives away that there are twomen hiding in the store, Horace becomes urious.Dolly reprimands Horace or his behavior while Irenetries to fnd a better hiding place or Cornelius andBarnaby ( Motherhood March ). Disgusted, Horace leavesthe millinery or the Fourteenth Street Parade. Irene isurious at the two clerks, but Dolly insists the proper

way to handle such trespassers is to “settle it overdinner” at the Harmonia Gardens. Trying to get outo the date because they have no money, Cornelius

and Barnaby let Dolly know that they can’t dance, to which Dolly replies by instructing them on dancing toprepare them or the evening’s estivities (Dancing ).

Later, Dolly runs into Mrs. Rose, an old acquaintance, who causes her to realize that she must stop wastingprecious moments ater her husband’s death. Shespeaks to Ephraim again about letting her go o tomarry Horace, promising him that she will enjoy every minute o her lie (Before the Parade Passes By ). She joinsthe crowd at the Fourteenth Street Parade, where shesees Horace who discharges Dolly as his matchmaker.Nevertheless she smiles, says, “Ephraim-he’s as good

as mine!”, and sings a reprise o Before the Parade Passes By to end Act 1.

Act 2

Act 2 opens with Cornelius and Barnaby heading tothe Harmonia Gardens with their dates. Realizing theirshortage o money, they suggest walking to HarmoniaGardens instead o taking a limo or a taxi, convincingIrene and Minnie that walking is more “elegant” thantaking a limo ( Elegance ).

In anticipation o Dolly’s arrival that night, Rudolph,

the head waiter at Harmonia Gardens, orders his waiters to perorm their best service. In the Waiter’s

Galop, the waiters quickly prepare to set the tablesand serve the meals. As the patrons are seated andhave their meal, Cornelius and Barnaby panic overhow they will pay or the extravagant meals Ireneand Minnie are ordering. At the other end o therestaurant, Horace is embarrassed by his poorly-behaved date Ernestina. A crew o elated waitersescort Dolly into the restaurant (Hello, Dolly ), ecstaticthat their avorite patron has returned or the frst timesince her husband’s death. Horace tells Dolly how

awul his evening with the heiress was, ater whichDolly tries to convince Horace that he asked her tomarry him already but that she is not interested. As theevening progresses, Horace and Barnaby accidentally switch wallets, causing Cornelius and Barnaby tohave more than enough money to pay or dinner,

while Horace fnds that he does not have enoughmoney to pay or his dinner with Dolly. The polka

contest then begins—with Ambrose and Ermengardeas contestants! Dolly is asked to be a guest judge orthe contest, during which Horace spots Ermengarde,

Ambrose, Cornelius, and Barnaby. They try to escaperom Horace, causing pandemonium at the HarmoniaGardens restaurant.

The police round up all patrons and sta at therestaurant and have them brought to court, whereDolly acts as their deense attorney, blaming the

whole event on Horace. Cornelius testifes that hehas allen in love with Irene Malloy and, despite thechaos, he would treasure the experience orever (It

Only Takes a Moment ). Deeply aected by his testimony,the judge declares Horace guilty and everyone elseinnocent. Horace lashes out at Dolly that he knew this

whole day was a big plot to get him to propose to herand that he would never ask her to marry him. Dolly convinces him that he was wrong and that she plansto walk out o his lie (So Long, Dearie ).

The next day, Horace receives some unpleasant news:his ormer store clerks plan to open a competing store

with Irene and Minnie across the street rom him anddemand their back-salaries. Also, Ermengarde wantsher money so she can elope with Ambrose. As they

head or the sae, Dolly speaks privately with Ephraimabout how she’s waiting or his approval on marryingHorace. Fortunately, the sign comes through. Horaceapologizes or his behavior and proposes to Dolly.They agree to make Cornelius and Barnaby partnersin the hay and eed business and to let Ermengardemarry Ambrose. Dolly grows excited thinking abouther new lie at the wedding as the company sings theFinale Ultimo.


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Transylvania Symphony OrchestraKeith Lockhart, conductorJ. Patrick Raerty, violin

Robert Aldridge Concerto or Violin and Orchestra(1954 - ) Allegro

AdagioPresto

Mr. Rafferty

Intermission

Aaron Copland Lincoln Portrait(1900 - 1990)

Samuel Barber Adagio or Strings, Op. 11(1910 - 1981)

George Gershwin An American in Paris(1898 - 1937)

Sponsored by

Jacquelyn and Bruce Rogowand the Rogow Greenberg Foundation

July 24, 20097:30 PM


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Robert Aldridge (1954 -):

Concerto for Violin and Orchestra

Concerto or Violin and Orchestra was composed in1997. It is dedicated to violinists Sharan Leventhal andBoris Kucharsky, who presented the American andEuropean premieres o the work in 1998 and 1999(Topeka Symphony, Dortmund Musikverein). The

work is in standard concerto orm, three movements,

ast: slow: aster and eatures a good deal o virtuosic writing or the violin.

I’d like to thank Maestro Lockhart and Pat Raerty or their great artistry and commitment to the musico our time. I’d also like to thank the TransylvaniaSymphony Orchestra players. When I composed thispiece, I could not have imagined that this concerto

would be played so well by high school students. Butthen again, the TSO is not your normal group o highschool students! Bravi!

-Robert Aldridge

Aaron Copland (1900-1990):

A Lincoln Portrait

The entry o the United States into World War IIaroused a call or patriotism to which many musiciansresponded with their art. Conductor Andre Kostelanetzresponded by commissioning three importantcomposers to create a “gallery o musical portraits o fgures whose qualities o “courage, dignity, strength,simplicity and humor” would truly represent what wasmost admirable about America. Jerome Kern choseMark Twain; Virgil Thomson selected two colorul

personalities: Mayor Fiorello H. La Guardia o New York City and the witty writer and raconteur Dorothy Parker. Aaron Copland thought frst o depictinga writer and considered Walt Whitman. WhenKostelanetz suggested he turn to a statesman instead,Copland was drawn to Abraham Lincoln, an eloquent

wartime president who had already become atouchstone or the Roosevelt administration. Coplandinsisted that his piece be or orchestra and narrator sothat Lincoln himsel might speak through his portrait.

When asked why this was important, he answered:“No composer could possibly hope to match in purely musical terms the stature o so eminent a fgure...in

my opinion among the best this nation has ever heardto express patriotism and humanity.”

The composition alls into three sections. For a BostonSymphony perormance in 1943, Copland explainedthat the opening is meant to suggest “somethingo the mysterious sense o atality that surroundsLincoln’s personality” as well as his “gentlenessand simplicity o spirit.” The second section, whichdraws on two popular tunes rom Lincoln’s era,“Springfeld Mountain” and “Camptown Races,” is alively evocation o the time in which he lived. Thenthe narrator enters, roughly halway through the piece,

and the purpose o the orchestra changes to that o supporting cast member. Copland describes the musico this section as orming “a simple but impressiverame about the words o Lincoln himsel.”

A Lincoln Portrait received its premiere by the CincinnatiSymphony with Kostelanetz on the podium and

William Adams, a proessional actor, as narrator onMay 14, 1942. Copland’s direct style with its expansive

textures and open harmonies were the right matchor Lincoln’s simple yet eloquent words. A Lincoln

Portrait was an immediate success and has become apopular classic. It remains a ftting tribute to Lincoln,particularly so during this yearlong commemorationo the bicentennial o his birth. Among the scores o luminaries who have perormed as the speaker areCarl Sandburg, Henry Fonda, Marian Anderson, AdlaiStevenson, Paul Newman, Al Gore, Walter Cronkite,Margaret Thatcher, Charlton Heston, Gregory Peck,

William Warfeld, James Taylor, Coretta Scott King, James Earl Jones, and the then junior senator romIllinois Barack Obama.

Samuel Barber (1910-1981)

Adagio for Strings

Sometimes reerred to as an “Ode to Grie,” Barber’s Adagio for Strings is a work that Americans have come toassociate with tragedy, loss, mourning, and catharsis.

We expect to hear it played when our presidentsdie or in the wake o overwhelming events such asthe tragedy o 9/11, and we are comorted by its sadbeauty. The piece has also made its way into popularculture through its use in flms such as Oliver Stone’ssearing account o the Viet Nam conict, Platoon , andDavid Lynch’s wrenching story about the lie o JohnMerrick in The Elephant Man .

The Adagio for Strings became an overnight sensationin a time when classical music was broadcast as aorm o popular entertainment in America. At theurging o conductor Arturo Toscanini, the composerhad adapted the slow movement rom his StringQuartet, Op. 11 (1936) or string orchestra. Millions o

Americans heard the premiere by the NBC Symphony in a live radio perormance on November 5, 1938.For Barber, still in his twenties at the time, thisperormance marked his recognition as a composer o international stature.

Barber indicates that the movement is to be played Molto adagio espressivo cantando (very slowly, with songlikeexpressiveness). The power o the Adagio lies in itssimplicity, elegance, and economy. An unembellished,elegiac melody arcs graceully to an emotional climaxand then subsides.

The composer drew his inspiration rom a passagerom Virgil’s Georgics , a long, aectionate poem inpraise o rural lie but rich with political overtones and

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Sunday

Brevard Music Center OrchestraHenry Janiec, conductorDavid Eron, conductorKeith Lockhart, conductor

Richard Strauss Don Juan, Op. 20(1864 - 1949)

Mr. Janiec

Dmitri Shostakovich Symphony No. 6 in B minor, Op. 54 (1906 - 1975) Largo

Allegro

Presto

Mr. Effron

Intermission

Peter Ilyich Tchaikovsky Symphony No. 6 in B minor, Op. 74, “Pathétique”(1840 - 1893) Adagio; Allegro non troppo

Allegro con graziaAllegro molto vivaceFinale: Adagio lamentoso

Mr. Lockhart

oday’s concert celebrates the lie o a very special woman, Linda Candler. Just as she gave so much to so

many, we lovingly honor her memory with this git o music. See In Memoriam page 41.

Richard Strauss (1864-1949):

Don Juan , Op. 20

Don Juan was the twenty-our-year-old Richard

Strauss’s second endeavor in the feld o thesymphonic poem, ollowing the little-known Aus

Italien . ( Macbeth was started beore Don Juan but wasfnalized later.) In hindsight Don Juan airly representsthe culmination o Strauss’s shit rom the “Brahms”camp to the “Wagner” camp in the German musicalfrmament. The camps were never as discrete andas segregated as people think; there was vast cross-pollination with respect to intention, technique, andpersonnel. Apparently, Brahms was not particularly anti-Wagner, although apparently Wagner was anti-just about everybody except Wagner.

Strauss’s musical persona emerges ull-blown inDon Juan . From the young composer we already fnd awless dramatic pacing, acute control o

chromatic harmony and counterpoint, and strikingmastery o the orchestra (partly rom his experienceas a conductor, no doubt). This is very much a

young person’s piece, imbued with an élan and anaudacity that can scarcely be ound in any othermusic, even in other Strauss works. The challengesor the players are substantial; in the muscularity o the writing this is truly a virtuoso piece or all thesections o the orchestra.

Strauss seems to have been inspired by NikolausLenau’s treatment o the Don Juan story. (Lenau is

N o t

e s

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mostly orgotten today, but it was his version o Faust,

not Goethe’s, that inspired Liszt’s Mephisto Waltz.) Themusic would not seem to reect a plot so much asit suggests the ethos o the source material. Perhapsplot creeps in at the end, as the work concludes inutter resignation.

Dmitri Shostakovich (1906-1975):

Symphony No. 6, Op. 54

Hot on the heels o the success o his Fith Symphony in 1937, Shostakovich announced his plan to write amajor “Lenin” Symphony involving soloists, chorusand orchestra. This was supposed to be Symphony No. 6. However, Shostakovich’s muse took a dierentturn, and the Lenin project was scrapped. The SixthSymphony appeared in 1939, without reerence toLenin or to any other program.

The work has three movements, one slow, twoast. The opening Largo, longer than the other two

movements combined, is lyric, oreshadowing some o the works o the composer’s fnal years, albeit withoutthe abject pessimism that is a hallmark o the latestyle. In act, Shostakovich suggested that the wholeo the symphony was meant to suggest “spring, joy,

youth.”

Perhaps the “spring, joy, youth” are expressed in theprogress o the piece. We move rom the extendedLargo to a brie scherzo with some treacherous writingor clarinet and other woodwinds. The fnale is agallop that becomes a blur o manic energy as theorchestra rushes headlong to a brilliant conclusion.

Pyotr Ilyich Tchaikovsky (1840-1893):

Symphony No. 6 in B minor, Op. 74, Pathétique

It was Tchaikovsky who applied the Russian word“Патетическая” to his Sixth Symphony. Outside o countries that use the Cyrillic alphabet, “Патетическая”is usually supplanted by the amiliar French translation“Pathétique.” Unortunately or speakers o English,“pathétique” conjures association with the English

word “pathetic,” which is more oten employed tomean “inerior” or “worthy o pity” than it is employedto mean “provoking emotion,” as in “pathos.”

Tchaikovsky’s Sixth, then, might be better designatedin English as the “Emotional” Symphony. Despitethe number it is the last o seven symphonies, sinceTchaikovsky wrote the unnumbered, programmatic

Manfred Symphony ater the Fourth.

The numbered symphonies orm a more-or-lessascending line with respect to aspiration andachievement, although it can be argued that theThird, the “Polish,” is vaguely less successul than theSecond, the “Little Russian” Symphony. SymphoniesFour, Five, and Six are among the best loved o orchestral works, and they are the only nineteenth-century Russian works designated “symphony” that sitsecurely in the standard repertoire. The Sixth is themost revered o all, with 157 recordings o the workcurrently in print in the United States. Tchaikovsky himsel proclaimed that he was “more proud o it thanany o my other works.”

In February, 1893, Tchaikovsky told a riend thathe had destroyed sketches or a symphony upon

which he had been working since the previous all.Now he had begun work on a new symphony. It

was fnished by the end o August. There seems tohave been a private read-through in mid-October by students at the Moscow Conservatory. The composer

conducted the public premiere on October 28. OnNovember 6 Tchaikovsky died, a victim o the choleraepidemic that swept Russia. It has been asserted thatTchaikovsky deliberately contracted cholera to commitsuicide, but this cannot be proved, yet.

In many respects the Sixth Symphony adheres to atraditional European symphonic model. The frstmovement is a sonata orm with a slow introduction.Much o the music is amiliar through its requent usein television and motion picture soundtracks. Thesecond movement would be a waltz except that is in5/4 time. A concise, energetic scherzo ollows.

The glory o the work, the reason that the SixthSymphony is more important than the Fourth or Fith,is the fnale. Marked “Adagio lamentoso.” it is atwelve-minute slow movement that accounts or the“Pathétique” designation. The conductor Herbert vonKarajan said that the work ended in “catastrophe.”

Whether it is catastrophe or proound sorrow orsomething else, the near-silent conclusion stands asmetaphor or the end o Tchaikovsky’s creative, andphysical, existence.

- Bruce Murray

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Robert Aldridgecomposer

Robert Aldridge (born:1954)has written over sixty worksor orchestra, opera, music-

theater, dance, string quartet,solo and chamber ensembles.His music has been perormed

throughout the United States, Europe and Japan. Hehas received numerous ellowships and awards orhis music rom the Guggenheim Foundation (2002),the American Academy o Arts and Letters (2000),National Endowment or the Arts, the New YorkFoundation or the Arts, the Pennsylvania Council onthe Arts, the Massachusetts Artist’s Foundation, the Lila

Wallace Reader’s Digest Fund, Meet the Composer,The American Symphony Orchestra League, the New

Jersey Council on the Arts and the Dodge Foundation.

His opera, Elmer Gantry , based on the novel by SinclairLewis, with a libretto by Herschel Garein, was givenits ully-staged world premiere by Nashville Opera inNovember, 2007, and was given rave reviews in theNew York Times (‘Behold! An Operatic Miracle’), The

Wall St. Journal and Opera News.

He was commissioned by Orpheus Chamber Orchestraand the Los Angeles Chamber Orchestra to composea clarinet concerto or David Singer, which waspremiered in April and May, 2005. His tone poem,Leda and the Swan , a commission rom the New Jersey Symphony Orchestra, The Nashville Symphony

Orchestra, and the Louisiana Philharmonic Orchestra, was premiered in January, 2003 at the New Jersey Perorming Center or the Arts (NJPAC).

Aldridge has been Composer-in-Residence at theBrevard Music Center since 2006. Aldridge receiveda Doctorate in Composition rom the Yale School o Music, a Master’s Degree in Composition rom theNew England Conservatory o Music, and a Bachelor’sDegree in English Literature rom the University o

Wisconsin at Madison. Currently, he is Director o the John J. Cali School o Music at Montclair StateUniversity, where he is also an Associate Proessor o

Music Composition.

Andrés Díazcello

Since winning the FirstPrize in the 1986 NaumburgInternational Cello Competition,Mr. Díaz has exhilarated bothcritics and audiences withhis intense and charismatic

perormances. He was awarded

the prestigious Avery Fisher Career Grant as well as agenerous grant rom the Susan W. Rose Fund or Musicin 1998.

Andrés Díaz’s numerous orchestral appearanceshave included the Atlanta Symphony under the late

conductor Robert Shaw; American Symphony atCarnegie Hall, the symphony orchestras o Milwaukee,Seattle, Rochester, the Boston Pops and EsplanadeOrchestras, the Chicago Symphony at the RaviniaFestival, and the National Symphony Orchestra.

Among the highlights o Mr. Díaz’s recent seasons aretours o Taiwan, Hong Kong, Korea, Japan, Hawaii,and Canada perorming in recital and with orchestra;appearances in Chile, Venezuela, Argentina, theDominican Republic; a series o concerts in the SovietUnion; and a tour o New Zealand with the NewZealand Chamber Orchestra.

Andrés Díaz requently perormed with the late pianistSamuel Sanders. The Díaz/Sanders Duo perormed atCarnegie Hall’s Weill Recital Hall, Merkin Hall in New

York, the Philadelphia Arts Museum, Atlanta’s Spivey Hall and other venues across the U.S. and abroad.

During the summer o 2001, Mr. Díaz gave the worldpremiere o Gunther Schuller’s Concerto or Cello andOrchestra at the Brevard Music Center.

Mr. Díaz’s summer estival appearances include the

Santa Fe, La Jolla, Marlboro, Ravinia, Bravo! Colorado,Spoleto, Saratoga and Tanglewood estivals. He hastoured nationally with the Santa Fe and Spoletoestivals.

Andrés Díaz is very active with the Díaz String Trio, with violinist Andrés Cardenes and violist RobertoDíaz. The trio has perormed in the cities o Pittsburgh,

Washington, Boston, Los Angeles, Miami; at the KuhmoFestival in Finland and the International Festival o St.Cypriene in France; and they have toured extensively in South America, Mexico and Canada. The trio

was invited by Isaac Stern to play at Carnegie Hall’s

Centennial Celebration.

Andrés Díaz was born in Santiago, Chile in 1964,and began studying the cello at the age o fve. Hegraduated rom the New England Conservatory wherehe worked with Laurence Lesser and Colin Carr. Heserved or fve years as Associate Proessor o Cello atthe Boston University and Co-Director o the BostonUniversity Tanglewood Institute Quartet Program.Mr. Díaz is Associate Proessor at Southern MethodistUniversity and plays a 1698 Matteo Goriller Cello anda bow made by his ather, Manuel Díaz.


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Roberto Díazviola

A violist o internationalreputation, Curtis PresidentRoberto Díaz ollows in the

ootsteps o renowned artist/directors Gary Graman,Erem Zimbalist, Rudol Serkin,and Jose Homann. As a

viola teacher at Curtis and as principal viola o thePhiladelphia Orchestra rom 1996 to 2006, Mr. Díazhas already had a signifcant impact on Americanmusical lie and continues to do so in his dual roles asperormer and educator.

Some o Mr. Díaz’s recent perormances include theFort Worth Symphony with Miguel Harth-Bedoya,Orquesta Sinónica del Principado de Asturias with

Krzyszto Penderecki, Kansas City Symphony withMichael Stern, and Orquesta Sinónica Nacional(Mexico City) with Carlos Miguel Prieto.

During the 2007-08 season, he was a member o thefrst-ever Curtis On Tour ensemble, playing alongside aquartet o Curtis students and cellist Margo TatgenhorstDrakos (‘99). The previous season, Mr. Díaz perormedKrzyszto Penderecki’s Concerto or Viola andOrchestra in Carnegie Hall with the Curtis Symphony Orchestra and Christoph Eschenbach.

In 2006 Naxos released a recording by Mr. Díaz o

viola transcriptions by William Primrose, which wasnominated or a Grammy Award. Mr. Primrose servedon the Curtis aculty rom 1942 to 1951 and ownedthe 1595 Amati viola on which Mr. Díaz perorms. Mr.Díaz’s other releases include a live recording o JacobDruckman’s Viola Concerto with the PhiladelphiaOrchestra conducted by Wolgang Sawallisch (New

World Records, 2001) and works by Henri Vieuxtempsor viola and piano (Naxos, 2004).

An active chamber musician, Mr. Díaz has perormed with artists such as the Emerson String Quartet,Emanuel Ax, Yefm Bronman, Christoph Eschenbach,

Yo-Yo Ma, Mr. Sawallisch, and Isaac Stern. His estivalappearances include Marlboro, Mostly Mozart atLincoln Center, Spoleto, Kuhmo, and Verbier, amongmany others. As a member o the Díaz Trio, with

violinist Andrés Cárdenes and cellist Andrés Díaz, hehas perormed throughout the United States, Canada,Europe, Mexico, and Chile. The Díaz Trio has beenensemble-in-residence at the Brevard Music Center orseveral seasons.

Mr. Díaz was principal viola o the National Symphony under Mstislav Rostropovich, a member o the BostonSymphony under Seiji Ozawa, and a member o the

Minnesota Orchestra under Neville Marriner. While

in the Philadelphia Orchestra, he served as a boardmember or three years, including two years on theexecutive committee.

Mr. Díaz joined the aculty o The Curtis Institute o Music in 2000 and holds the James and Betty Matarese

Chair in Viola Studies. He has served on the aculty at the Peabody Institute and Rice University and hastaught master classes at conservatories around theUnited States and abroad.

Ken Lamconductor

Ken Lam is Assistant Conductoro the Cincinnati Symphony Orchestra and conductor o theCincinnati Symphony Youth

Orchestra.

In addition to assisting MusicDirector Paavo Jarvi, he has

served as assistant/cover conductor or Sir RogerNorrington, Raphael Frubeck de Burgos, GilbertKaplan, Leonard Grin, Lorin Maazel, Gunther Herbigand Christohper Seaman. He also works regularly withConcert:Nova, a chamber ensemble based in Cincinnati.

Ken made his proessional debut with the NationalSymphony Orchestra at the Kennedy Center in

June 2008 at the concluding concert o the National

Conducting Institute as one o our conductors selectedby Leonard Slatkin. He studied with David Zinman andMurry Sidlin at the American Academy o Conductingat Aspen or three summers (2006-2008) and wasnominated or the Aspen/Glimmerglass Opera Prize.

In his native Hong Kong, he has been Artistic Directoro the chamber choir Hong Kong Voices since 2001. Hehas also been Principal Conductor o the Hong KongChamber Orchestra and was Director o the ChoralProgram at the University o Hong Kong or three yearsbeore leaving Hong Kong to study in the US in 2005.He was also the ounding Principal Conductor o the

Hong Kong Melody Makers, a youth choir organizedand unded by the Hong Kong Federation o YouthGroups.

He graduated rom Peabody Conservatory with a masterdegree and graduate diploma in conducting in 2008.His teachers were Gustav Meier, Markand Thakar andMarin Alsop and he was the choral graduate assistant toEdward Polochick. He holds an MA in economics romCambridge University and was a practicing solicitor orten years specializing in asset fnance.

Ken will be a eatured conductor in the 2009 Bruno

Walter National Conductors Preview in Nashville.Electronic Version by CJ Pletzke

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Larry Rachleff conductor

“A TAKE-CHARGE MAESTRO WHO INVESTS EVERYTHINGHE CONDUCTS WITH DEEP

MUSICAL UNDERSTANDING. . .” is a recent review by the Chicago Tribune o MusicDirector Larry Rachleff . Nowcelebrating his twelth season

with the Rhode Island Philharmonic, Mr. Rachle isalso Director o Orchestras and the Walter Kris Hubertchair at Rice University’s Shepherd School o Musicin Houston, and served as Music Director o the San

Antonio Symphony.

Mr. Rachle has appeared as guest conductor with suchprestigious orchestras as the Los Angeles Philharmonic,

the Houston, Seattle, Indianapolis, Utah and KansasCity Symphony Orchestras and the Los AngelesChamber Orchestra. In 1993, he was selected as oneo our American conductors to lead the ClevelandOrchestra at Carnegie Hall under the mentorship o Maestro Pierre Boulez.

A ormer aculty member o Oberlin Conservatory, where he served as Music Director o Orchestrasand Conductor o the Contemporary Ensemble, healso served as Conductor o the Opera Theatre at theUniversity o Southern Caliornia. In 1988, Mr. Rachle served as Music Director o the highly acclaimed

American-Soviet Youth Orchestra tour. He hasconducted and presented master classes at the Chopin

Academy in Warsaw, the Zurich Hochschule and theSydney and Queensland, Australia conservatories.

He has spent his summers conducting at the GrandTeton Music Festival, Aspen, Tanglewood, Interlochen,Music Academy o the West, Opera Theatre o Lucca, Italy and the National Repertory Orchestra inBreckenridge.

As an enthusiastic advocate o public school musiceducation, Mr. Rachle has conducted All-State

orchestras and estivals in virtually every state inthe United States as well as throughout Europe andCanada. He has served as principal conducting teacheror the American Symphony Orchestra League, theConductors’ Guild and the International Workshopor Conductors in the Czech Republic. As a dedicatedadvocate o contemporary music, Mr. Rachle hascollaborated with leading composers including Samuel

Adler, the late Luciano Berio, George Crumb, MichaelDaugherty and John Harbison, to name a ew.

J. Patrick Raffertyviolin

Concertmaster, Brevard MusicCenter Orchestra. First Violinist,Louisville String Quartet.

Proessor o Vioin, University o Louisville. Formerly Concertmaster, MilwaukeeSymphony, Cincinnati

Chamber Orchestra, and Dallas Bach Orchestra; ActingConcertmaster, Seattle and San Diego Symphonies;

Associate Concertmaster, Dallas Symphony; member,Cleveland Orchestra, St. Louis Symphony, andCincinnati Symphony. Audition winner or 15 majorUS orchestras. Solo perormances with Symphonies o St. Louis, Seattle, Cincinnati, Dallas, Milwaukee, andmany others, with over 40 works perormed. Recitals inNew York, Chicago, Boston, Washington, D.C., Atlanta,Miami, Nashville, Orlando, and many others. Studentshave been placed in many major US and Europeanorchestras, and in many respected teaching positions.

Kraig Alan Williamsconductor

Dr. Williams is Director o Bands and Associate Proessoro Conducting and coordinatoro the Wind Studies Divisionat the University o Memphis.

His duties include the artisticguidance o the University

Wind Ensemble and administration o all aspects o adynamic and comprehensive university band program.Other responsibilities include teaching graduate andundergraduate conducting and the mentoring o Mastersand Doctoral students. Maintaining an active schedule asa guest conductor, clinician and lecturer, he has appearedin those capacities with such prominent ensembles as theDallas Wind Symphony and The United States Air ForceBand. Dr. Williams has led highly acclaimed concertsbeore the College Band Director’s National AssociationSouthern Regional Conerence (2006), Tennessee All-

West Concert Band Festival (2005), the and Mid-SouthLow Brass and Mid-South Horn Conerences (2007,2009). Prior to Memphis, Williams was on the aculty atDuke University serving as conductor o the Duke WindSymphony and director o the Duke in Vienna program.He has conducted perormances in Graz, Budapest,Malta, Marktoberdor and Prague. He has perormed inCarnegie Hall, conducted live radio broadcasts on NPR,and has recorded or Albany Records, Mark Records and

ADK in Prague, Czeck Republic. Dr. Williams joined theconducting aculty at the Brevard Music Center in 2000and was named Director o Bands in 2008.


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Elena Uriosteviolin

Elena Urioste, recently selectedby Symphony magazine as anemerging artist to watch, has

been hailed by critics andaudiences alike or her richtone, the nuanced lyricism o

her playing, and her commanding stage presence. Sincemaking her debut with the Philadelphia Orchestra atage thirteen as winner o the Greenfeld Competition,she has appeared as soloist with major orchestrasthroughout the United States including the ClevelandOrchestra, Boston Pops, National Symphony Orchestra,

Atlanta, Detroit, Pittsburgh, Baltimore, and HartordSymphonies, as well as Hungary’s Orchestra DohnanyiBudaok.

First-place laureate in both the Junior and Seniordivisions o the Sphinx Competition, Miss Urioste madeher Carnegie Hall debut in 2004 as a eatured soloist inthe inaugural Sphinx Gala Concert. Urioste has returnedannually to that esteemed venue’s Stern Auditorium assoloist, and has also perormed in recital at Carnegie’s

Weill Recital Hall. In 2009, she will make her debut atLincoln Center’s Alice Tully Hall with award-winningconductor Alondra de la Parra and the PhilharmonicOrchestra o the Americas. She has collaborated withacclaimed pianists Christopher O’Riley and IgnatSolzhenitsyn; conductors Robert Spano, Keith Lockhart,and Michael Stern; and violinists Shlomo Mintz, Cho-Liang Lin, and David Kim, among others.

Miss Urioste’s media appearances include multipleperormances on the popular radio programs From

the Top and Performance Today , as well as on Telemundo.She has been eatured in the Emmy award winningdocumentary Breaking the Sound Barrier , and in numerousmagazines, including Symphony , Strings , Careers and Colleges ,and Philadelphia Music Makers . Miss Urioste’s frst CD wasrecently released on the White Pine label.

Miss Urioste is a graduate o the Curtis Institute o Music where she studied with Joseph Silverstein,

Pamela Frank and Ida Kavafan, and is currently pursuing graduate studies at The Juilliard School

with Joel Smirno. Other notable teachers includeDavid Cerone and the late Raael Druian. She is thepast recipient o a Starling Foundation Scholarship atTemple University Music Preparatory Center or Gited

Young Musicians in Philadelphia, where she was astudent o Choong-Jin Chang and Soovin Kim.

The outstanding violin being used by Miss Urioste isa Michelangelo Bergonzi, Cremona, circa 1750, onextended loan through the generous eorts o Society or Strings, Inc., Meadowmount School o Music, rom

the private collection o Dr. Charles E. King.

The Biava Quartet

The Biava Quartet is recognized as one o today’smost exciting young American string quartets.

Winner o the Naumburg Chamber Music Awardand top prizes at the Premio Borciani and LondonInternational Competitions, the Quartet has establishedan enthusiastic ollowing in the United States andabroad, impressing audiences with its sensitive artistry and communicative powers. Formed in 1998 at theCleveland Institute o Music, the Quartet takes its namerom Maestro Luis Biava, a mentor since its inception.

The members o the Biava Quartet, violinists AustinHartman and Hyunsu Ko, violist Mary Persin, andcellist Jason Calloway, hold the Lisa Arnhold QuartetResidency at the Juilliard School, serving as graduatequartet in residence and teaching assistants to the

Juilliard Quartet. The Quartet previously held the sameposition with the Tokyo Quartet at Yale University and was the frst ensemble to complete the TrainingProgram in the Art o the String Quartet at the NewEngland Conservatory under the direction o Paul Katz.

The Biava Quartet has perormed to acclaim inimportant venues throughout North America, Europe,and Asia, including Alice Tully Hall, Carnegie Hall, theLibrary o Congress, the Kennedy Center, Wigmore Hall,and the Baroque Art Hall in Seoul. Other highlights

rom recent seasons include appearances at theMostly Mozart and Aspen Music Festivals, ChautauquaInstitution, and Pacifc Music Festival in Japan. TheBiava Quartet has recorded or the Naxos and Cedillelabels and has been heard on London’s BBC Radio 3and NPR as well as in requent national broadcasts.The Quartet has been eatured in Strings and Stradmagazines and is the subject o an upcoming PBSdocumentary flm.

The members o the Biava Quartet hold advanceddegrees rom the New England Conservatory, University o Southern Caliornia, Yale University, and the Juilliard

School.Electronic Version by CJ Pletzke

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David Effron, Artistic Director Laureate

David Eron was the Brevard Music Center’s Artistic Director rom 1997 to

2007, the third to hold this position. He is an alumnus o BMC and spenthis frst summer here studying piano when he was ourteen years old.

Ater receiving degrees in piano rom the University o Michigan andIndiana University, Eron was awarded a Fulbright Scholarship and aRockeeller Grant, working as assistant to Wolgang Sawallisch at theCologne Opera. He served as head o the Merola Program in San Franciscoand artistic director o the Central City Opera in Colorado and was on theconducting sta o the New York City Opera or eighteen years.

Eron has conducted major orchestras in Canada, Taiwan, Korea, Europe,Israel, Mexico, and the United States. He is a ormer aculty membero the Curtis Institute o Music (1970-1977), and the ormer head o theorchestra program at the Eastman School o Music (1977-1998). In 1998,

Eron joined the conducting aculty at Indiana University and is currently Proessor o Music and Chair o Instrumental Conducting.

Henry Janiec, Artistic Director Emeritus

Henry Janiec served as the second Artistic Director o the Brevard MusicCenter rom 1964 to 1996. In addition to his administrative responsibilities,he served as principal conductor o the BMC Orchestra and Opera

Workshop. Prior to 1964, he had served as principal opera conductor atthe Chautauqua Institution and, or two years, conducted at Tanglewood.

A graduate o the Oberlin Conservatory, Janiec joined the aculty o theSchool o Music at Converse College in 1952 and, or orty-two years,conducted the Spartanburg Symphony Orchestra. He also served asmusical director o the Charlotte Symphony and the Charlotte Opera ormany years. Upon his retirement rom Converse as Dean o the Schoolo Music and Vice President o the College, he was appointed DanielDistinguished Proessor o Music, rom which he retired in 1995.

A Special Welcome Back to BMC

For providing special instruments needed or this summer’s perormances.

Thank You Will Peebles, Director, School of Music

Western Carolina University College of Fine and Performing Arts


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Wednesday, July 22, 20098:00 pm Cocktails and dessert - Concert will follow

Join us for a

Salon Concert featuring Corinne Stillwell, violin

The Renzulli House on the Brevard Music Center Campus

The Perormance is limited to 60 guestsCost is $75 per person and $50 is tax deductible.

All proceeds go to the 2009 educational programso the Brevard Music Center

The selections on the program will appear on a new CDto be recorded in August, 2009.

The Renzulli House

Gited in 2008 by the amily o Josephine Renzulli, this is the frst perormance in the house since its donation.The property includes a lovely home and 40 acres o woodlands along the western edge o the Center.

Corrine Stillwell

Brevard Music Center is pleased to

welcome violinist Corinne Stillwellto its artist aculty in 2009. Trained

at The Juilliard School, Corinne has

had a multiaceted career as a soloist,

chamber musician, and orchestra

player. She was ormerly a member

o the Harrington String Quartet and

was Assistant Concertmaster o the

Rochester Philharmonic. In 2007 she

joined the aculty o the Florida State

University, where she is building an

impressive violin studio.

Mr. Lockhart’s car is being provided this season by

1 1 5 5 N e w H e n d e r s o n v i l l e H i g h w a y , P i s g a h F o r e s t , N C

828.884.2611 • boydautomotive.com

You’re Invited

To reserve your space, contact Sarah Wallace at 828-862-2122


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Musical Ventures PC

Members of the BMC artist faculty perform and discuss chamber and solo works.Mondays at 12:30 pm July 6, 13, 20, 27; Aug 3

Musical Insights TH

Ticket holders to Sunday afternoon concerts are invited to pre-concert lectures.

Sundays at 2 pm June 28; July 5, 12, 19, 26; Aug 2, 9

Opera Insights TH

Pre-show informative talks held one hour prior to select performances. July 11, 23, 25; Aug 8

at 6:30 pm

BMC@TCL TCL

BMC students performchamber music at the library.uesdays and Fridays at12:30 pm July 7, 10, 14, 17, 21, 24,28, 31; Aug 4, 7

Transylvania

Symphonic Band WPA

July 14, 28 at 7:30 pm Aug 8 at 2 pm

Student Recitals SA

Tursdays at 4:30 pm July 9, 16, 23, 30

Student Piano

Recitals PC

Wednesdays at 12:30 pm July 1, 8, 15, 22, 29; Aug 5

Composers’

Concerts SA

BMC composition students premier their new works. July 12 at 7:30 pm

(“New Songs”); July 16 at 7:30 pm; Aug 6 at 4:00 pm

Program of Song SA

High school voice students

in recital. July 10 at 4:30 pm; July 30at 12:30 pm

Piccolo Opera SA

High school voice students present opera scenes. July 17, Aug 7 at 2 pm

Jan and Beattie Wood

Concerto CompetitionFinals WPA

July 19 at 7 pm

BMC Piano Competition

Finals WPA

July 26 at 7 pm

F R E E

e v e n t s

Take advantage of these free events

offered by the Brevard Music Center.


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July 27, 200912:30 PM


Monday

Musical Ventures

Claude Debussy Sonata for Violin and Piano(1862 - 1918) Allegro vivo

IntermedeFinale

Tim Christie, violin Reiko Uchida, piano

Richard Strauss Sonata for Violin and Piano in E at major, Op. 18(1864 - 1949) Allegro ma non troppo

Improvisation: Andante cantabileFinale: Andante; Allegro

Carolyn Huebl, violinBruce Murray, piano

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July 27, 20097:30 PM


Monday


Chamber Music at Porter Center


Franz Schubert Quartettsatz in C minor, D. 703(1797 - 1828)

Felix Mendelssohn Quartet in A minor, Op. 13(1809 - 1847) Allegro vivace assai

Allegro assaiAdagioFinale: Allegro molto

Intermission

Antonín Dvorák Quartet No. 12 in F, Op. 96, “American”(1841 - 1904) Allegro ma non troppoLentoMolto vivaceFinale: Vivace ma non troppo


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July 28, 20097:30 PM


Tuesday

Transylvania Symphonic Band

Kraig Alan Williams, conductorConrad Alexander, timpani

“Raise the Roof!”

John Mackey Undertow

Michael Daugherty Raise the Roof Concerto for Timpani and Wind Ensemble

Conrad Alexander, timpani

Intermission

Michael Gandolfi Vientos y Tangos

Philip Sparke Dance Movements


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July 29, 20097:30 PM


Wednesday


Opera Scenes Janiec Opera Company

The Janiec Opera Company will present an evening o opera scenes at the Porter Center. In “Strawberry Fields”creator/director Patrick Hansen presents the audience withan old woman pondering her lie and loves while sittingon a warm bench in Central Park. Act Two, directed by David Gately and Dean Anthony, eatures a collection o

scenes rom your avorite operas including Turandot, Cosian tutte, Le Nozze di Figaro, and Die Walküre.


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July 31, 20097:30 PM


Friday

Soloists of Tomorrow

Jan and Beattie Wood Concerto Concert

Brevard Music Center OrchestraKen Lam, conductor

This concert showcases the winners o the annual Jan and Beattie WoodConcerto Competition. The best o Brevard Music Center students willsolo with the Brevard Music Center Orchestra in this special concert.


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Brevard Sinfonia

Grant Llewellyn, conductor

Ralph Vaughan Williams Overture to e Wasps (1872 - 1958)

Frederick Delius In a Summer Garden(1862 - 1934)

George Butterworth A Shropshire Lad(1885 - 1916)

Intermission

Edward Elgar Variations on an Original eme, Op. 36, “Enigma”(1857 - 1934)

eme AndanteI. (C.A.E.) L’istesso tempoII. (H.D.S-P.) AllegroIII. (R.B.T.) AllegrettoIV. (W.M.B.) Allegro di moltoV. (R.P.A.) Moderato

VI. (Ysobel) AndantinoVII. (Troyte) PrestoVIII. (W.N.) AllegrettoIX. (Nimrod) AdagioX. (Dorabella) Intermezzo. AllegrettoXI. (G.R.S.) Allegro di moltoXII. (B.G.N.) AndanteXIII. (***) Romanza. ModeratoXIV. (E.D.U.) Finale. Allegro; Presto

Sponsored byMr. Pete’s Market

August 1, 20097:30 PM


Saturday


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Ralph Vaughan Williams (1872 - 1958):

Overture to The Wasps

In 1909, Ralph Vaughan Williams was asked toprovide incidental music or a perormance atCambridge o Aristophanes’ The Wasps, a biting satireon ancient Athenians’ love o litigation. In the play theprotagonist cannot stay away rom the proceedingso the court, especially jury duty to which he is

addicted. The playwright depicts the court as a corruptbusiness where hordes o men (up to 500 on a jury)are principally on the take and enjoy the atteringattentions o the powerul men who try to sway the verdict. In the play these jurors are costumed,appropriately, as wasps.

The complete score is seldom perormed and wasoriginally written or baritone solo, a chorus o tenors and baritones, and orchestra. The composerlater arranged the piece as an orchestral suite in fvemovements, but only the Overture appears withany regularity on concert programs. In the months

beore he wrote the music, Vaughan Williams spentseveral months in Paris studying the technique o orchestration with Maurice Ravel. Keen ears may detect some o the French composer’s inuencehere.

The Overture is bright and witty, a nod to Aristophanes. It begins, as one might expect, withthe annoying buzzing o wasps. The central themeis a broad melody in the woodwinds redolent o olk music—pure Vaughan Williams. Overall, it is arollicking bit o un with which to begin a concert o

works by British composers.

Frederick Delius (1862 - 1934):

In a Summer Garden

Frederick Delius, born in England to German parents, was an interesting ellow who worked or two yearsas an orange grower in Florida beore returning toEurope to study at the Leipzig Conservatory. He latermoved to Paris to live the lie o a bohemian artist,counting Gaugin, Munch, and Strindberg as riends.Despite his wanderings, the British claim him as theirown, and the work on tonight’s program afrms thecomposer’s strong ties to his island home.

In a Summer Garden , an orchestral antasy evoking thedelights o an English summer, is dedicated to his

wie. Delius builds the piece around a succession o themes like so many owers and butteries—onein woodwinds and strings, another introduced by English horn, a third in the violas with woodwindand lower string fguration. The score is inscribed

with two quotations, which give us some idea o thecomposer’s visual and musical inspiration or thepiece.

The frst comes rom the Pre-Raphaelite poet andpainter Dante Gabriel Rosetti:

All are my blooms; and all sweet blooms of love.

To thee I gave while Spring and Summer sang.

The second, unattributed, reads:Roses, lilies, and a thousand scented owers.

Bright butteries itting from petal to petal.

Beneath the shade of ancient trees, a quiet river with water lilies.

In a boat, almost hidden, two people.

A thrush is singing in the distance.In an interesting note accompanying a gardenpainting by John Singer Sargent, the annotator saysthat upon looking at “Carnation, Lily, Lily, Rose” onecan easily imagine Delius’ In a Summer Garden as anaccompaniment to so charming a painting.

George Butterworth (1885 - 1916):

A Shropshire Lad

Butterworth is the frst o several English composersto set poems rom Housman’s cycle A Shropshire Lad.

These poems, frst published in 1896, are noted ortheir simplicity and depth o emotion. Their subject,

young men being sent o to war and oten ailing toreturn, spoke strongly to those living during the yearso World War I. The topic is all the more poignantbecause Butterworth himsel became one o those

young men, dying at the age o 31 rom a sniper’sbullet during the Battle o the Somme.The fnely-crated rhapsody you will hear tonight issometimes thought o as an orchestral epilogue tothe composer’s earlier song cycles rom the samecollection o poems. The main theme, developedin violas and clarinets, is a poignant meditation onHousman’s poem, “The Loveliest o Tress, the Cherry.”

As Kenneth Loveland aptly comments, this intimatemasterpiece captures “the pastoral environment andregretul sadness o Housman’s poems.”

Edward Elgar (1857 - 1934):

Variations on an Original Theme , Opus 36 “Enigma

Variations”

Elgar wrote, “I have just completed a set o Symphonic Variations (theme original) or orchestra—thirteen innumber (but I call the fnale the ourteenth, because

o the ill ate attaching to the number). I have in the Variations sketched portraits o my riends—a newidea, I think….” Each one is identifed with initialsor a nickname. When the composition was new, thecomposer reused to divulge who the riends were— one enigma. Later, ater all the mystery, he and hisriends identifed themselves ater all. Elgar alsotitled the theme “Enigma,” and there is speculation(ueled by the composer) that there is another themeknown only to the composer that could ft in perectcounterpoint with the original. Among the secrettunes proposed by scholars and others are “Auld


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Lang Syne,” “God Save the Queen,” “Pop Goesthe Weasel,” and “Now the Day is Over.” MichaelKennedy, his biographer, also suggests that theopening our notes o the theme could be construedas a setting o the composer’s name “Ed-ward El-gar.”

Eective sets o variations must achieve anappropriate balance between repetition, so thatlisteners can retain the sound o the theme, and

variety. Because this theme doesn’t have the usualhook o a memorable tune, it sounds open-endedand invites imaginative permutations. What thelistener can grab hold to instead is the pairing o measures that are rhythmic mirrors o each otherin the frst phrase, the movement rom minor to acadence in major, and the rising central sequence thatsubsides into a modifed repetition o the frst phrase.

Several variations will serve to illustrate Elgar’smusical portraiture. The frst (C.A.E.) is a lyrical,aectionate tribute to Elgar’s wie, Alice. R.B.T.(Variation 3) mimics Richard Baxter Townshend. An

old riend with eccentric habits, he was an amateuractor who liked to break out into a alsetto voiceand play buoonish roles (listen or the bassoon). In

Ysobel (Variation 6), Isabel Fitton, an amateur violist,is depicted with a viola solo that contains a difcultstring crossing. The most amous and beloved o

the variations is number 8, Nimrod, which portraysa long evening talk with Elgar’s close riend August

Jaeger about the emotional power o Beethoven’sslow movements. The opening bars, an allusion tothe Andante cantabile movement o the Pathétique Sonata,establish a solemn religious mood that continuesthroughout. The moniker is a play on Jaeger (Germanor hunter); Nimrod is a abled hunter rom theOld Testament. The beautiul cello solo in B.G.N.

(Variation 12) is in honor o Basil G. Nevison, a riend with whom Elgar played chamber music. Variation 13,*** (Romanza ) is dedicated to Lady Mary Lygon, who

was on a voyage to Australia when the piece was written and so unable to be asked or consent to useher initials. To the sounds o the engines and pistonso the ship, Elgar adds a poetic quotation on clarinetrom Mendelssohn’s Calm Sea and Prosperous Voyage.

The fnale o this inventive masterwork bears theinitials E.D.U. (“Edoo,” Alice’s pet name or Elgar)and is based on the composer himsel. It is quite animpressive sel-portrait, quoting passages rom C.A.E.

and Nimrod, and summing up the whole with abroad presentation o the “Enigma” theme in major.In a touch appropriately English, a pipe organ isadded to the orchestra at the climax.

S. Kay Hoke


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August 2, 20093:00 PM


Sunday


Grant Llewellyn, conductorBarbara Shirvis, sopranoLiliana Piazza, mezzo-sopranoRichard Clement, tenor Stephen Powell, baritone

Brevard Festival ChorusKen Lam, director

Aaron Copland Inscape(1900 - 1990)

Intermission

Ludwig van Beethoven Symphony No. 9 in D minor, Op. 125(1770 - 1827) Allegro ma non troppo, un poco maestoso

Scherzo: Molto vivace; PrestoAdagio molto e cantabile

Finale. “Ode an die Freude”Finale: Allegro molto

Sponsored by theAudrey Love Charitable Foundation

Aaron Copland (1900-1990):

Inscape

Grant Llewellyn describes Copland’s Inscape as “alate masterpiece exploring inner soul and spirit.”Completed in 1967, it was Copland’s fnal work ororchestra. Lyric and meditative, it is a ar remove romthe exuberance o the ballet scores that had madeCopland America’s preeminent composer in the 1940s.

Inscape is also, amously, a serial composition, meaningthat it utilizes techniques developed by the so-calledSecond Viennese School o composers that includedSchoenberg and Webern. However, Copland’ssound-world is not Schoenberg’s or Webern’s but isCopland’s alone. Doubtless Inscape will never attainthe amiliarity o Appalachian Spring , but neither is it

designed to do so.

Since Copland’s death, scholarship has revealed sometantalizing connections between Copland’s late serial

works, including Inscape , and his earliest post-student works rom the late 1920s and early ‘30s, workscomposed beore the amous ballets. Amazingly,some o the early works evince strong intimations o serial technique, albeit not o the twelve-tone variety.

At some level, then, the serial processes in Inscape do not reect a sea-change in approach but, rather,something o a return to the thinking o Copland’s

youth.

The word “inscape” was invented by the poet GerardManley Hopkins, or whom it was “that deeperpattern, order, and unity which gives meaning toexternal orms.” (Copland cites Hopkins explicitly inhis preace to the score.) Inscape was commissioned by

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the New York Philharmonic or its 125th anniversary,and it was premiered by that orchestra and conductorLeonard Bernstein in 1967.

Ludwig van Beethoven (1770-1827):

Symphony No. 9 in D Minor, Op. 125

“O all the works o this grandiose

composer, this 10th Symphony, whichnobody knows, is one the mostsumptuous. Its proportions are on apalatial scale; its ideas are resh andplentiul; the developments are exactand appropriate.”- Erik Satie, rom Memoirs of an Amnesiac

O course, the “Beethoven Tenth Symphony”never advanced beyond the prospective. Indeed,Beethoven made sketches or another symphony as he worked on the Ninth. His riend Karl Holzclaimed that Beethoven played sections o a “tenth

symphony” or him on the piano. The musicologistBarry Cooper concocted a work based on theextent ragments; it was recorded twice, each timetrumpeted, raudulently, as “Beethoven’s Tenth.”

All this is to say that Beethoven did not intend hisNinth Symphony to be his last. That it was the lastsymphony, however, is ftting. No Beethoven workhas been more loved, more hated, or more examinedthan the Ninth. It is the only single musical workto make a blip on the screen o Western civilization.

Any calculation o its inuence, musical or otherwise, will all short by miles.

(It is appropriate to speak o the “Ninth”; one doesnot have to say “Ninth Symphony.” Like Cher, likeTiger, like John, Paul, George, and Ringo, the Ninthhas ascended into single-name territory.)

Parts o the Ninth are so amiliar that the work’ssheerly musical characteristics may be neglected.In act, the work’s premise is a veritable recipeor disaster; Beethoven set or himsel a task soaudacious as to be impossible. Right? ThatBeethoven succeeded in his aims, through means

that were stunningly innovative and absolutely unexpected, placed the crown on his reputation asone o the signal creative artists in European history.

The Ninth is maniestly a public utterance, yet mucho its power relies upon procedures that Beethovendeveloped in the very intimate medium o the sonata,or solo piano (Opp. 101 and beyond) and or pianoand cello (the two works o Op. 102). Use o ugue,

recitative, and analepsis (“ashback” or reminiscence)might have seemed speculative or experimental inthe sonatas. In the Ninth these procedures were ully realized and, moreover, intrinsic to the structure o the work.

What would the Ninth have been with aninstrumental fnale, without the chorus? One hesitatesto say that this could never have happened; it’sBeethoven, ater all. However, despite the perectiono the frst three movements, it is the choral fnalethat propels the work into the realm o culturaltouchstone. The fnale is a sonata movement, a

theme and variations, a symphony within a symphony (c. Charles Rosen), a hymn, an anthem. It isdauntingly complex at the compositional level, yetit is psychologically accessible, convincing, and,ultimately, inevitable. The Beethoven scholar Scott G.Burnham noted that “Beethoven’s music successully models human sel-consciousness.” This may appearto be an outlandish claim until one listens to theNinth, ater which one says, “well, sure.” This is why,in Burnham’s words, Beethoven “continues to inormour musical thought at a undamental level.”

The premiere o the Ninth occurred on May 7,1824. Dea, aging Beethoven insisted on leading theperormance, even though the ofcial conductor wasthe theater’s Kapellmeister, Michael Umlau. Whetherthe orchestra ollowed Beethoven or Umlau is notclear. However, it appears that Beethoven was somemeasures o at the end and was still conducting evenas the audience erupted in applause. One o thesingers, Caroline Unger, turned Beethoven around sothat he could receive the gratitude and aection o the Viennese public. The stu o legend.

- Bruce Murray


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August 3, 200912:30 PM


Monday

Musical Ventures

W.A. Mozart Flute Quartet No. 1 in D major, K. 285(1756 - 1791) Allegro

AdagioRondo

Renée Krimsier, ute Maria Sampen, violin Susan Culpo, viola Benjamin Karp, cello

Ludwig van Beethoven Sonata for Cello and Piano No. 4 in C major, Op. 102/1(1770 - 1827) Andante; Allegro vivace

Adagio; Tempo d’Andante; Allegro vivace

Brinton Averil Smith, cello Evelyn Chen, piano

Intermission

Maurice Ravel Piano Trio in A minor(1875 - 1937) Modéré

Pantoum (Assez vif)Passacaille (Très large)Final (Animé)

Byron Tauchi, violin Alistair MacRae, cello Elisabeth Pridono, piano


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I Solisti di Brevard

Selected high school division students present a concert featuring works of Bach andMozart. is concert is an annual favorite of the BMC Chamber Music Series.

August 3, 20097:30 PM


Monday


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August 5, 20097:30 PM


Wednesday


Claude Debussy Chansons de Bilitis(1862 - 1918) La ûte de Pan

La ChevelureLe Tombeau des Naïades

Jennifer Trost, soprano Douglas Weeks, piano

Ludwig van Beethoven Quintet for Piano & Winds in E-at major, Op. 16(1770 - 1827) Grave; Allegro ma non troppo

Andante cantabileRondo: Allegro ma non troppo

Eric Ohlsson, oboe Steven Cohen, clarinet William Ludwig, bassoon Richard Deane, horn Norman Krieger, piano

Intermission

Johannes Brahms Sonata for Violin and Piano in A Major, Op. 100(1833 - 1897) Allegro amabile

Andante tranquilloAllegretto grazioso (quasi andante)

Maria Sampen, violin Elisabeth Pridono, piano

Georges Enescu Roumanian Rhapsody No.1(1881 - 1955)

Jason Posnock, violin Margaret Karp, violin Jennifer Kozoroz, violaBrinton Averil Smith, celloKevin Casseday, bass Bruce Murray, piano


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August 8, 20097:30 PM


August 6, 2009 7:30 PM(Dress Rehearsal)


Saturday

Thursday

N

t

Janiec Opera Company

Brevard Festival Orchestra

Suor AngelicaScott Bergeson, conductorDean Anthony, director

Music by Giacomo Puccini

Intermission

Gianni SchicchiScott Bergeson, conductor

David Gatley, director

Music by

Giacomo Puccini

Adam Koch, set designer Anna Peterson, lighting designer Glenn Breed, costume designer Brady Hislop, sound designer

Adam Schwartz, stage manager - Suor AngelicaKyle Urquhart, stage manager - Gianni Schicchi

Sponsored by the


This evening’s double bill o one-act operas by Puccini represents two panels rom a grouping o three, known as Il trittico (The Triptych). The composerhad long been intrigued by the idea o composingtwo or three short operas or perormance in asingle evening when it was suggested by riends in1912 that he consider such a project. Ater seeinga perormance o Didier Gold’s play La Houppelande

(The Cloak) and in due time adapting it as Il tabarro,he sought ideas or companion works. In January o 1917, Puccini received a sketch drated by Giovacchino Forzano o a one-act play with an all-emale cast set in a convent. Immediately attracted toSuor Angelica’s (Sister Angelica) operatic possibilities, heasked that Forzano prepare a libretto. While at workon what Puccini aectionately reerred to as the “nun

opera,” the idea or a third opera, a comedy with itsplot teased out o several lines rom Dante’s Inferno

about a Florentine scoundrel named Gianni Schicchi, was born.

The three— Il tabarro, Suor Angelica, and Gianni Schicchi — were completed in 1917-18, and Puccini hoped ora premiere in Rome. When this proved impossiblebecause o the war, the Metropolitan Opera in New

York oered to stage the works and did so onDecember 14, 1918, a month beore the Armistice to

World War I was signed. Audience appreciation andcritical response in New York and or subsequentperormances in Europe were enthusiastic or Gianni

Schicchi and politely respectul or the other twooperas. No one seemed eager to

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produce the triple bill, and the popular Gianni Schicchi

began to be paired with other one-acts (perhaps themost outrageous o these couplings was with RichardStrauss’s Salome ). Over time, appreciation or thesubtle power and polished artistry o Suor Angelica hasgrown. The mating o its tragedy with the comic anticso Gianni Schicchi makes or an appealing evening’sentertainment.

Suor Angelica The garden of a cloister in the 17 th century.

Evening bells evoke the otherworldly atmosphereo the convent on a beautiul spring evening. Birdsongflls the air, a counterpoint to the sisters’ Ave Maria.

Out o their communal chant, the voice o Sister Angelica emerges at the words “pray or us sinners,now and at the hour o our death.” Puccini’s use o hollow parallelisms and chamber scoring create asense o stasis and an archaic, serene sound. In aseries o short, masterully drawn portraits, Pucciniintroduces us to several members o the order. First

we encounter the Sister Monitor who metes out

punishments to Sister Lucilla or being disrespectulduring the service and to Sister Osmina or hidingroses in the olds o her habit. Sister Genoviearemarks that the setting sun’s rays are gilding theountain—“the lovely smile o Our Lady,” the sistersreply. Remembering the recently deceased SisterBianca Rosa, Genoviea suggests they give her gravea libation o golden water. Angelica declares in anarietta (“I desideri sono I fori dei vivi”) that desiresare the owers o the living; the needs o the deadare anticipated and granted by the Virgin Mother.“Death is lie more beautiul!” Her long musical linesenriched by a countermelody in the orchestra sether apart as an aristocrat, and the ower metaphorhighlights her role as the gardener o the convent.

At her assertion that death is actually a lie morebeautiul, Puccini unleashes the ull orchestra in anecstatic outburst that overpowers the vocal line. Areminder rom the Monitress that desires are orbiddento the sisters prompts Sister Genoviea, brought upas a shepherdess, to disagree. She yearns in a wistullittle song, accompanied by a sot bleating in the

woodwinds, to once again hold a lamb in her arms. Another sister, Dolcina, is interested in some tasty ood, and the composer writes a mocking little fgure

to tease her. What o Sister Angelica? Surely she, too,must long or something, or news o her amily. Angelica’s denial sets o chatter in parallel seventhsbetween two groups o nuns, who recount what they know o her past as a noblewoman orced to take the

veil as a punishment. The reason or her punishmentremains a mystery.

The nursing sister rushes in to report that SisterChiara has been stung by wasps while working inthe garden. Music imitates the wasp’s sting throughpizzicato strings and staccato woodwinds and harp.

Angelica, the Brother Cadael o the convent, providesan herbal remedy. Sister Nurse comments on her

unailing ability to come up with an herbal cure orevery ailment.

In another light moment, two Alms Sistersarrive with a donkey-cart flled with provisions.(The orchestra hee-haws as the nuns unload thecart.) As the sisters happily unload the cart, theharmonic movement comes almost to a standstill ortwenty measures until we hear a tart, widely spaceddissonance. The sense o expectation in the music

is at odds with the casual chatter o the sisters. Then we learn that the Alms Sisters spied a magnifcentcoach arriving at the convent. At this revelation, theorchestra plays a broad cantilena, and we witness

Angelica’s growing agitation. The Abbess comes outand calls to Angelica, whose aunt, the Princess, awaitsher in the visiting room. She greets her niece with aglacial severity. Puccini reects this in the music by a snaking unison line in the winds that climbs higher

with each repetition beore coming to rest on anunrelated harmony in muted horns.

The Princess has come to require that Angelicasign away her inheritance in avor o her younger

sister, who is about to marry a man who can overlookthe stain o dishonor on the amily’s white crest.

Angelica, replying over a dignifed passage in cellosand harp, cannot believe that ater seven long yearsher aunt has no pity or sense o mercy. Indeedshe has none and describes mystical gravesideconversations with Angelica’s dead mother, wholaments and weeps over her daughter’s sin. She ordersher niece to atone. Humble and submissive, Angelicaprotests she has sacrifced all but the memory o herson and begs or news o him. Whole-tone harmony highlights her near hysteria. The brutal response isthat the child died o a ever two years ago. Sobbing,she collapses beore recovering enough to sign thedocument. Ater her aunt leaves, the grieving Angelicasings to the baby who died without a mother’scomort. This short aria expresses pain and thenconsolation at the thought her child is now in heaven.She longs to die and join him there.

The sisters enter while Angelica is still praying,trancelike. She tells the nuns she is on fre with graceand can see her goal. The evening bell calls the sistersback to their cells. Later, when it is dark, Angelicagoes into the cloister garden. Lighting a small fre, shebegins to gather herbs in an earthenware jar, adds

water, and then puts the jar over the ames to boil. Ina gesture o tender arewell, she kisses the cross andturns towards the cells where the sisters are sleeping.Then she drinks the poison. At once she is overcome

with horror at having committed a mortal sin, which will separate her rom her son or all eternity. Sheprays despairingly to the Virgin or salvation. Andthen, a miracle. The chapel flls with light, and itsdoors open to reveal a host o angels. The Virgin Mary stands among them leading Angelica’s child towardshis dying mother. The music climaxes. Angelica allsdead as the orchestra ades to a sustained plagal(“Amen”) cadence.


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Gianni Schicchi

Florence, 1299. Buoso Donati l ies dead in his bedchamber. His relatives

kneel in simulated grief around his bed.

The opera commences with a cheerul ourishthat settles into a minor-key lamentation aided by aunereal drum tattoo. The air is alive with the sighs,sobs, and groans o Buoso Donati’s amily membersuntil Betto relates a disturbing rumor that Buoso haslet everything to a nearby monastery—“manna or

the monks.” In shocked silence they turn to Simone,the amily elder, or counsel. Given his esteemedposition as a ormer mayor, he pompously advisesthem to search the house or the will. I it is in thehands o a lawyer, there’s no hope, but i it isn’t….Luck is with them. Rinuccio locates the documentand waves it above his head to a theme that will latersigniy his love or Lauretta, the daughter o GianniSchicchi. Beore handing the will over to his aunt Zita,he asks or a reward—consent to marry Luaretta. I the terms o the will are avorable, she replies, youcan marry anyone you choose. Rinuccio sends the

young Gherardino to etch Schicchi and his daughter.

Meanwhile, to a thematic ourish in the orchestraollowed by measure ater measure o tremolandostrings (to create suspense), the relatives gather aroundZita or the reading o the will. Their expressionschange rom optimistic anticipation to disbelie to ury upon discovering that the rumor about the bequest

was true. The worldly belongings o Buoso are to go tothe monks! Rinuccio’s suggestion that the amily seekadvice rom Gianni Schicchi is considered outrageous.He’s a nobody, a backwoods peasant. When Rinucciosprings to his intended ather-in-law’s deense inthe aria “Avete torto” (“You’re mistaken”), Pucciniintroduces a musical idea that represents Schicchi’scunning and will appear again in the opera.

Schicchi arrives with Lauretta, sees the grie-stricken amily, and assumes Buoso must be recoveringrom his illness. Then seeing the burning candles, herealizes that Buoso is dead and learns the reason therelatives are in mourning. The angry Zita exclaimsthat Schicchi and his daughter should leave. There

will be no marriage between her nephew and Laurettaunless she brings a dowry. A quarrel commencesbetween Schicchi and Zita, and the young couplesees their hopes o marriage ade. Rinuccio’s pleas aredismissed. Only Lauretta’s sincere plea in the opera’s

most amous number, “O mio babbino caro” (“Oh, my dear daddy”), melts the heart o her adoring ather. Hegives in, asking to be handed the will. At frst he pacesand declares there is no way out, but soon he has anidea. Sending his daughter out to the terrace, Schicchiorders or the corpse and candles to be moved intoanother room. He then slips into the dead man’s bedand draws the curtains just as the doctor Spinelloccioarrives to ask about his patient. The amily says Buosois much improved, and Schicchi in a perect imitationo Buoso’s voice confrms the act. Insisting that all heneeds now is to sleep, he asks that the doctor call inagain that evening.

The amily are greatly impressed by Schicchi’saultless perormance (we hear triumphant music in theorchestra). Then in the aria “Ah, che zucconi!” (“Oh,

what blockheads!”), he lays out his plan. Rinuccio is tofnd a lawyer and two witnesses; Schicchi will dress inBuoso’s nightshirt and hat and dictate a new will in theamily’s avor. The delighted relatives begin to dividethe property, and all is harmonious until they come tothe most valuable items—the villa in Florence, the mills

in Signa, and the mule. As the oldest and the exaltedormer mayor o Fucecchio, Simone assumes they will go to him. So much or amily harmony. As therelatives argue, a death knell tolls, and they ear newso Buoso’s death has spread. Relieved to learn thatthe bells were ringing or someone else, they decideto leave the disputed property to Schicchi. Then eachfles past him oering bribes should he decide in theiravor. The wily Schicchi pretends to accept the bribes.In a lyrical trio, Zita, Nella, and Ciesca awn over himand help him into Buoso’s bedclothes. Beore takinghis place in the bed, however, Schicchi reminds themo the penalty or alsiying a will (amputation o their

hands and banishment) and makes them repeat it.Rinuccio returns with the notary and witnesses.

Beore they begin to draw up the will, the notary inquires as to the uneral arrangements. Schicchi insiststhat it be modest and then commences to allocate theproperty, starting with the monks. At this the relativesrise up in ear, but breathe a collective sigh o relie at the bequest o a mere fve lire to the riars. He thendivides the gold equally and the minor propertiesaccording to the pre-arranged agreement. Tremolandostrings create an atmosphere o anticipation as Schicchicomes to the mule, the villa, and the mills. The mulegoes to “my devoted riend, Gianni Schicchi!” The gaspo the relatives takes the orm o a downward plungein the orchestra. Now to the villa, which he bequeathsto Gianni Schicchi. There is an explosion o anger.Lastly, he leaves the mills to his “dear, aectionateriend,” Gianni Schicchi. The enraged amily turns onhim, crying that he is a thie, a traitor, a scoundrel.Leaping rom the bed, he deends himsel withBuoso’s stick and chases them out o his house as they grab as much loot as possible.

The view shits to the terrace where the city o Florence orms the backdrop or the embracing

young lovers. Lauretta and Rinuccio sing a sweet duet

about their love and the beauty o golden Florence.Seeing them, Gianni Schicchi smiles and speaks to theaudience:

Tell me, ladies and gentlemen, if Buoso’s

wealth could have had a better end

than this? For this prank, I have been

condemned to Hell, and so be it;

but with all due respect to the great old

man Dante, if you have been amused

this evening, grant me (He claps hishands.) extenuating circumstances.

S. Kay Hoke


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August 7, 20097:30 PM


Friday

Transylvania Symphony Orchestra

André Raphel Smith, conductor

Gioachino Rossini Overture to La gazza ladra(1792 - 1868)

Ottorino Respighi Ancient Airs and Dances Suite No. 3(1879 - 1936) I. Anon.: Italiana

II. Jean-Baptiste Besard: Arie di corteIII. Anon.: SicilianaIV. Lodovico Roncalli: Passacaglia

Intermission

Hector Berlioz Symphonie fantastique(1833 - 1897) I. Rêveries, passions

II. Un BalIII. Scène aux champsIV. Marche au suppliceV. Songe d’une Nuit du Sabbat


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Gioachino Rossini (1792 - 1868):

Overture to La gazza ladra

La gazza ladra (The Thieving Magpie), Rossini’s ratherdaring semi-serious opera, is based on a Frenchmelodrama more tragic than humorous. The story isbased on the true incident o a French servant girl who

was executed or thet. When it was learned later thata magpie had actually taken the valuables, the servant

was posthumously exonerated. The case created quitea stir in European countries and brought on a generalcondemnation o the death penalty or crimes o thet.In the operatic version a young servant girl, Ninetta,is accused o stealing a silver spoon. She is unable toprove her innocence without exposing her ather, whohas deserted rom the army and can be sentenced todeath i captured. Ater a tense scene in which Ninettachooses to sacrifce her own rather than her ather’slie, her pet magpie is identifed as the actual culprit. Ahappy ending.

Even more successul than the opera was its well-

known overture, which expresses both the pathosand the humor o the story. To the usual complemento instruments, Rossini added a bass drum and snaredrums placed at either side o the orchestra. Theoverture begins with a dramatic pair o drum rolls—areerence to both the army and the drums that soundas prisoners are led to execution. A ceremonious marchleads into the main section, a spirited allegro. Towardsthe end o the overture Rossini includes two o thegradually developing crescendos or which he is justly amous to create the climax.

Ottorino Respighi (1879 - 1936):

Ancient Airs and Dances, Suite No. 3

We know Respighi as the composer o original andcolorul post-romantic works, but he was also adevoted scholar o Italian music rom the sixteenth andseventeenth centuries. His love o early music led himto arrange and orchestrate a number o pieces drawnrom that literature. Among the most amous o theseare his three suites o Ancient Airs and Dances. Themelodies are mainly derived rom collections o lutemusic collected and published during the 1880s by Italian musicologist and lute soloist, Oscar Chilesotti.The success o Respighi’s suites is due in large partto his meticulous selection o melodies that workedbeautiully in combination and his ability to orchestratethem well.

Suite No. 3, in our movements or string orchestra, isarresting in its austerity. The Italiana, marked andantino, isa slow, graceul dance in triple meter by an unknowncomposer. The second movement, Arie di Corte

(Courtly Airs) is a miniature suite o tasteul and richly harmonized songs by Jean-Baptiste Besard. The wistulopening air returns at the end to rame the movement.The Siciliana is based on an anonymous “Spagnoletta,” a

melancholy popular tune set many times by composersin Spain and Italy during the seventeenth century. Thefnal movement, entitled Passacaglia, comes rom a guitarpiece by Ludovico Roncalli and is a set o variationsover a repeating bass line.

Hector Berlioz (1833 - 1897):

Symphonie fantastique

Hector Berlioz, a medical student turned composer,

wrote what is considered the most remarkable frstsymphony in the classical repertory. It was truly “new music” o boundless, individualistic expression.The quintessential romantic, he counted the plays o Shakespeare, Goethe’s Faust , and the symphonies o Beethoven among the most important inuences onhis work. Ater attending perormances o Beethoven’sThird and Fith Symphonies in 1828, he said these

works opened “a new world o music, as Shakespearehad revealed a new universe o poetry.” Berlioz isrecognized as Beethoven’s true heir, but not becausehis music was imitative. I anything, the Symphonie

fantastique was unlike anything that had come beore—

vividly original in its inventive orchestration, itsmonumental proportions, and its weaving o music

with narrative. In a letter rom 1858, Berlioz describedthe predominant eatures o his music as “passionateexpression, inner intensity, rhythmic animation, and aquality o unexpectedness.”

Another specifc inuence on the work you willhear tonight was a young, Irish actor named HarrietSmithson whom Berlioz saw in the roles o Opheliaand Juliet in 1827. He was mesmerized by her beauty and her spellbinding perormances. Today we mightbrand him a celebrity stalker or his subsequentbehavior. Berlioz tried (unsuccessully) to see herbackstage ater a perormance. Bedeviled by passion,he began to write her love letters to which she neverreplied. Undeterred, his obsession or Smithson, whomhe reerred to as Henriette, became the ocus o theSymphonie fantastique . Ater rejecting his advances orfve years, she fnally met the composer in 1832, andheard the music in which she recognized hersel as thedriving orce. They courted, married, and made eachother miserable or a decade beore separating.The audience attending the premiere on a Decemberin 1830, could hardly have expected what they were

about to hear. Berlioz binds the movements together with a recurring melody that represents his obsessionor Smithson and which he calls the idée xe. Thismelody, which we hear whenever the young mansees the image o his beloved, is altered throughtransormations ranging rom a graceul waltz to asearing, grotesque dance tune. The composer alsocreates musical imitations o a storm, the stroke o the guillotine complemented by a alling head, and aSwiss cowherd’s horn. He quotes the sequence romthe Catholic Mass or the Dead, the Dies irae , as the heroo the symphony envisions his own execution. Several

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o the instruments in his orchestra were quite outo the ordinary or 1830: clarinets in E-at andC, 4 bassoons, 2 ophicleides (an early version o the tuba), low bells, 2 harps, piccolo, and a largebattery o percussion. In a amous passage stringplayers are instructed to use the wood o the bow.The dynamic markings range rom excessively loudto inaudible.

The sounds are conceived orchestrally and in theservice o the narrative.

Leonard Bernstein once said that Berlioz was takinghis listeners on a psychedelic musical trip where“you wind up screaming at your own uneral.”The composer’s own program or the symphony,reproduced below, flls in the important details o the journey.

Introduction: The outline of the instrumental drama,

which lacks the help of words, needs to be explained in

advance. The following program should thus be considered as the spoken text of an opera, serving to introduce the musical

movements whose character and expression it motivates. (Translated by Edward T. Cone in the Introductionto Berlioz: Fantastic Symphony, New York, 1971.)

Part 1: Reveries—Passions

The author imagines that a young musician, aficted with

the malady that a well-known writer calls the vague des

passions , sees for the rst time a woman who embodies all

the charms of the ideal being he has imagined in his dreams,

and he falls desperately in love with her. Through an odd

whim, whenever the beloved image appears before the mind’s eye of the artist, it is linked with a musical thought that

incorporates a certain character he bestows to her, passionate

but at the same time noble and shy.

This melodic image and the model it reects pursue him

incessantly like a double idée xe. That is the reason for the

constant appearance, in every movement of the symphony, of

the melody that begins the opening Allegro. The transition

from this state of melancholy reverie, interrupted by a few

ts of groundless joy, to one of frenzied passion, with its

gestures of fury, of jealousy, its return of tenderness, its

tears, its religious consolations—this is the subject of the rst movement.

Part Two: A Ball

The artist nds himself in the most varied situations—in the

midst of the tumult of a party, in the peaceful contemplation

of the beauties of nature. But everywhere—in town, in the

country—the beloved image appears before him and disturbs

his peace of mind .

Part Three: A Scene in the Country

Finding himself in the countryside one evening, he hears in the distance two shepherds piping a ranz des vaches in dialogue.

This pastoral duet, the scenery, the quiet rustling of the trees

gently brushed by the wind, the hopes he has recently found

some reason to entertain—all unite to ll his heart with

unaccustomed calm, and give a brighter color to his fantasies.

He reects upon his isolation; he hopes that his loneliness will

soon be over.—But what if she should be deceiving him!—

This mingling of hope and fear, these ideas of happiness

disturbed by black presentiments, form the subject of the

Adagio. At the end, one of the shepherds again takes up the

ranz des vaches; the other no longer replies.—Distant sound

of thunder—loneliness — silence….

Part Four: March to the Scaffold

Convinced that his love is unappreciated, the artist poisons

himself with opium. The dose of the narcotic, too weak to

kill him, plunges him into a sleep accompanied by the most

horrible visions. He dreams that he has killed his beloved,

that he is condemned and led to the scaffold, and is to witness

his own execution. The procession moves forward to the sounds

of a march that is now somber and erce, now brilliant and

solemn, in which the mufed noise of heavy steps gives way

without transition to the noisiest clamor. At the end of the

march, the rst four measures of the idée xe reappear, like

a last thought of love interrupted by the fatal blow [o theguillotine].

Part Five: Dream of a Witches’ Sabbath

He sees himself at the Sabbath, in the midst of a frightful

troop of ghosts, sorcerers, monsters of every kind, come

together for his funeral. Strange noises, groans, bursts of

laughter, distant cries seem to answer. The beloved melody

appears again, but it has lost its character of nobility and

shyness. It is no more than a dance tune, mean, trivial, and

grotesque: it is she, coming to join the Sabbath.—A roar of

joy at her arrival.—She takes part in the devilish orgy.—

Funeral knell, burlesque parody of the Dies irae [hymnsung in the old uneral rites o the Catholic Church] .

Witches’ round-dance. The round and the Dies irae are

combined.

S. Kay Hoke


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August 9, 20093:00 PM


Sunday


André Raphel Smith, conductorOlga Kern, piano

Mikhail Glinka Overture to Ruslan and Ludmilla(1804 - 1857)

Sergei Rachmaninoff Piano Concerto No. 3 in D minor, Op. 30(1873 - 1943) Allegro ma non tanto

Intermezzo: AdagioFinale: Alla breve

Ms. Kern

Intermission

Dmitri Shostakovich Symphony No. 5 in D minor, Op. 47(1906 - 1975) Moderato

AllegrettoLargoAllegro non troppo

Sponsored in part by the


Season Finale

Mikhail Glinka (1804-1857):

Overture to Ruslan and Ludmilla

Glinka was the frst Russian composer to attain aninternational reputation, and he was the ather o Russian musical nationalism. Nonetheless, his mostimportant training and inuence came rom Italy and,to a lesser extent, Germany. A Life for the Tsar (1836)

marked the eective beginning o Russian opera,despite its reliance on Italianate tricks o the trade.Glinka’s second opera, Ruslan and Ludmilla , completedin 1842, retained some o the Italian avor but alsoincorporated Russian olk songs. The inuence o theopera on later Russian composers was immense.

The Overture is Glinka’s best-known work, amiliar to virtually every symphony orchestra in Europe, Asia,and the Americas. It is the oldest Russian piece in thestandard repertoire, and or good reason. It evincesdrama and brilliant orchestration, and it is catchy.

Sergei Rachmaninoff (1873 - 1943):

Piano Concerto No. 3 in D Minor, Op. 30

Rachmanino’s Third Piano Concerto (1909) wassomething o a monster, an outsized mutant child o the popular Second Concerto, the work that had madehis reputation as a composer back at the turn o thecentury. The Third lacked the direct appeal o the

earlier work, and it was so long and difcult that thecomposer sanctioned cuts in the score.

It’s not that the piece didn’t get on the radar rightaway—it did—but it was slow in catching on. Thingschanged over time. Now, a hundred years ater itspremiere, the Third Concerto is revered as one o Rachmanino’s fnest works. It has been recordedmore than two hundred times, it was an importantplot element in a movie (Shine ), and it is no longerperceived as the hardest piano concerto ever written(there are lots o other contenders or that honor).

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Nowadays it is almost unthinkable to take any o thecuts.

Listeners have learned that melodies can be memorable without being transerable to pop songs. Musicalnarrative can be digressive without being ineective.In short, the public has caught up to the ThirdConcerto.

Although Rachmanino dedicated the Concerto to thegreat pianist Jose Homann, who never perormedit, certainly Rachmanino conceived it or himsel toplay. He gave the premiere in New York in 1909 withthe conductor Walter Damrosch. A short time laterhe played it again in New York, this time with GustavMahler conducting. That Rachmanino was one o thegreatest pianists o his time helps explain the absurddifculty o the solo part. It has more notes than any other standard piano concerto and, at orty minutes, islonger than all but the Brahms Second Concerto. Theorchestration is bigger and more lush than that in theSecond Concerto, so the pianist has to play not only

ast but also loud. There are some tricky rhythms, andthere are many spots where it is difcult or the pianistand orchestra to play together. Given the complexity o the piano part, which the conductor has to ollow,the conductor has a rather tough road as well.

The frst movement begins with two measureso introduction. The piano enters with a simple,characteristically brooding theme, and the basic soundfeld is established. From there it is all uphill orthe pianist; even accompanimental fgures containhundreds o notes. Rachmanino gives in to the oldpractice o including a cadenza near the end o themovement, but he actually provides two, rom whichthe pianist must choose one. The “real” cadenza islight and eet; the alternate deploys massive chords upand down the keyboard. Is there a pianist or two whocan select one or the other on the spur o the moment?

The second movement is set in the very distant key o D at but moves chromatically to many other places.It is by turns lyrical and rhapsodic. Although this isostensibly a “slow movement,” the writing or piano ispractically as elaborate as it is in the other movements.

The third movement commences without pause, ahigh-octane trip that begins at an absurd pace, thenonly gets aster. The virtuosity level is among thehighest to be ound in piano literature. The big tunecomes back ortissimo near the end, which leads to afnish that is very defnition o musical electricity.

Dmitri Shostakovich (1906-1975):

Symphony No. 5 in D minor, Op. 47

Shostakovich had the most baing career o alltwentieth-century composers. He was alternately inand out with the Soviet bosses, eted or one work,castigated or the next. Some works seemed toendorse the party line, some seemed to deame it. Washe a mere apparatchik, as most believed, or was he acrypto-dissident? Solomon Volkov’s (in) amous bookTestimony , which Volkov claimed was Shostakovich’ssecret as-told-to memoir, reports that the music is flled

with secret messages conveying powerul dissatisaction with the Soviet state. Many contend that Volkov’s bookis poppycock. The truth will never be ascertained.Perhaps none o it really matters, because only themusic survives.

It was not difcult or Shostakovich to learn where hestood with the authorities on a given day—all he hadto do was read Pravda . In 1936 he was attacked in printor the opera Lady Macbeth of Mtsensk. This was hardly expected; the opera had been premiered two years

earlier and had received acclaim even rom governmentofcials. It has been surmised that Stalin himsel wascomplicit in discrediting Shostakovich. However, in1936 Stalin had bigger fsh to ry, namely “The GreatTerror,” the coordinated persecution o hundreds o thousands o Soviet citizens. More than six hundredthousand persons were executed, and some sevenmillion were sent to the Gulag. In 1936 DmitriShostakovich eared or his lie.

In light o the Pravda attack, not to mention everythingelse going on, Shostakovich withdrew his new FourthSymphony rom public view, assuming, probably

correctly, that it would only make things worse. A ewmonths later he began work on another symphony,one that would somehow toe the party line o “heroicclassicism” while, presumably, satisying his innercreative impulse.

The Fith Symphony was the result. It was frstplayed on November 21, 1937, by conductor Yevgeny Mravinsky, and the Leningrad Philharmonic Orchestra.The premiere was an unqualifed success, andShostakovich’s reputation was rehabilitated overnight.One assumes that he could sleep better.

The music o the Fith Symphony is complicated in

style, method, and allusion. There are echoes o Mahler and, oddly, Georges Bizet. Shostakovich quoteshimsel as well, notably his Pushkin setting Vozrozhdenij (“Rebirth”). The problematic movement is the fnale.On the surace it would seem to be a straightorwardgloss on Mahler’s First Symphony. However, therehas long been a contention (not just by Volkov) thatthe fnale is a parody o Stalinist “heroic” music muchavored by the Soviet rulers.

Sincere note o triumph or subversive anti-Stalinistmocking? You decide.

- Bruce Murray Electronic Version by CJ Pletzke

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Conrad Alexander percussion

Conrad Alexander, is currently on the percussion aculty atMansfeld University, IthacaCollege and the BrevardMusic Center. His teachingexperience includes positions

at Interlochen Center or the Arts, James MadisonUniversity, and the University o Virginia. He perorms

with the Binghamton Philharmonic, the CayugaChamber Orchestra and the Ensemble X New MusicEnsemble. He has perormed with the New YorkCity Opera Touring Orchestra, the Dallas, Albany,Harrisburg, Dallas, Richmond, Greensboro, Knoxville,Oklahoma, and Anchorage Symphonies. Conrad is theowner o DAY Percussion Repair, specializing in allacets o percussion instrument repair. He has recorded

or the Sony, Centaur, AmCam, and ProArtes recordinglabels. Conrad earned the Masters o Music degree,and Perormer’s Certifcate rom the Eastman School o Music, and the Bachelor o Music degree rom SouthernMethodist University. His major teachers include JohnBeck, Doug Howard, Kalman Cherry, John Bannon,Don Liuzzi and Charles Owen. In 2007, Conrad becamean honorary member o Kappa Kappa Psi and receivedMansfeld University’s Bertram Francis Award romKappa Kappa Psi or outstanding contributions to theMU Band program. He resides in Ithaca, NY with his

wie, Paige Morgan.

Dean Anthonydirector

Creator o more than 70 roles,Dean Anthony has been highly praised or his vocal, dramatic,physical, and acrobaticabilities, oten reerred to as“The Tumbling Tenor.” He

made his European debut with Theater im Palzbauin Ludwigshaen, Germany and Theater des Westensin Berlin as Sam Kaplin and Daniel Buchanan in the

widely acclaimed production o Weill’s Street Scene , which was televised worldwide. He is a requentguest with companies across North America includingL’Opera de Montreal, Baltimore Opera, FlorentineOpera, New Orleans Opera, Arizona Opera, MichiganOpera Theater, Orlando Opera, Cleveland Opera,Nashville Opera, Kentucky Opera, Opera Omaha,Opera Carolina, Opera Columbus, Connecticut Opera,Fort Worth Opera, Opera Memphis, Central City Opera,Chautauqua Opera, Dayton Opera and the Ban MusicCentre.

In the 2008-2009 Season, he perormed Mime in Das

Rheingold with the Indianapolis Opera, Lutz in The

Student Prince with Nashville Opera, Pong in Turandot

with Opera Columbus, and Pirelli in Sweeney Todd orthe Augusta Opera, which he also directed. Throughoutthe summer and all 2009, he perorms Puck in A

Midsummer Night’s Dream at the Princeton Festival andScaramuccio in Ariadne auf Naxos at the IndianapolisOpera, and directs Suor Angelica at the Brevard MusicCenter and Man of La Mancha at the Shreveport Opera.

Additional noted engagements include his New YorkCity Opera debut as Monostatos in The Magic Flute andin Turandot ; his debut with San Francisco Opera intheir productions o Turandot and Ariadne auf Naxos ;Pong in Turandot with Nashville and IndianapolisOpera; Mungo in The Padlock with the Chicago OperaTheatre; his debut with Florida Grand Opera as Nickin La Fanciulla del West ; a return to Palm Beach Operaas Edmondo/Dancing Master/Lamplighter in Manon

Lescaut ; Alred in Die Fledermaus with Knoxville Operaand New Orleans Opera; a return to Michigan OperaTheatre as Monostatos in The Magic Flute and HowardBoucher in Dead Man Walking ; Puck in A Midsummer

Night’s Dream with Utah Symphony & Opera; Pong inTurandot with Virginia Opera; and Monostatos in The

Magic Flute with Opera Carolina.

A native o St. Louis, Mr. Anthony was a winnerin the New England Region o the MetropolitanOpera National Council Auditions, and a recipiento the Shoshana Foundation Award. His televisionappearances include broadcasts o An Evening of

Gilbert and Sullivan with the Boston Pops and the world premiere o Robert Greenlea’s Under the Arbor ,

both aired on PBS.

Richard Clementtenor

Grammy-winning Americanlyric tenor Richard Clementhas perormed with most o

America’s major orchestras andmusic directors, bringing tonalbeauty and superb musicality to

repertoire rom the baroque to the contemporary. His2006-2007 season included The Dream of Gerontius withGrant Llewellyn and the North Carolina Symphony,Beethoven’s Ninth Symphony with the New Jersey, San

Antonio, Colorado symphonies, Elijah with the MemphisSymphony and Theoanides’s The Here and Now withRobert Spano and the Atlanta Symphony, including aperormance in New York’s Carnegie Hall.

continued


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Following summer perormances o the Verdi Requiem at the Chautauqua Festival andBeethoven’s Ninth Symphony with the NashvilleSymphony and National Arts Centre Orchestra,Clement’s 2005-2006 season included the roleo Belmonte in Mozart’s Die Entführung aus dem

Serail with Leonard Slatkin and the NationalSymphony, Rachmanino’s The Bells with

Jerey Kahane and the Colorado Symphony,Beethoven’s Symphony No. 9 with AndreasDels and the Milwaukee Symphony; and areturn to Boston’s Handel & Haydn Society oran all-Mozart concert under Grant Llewellyn.

The previous season included opening theDetroit Symphony in Carmina Burana with Neeme

Järvi, both Handel’s Messiah and the Mozart C

Minor Mass with the Handel & Haydn Society, Messiah with the Ann Arbor Symphony, the Verdi

Requiem with David Allan Miller and the Albany Symphony and Haydn’s Creation with Duain Wole and the Colorado Symphony.

Clement has been guest soloist with theCleveland and Philadelphia Orchestras;Houston, Toronto, San Francisco and Cincinnatisymphonies, and collaborated with suchconductors as Wolgang Sawallisch, JesúsLópez-Cobos, Bobby McFerrin, ChristopherHogwood, Carlo Rizzi, John Mauceri, Marin

Alsop and James Conlon.

Clement’s considerable operaticcredentials include Pedrillo in Mozart’s Die

Entführung aus dem Serail with Sir Colin Davisand the New York Philharmonic; Tamino inMozart’s Die Zauberöte at Belgium’s De VlaamseOpera and with the Colorado Symphony. Hisroles at the Vancouver Opera include Nanki-Poo (The Mikado), Ferrando (Così fan tutte ), LittleBat (Susannah ) and Don Ottavio (Don Giovanni );Ernesto (Don Pasquale ) at Glimmerglass Opera;

Vanya (Katya Kabanova ) and To-No-Chujo (Tale of

the Genji ) at Opera Theater o St. Louis; Belmonte( Entführung ) with the Boston Baroque; Lensky

( Eugen Onegin ) and Nemorino (L’elisir d’amore )at Opera Festival o New Jersey; Candide,Lockwood (Wuthering Heights ) and Fenton (Falstaff )at Boston Lyric Opera; and Albert Herring withthe Atlanta Opera.

Olga Kern piano

With her perormance o SergeiRachmanino’s Piano Concerto No. 3 atthe 11th Van Cliburn International PianoCompetition in 2001, Olga Kern wonthe Gold Medal and became the frst

woman to achieve this distinction inover 30 years. Olga’s second triumph came in New York City on May 4, 2004, with a highly acclaimed New York City recitaldebut at Carnegie’s Zankel Hall. Eleven days later, on May 12,2004, in an unprecedented turn o events Olga Kern gave arecital in Isaac Stern Auditorium at the invitation o CarnegieHall.

Ater a critically acclaimed 35 city tour o the US in spring2007 with the National Philharmonic Orchestra and VladimirSpivakov, Ms. Kern opened the 2007-2008 season as guestsoloist with the Colorado Symphony, perormed with theNashville Symphony and made her debut with the VancouverSymphony. In May o 2008 Olga Kern toured North America

with Maestro Vladimir Spivakov and the world renownedMoscow Virtuosi, presenting concerts in Boston, Chicago, New

York, Philadelphia, Seattle, Washington DC, and Toronto. In the2008-2009 Season, Olga will make her debut with the DetroitSymphony Orchestra with Leonard Slatkin and present recitalsincluding in Washington DC, Portland, OR, La Jolla, CA andFort Worth, TX.

Olga Kern made her London debut with the RoyalPhilharmonic Orchestra in November 2006 playingShostakovich Piano Concerto No. 1 with Leonard Slatkinconducting. She returned to London in August o 2008 or herProms Debut playing Rachmanino’s Rhapsody on a Theme o Paganini with the Royal Philharmonic Orchestra and LeonardSlatkin conducting.

Ms. Kern was born into a amily o musicians with direct linksto Tchaikovsky and Rachmanino and began studying piano atthe age o fve. Winner o the frst Rachmanino InternationalPiano Competition when she was seventeen, she is a laureateo eleven international competitions and has toured throughouther native Russia, Europe, and the United States, as well as in

Japan, South Arica, and South Korea.

Ms. Kern records exclusively or Harmonia Mundi. Her mostrecent recording o Brahms Variations was released in Septembero 2007. Her discography includes recordings o Tchaikovsky Piano Concerto No. 1 with the Rochester PhilharmonicOrchestra and Christopher Seaman (2003), a Rachmanino recording o Corelli Variations and other transcriptions (2004),a recital disk with works by Rachmanino and Balakirev(2005) and Chopin’s Piano Concerto No. 1 with the WarsawPhilharmonic and Antoni Wit (2006). She was also eaturedin the award-winning documentary about the 2001 CliburnCompetition, Playing on the Edge.


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Liliana Piazzamezzo-soprano

Liliana Piazza, a native o Ottawa, is currently in herfrst year o a Masters o Musicprogramme at McGill University,

where she studies with MichaelMeraw. Having received her

undergraduate degree rom the University o Toronto,studying with Jean MacPhail, Liliana is thrilled to beliving in Montreal. Liliana had the opportunity to spenda past summer as Young Artist at the Ban Centreo the Arts, and she spent all 2006 in Wales on aconcert tour with the Burlington Male Welsh Choir. Asa Sidwick Scholar with the Orpheus Choir o Toronto,she has also had many solo oportunities under thebaton o Robert Cooper. Credits include many roles

with Opera in Concert and Toronto Operetta Theatre

such as Brigitte in DIE TOTE STADT, Suzy in LARONDINE, Linette in L’AMOUR DES TROIS ORANGES,and Frasquita in EL GATO MONTES. Other roleshave included Florence in ALBERT HERRING, andBradamante in ALCINA with Opera McGill.

Ken Lamconductor

Ken Lam is Assistant Conductoro the Cincinnati Symphony Orchestra and conductor o theCincinnati Symphony YouthOrchestra.

In addition to assisting MusicDirector Paavo Jarvi, he has

served as assistant/cover conductor or Sir RogerNorrington, Raphael Frubeck de Burgos, GilbertKaplan, Leonard Grin, Lorin Maazel, Gunther Herbigand Christohper Seaman. He also works regularly withConcert:Nova, a chamber ensemble based in Cincinnati.

Ken made his proessional debut with the NationalSymphony Orchestra at the Kennedy Center in

June 2008 at the concluding concert o the NationalConducting Institute as one o our conductors selectedby Leonard Slatkin. He studied with David Zinman andMurry Sidlin at the American Academy o Conductingat Aspen or three summers (2006-2008) and wasnominated or the Aspen/Glimmerglass Opera Prize.

In his native Hong Kong, he has been Artistic Directoro the chamber choir Hong Kong Voices since 2001. Hehas also been Principal Conductor o the Hong KongChamber Orchestra and was Director o the ChoralProgram at the University o Hong Kong or three yearsbeore leaving Hong Kong to study in the US in 2005.He was also the ounding Principal Conductor o theHong Kong Melody Makers, a youth choir organizedand unded by the Hong Kong Federation o YouthGroups.

He graduated rom Peabody Conservatory with a masterdegree and graduate diploma in conducting in 2008.His teachers were Gustav Meier, Markand Thakar andMarin Alsop and he was the choral graduate assistant toEdward Polochick. He holds an MA in economics romCambridge University and was a practicing solicitor orten years specializing in asset fnance.

Ken will be a eatured conductor in the 2009 Bruno Walter National Conductors Preview in Nashville.

Stephen Powellbaritone

The dynamic American baritoneStephen Powell brings his

handsome voice, elegantmusicianship, and robust stagepresence to a wide range o music, rom Monteverdi and

Handel through Verdi and Puccini to Sondheim and John Adams.

In the 2008-09 season, Mr. Powell sings the roles o Germont in La Traviata and Sharpless in MadamaButtery, both with Los Angeles Opera. He also singsGermont with the San Francisco Opera and NewOrleans Opera. On concert stages he sings as soloistin Carmina Burana with both the Phoenix Symphony

and the New Jersey Symphony Orchestra; Messiah with Baltimore Symphony; the Brahms Requiem andDvorak’s Te Deum, both with the Cathedral ChoralSociety; Mahler’s Symphony No. 8 with Tonhalle-Orchester Zurich (to be recorded or the SONY/BMG label); Mahler’s Das Klagende Lied with thePhiladelphia Orchestra; Brahms’ Requiem with theSan Diego Symphony; Haydn’s The Creation with theRochester Philharmonic; and the Verdi Requiem withthe Mendelssohn Club at Verizon Hall in Philadelphia.

In the 2007-08 season, Mr. Powell made his SanFrancisco Opera debut as Sharpless in Madama


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Buttery; sang Ford in Falsta with New YorkCity Opera; appeared with the WashingtonConcert Opera as Riccardo in I puritani,conducted by Antony Walker; perormed

with the North Carolina Symphony as Countin Le nozze di Figaro, conducted by GrantLlewellyn and many other appearances. Insummer o 2007 Stephen Powell sang CarminaBurana with the Atlanta Symphony Orchestra,conducted by Robert Spano, and at the AspenMusic Festival, conducted by David Zinman;Beethoven’s Symphony No. 9 with thePhiladelphia Orchestra, both at the Bravo! Vail

Valley Music Festival and the Mann Center, withconductor Rossen Milanov; and Sharpless inMadama Buttery, also at Aspen.

On the concert stage, he has perormedas soloist in Carmina Burana with the San

Francisco Symphony Orchestra, AtlantaSymphony Orchestra, Houston Symphony Orchestra, Nashville Symphony Orchestra, thePhiladelphia Symphony Orchestra (CharlesDutoit conducting), the Brooklyn Philharmonic,and at the Kennedy Center (Leonard Slatkinconducting). He has sung Handel’s Messiah

with the Orchestre Symphonique de Montréal;Milwaukee Symphony, Rochester Philharmonic,and Detroit Symphony orchestras; Les Violonsdu Roy; Handel and Haydn Society; and theMinnesota and Boston Baroque orchestras. Mr.Powell has toured North America with Edo de

Waart and the Sydney Symphony Orchestra inperormances o Beethoven’s Symphony No. 9,

which he has also sung with the Philadelphia,Ottawa, Cincinnati, Baltimore, and PhoenixSymphony orchestras.

Barbara Shirvissoprano

Barbara Shirvis’ 2008-09 seasoncurrently includes singing Cio-CioSan in Madama Buttery with Utah

Opera, and Liu in Turandot in a ully staged production or the JacksonvilleSymphony Orchestra, as soloist in

Haydn’s The Creation with the Rochester Philharmonic, andin Mahler’s Symphony No. 2 with the Syracuse Symphony.She will then make her role debut as Mimi in Puccini’s Laboheme in a ully staged production with the West VirginiaSymphony, and also debut as Desdemona in Verdi’s Otello

with Opera Roanoke.

The 2007-08 season included perormances o Liu in a returnto Kentucky Opera and Countess in Le nozze di Figaro withNorth Carolina Symphony. On concert stages she perormed

as soloist in Verdi’s Requiem or the West Virginia Symphony,Brahms’ Requiem or the New Mexico Symphony, Or’sCarmina Burana or the Rochester Philharmonic, Beethoven’s“Ah, perfdo” with the Amarillo Symphony, and duo recitals

with her husband. In the summer o 2007 she sang Cio-CioSan in Madama Buttery at the Aspen Music Festival underthe baton o David Zinman.

Concert credits include Poulenc’s Gloria and Holiday Concerts with Dallas Symphony Orchestra, Messiah withthe symphonies o Houston, Jacksonville, Colorado, as

well as the Pacifc Symphony, Beethoven’s Symphony No. 9 with the symphonies o Phoenix, Spokane and Fort

Wayne, Brahms Requiem with the Jacksonville Symphony and Colorado Music Festival, Janacek’s Glagolitic Mass andPoulenc’s Stabat Mater with New Mexico Symphony, Haydn’sLord Nelson Mass at Carnegie Hall, Schubert’s Mass in G at

Avery Fisher Hall with the American Symphony Orchestra,Mozart’s Requiem with Jacksonville Symphony and on aEuropean tour with the Dallas Symphony Chorus whichalso included Mendelssohn’s Lobegesang. Ms. Shirvis hasappeared in recital at New York’s Weill recital hall, and hasalso perormed with the National Symphony in a series o concerts led by conductor and vocalist Bobby McFerrin.

Barbara Shirvis began her career at New York City Opera

where she sang or a decade in such roles as Micaela,Pamina in Mozart’s The Magic Flute, Sophie in Strauss’Der Rosenkavalier and Yum-Yum in Gilbert and Sullivan’sMikado. Barbara lives outside o Philadelphia with herhusband, baritone Stephen Powell and their two children.

XXVI Brevard Music Center

Thank You

Deloise Lima and

Florida State University

for providing the celesta

being used this summer

Ms. Lima is a BMC Artist Faculty and

Assistant Professor of Collaborative Piano

at FSU. She performs regularly with the

Brevard Music Center Orchestra.


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André Raphel Smithconductor

Praised by the New York Times as“An agile, demonstrative conductor

who is physically drawn into the

music, André Raphel Smith is inhis sixth season as Music Directoro the Wheeling Symphony

Orchestra. Through his innovative programming and strongcommitment to American and new music, he has establishedhimsel as an exciting and versatile conductor.

Mr. Smith enjoys an active career as guest conductor. Hehas appeared with most o the major American orchestrasincluding Boston Symphony, Chicago Symphony, ClevelandOrchestra and the New York Philharmonic. During the 2008-09 season he appeared with the Asheville Symphony. Lastseason he returned to the Syracuse Symphony in critically

acclaimed perormances, and also conducted the Pro ArteChamber Orchestra o Boston.

André Raphel Smith made his European debut in 2005 with the Neubrandenburger Philharmonie, and returnedto Europe during the 2006-07 season to lead the MoravskaPhilharmonie. In recent seasons he has led the PittsburghSymphony, Milwaukee Symphony, Atlanta Symphony,Houston Symphony, National Symphony, BaltimoreSymphony, Saint Louis Symphony, Seattle Symphony and the Minnesota Orchestra among others. He made hisCarnegie Hall debut in 1997, leading Robert Shaw andthe Orchestra o St. Luke’s in a concert celebrating the

Centennial o legendary mezzo-soprano Marian Anderson.Mr. Smith’s international engagements have urther includedappearances with the Orquesta Sinonica Nacional deColumbia, Orquesta Sinonica Nacional de Costa Rica, andthe Auckland Philharmonia.

Mr. Smith served as an Assistant Conductor to Kurt Masur atthe New York Philharmonic or two years. He was AssistantConductor o the Philadelphia Orchestra or six years, wherehe worked closely with Wolgang Sawallisch. Prior to hisappointment in Philadelphia, Smith served or three yearsas Assistant Conductor o the Saint Louis Symphony underLeonard Slatkin.

Born in Durham, North Carolina André Raphel Smith beganormal music lessons at age 11. He received his Bacheloro Music degree rom the University o Miami. He pursuedurther study at Yale University where he earned his Master’sDegree. While at Yale, Mr. Smith began conducting studies

with Otto-Werner Mueller. He continued studies withMueller at The Curtis Institute o Music earning a Diplomain conducting and at The Juilliard School, where he wasawarded the Bruno Walter Memorial Scholarship andreceived an Advanced Certifcate in orchestral conducting.

The Biava Quartet

The Biava Quartet is recognized as one o today’smost exciting young American string quartets.

Winner o the Naumburg Chamber Music Awardand top prizes at the Premio Borciani and LondonInternational Competitions, the Quartet hasestablished an enthusiastic ollowing in the United

States and abroad, impressing audiences withits sensitive artistry and communicative powers.Formed in 1998 at the Cleveland Institute o Music,the Quartet takes its name rom Maestro LuisBiava, a mentor since its inception.

The members o the Biava Quartet, violinists Austin Hartman and Hyunsu Ko, violist Mary Persin, and cellist Jason Calloway, hold the Lisa

Arnhold Quartet Residency at the Juilliard School,serving as graduate quartet in residence andteaching assistants to the Juilliard Quartet. TheQuartet previously held the same position with

the Tokyo Quartet at Yale University and was thefrst ensemble to complete the Training Program inthe Art o the String Quartet at the New EnglandConservatory under the direction o Paul Katz.

The Biava Quartet has perormed to acclaim inimportant venues throughout North America,Europe, and Asia, including Alice Tully Hall,Carnegie Hall, the Library o Congress, theKennedy Center, Wigmore Hall, and the Baroque

Art Hall in Seoul. Other highlights rom recentseasons include appearances at the Mostly Mozartand Aspen Music Festivals, Chautauqua Institution,

and Pacifc Music Festival in Japan. The BiavaQuartet has recorded or the Naxos and Cedillelabels and has been heard on London’s BBCRadio 3 and NPR as well as in requent nationalbroadcasts. The Quartet has been eatured inStrings and Strad magazines and is the subject o an upcoming PBS documentary flm.

The members o the Biava Quartet hold advanceddegrees rom the New England Conservatory,University o Southern Caliornia, Yale University,and the Juilliard School.

2009 Summer Institute and Festival XXVIElectronic Version by CJ Pletzke

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7/31/2019 2009 Overture


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7/31/2019 2009 Overture


Robert Livingston Aldridge, composition

Summers at BMC: 4

Current position: Director and Proessor o Music Composition and Teory, John J. CaliSchool o Music, Montclair State University

Education: University o Wisconsin atMadison (BA), New England Conservatory (MM), Yale University (DMA)

Compositions: More than 60 works or orchestra, opera, music theater,dance, string quartet, solo and chamber ensembles; commissions rom theOrpheus and Los Angeles Chamber Orchestras, New Jersey Symphony,Louisiana Philharmonic, Nashville Symphony and Louisville Orchestra

Honors: Awards rom the Guggenheim Foundation (2002), American Academy o Arts and Letters (2000), National Endowment or the Arts

Of interest: Acclaimed or the opera Elmer Gantry which premiered inNashville, N in 2007

Tis summer: Perormance o his Concerto or Violin and Orchestraon July 24.

More information: robertaldridge.com

Neal Berntsen, trumpet

Summers at BMC: 1

Current positions: rumpet, PittsburghSymphony Orchestra; Faculty, Carnegie MellonUniversity

Former positions: Chicago Lyric OperaOrchestra, Grant Park Symphony; perormed

with Chicago Symphony and BostonSymphony

Education: University o Puget Sound (BM), Northwestern University (MM)

eachers: Adolph Herseth, Vincent Cichowicz, Manuel Laureano

Chamber music: Pittsburgh Symphony Brass, Chicago Brass Soloists

Recordings: Discography includes Orchestras o Pittsburgh and Chicago,Manheim Steamroller, Michael Jackson

2009 Faculty Artists

Conrad Alexander, percussion

Summers at BMC: 13

Current positions: Proessor o Music, IthacaCollege; Instructor o Percussion at ManseldUniversity; member o the Cayuga ChamberOrchestra

Education: Southern Methodist University (BM), Eastman School o Music (MM)

eachers: John Beck, Don Liuzzi, KalmanCherry, Doug Howard, John Bannon, Charles Owen

Chamber music: Member o the new music group Ensemble X

Of interest: Owner o DAY Percussion Repair, specializing in all acets o percussion instrument repair and unique wooden percussion products

More information: daypercussionrepair.com

Susan Barber, bassoon

Summers at BMC: 5

Current positions: Assistant Proessor o Bassoon, James Madison University; member

o the Montpelier Wind Quintet

Former positions: Member o the BatonRouge Symphony, Natchez Opera, HartordSymphony, Connecticut Opera, SarasotaOpera, Orquesta Sinonica de Galicia (Spain),

Acadiana Symphony and Soni Fidelis Woodwind Quintet

Education: SUNY at Stony Brook (BM), Te Juilliard School (MM),Louisiana State University (DMA)

eachers: William Ludwig, Stephen Maxym, Frank Wangler

Recent appearances: 2006 Kennedy Center or the Perorming Arts Recital with the Montpelier Wind Quintet

More information: suebarber.com

Craig Brown, double bass

Summers at BMC: 9

Current positions: Bassist, North CarolinaSymphony; Lecturer, University o NorthCarolina at Greensboro

Former positions: Principal Bass o the DesMoines Metro Opera Orchestra and ChamberOrchestra o the Triangle; member o theToledo Symphony

Education: University o Michigan (BM)

Teachers: Lawrence Hurst, Stuart Sankey, Winston Budrow

Chamber music: Perormances with Mallarme Chamber Players, AmericanChamber Music Festival and Swannanoa Chamber Players

Of interest: Bass clinician or the American String Teachers Association;recently transcribed and published ve volumes o duos or basses rommusic by Jacques Ofenbach

More information: uncg.edu/mus/aculty

Kevin Casseday , double bass

Summers at BMC: 6

Current positions: Bassist, JacksonvilleSymphony Orchestra; Lecturer, University o

FloridaEducation: Indiana University (BM, MM)

eachers: Stuart Sankey, Eugene Levinson andEdgar Meyer

Publications: Author o Six Week Warm Up,a 360-page book to help players o all levels develop and maintain a relaxedtechnique

Chamber music: Te St. Mark’s Bach Ensemble, University o NorthFlorida’s “Music in Our ime” series

Of interest: Began playing the bass at twenty-one; decided on a career inmusic ater time as a guitarist and electric bassist in rock bands

More information: jaxsymphony.org


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Overture

imothy Christie, violin

Summers at BMC: 2

Current positions: Faculty member, University

o Puget Sound; member, Pacic Northwest

Ballet Orchestra

Education: University o Michigan (BM,BA in English Literature, MM)

Major eachers: Paul Kantor, Andrew Jennings

Of interest: Founder and Artistic Director o the Walla Walla ChamberMusic Festival

Chamber Music: Violist o the Dexter String Quartet and Solo Violist o the contemporary ensemble Brave New Works

Steve Cohen, clarinet

Summers at BMC: 31

Current position: Associate Proessor o Clarinet, Northwestern University

Former positions: Faculty member o Cincinnati College-Conservatory, LouisianaState University, Loyola (LA) University andulane University; Principal Clarinet o New Orleans Symphony

Education: Oberlin College Conservatory (BM)

eachers: Loren Kitt, Karl Leister, Robert Marcellus, Larry McDonald

Recent highlights: Perorms with the Chicago Symphony, Chicago LyricOpera; Principal Clarinet, Music o the Baroque Orchestra

More information: northwestern.edu

Margaret Cusack , voice

Summers at BMC: 2

Current Position: Proessor o Voice and OpeLiterature, Westminster Choir College o RidUniversity (NJ)

Education: Oberlin College Conservatory (BM, MM)

Conductor collaborations: James Levine, SeiOzawa, Erich Leinsdor, Luciano Berio, LorinMazel, Semyon Bychkov

Roles performed: Musetta (La Bohème), Nedda (I Pagliacci), Elena (Mefstoele), Violetta (La raviata), Empress Alexandra (Rasputin), Anna Maurrant (Street Scene), Desdemona (Otello), Donna Anna and DonnaElvira (Don Giovanni), Santuzza (Cavalleria Rusticana), Micaelia (Carmen)

Of interest: New York City Opera debut in 1985 and Metropolitan OperDebut in 1999

Richard Deane, horn

Summers at BMC: 4

Current positions: Member, Atlanta

Symphony Orchestra, Visiting Proessor o Ho

University o Georga

Former positions: Principal Horn o theColorado Philharmonic and Concerto Soloists

Philadelphia

Education: Cincinnati College-Conservatory

(BM), Te Juilliard School (MM)

Appearances: Perormed with the New York Philharmonic, Cincinnati

Symphony, Solisti New York and Lexington (KY) Philharmonic

Of interest: Won rst prize in the 1985 American Horn Competition

Publications: Method book “Te E cient Approach: AcceleratedDevelopment or the French Horn”

Jeff Garza, horn

Summers at BMC: 1

Current positions: Principal Horn, San Anto

Symphony Orchestra; Adjunct Proessor o

Horn, St Mary’s University in San Antonio

Former positions: Principal Horn with Hous

Grand Opera, Utah Festival Opera; Guest

Principal Horn o Fort Worth Symphony and Paul Chamber Orchestra

Education: Rice University (BM), Interlochen Center or the Arts

Chamber music: San Antonio Brass, Olmos Ensemble, Camerata San Antoni

Of Interest: Perormed the Brahms Horn rio with Jon Nakamatsu and violin

Ik-Hwan Bae at the Chamber Music International concert series in Dallas.

Susan Culpo, viola

Summers at BMC: 1

Current positions: Assistant Principal Viola,Rhode Island Philharmonic Orchestra; Faculty Providence College; Boston Pops EsplanadeOrchestra

Education: Boston University (BM, MM)

eachers: Bernard Kadino, Walter rampler,Eugene Lehner, Raphael Druian

Of Interest: oured Europe, Asia and the US under batons o Seiji Ozawa,Bernard Haitink, James Levine, John Williams and Keith Lockhart


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Andre Gaskins, cello

Summers at BMC: 6 (alumnus)

Current positions: Assistant Proessor o Cello and Associate Conductor o Orchestral

Activities, Columbus State University;Principal Cello o the Columbus (GA) and

LaGrange Symphony Orchestras; MusicDirector and Conductor o Columbus Ballet

Former positions: Proessor at EasternIllinois University and Earlham College; Assistant Conductor o Richmond(IN) Symphony Orchestra

Education: Butler University (BM), Indiana University (MM)

Recordings: Martinu Concertino on Summit Records label was nominatedor a 2004 Grammy Award or “Best Perormance by a Small Ensemble”

More information: acsta.colstate.edu

David Gately , director o JOCLucile Parrish Ward Opera Chair

Summers at BMC: 2

Opera Companies: Dallas, Seattle, San Diego,Kentucky, Calgary, Chautauqua, Virginia,Dayton, Fort Worth, Omaha, EdmontonCincinnati, Vancouver, Utah, Arizona, as wellas the Florida Grand Opera, GlimmerglassOpera, Opéra De Montréal, Opéra de Québecand Canadian Opera Company

Educational Institutions: Academy o Vocal Arts (Philadelphia), BostonUniversity, Brevard Music Center, Indiana University, Mercyhurst College(Erie, PA), New England Conservatory, Seagle Music Colony, University o Illinois / Champaign – Urbana, University o exas at El Paso, WestminsterChoir College

Marianne Gedigian, fute

Summers at BMC: 1

Current positions: Associate Proessor o Flute, University o exas at Austin

Former positions: Guest Principal Flute,Boston Symphony Orchestra and BostonPops; Principal Flute, Boston Pops EsplanadeOrchestra; Acting Principal Flute, PittsburghSymphony Orchestra; aculties o BostonUniversity’s College o Fine Arts and TeBoston Conservatory

Chamber music: Founding member, Walden Chamber Players; Dorian Wind Quintet

Recordings: Solo recordings Voice o the Flute and Revolution

Eric Ginsberg , clarinet

Summers at BMC: 19

Current positions: Proessor, WesternIllinois University; member o the Camerata

Woodwind Quintet, in residence at WesternIllinois University; Principal Clarinet o theKnox-Galesburg Symphony; second clarinet inthe Peoria Symphony

Former positions: Visiting Proessor at theUniversity o Nebraska at Lincoln; member o the Oklahoma Symphony

eachers: Kalmen Opperman, Stanley Drucker, Ben Armato

Education: Te Juilliard School (BM, MM)

Of interest: As a reelance musician in New York City, played with theGoldman Band, New York City Ballet and Brooklyn Philharmonic

More information: wiu.edu/music

Patrick Hansen, associate director o JOC

Summers at BMC: 2

Current position: McGill University

Former positions: Director o Artistic Administrationor the Florida Grand Opera, sta o Lyric Opera o Chicago, Te Juilliard Opera Center, ulsa Opera,Opera Memphis, and Des Moines Metro Opera,Director o the Young American Artists Program atGlimmerglass Opera, Music Director o

Opera/Musical Teater at Ithaca College

Stage Direction: Te Impressario, Dido and Aeneas, Te Magic Flute, Dialogue

o the Carmelites, and Cosi an tutte

Carolyn Huebl, violin

Summers at BMC: 2

Current position: Assistant Proessor, BlairSchool o Music, Vanderbilt University

Former positions: Assistant Principal SecondViolin o the Pittsburgh Symphony Orchestra,aculty o Carnegie Mellon University, Rocky

Mountain Summer Conservatory, National MusicCamp at Interlochen, Killington Music Festival

eachers: Andrés Cárdenes, Paul Kantor, Donald Weilerstein

Education: Cleveland Institute (BM, MM) and University o Michigan (DMA)

Chamber music: Violinist o Blakemore rio

Of interest: Appeared with Detroit Symphony at the age o 17, eatured onNPR, recorded or Naxos

More information: vanderbilt.edu/Blair


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Mark Hughes, trumpet

Summers at BMC: 1

Current position: Principal rumpet,Houston Symphony Orchestra

Former positions: Atlanta Symphony, CivicOrchestra o Chicago

Education: Northwestern University

eachers: Vincent Cichowicz, AdolphHerseth

Recordings: Atlanta Symphony Orchestra on Deutsche Grammophon,elarc, Sony Classics, Naxos, New World, Argo and Nonesuch labels

Of Interest: Recording project with Chris Martin (BMC Alum) o ChicagoSymphony and Phil Smith o the New York Philharmonic

Anastasia Jellison, harp

Summers at BMC: 3

Current positions: Faculty member, University o Virginia, University o Richmond, Collegeo William and Mary, Eastern MennoniteUniversity; Acting Principal Harp, RoanokeSymphony; Director o the Roanoke YouthSymphony Harp Ensemble

Orchestral experience: Perormed with theHouston Symphony, Houston Ballet, Houston Grand Opera and theorchestras o Knoxville, Richmond and Virginia; toured Europe with theNorth Carolina School o the Arts

Education: Cleveland Institute o Music (BM), Rice University (MM)

eachers: Alice Chalioux, Paula Page

Festivals: Shenandoah Valley Bach Festival, Lancaster Music Festival

Tomas Joiner, violin


Current positions: Proessor o Violin andOrchestral Activities, Furman University;Music Director and Conductor, Hendersonville(NC) Symphony Orchestra

Former positions: Proessor o Violin andDirector o Orchestral Activities at theUniversity o Georgia

Education: Furman University (BM), Southern Baptist TeologicalSeminary (MCM), Florida State University (DMA)

eachers: Elaine Richey, Dan Boda, Guido Lamell, Gerardo Ribiero

Ensembles: Perorms with his wie, violist Anna Joiner, as the Joiner Duo;released disc titled Intermezzo on the ACA Digital label

Of interest: Served as Artistic Ambassador or the US Inormation Agency,presenting recitals with pianist Douglas Weeks on tour to West Arica andthe Middle East

More information: urman.edu

Benjamin Karp, cello

Summers at BMC: 2

Current position: Associate Proessor,University o Kentucky

Former positions: Principal Cello o theCincinnati Chamber Orchestra, member o

the New College String Quartet and PrincipalCello o the Florida West Coast Symphony

Performance Experience: Perormances inItaly, China, and Brazil, and throughout the United States. Frequently perorms in the cello section o the Cincinnati Symphony Orchestra, toured

with the orchestra nationally and internationally.

Education: Yale University (BA), Indiana University (MM)

Recordings: elarc, Gasparo, Arabesque, CRI, and Centaur labels.

Jennifer SnyderKozoroz , viola

Summers at BMC: 1

Current position: Principal violist, AmarilloSymphony; Harrington String Quartet

Former positions: Assistant Principalviolist, Virginia Symphony; Old DominionUniversity; Denison University; West exas

A&M; Te Sewanee Music Festival

Education: Interlochen Arts Academy, Ohio State University (BM),Te Juilliard School (MM)

eachers: Karen uttle

Chamber music: Harrington String Quartet; Ambrosia String rio

Of Interest: Member o the West Side String Quartet, Harlem School orthe Arts, a mentoring ensemble or inner city children

Margaret Karp, violin

Summers at BMC: 2

Current position: Adjunct Proessor andCoordinator o Strings, University o Kentucky

Education: Indiana University (BM)

Former Positions: Member o the FloridaOrchestra and Philharmonia da Camera,Dortmund, Germany

Major eachers: James Buswell, Valery Gradow


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Norman Krieger, piano

Summers at BMC: 2

Current position: Associate Proessor,University o Southern Caliornia

Education: Te Juilliard School (BM, MM),New England Conservatory (Artist Diploma)

eachers: Esther Lipton, Adele Marcus, AlredBrendel, Maria Curcio, Russell Sherman

Appeared with: New York Philharmonic, Los Angeles Philharmonic,Chicago Symphony, Minnesota Orchestra, Boston Pops Orchestra,Baltimore Symphony, Hong Kong Philharmonic, Pittsburgh Symphony,St. Louis Symphony, Cincinnati Symphony, Czech National Symphony Orchestra, National Symphony Orchestra o aiwan.

Tis summer: Featured soloist with the BMCO on July 5 perormingBrahms Piano Concerto No. 2

Renée Krimsier, fute

Summers at BMC: 2

Current position: Faculty, New EnglandConservatory

Festivals: Spoleto Festival (USA), Marlboro,anglewood, La Musica (Sarasota), Spoleto(Italy)

Former Positions: Principal Flute o Filarmonica de Caracas and CharlestonSymphony

Interesting facts: Dedicated to the exploration o contemporary music andcommissioned a number o new works

More information: newenglandconservatory.edu

Ken Lam, conductor

Summers at BMC: 1

Current positions: Assistant Conductor,Cincinnati Symphony Orchestra; Conductor,Cincinnati Symphony Youth Orchestra

Previous positions: Assistant conductor or SirRoger Norrington, Raphael Frubeck de Burgos,

Gilbert Kaplan, Leonard Grin, Lorin Maazel,Gunter Herbig and Christopher Seaman

Education: Peabody Conservatory (MM)

eachers: Gustav Meier, Markand Takar, Marin Alsop, Edward Polochick

Of Interest: Debut with National Symphony Orchestra at the Kennedy Center in June 2008

Donna Lee, piano

Summers at BMC: 4

Current positions: Associate Proessor andCoordinator o Piano Division, Kent StateUniversity; Artist-Faculty member at Kent/Blossom Chamber Music Festival

Former positions: aught at Peabody Conservatory, Bucknell University andInterlochen Arts Camp

Education: University o Maryland at College Park (BM), Te JuilliardSchool (MM), Peabody Conservatory (DMA)

eachers: Julian Martin, Rudol Firkusny and Tomas Schumacher

Career launch: Solo debut with the National Symphony Orchestra in 1990

Recordings: Debut disc titled Scenes rom Childhood on the Azica label; canalso be heard on the Proprius, Innova and Musart labels

More information: dept.kent.edu

Deloise Lima , piano

Summers at BMC: 3

Current Position: Assistant Proessor o Collaborative Piano, Florida State University

Native: Curitiba, Parana, Brazil

Former Positions: Faculty, School o Music andFine Arts o Paran; pianist o the Minas GeraisSymphony

Education: School o Music and Fine Arts o Paran (BM in Piano, Organ, and Music Education), rinity College o Music in London (Per Cert), Royal College o Music in London (ARCM),University o Notre Dame (MM), Florida State University (DMA)

William Ludwig , bassoon

Summers at BMC: 8

Current position: Proessor, Jacobs School o Music, Indiana University

Former positions: Proessor o Bassoon atLouisiana State University; Artist-in-residenceat SUNY at Stonybrook; Proessor o Bassoon

at the University o South Florida;Principal Bassoon o the Baton Rouge

Symphony and Florida Orchestra

Education: Louisiana State University (BM), Yale University (MM); privatestudy with Bernard Gareld, Arthur Weisberg, Sol Schoenbach, Chris Weaitand John Patterson

Recordings: Solo discs on Mark and Centaur labels; series o wind quintetrecordings or the Musical Heritage Society

Of interest: ranscribed works o Bach, Brahms, Beethoven and Prokoev or the bassoon; commissioned works or bassoon and jazz trio, bassoon andinteractive computer and solo bassoon

More information: indiana.edu


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Joseph Lulloff , saxophone

Summers at BMC: 11

Current position: Proessor o Music,Michigan State University

Orchestral experience: Principal Saxophone with the St. Louis Symphony, Grand Rapids

Symphony and Flint Symphony Education: Michigan State University (BM,MM)

Performance highlights: Perormed Ingol Dahls’ Saxophone Concerto with the Cleveland Orchestra on a US tour in 2005

Awards: 1995 eacher/Scholar Award rom Michigan State University; 1987Pro Musicus International Award; 1985 Concert Artists Guild Award, whichincluded his Carnegie Hall debut

More information: music.msu.edu

Jean Martin-Williams, horn

Summers at BMC: 12

Current positions: Proessor o Horn,University o Georgia; member, New York Pops Orchestra, Atlanta Opera and ZephyrBrass rio

Education: Lawrence University, ManhattanSchool o Music (DMA)

eachers: Brice Andrus, Clarendon VanNorman, Paul Ingraham

Chamber Music: Member, Georgia Woodwind Quintet; director, University o Georgia Horn Choir

More information: music.uga.edu

Paige Morgan, oboe

Summers at BMC: 13

Current position: Associate Proessor o Music, Ithaca College

Former positions: Principal Oboe o theMidland/Odessa Symphony and CharlottesvilleSymphony; Guest Principal Oboe withthe Bualo Philharmonic; instructor at theEastman School and University o Virginia

Education: University o Kansas (BM), Eastman School o Music (MM,Perormer’s Certicate, DMA)

eachers: Richard Killmer, Linda Strommen, Susan Brasher, EvelynBarbirolli

Chamber music: Member o Ensemble X and perorms at the Garth NewelMusic Festival

Recordings: Heard on the Sony, AmCam and Musical Heritage labels

More information: aculty.ithaca.edu

Bruce Murray ,piano & artistic administrator and dean

Summers at BMC: 17

Current positions: Artistic Administratorand Dean, Brevard Music Center; Director o Keyboard Studies, Brevard College

Former positions: Director o the School o Music at the University o Alabama

Education: Carnegie Mellon University (BM), Yale University (MM, DMA)

eachers: Nelson Whitaker, Ward Davenny, Claude Frank, Aube zerko andLeonard Shure

Chamber music: Founding member o the Cadek rio; collaborated withthe Audubon Quartet and Díaz rio, as well as with Frederica von Stade,Ransom Wilson, James Walker and Eliot Fisk

Recordings: Can be heard on the Centaur and Opus One labels

Janice Murray ,theory & keyboard skills

Summers at BMC: 11

Current position: Faculty, BrevardCollege

Education: Hartt School o Music (BM), Yale University (MM)

eachers: Donald Currier, Claude Frank,Raymond Hanson and Ann Koscielny

Appearances: Perormed throughout the southeast as soloist, accompanistand chamber player

Awards: Winner o the National Symphony Young Soloists Competition;she has perormed as piano soloist with the National Symphony, the

Alabama Symphony and the Hartt Symphony Orchestra

Craig Nies, piano

Summers at BMC: 4

Current position: Associate Proessor o Piano,Vanderbilt University

Previous position: Faculty, Yale University

Education: Curtis Institute o Music (BM), Yale University (MM), SUNY at Stony Brook (DMA)

eachers: Gilbert Kalish, Beveridge Webster,Rudol Serkin, Claude Frank and Mieczyslaw Horszowski

Projects: Perormances o Debussy’s complete works or solo piano in ourrecitals broadcast on NPR; the complete sonatas or piano and violin/cello o Beethoven; and the complete piano sonatas o Mozart and Schubert begunin 2003 and completed on Mozart’s birthday in January 2006

More information: vanderbilt.edu/blair


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Eric Ohlsson, oboe

Summers at BMC: 16

Current positions: Proessor o Oboe,Florida State University; Principal Oboe,allahassee Symphony and Palm Beach OperaOrchestra

Former positions: Assistant Proessor o Oboe and Assistant Director o the School o Music at the University o South Carolina;

Co-Principal Oboe with the Columbus Symphony and Principal Oboe o the Naples Philharmonic

Education: James Madison University (BM), Ohio State University (MM, DMA)

eachers: John Mack, William Baker, Ben Wright, James Caldwell

Chamber music: Perormances at the International Double Reed Society,Spoleto Festival and Carnegie Recital Hall; member o Opperman Reed rio

Of interest: Perormed throughout the US and in Europe, South America,and Canada as soloist and chamber musician

More information: su.edu

William Preucil, violin

Summers at BMC: 5

Current positions: Concertmaster, TeCleveland Orchestra; Distinguished Proessor o Violin, Cleveland Institute o Music

Former positions: First violinist, Te ClevelandQuartet; aculty, Eastman School o Music;Concertmaster o Atlanta, Utah, and Nashvillesymphonies

Education: Indiana University, Interlochen Arts Academy

eachers: Jose Gingold

Chamber music: Cleveland Quartet, Lanier rio

Recordings: Stephen Paulus’ Violin Concerto with the Atlanta Symphony on the New World Records; complete Dvorák piano trios with the Lanierrio; can be heard on the elarc label with the Cleveland Quartet; new recording artist o the Suzuki Violin School, 2007-2009

More information: cim.edu

Robert Palmer, theory


Current position: Faculty, Brevard College

Education: Davidson College (BM), FloridaState University (DM)

eachers: John Boda, Carlisle Floyd

Compositions: Works perormed by theRaleigh Oratoria Society, Milano ClassicaChamber Orchestra, Helios SaxophoneQuartet and Mountain Chamber Players

Recent Highlights: Compositions programmed at the Bangor New MusicFestival at the University o Wales, United Kingdom, and at the North

American Saxophone Alliance

Publishers: Shawne Press, C.L. Barnhouse, Carl Fischer and C. Alan Music

More information: robertglennpalmer.com

David Premo, cello

Summers at BMC: 1

Current positions: Associate Principal Cello,Pittsburgh Symphony Orchestra; Artist-Lecturer, Carnegie Mellon University

Former positions: Associate Principal Cello,Kennedy Center Opera House Orchestra;National Symphony Orchestra, AmericanChamber Orchestra

Education: Catholic University, Indiana University

eachers: Robert Newkirk, Janos starker

Of Interest: Cello is by Jean Baptiste Vuillaume, 1860

Dilshad Posnock , fute

Summers at BMC: 4

Positions held: Artist Lecturer in Fluteand Director o Artist Diploma Program at

Carnegie Mellon University

Orchestral experience: Perormances withthe Pittsburgh Symphony, Ballet and Operaorchestras; member o the Westmoreland andMcKeesport symphonies

Education: Royal College o Music in London(BMus, Dip RCM), Royal Schools o Music (eacher’s Diploma), CarnegieMellon University (MM)

eachers: Jeanne Baxtresser, Alberto Almarza, Christopher Hyde-Smith,David Butt

Of interest: Publication projects with world renowned futists James Galway and Jeanne Baxtresser and Assistant Director o the 2005 and 2006 JeanneBaxtresser International Master Classes

Jason Posnock ,violin & associate artistic administrator

Summers at BMC: 4

Current positions: Associate Artistic Administrator, Brevard Music Center;Concertmaster, Asheville Symphony Orchestra

Former positions: Artist Lecturer at CarnegieMellon University; Concertmaster o theMcKeesport Symphony Orchestra

Orchestra experience: Perormances with the Philadelphia Orchestraand Pittsburgh Symphony; accompanied them on tours to Europe, South

America and the Far East

Education: Princeton University (AB), Royal College o Music(ARCM-PG) and Carnegie Mellon University (Perormer’s Certicate)

eachers: Andrés Cárdenes, Felix Andrievsky, David Arben, Samuel Applebaum

Career launch: Concerto debut at age ten with the Philadelphia Orchestra

More information: jasonposnock.com


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Elizabeth Pridonoff , piano

Summers at BMC: 3

Current position: Adjunct Proessor o Piano,Cincinnati College-Conservatory

Education: Vanderbilt University (BM),Te Juilliard School (MM in both piano and

voice), Musicale Academia Chigiana (Artist’sDiploma)

eachers: (piano) Sasha Gorodnitski and AdeleMarcus; (voice) Hans Heinz, Anna Kaskas

Career highlights: aught and perormed in Japan during the spring o 2006; chosen as one o our emale musicians to represent the US at the“East Meets West” conerence held in aiwan at ainan Women’s College o

Art and echnology in 2002

Chamber music: Formed the Pridono Duo in 1982 with her husband,Eugene, and together regularly perorm throughout Asia, Europe, Mexico,and Canada

More information: ccm.uc.edu

Kevin Puts, composer

Summers at BMC: 2

Current Position: Faculty, Peabody Institute

Education: Eastman School o Music (BM,DMA); Yale University (MM)

Recent collaborations: Miro Quartet, Eroicario, onhalle Orchester Zürich, HoustonSymphony, Anchorage Symphony Orchestra,Los Angeles Chamber Orchestra

Major eachers: Samuel Adler, Joseph Schwantner. Jacob Druckman,Martin Bresnick, David Lang, Bernard Rands, William Bolcom, ChristopherRouse

Honors: Benjamin H. Danks Award or Excellence in OrchestralComposition o the American Academy o Arts and Letters, John SimonGuggenheim Memorial Foundation Fellowship, Rome Prize rom the

American Academy in Rome, Barlow International Prize or OrchestralMusic

Tis summer: Perormance o his work wo Mountain Scenes on July 12

More information: kevinputs.com

J. Patrick Rafferty , violin


Current positions: Proessor o Violin,University o Louisville; 1st Violin o theLouisville String Quartet

Former positions: Concertmaster o theMilwaukee Symphony, AssociateConcertmaster o the Dallas Symphony andConcertmaster o the Dallas Bach and Fine

Arts Orchestras

Education: Bowling Green State University

Chamber music: Founding member o the Paganini rio and Stradivari rio(both ensembles recorded exclusively or the Koss Classics label); member o the Cadek rio

Tis summer: Perorms the Aldridge Violin Concerto on July 24

More information: louisville.edu/music

ina Raimondi, violin

Summers at BMC: 2

Current position: Violinist, Palm Beach OperaOrchestra, Palm Beach Symphony, Boca RatonPhilharmonic

Former positions: Member o the Florida

Philharmonic and Te New World Symphony Orchestra

Education: DePaul University (BM),University o Minnesota (MM, DMA)

Major eachers: Almita and Roland Vamos, Jorja Fleezanis, Mark Zinger

eaching: Maintains a large private studio; President, Suzuki Association o South Florida

Of interest: As a member o Te New World Symphony, she ounded andadministered the Mock Audition program, training young proessionals toprepare or symphony orchestra auditions

Scott Rawls, viola


Current positions: Associate Proessor o Viola and Chamber Music, University o North Carolina at Greensboro; Principal Viola,Greensboro Symphony Orchestra

Education: Indiana University (BM),SUNY at Stony Brook (MM, DMA)

eachers: John Graham, Abraham Skernick,Georges Janzer

Chamber music: Recent perormances with Alex Kerr, Dmitry Sitkovetsky,Gary Homan, Lynn Harrell, Bella Davidovish, Garrick Ohlsson, Diaz rio,Ciompi Quartet

Recordings: 2007 discs eature new chamber works o Steve Reich(Nonesuch label) and chamber music o Eddie Bass or viola and clarinet(Centaur label); can also be heard on CRI, Capstone, Philips and Modelabels

New music: ours extensively as a member o Steve Reich and Musicianssince 1991; as violist o the ensemble, perormed premieres o Te Cave ,Tree ales and Daniel Variations

More information: uncg.edu/mus

Wendy Rawls, violin

Summers at BMC: 2

Current positions: Assistant Concertmaster,Greensboro Symphony; Concertmaster,Chamber Orchestra o the riangle

Former positions: Faculty at Moravian College(Bethlehem, PA), C.W. Post University and theGul Coast Music Suzuki Program

Education: Ithaca College, New EnglandConservatory, and Mannes College o Music

Major eachers: Linda Case, Paul Kantor, Hiroko Yajima

Summer festivals: Spoleto Festival, American Institute o Musical Studies inGraz, Austria, and American School at Fontainbleau, France

Orchestral Experience: North Carolina Symphony, Charlotte Symphony and Eastern Music Festival Orchestras


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Charles Ross, timpani

Summers at BMC: 2

Current positions: Principal impani, RochesterPhilharmonic Orchestra; aculty, Eastman Schoolo Music

Former positions: Perormed with Philadelphia

Orchestra, La Scala Opera, Baltimore Symphony,Florida Philharmonic and Santa Fe Opera;taught at Curtis Institute and Drexel University

Education: Curtis Institute o Music (BM)

eachers: Ken Belding, David Fein, Gerald Carlyss, Michel Bookspan, FredHinger

Of Interest: Aliate artist and clinician with Yamaha and Evans/Daddario;creator and manuacturer o Rossimp Kettledrum Mallets .

Robert Rydel, horn

Summers at BMC: 3

Current positions: Member, CharlotteSymphony Orchestra; Faculty,

Winthrop University and Queens University

Former positions: Artist in residence at theBay View Music Festival in Michigan; membero the orchestras o Columbus and Charleston;toured nationally with Sondheim’s ony

Award-winning musical Into the Woods

Education: New England Conservatory, Interlochen Arts Academy

eachers: Richard Mackey

Hobbies: Recording production company, Acoustic Mobility, whose work can be ound on Centaur Records

Maria Sampen, violin

Summers at BMC: 2

Current position: Assistant Proessor, University o Puget Sound

Education: University o Michigan (BM,DMA); Rice University (MM)

Composer collaborations: Pierre Boulez, William Bolcom, Bright Sheng, John Harbison,Bernard Rands and William Albright

eachers: Paul Kantor, Kenneth Goldsmith, Paul Makara

Chamber Music: Perormances in Europe, Asia and North America;member o the Ann Arbor based new music group, Brave New Works

Dan Satterwhite,trombone & euphonium


Current position: Artist Faculty,Lynn University Conservatory o Music

Former positions: ubist o the Dallas Brass, bass

trombonist o the Orquesta Filarmonica de Santiago,Chile, and the Orquesta Sinonica de Asturias inSpain

Education: Mars Hill College, North exas State University

eachers: Charles Vernon, Edward Kleinhammer, Arnold Jacobs

Highlights: As a reelance musician, has perormed with the ChicagoSymphony Orchestra, New York City Opera, American Ballet Teater andover a dozen Broadway productions

Amanda Schubert , violin

Summers at BMC: 13

Current position: Violinist, HonoluluSymphony

Education: Oklahoma City University (BM),University o Wisconsin at Madison (MM),alent Education Institute in Matsumoto,

Japan (eaching Certicate)

eachers: Lacy McLarry, Norman Paulu,Shinichi Suzuki

Highlights: Perormed as soloist with the Oklahoma Symphony, New LyricString Quartet and the Xalapa State Orchestra in Mexico

Of interest: Past president o the Hawaii Chapter o the American Stringeachers Association; has organized chamber music master classes in liaison

with the Honolulu Chamber Music Series; teaches and reelances extensively in the Honolulu area

Mark Schubert , trumpet


Current positions: Associate Principalrumpet, Honolulu Symphony; Proessor o Music, University o Hawaii

Orchestral Experience: Perormed withthe Boston Symphony, Boston Pops, Opera

Company o Boston and Boston Ballet; spentsummers in Mexico City as principal trumpeto the Filharmonica de las Americas

Education: New England Conservatory and University o Kansas

eachers: Ruth Still, Betty Scott, Armando Ghitalla, Arnold Jacobs

Of interest: As ounding member o the Honolulu Brass, plays under theumbrella organization o Chamber Music Hawaii and has toured the Far East

More information: hawaii.edu


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Maggie Snyder, viola

Summers at BMC: 2

Current positions: Faculty, West VirginiaUniversity; Principal Viola, Chamber Orchestrao New York

Former positions: Faculty, Ohio University;University o Alabama

Education: University o Memphis (BM), TePeabody Conservatory o Music (MM)

eachers: Victoria Chiang, Heidi Castleman, Lenny Schranze

Chamber music: West Virginia Piano Quartet, AlleMagnetti

Honors: ime Warner Fellow at Aspen Music Festival

Of Interest: Debut recital in Weill Recital Hall at Carnegie Hall in May,2009; recording Pasatieri’s works or viola on Albany Records

Corinne Stillwell, violin

Summers at BMC: 1

Current positions: Assistant Proessor o Violin, Florida State University

Former position: Concertmaster, AmarilloSymphony; Assistant Concertmaster, Rochester

Philharmonic Orchestra

Education: Julliard School (BM,MM)

Chamber music: Member o rio Solis, Harrington String Quartet, s tringquartet Quartos; collaborations with Pro Arte and Cavani quartets

Of Interest: PBS documentary; collaborations with David Shirin, RobertLevin, and Pepe Romero

More information: music.su.edu

Sandra Wright Shen, piano

Summers at BMC: 4

Positions held: Piano Lecturer at SouthernIllinois University and host o a classical musicprogram or BM 99.7 IC Radio Station inaiwan

Education: Peabody Conservatory (BM, MM)eachers: Ann Schein, Donald Sutherland

Chamber music: Concert tour throughout Asia with cellist Nina Kotovaand tour to aiwan with violinist Vesselin Paraschkevov

Honors: Received rst prizes at the 1997 Hilton Head International PianoCompetition, 1996 Mieczyslaw Munz Piano Competition and aiwanNational Piano Competition; second prize in the Peabody Russell

Wunderlich Piano Competition; and the Peabody Frances M. WentzMemorial Prize in Piano

Recordings: Debut disc eaturing Rachmanino Tird Piano Concertorecorded live on the aiwan Rock Music label

Brinton Averil Smith, cello

Summers at BMC: 1

Current positions: Principal Cello, HoustonSymphony; Faculty, Shepherd School o Musicat Rice University

Former positions: New York Philharmonic;principal cellist, San Diego, Fort WorthSymphonies; proessor at eachers College,Columbia University

Education: Arizona State University (BA), University o Southern Caliornia(MA), Te Julliard School (DMA)

eachers: Eleonore Schoeneld, Zara Nelsova

Recordings: Miklos Rozsa Cello Concerto or Koch InternationalClassics; Faure’s piano trio and Après un Rêve with Gil Shaham chosen asGramophone magazine’s Disc o the Month

Craig Sutherland , tuba

Summers at BMC: 2

Current positions: Principal uba, RochesterPhilharmonic; aculty, Eastman Community Music School; Adjunct Proessor, Roberts

Wesleyan College

Former positions: Principal uba with theHoer Symphoniker and Rekkenze BrassQuintet in Ho, Germany; CharlestonSymphony Orchestra

Education: University o Michigan (BME), Te Juilliard School (MM)

Orchestral Experience: New York Philharmonic, Seattle Symphony,Virginia Symphony and the Charleston Symphony Orchestra

Byron auchi, violin

Summers at BMC: 17

Current position: Principal Second Violin,Louisiana Philharmonic Orchestra

Former positions: Assistant Proessor o Violin at the University o Nevada Las Vegas;Concertmaster o the National Orchestral

Association, New Philharmonic o New Jersey and Manhattan Chamber Orchestra; AssociateConcertmaster o the San Jose Symphony

Education: Manhattan School o Music; holds a computer science degreerom the University o Caliornia at Berkley

eachers: Raphael Bronstein, Ariana Bronne

Of interest: First concerto appearance with orchestra at age thirteen

Chamber music: Perormed throughout the United States with recentconcerts in Alabama, Nevada, Oregon and Washington


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Charles Villarrubia , tuba

Summers at BMC: 1

Current positions: Senior Lecturer in ChamberMusic, University o exas at Austin; oundingmember, Rhythm & Brass

Former positions: Dallas Brass, WaterlooFestival Orchestra, anglewood Music CenterOrchestra, aculties o Boston University,Te Boston Conservatory, New EnglandConservatory, Longy School

Education: Louisiana State University (BM), Boston University (MM)

Of Interest: Guest clinician and perormer or the Yamaha CorporationRecordings: elarc, Angel EMI, d’note, and Koch labels

Jennifer rost , voice

Summers at BMC: 1

Current position: Voice Faculty, PennsylvaniaState University

Previous position: Voice teacher, RichardStrauss Conservatory, Munich, Germany;

visiting associate proessor, University o Caliornia in Santa Barbara

Education: Albion College (BM), MichiganState University (MM), University o Southern Caliornia

Experience: Work with Lorin Maazel, Wolgang Sawallisch, James Levineand Zubin Mehta, guest artist at Komische Oper in Berlin, National Teaterin Mannheim, Salzburg Music Festival and others.

Of Interest: Consultant on translation (German to English) o the book “Beru: Opernsangerein Ratgeber” by Marita Knobel and Brigitte Steinert,published by Barenreiter-Verlag Karl Votterle GmbH & Co. KG Kassel(2002).

Reiko Uchida , piano

Summers at BMC: 1

Current position: Associate in MusicPerormance, Columbia University

Education: Curtis Institute o Music (BM),Mannes College o Music (MM),

Juilliard School (Artist Diploma)

eachers: Dorothy Hwang, Claude Frank,Leon Fleisher, Edward Aldwell

Honors: First Prize winner o the Joanna Hodges Piano Competition andZinetti International Competition; soloist with Los Angeles Philharmonic,Santa Fe Symphony; New York solo debut in 2001 at Carnegie’s Weill Hall

Recordings: recording with Jennier Koh, “String Poetic”, nominated or aGrammy Award

Chamber music: Collaborated with the Borromeo and okyo StringQuartets; member o the Laurel rio and Moebius Ensemble

Felix Wang , cello

Summers at BMC: 2

Current position: Associate Proessor, BlairSchool o Music, Vanderbilt University;member, Blair String Quartet; oundingmember o the Blakemore rio; Co-PrincipalCello, Iris Chamber Orchestra

Festivals: ucson Winter Chamber MusicFestival, Strings in the Mountains Festival, the

Garth Newel Chamber Music Festival, Roycrot Chamber Music Festival

Faculty positions: Ban Centre Youth Arts Festival, Interlochen Center orthe Arts, Rocky Mountain Summer Conservatory in Colorado, KillingtonMusic Festival in Vermont

Education: Peabody (BM), New England Conservatory (MM), University o Michigan (DMA)

eachers: William Pleeth, Erling Blondal Bengtsson, Laurence Lesser,Stephen Kates, Jerey Solow, Louis Potter, Jr.

More information: vanderbilt.edu/Blair/

Douglas Weeks, piano

Summers at BMC: 27

Current position: Babcock Proessor o Piano,Converse College

Education: Illinois State University (BM),Indiana University (MM), Florida StateUniversity (DM), Ecole Normale de Musiquein Paris (Licence de Concert)

eachers: Abby Simon, Jack Radunsky, EdwardKilenyi, on Il Han, Rosina Lhevinne and Maria Curcio Diamond

Chamber music: Member o the Converse rio; duo recitals with BMCaculty violinist Tomas Joiner in Central West Arica and the Middle East;solo recitals in South Asia

Of interest: aught or our months at the Conservatory o Music in Cairo,Egypt, as a Fulbright Senior Scholar in 1999

More information: converse.edu

Janice Williams, theory

Summers at BMC: 9

Current positions: Director o Choral Activities, Bolton High School (Arlington,N); aculty member, University o MemphisCommunity Music School

Former positions: Served on the executivecommittee o the Inland Master Chorale and as

Associate Director o Music or the First UnitedMethodist Church in Redlands

Education: University o Redlands (BM), University o exas at Austin (MM)

Of interest: Presentations at the exas Music Educators Association, Choristers Guild and Southern Caliornia Vocal Association;published work in exas Music Education


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Kraig Williams, conductor

Summers at BMC: 9

Current position: Director o Bands and Associate Proessor o Conducting, University o Memphis

Former positions: Faculty member at Duke

University, conductor o the Duke WindSymphony and Director o the Duke inVienna program; Assistant Proessor andDirector o Bands and Chamber Music atCaliornia State University in Los Angeles

Education: Caliornia State University at Northridge (BM, MM),University o exas at Austin (DMA)

Recordings: Mark Records, Good Vibrations and ADK labels

More information: music.memphis.edu

William Zehfuss, trombone


Current positions: Assistant Principalrombone, Utah Symphony

Former positions: rombone instructor atthe University o South Carolina, Principal

rombone o the Honolulu Symphony Orchestra; has also played with the AtlantaSymphony, Savannah Symphony and

Jacksonville Symphony

Education: Northwestern University (BM)

eachers: Frank Crisaulli, Arnold Jacobs, Edward Kleinhammer, DavidFedderly, Charles Vernon

Highlights: Appeared as soloist in 2000 with the Charleston Symphony in the premiere perormance o Eric Ewazen’s Concerto or rombone andOrchestra

More information: coc.edu/music

8 t h e f e n w ay, b o st o n , massac h u se t t s 0 2 2 1 5 | ad missio n s. au d it io n . in fo : ( 6 1 7 ) 9 1 2 - 9 1 5 3 | w w w . b o st o nc o n se r vat o r y. e d u

MUSIC DANCE THEATER

application deadline:

december 1

MUSIC FACULTYKarl PaulnacK, D irector, Music Division

BrASS

Lawrence Isaacson, Chair

TrumpeT: Steven Emery, Ben WrightFrenCh horn: Eli Epstein,David Ohanian, Kevin Owen

Trombone: Norman Bolter, JohnFaieta, Lawrence Isaacson, Toby Oteuphonium: James O’Dell

Tuba: James O’Dell, Ken Amis

CoMpoSITIon, THEorY &

MUSIC HISTorY Andy Vores, Chair

Elizabeth Abbate, Richard Bunbury,Lisa Caliri, William Cutter,James Dalton, Marti Epstein,Miguel Felipe, Osvaldo Golijov,Stephen Halloran, Curtis Hughes,Pierre Hurel, Teresa Nef,Karen Ruymann, Elizabeth Seitz,

Jan Swaford, Dalit Warshaw,Rudol Rojahn, Bert Yocom

EnSEMBLES & CondUCTIng

orChesTral ConduCTing: BruceHangen, direCTor, orChesTralaCTiviTies

James O’Dell, Yoichi UdagawaChoral ConduCTing: William CutterorChesTral reperToire: Andrew Mark,David Ohanian, James Orent

gUITAr

William Buonocore, CoordinaTor

Olav Chris Henriksen

HArp

Cynthia Price-Glynn, CoordinaTor

Deborah Henson-Conant,Ursula Holliger, Nancy Hurrell,Felice Pomeranz

MUSIC EdUCATIon

Rhoda Bernard, Chair

Elizabeth Allison, Christine Borning,

James Dalton, Sandra Doneski,Kathleen Howland, Anne Kelton,Steani Langol, Brian O’Connell,James O’Dell, Walter Pavasaris,Pamela Yanco

pErCUSSIon/MArIMBA

Nancy Zeltsman, Chair (marimba)

perCussion: Samuel Z. Solomon,Keith Aleo

Timpani: David Herbert, John Grimes

pIAno

Jonathan Bass, Chair

Lisa Caliri (Pedagogy) ,Ya-FeiChuang, Jung-Ja Kim, Max Levinson,Michael Lewin, Janice Weber

STrIngS

Andrew Mark, Chair

violin: Lynn Chang, TatianaDimitriades , Judith Eissenberg, Ronan Lekowitz, Sharan Leventhal,Joseph McGauley, Irina Muresanu,Magdalena Richterviola: Cathy Basrak, EdwardGazouleas, Leonard Matczynski,Patricia McCarty, Rictor Noren,Roger TappingCello: Rhonda Rider (Chair, Chamber

musiC) Ronald Feldman,Andrew Mark double bass: Benjamin Levy(CoordinaTor, double bass seminar) Joseph Holt, Dennis Roy,Lawrence Wole

VoICE & opErA

Patty Thom, Chair

Kirsten Cairns, direCTor, opera s Tudies

William Cutter, direCTor, Choral

s Tudies

Miguel Felipe, assoCiaTe direCTor,

Choral s Tudies

Sally Stunkel, arTisTiC direCTor, opera

s Tudies

voiCe: Marilyn Bulli, William Cotten,Kerry Deal, Rebecca Folsom,Sara Goldstein, Thomas Gregg,Robert Honeysucker, Victor Jannett,James Javore, Monique Phinney,Mary Saunders, Merrill Shea,Lisa Sheldon, Patty Thom,Craig Wich, Kevin Wilson,Kathryn Wrightopera & voCal s Tudies: Kirsten Cairns,Pamela Dellal, Libor Dudas,Keely Eastley, Damien Francoeur-Krzyzek, Thomas Gregg, John Kuntz,Brian Moll, Gretchen Peery,Michael Strauss, Sally Stunkel,Allison Voth

WoodWIndS

Eric Hewitt, Chair

FluTe: Ann Bobo, Sarah Brady,Geralyn Coticone, Doriot AnthonyDwyer, Linda Tooteoboe: Laura Ahlbeck, Stuart Dunkel,Kyoko Hida, Peggy Pearson,

Robert SheenaClarineT: Jonathan Cohler,Ian Greitzer, Michael Norsworthybassoon: Suzanne Nelsensaxophone : Eric Hewitt,Kenneth RadnoskypiCColo: Geralyn Coticoneenglish horn: Robert Sheena

For detailed faculty biographies visit brevardmusic.org


7/31/2019 2009 Overture


Consider a PlannedGift to Brevard

At the Brevard Music Center, planned gifts frequently

allow donors to make much larger charitabledonations than they ever thought possible, and theycan often provide a lifelong income stream. They canprovide creative and exible options that benet youand the future of the Music Center. A planned giftmay also provide an immediate tax deduction, andhelp reduce or eliminate capital gains, and gift andestate taxes.

Recent planned gifts have provided a range of namedscholarship endowments as well as gifts to the

general education fund. They have sponsored namedperformances; funded opera and chamber musicprograms; provided funds for endowed faculty chairs;student and faculty residences, and other much-needed building improvements.

One of the easiest ways to make a planned gift to theMusic Center is to name BMC in your will with either asingular amount or a percentage of your estate. Other

types of planned gifts include:

• Charitable Gift Annuities• Charitable Remainder Trusts• Designating the Music Center as a beneciary

of your IRA (the IRA charitable rollover is still ineect for 2009)

• Designating the Music Center as a beneciary ofyour Life Insurance policy

• Donating a residence or farm

The Development Oce at the Brevard Music Centercan work with you and your nancial advisors todevelop a gift plan that best meets your nancial andphilanthropic goals. Please call (828) 862-2121 or [email protected].


7/31/2019 2009 Overture


Overture

Brevard Music Center was the recipient of amagnicent gift late in 2008, one that has a profound

impact on thepreservationof the natural

charm andpeacefulenvironmentof our

campus. Thefamily of

Josephine

Renzulli, long-time friend,

benefactor, and trustee emeritus of the Center’sgoverning board, donated her summer retreat

adjoining BMC as a gesture of “Josie’s” ongoingcommitment to and love of the Music Center and itsmission. The property includes her wonderful house,which BMC intends to keep lled with music andlaughter as it was during Josie’s time here. Perhapsmore importantly, the gift also includes approximately40 acres of unspoiled woodlands along the westernank of the Center, eectively protecting thatquadrant of campus from any development by outsideparties. Josie’s daughter, Carol Hall, was instrumentalin orchestrating the fulllment of her mother’s wishes

to support our mission in this special way. BrevardMusic Center is honored and very grateful for Josieand Carol’s support.

This fall,through the

generous

support of

long-time

benefactorsBarbara

and ElwoodSafron,BrevardMusic Center

constructed another in a series of duplex facultyhouses. The duplex design, with two apartments anda shared screened porch, aords the Center exibilityin its use, as it is suitable for a family with children,two singles, or two couples. Its location in the woodson the edge of the campus will assure its occupants

a respite from BMC’s busy schedule. Barbara and Ed,who recognize the critical importance of attractingand retaining eminent faculty, donated two houseslast year. We thank them for their insight, and for theirmost generous support.

Ground was broken in April on a new six-room practicestudio to be constructed in memory of William G.(Bill) Boggs, Jr., BMC’s Director of Operations andFinance for many years until his untimely death in2008. Practice space is a prime need of our talentedstudents, and the addition of this lovely facility on

Studio Rowwill greatlyenhancetheir learning

experience.Climate-

controlled,with largepicturewindowsviewing theforest, the Bill

Boggs Studio is a tting tribute to one of the Center’smost inuential and admired gures. The Boggs Studiois made possible by a generous contribution from Bill’s

mother, Margaret W. (Peggy) Boggs. We thank her forremembering Bill with this special gift.


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Bachelor o Music, Master o Music,

Doctor o Musical Arts, Artist Certifcate,

Artist Diploma, Proessional Studies

William Fay, Director of Admission

11021 East Boulevard, Cleveland, Ohio 44106

(216) 795-3107

cim.edu

BY any measure, exceptional

The internationally renowned facultyat CIM is enthusiastic and deeply

committed to the students. It includesmany current and former members of The Cleveland Orchestra, active soloistsand chamber musicians.


7/31/2019 2009 Overture


New York is CLASSICAL MUSIC

THE NEW SCHOOL is New York

Mannesartistry and community

As part o The New School, Mannes oers the resources o a major university and an intimate, supportive

environment where students become frst-rate musicians.

• World-renowned faculty of active professionals from all areas of music

• 2-to-1 student-faculty ratio

• Bachelor of music, bachelor of science, and master of music degree programs as well as

undergraduate and professional studies diploma programs

• Hundreds of student performances annually at Mannes and leading venues throughout New York City

t le e b me pg,

at 212.580.0210 x4862 or [email protected]

www.ewhl.e/42

A n A f r m a t i v e A c t i o n / E q u a l O p p o r t u n i t y I n s t i t u t i o n

The New School is a leading university in New York City oering some o the nation’s most

distinguished degree, certifcate, and continuing education programs in art and design,

liberal arts, management and policy, and the perorming arts.

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The Encore PlannedGiving Society The Encore Planned Giving Society, listed below,

is made up of thoughtful individuals who have

designated the Music Center in their estateplans, and have notied the organization of their

intentions.

Properly planned charitable gifts can actually

supplement a donor’s income, help avoid capital

gains, and reduce estate and income taxes; while

providing the personal satisfaction that comes from

knowing you are preparing to make difference in

the lives of motivated and gracious young people.

If you would like more information about plannedgiving, or would like to notify BMC of an existing

planned gift, please contact David Huskins, Director

of Development, at (828) 862-2121 or dhuskins@

brevardmusic.org.

Ann AndersonConsuelo and Joseph ArbenaHarriet and William BallGeorge S. BetsillBarbara BoernerEmily and Douglas BoothJohn S. CandlerAnne Collings

Mary ConnerDicksie CribbRichard CushmanGwin and Robert I. Dalton, Jr.Marjorie DarkenRebecca DavenportFrederick B. DentEugenia and

Robert H. DowdeswellStephanie Eller-VaughnJohn GardnerLaurence GlazenerHildegard GreitzkeMr. George HandlerCopey HanesVivian S. HoeppnerJean and William HoughEdith HowsonDorothy KingAlice Keith KnowlesMarietta and Walter LacykElizabeth LandrumRita LandrumBette and Cliord Lathrop

Barbara and John LawlessMorton LazarusCarolin LowyRobin and Bob MargesonMarcia MillarJoe MillsRuby MorganFrances Munk

Ladene andRussell Newton, Jr.William J. PendergrastSharonAnn and Robert PhilipShirley and Ralph SarlinMary and John SauerteigNancy and Richard SenneMarshall SeymourKirk J. SmithIsabel StudleyLynda and Carl SykesBlaire and Robert TharpeKate and Mitchell WatsonPatricia WebbBetsy and William White, Jr.Delmar Williams

Lynn P. WilliamsJan and Beattie WoodIreene and

Tonny van der LeedenEleanor and

Bert Schweigaard-OlsenJoan YarbroughNelly and Kurt Zimmerli


7/31/2019 2009 Overture


Brvrd’s nwst urbn nighborhood is buit with n biding bif in th powr

of connctions. Btwn fmiis. Nighbors. Communitis.

Here you’ll find timeless home designs that are just the right size for your life. Our master plan

and thoughtful amenities invite neighbors to cross paths and get to know one another.

In short, C adenCe Point is a place where individuals and families, those down-sizing and

those just-star ting-out, all can share in a greater sense of togetherness and belonging .

Best of all, we’re located just a stone’s throw from the ultimate amenity:

downtown Brevard. Which means you are close to just about anywhere you

want to go. Schools, shopping, dining—they’re all within easy reach.

Homes from 1,685 to 2,500 square feet. Pricing starting at $385,000.

To rn mor c Gi Mstrson t (828) 884-7303

or visit our wbsit t cdncpointnc.com.

R C G R e a lT y, P.O. Box 387, 173 Wst Min Strt, Brvrd, NC 28712

l i v e i n t h e h e a r t o f i t a l l .

l i ve i n t o w n . l i v e i n t o u c h .

Dirctions to Cdnc Point:

From the Cour thouse at Broad & Main St., go south .5 miles on S. Broad St/US-64W

past the librar y to the light at N. Country Club & US-64, bear right. Proceed .3 mi.

to the fir st left , Forest Hi ll Dr ive . Go .3 mi. t o Forest Hi lls Circ le on ri ght.

Cadence Point is on the left.


7/31/2019 2009 Overture


Bravo!Heartfelt Thanks!

Applause!On this 30-year anniversary of the Brevard Music CenterAssociation, let’s take time to thank all volunteers whohave worked tirelessly with dedication and passion tosupport the Brevard Music Center and its students.Volunteers often work behind the scenes, yet otherswork during concerts and other events. Whatever thesituation, all is done with commitment and enthusiasm.

The Brevard Music Center Association, which has its

own governing board, works under the auspices of theBMC Board of Trustees. The Association’s goal is to“promote and support the vision, mission and strategic

plans of the BMC through fund raising, volunteerismand community outreach.” Through 2008, we havecontributed $1,628,844 to the Brevard Music Center.Hours of service today are equal to 16 full-timeemployees.

This summer we honor the founders, leaders and allvolunteers who have provided their time, talent andgifts to support talented young musicians. Founded

in 1979, the Music Center’s 44th season, the BrevardMusic Center Association Past Presidents arelisted below:

1980 – Nancy Whitcomb1981 – Dot Hill

1982 – R.E.D. Anderson1983 – Ralph C. Williams1984 & 1985 – Clarence Knoche1986 – John Johnson

1987 & 1988 – Linda Candler1989, 1990 & 1991 – William Pope1992 & 1993 – John Nelson1994 – Carl Atkins1995 – Renee Braun

1996 – Howard Mortensen1997 – Helen Wohlers1998 – Bob McGarry

1999 – Everett Schmidt2000 – Warren Jackson2001 – Jerry Shepherd

2002 – Dick Albyn2003 – David Grant2004 – Bill Robertson

2005 & 2006 – Janis Allen2007 & 2008 – Michel Robertson

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2009 BMCA Board & CommitteesMarcia Millar, PresidentSkip Hirsh, 1st Vice PresidentPat Dran, 2nd Vice PresidentAggie LaBree, SecretaryMichel Robertson, Past President

Committee ChairsArchives – Chet Pletzke & George StantonBeautication – Ellie VibertBMC Raffl e – Marshall SeymourCelebrations – Sallee Ballard

& Penny Colman-CrandalConcessions – Kathryn Godbold

Events – Sharon Jenkins and Carol PooleFacilities – Dick CushmanHarmony House – Kristin Connor

Information Technology – Bob TharpeMailings & Distribution – Paula JacksonPrelude – Renee BakerUshers – Sandy Tooman

Associatio n

The


7/31/2019 2009 Overture


Friends of BMCA

Mike McCarthy and Janis AllenJames and Celia AnsleyJoseph and Consuelo ArbenaKarla Atkinson

Claire AydenJudy BaghoseBruce and Joan BerryhillBoyd and Cheryl BlackDavid and Joan BloomCharles and Gail BluntDoug and Emily BoothJoe and Janice BoydLawrence and Connie BraistedBob and Marge BrockwayRobert and Carol BryantJames and Ruthanne BurnsFrank and Ethlyn ByrdTom and Jeanne Byrne

John CandlerCarl and Marilyn CarlsonJohn and Carol CarranoEmmett and Marsha CaseyJudy ChapmanJoAnne ChasePeter and Lucille ChaveasKenneth and Leslie ChapenikLillian ClarkEdward and Gail ComerMary ConnerWilliam and Connie CostiganDave and Renie CottinghamKenneth and Dicksie CribbEdward and Kate DaigleMax and Terry DajnowiczCharles and Diedre DavisFrederick DentElaine DeppePatricia DosterDick and Pat DranElse DrustsRussell and Bonnie DunerBrian and Sona DuToitHoward and Dianne DyerDave and Linda EdenWilliam Johnson and

Patty EvansPeter and Anne FindlayBarbara FitzpatrickRobert and Marlene FrankKris FulmerBeth and Bob GashKathryn GodboldAnita GoldschmidtJohn and Sally GouldAnn Grant and Carolyn Van NessJack and Wanda GregoryBill and Geri HambleyGordon Hamrick

Richard DiBartolo andDottie Hansen

Bette HesterChester Terry and Gillian Hillman

George and Sarah Anne HillsSkip and Terry HirshGeorge and Barbara HochschildJudith HodgesGary and June HoughKevin and Robbie HughesBill and Lois HunleyMerle and Evey HuntingtonRobert and Sharon JenkinsBernie and Shelby JohnsonRichard and Lois JohnsonKathleen JohnsonSidney and Sondra KayConnie Keeney

Jack and Ann KeleherLeo and Dottie KosibaMelvin and Agnes LaBreePaul and Jean LaForceWilliam and Peggy LattimoreJohn and Barbara LawlessMatt and Elizabeth LawsonLaura LedfordJim and Martha LeGereElizabeth LemonRichard and Irene LindgrenArthur and June LitcheldGary and Dolores LittlesonRobert and Margaret LittonDonna LohrBill LovejoyNorman and Suzanne MacoyDavid and Jean ManningRobert and Karen MarshallEdward and Marlene MartinHugo and Beverly MartinGeorge and Nancy MartinWilliam and Linda MashburnMalcolm and Beth McAuleyFrank and Zia McConnellRobert and Mary Ann McGarryPeter and Ann McKinney

Horty and Pat MenserMarcia MillarDick and Jeannine MillarRoy and Anne MisekMargaret MossbargerRobert and Peggy NealDouglas and Phyllis NesbittGary and Kathryn NewkirkRussell and Ladene NewtonJohn and Isabel NicholsStan and Ellen NiemiMary NorthoverJim and Sue Null

Joan O’ConnorGreg and Fran OpreskoJack & Reed ParkerGeneral and

Mrs. Wilton PersonsPete and Ronnie PetermanBascom and Nancy PlummerCarol PooleDan RobbinsBill and Michel RobertsonWilliam and Carolyn RobichauxClaire RouseJim and Gloria SandersCharles and Renee SandyRobert and Nancy ScharsichWilliam and Roberta SchlacksRobert and Jeanette SchmittDick and Nancy Senne

Marshall SeymourDonald and Dorothy SheldonMichael and Lou ShelleyBill and Doris SirlsMarty and Sally SmithBrida SmithKim SpencerDavid and Barbara StackpoleGeorge and Patricia StantonGreg and Anita StarkCarolyn SteeleDick and Mary SteinbuglerCharles and Donna StohrCharles and Nancy StollAnn StrotherRoy and Gale TalbertPatricia TaylorFrank and Carole TaylorGeorge and Deborah TibbettsWilson and Kay TiddySandra ToomanJoella UtleyCharles Van HagenJohn and Harriett VanderschaafEllie VibertJohn and Mary Ann VillalvaDavid and Janice Wagoner

Martha WalrathWilliam and Judy WatsonBruce and Monica WilliamsLynn WilliamsGreta WolfeBeattie and Jan WoodSam and Marjorie WoodruBarbara WrightTom and Barbara Young

These special supporters provide nancial donations to support the mission

of BMC’s volunteer association.

Associatio n

The


7/31/2019 2009 Overture


Overture

BMCA Volunteers

Dennis and Arline AalfsKaren AlcornMike McCarthy and Janis AllenCelia Ansley

Karla AtkinsonClaire AydenJune BaggarlyJudy BaghoseBear and Joyce BailaRenee BakerSallee BallardLinda BanksIngrid BirkelandAddie BlakeCharles and Gail BluntJim BoydJoe and Janice BoydRenee Braun

James and Darlene BrindellBob and Marge BrockwayRobert and Carol BryantBonnie BurganJames and Ruthanne BurnsTom and Jeanne ByrneCeylon CanningCarl and Marilyn CarlsonEmmett and Marsha CaseyMary CatheyPriscilla ChamleeJudy ChapmanRussell and Adele ChappellJoAnne ChasePeter and Lucille ChaveasKenneth and Leslie ChepenikLillian ClarkChloe CogerStan and Toby CohenPenny Colman-CrandalEdward and Gail ComerMary ConnerKristin ConnorWilliam and Connie CostiganDave and Renie CottinghamDick CushmanEdward and Kate Daigle

Max and Terry DajnowiczJohn and Betty DavisElaine DeppeDanny and Hannah DetomaMichael and Maggie DiRoccoBill and Sue DillonPatricia DosterDick and Pat DranElse DrustsRussell and Bonnie DunerBrian and Sona DuToitDianne DyerDave and Linda Eden

Claude and Kitty EdwardsWilliam Johnson and

Patty EvansBarbara Fitzpatrick

Ed FlinnRobert and Marlene FrankSharon FullerKris FulmerRauol and Veronica GagneMichael and Shirley GeremiaKathryn GodboldAnita GoldschmidtJohn and Sally GouldKay GrayMarvin GreeneWanda GregoryAllen HaasKatinka Haines

Sydney HallBill and Geri HambleySue HersheyChester Terry and Gillian HillmanSkip and Terry HirshJudith HodgesWendell and Mimi HodgesBarbara HoldenGary and June HoughStephen HouseworthGinnie HuckabeeLois HunleyMerle and Evey HuntingtonLarry and Amy HuntleyWarren and Paula JacksonAnn JacobyBrooke JacobyRobert and Sharon JenkinsBernie and Shelby JohnsonRichard and Lois JohnsonSidney and Sondra KayConnie KeeneyJack and Ann KeleherDon KeselBob and Trisha KeyesHoney KirilaKathy Kitahata

John Allen andDebbie Klingender

Doug and Susie KnappKen KnightLeo and Dottie KosibaMelvin and Agnes LaBreeWalter and Marietta LacykPaul and Jean LaForcePatti LapedusJohn and Barbara LawlessLaura LedfordJim and Martha LeGereElizabeth Lemon

Glenda LewisRichard and Irene LindgrenJune LitcheldBetsy Little

Douglas and Deborah LoebHoward Colby andPenny Longhurst

Bill LovejoyBruce and Mary Jane LoweryNorman and Suzanne MacoyErma MaguirePenny MannDavid ManningCarol MarkeyRobert and Karen MarshallEdward MartinHugo and Beverly MartinGeorge and Nancy Martin

Cli MashburnWilliam and Linda MashburnBob and Carol MaxwellRobert and Mary Ann McGarryPeter and Ann McKinneyLesley McLachlanMichael McLainJim MegivernHorty MenserMarcia MillarDick and Jeannine MillarRobert and Kathleen MilliganRoy MisekMarylou MorrisonJoel and Anne MunchDouglas NesbittGary and Kathryn NewkirkRussell and Ladene NewtonStan and Ellen NiemiMary NorthoverJim and Sue NullCathie OdomGreg and Fran OpreskoJack and Reed ParkerPete and Ronnie PetermanMark and Pat PisterChester Pletzke

Carol PooleJim and Marilyn ReeseBob and Gail ReitmanJim and Lynn RobardsBill and Michel RobertsonClaire RouseRandy and Jessica RoweJoy RyderRobert and Janie SargentMary SauerteigRobert and Nancy ScharsichWilliam and Roberta Schlacks

David Warinner andChristine Schmidt

Robert SchmittBill and Phyllis Seibert

Dick SenneMarshall SeymourDorothy SheldonMichael and Lou ShelleyLori ShookDoris SirlsJim and Linni SkinnerSally SmithBrida SmithJeanne SmithIda SmithDick SmithKim SpencerDavid and Barbara Stackpole

George and Patricia StantonGreg and Anita StarkLarry and Gail SteinDick and Mary SteinbuglerWanda StephanMike and Maureen SterinskyCharles and Donna StohrAnn StrotherIsabel StudleyLise SullivanAlan and Nancy SwardLogan and Paula SwartzMolly TarttPatricia TaylorFrank and Carole TaylorRobert TharpeLinda ThompsonRichard and Nancy ThompsonGeorge and Deborah TibbettsWilson and Kay TiddyGrace TianySandra ToomanJudy TurnerCharles Van HagenAnn Grant and Carolyn Van NesDottie VanimanJoan VanOrman

Ellie VibertDavid and Janice WagonerMartha WalrathWilliam and Judy WatsonTerry WhiteBruce and Monica WilliamsJudith WolfGreta WolfeSam and Marge WoodruBarbara WrightTom and Barbara YoungMichael and Susan Ziegler

These generous volunteers provide countless hours, sometimes all year

round, to assist BMC with a multitude of important tasks.


7/31/2019 2009 Overture


7/31/2019 2009 Overture


Arline and Dennis AalfsKaren Zefting Alcorn

J. Aaron AldermanAsheville Symphony OrchestraAsheville Bravo! ConcertsAtlanta Symphony Orchestra

Elaine BaileyRenee and Drew BakerSallee and Terry BallardDr. Ruffin BentonBluewood Gallery

Jean and Charles BrendleBrevard College’s Porter CenterBrevard Little TheatreBrevard Music Center AssociationBrevard Music CenterBrevard Orchestra AssociationDiane and Sam BrewtonDarlene and Jim BrindellBroadmoor Golf Links

Joe BruneauElizabeth Lanier CampbellCampbell CreationsWeezy and Johnny Caskey

Jack ChristfieldCocoon Interior Design, LLCToby and Stanley CohenConnestee Falls ClubhouseConnestee Falls Golf CourseConnestee Art LeagueCorner KitchenCountry VintnerDavid and Penny Crandal

Jill CutlerAnn DerGaraEugenia and Bobbie DowdeswellDr. Cayenne Chardonnee

and the Guerilla Divas Judith Duff Earthshine Mountain LodgeEddie and Kitty EdwardsEd EhmannFlat Rock PlayhouseLarry FranklinSharyn FogelTucker GarrisonGlen Cannon Country ClubS. Curtis GoodfellowCaroline and Angus GrahamLarry GrayGreenville SymphonyAllen HaasHawg Wild BarbequeHeadwaters OutfittersLorrie HensleeSue HersheyHighland Lake InnGillian HillmanHobnob RestaurantMarcia HoeckerHome and Garden Trasitions, LLC

June Hough

Merle and Evey HuntingtonDavid and Chesley HuskinsHyatt Hotels and ResortsPat and John HowardStephen Jackson

John C. Campbell Folk School

John Reynolds Antiques Joseph Laughter ClothierElizabeth LemonLilly T’s Clothing Co.Main Street Ltd.Marco’s Trattoria

Joyce G. McLeanCarolyn MikytuckMarcia Millar

Jeff MillerMountain Forest PotteryMountain Moss EnterprisesMud Dabbers PotteryTim Murray

Mutual Wine DistributorsTommy and Nancy NixO.P. Taylor’sOwen’s OrchidsPete and Ronnie PetermanSusan PetersenPisgah PickersPinehurst ResortCarl PittmanKatryn RileighDavid and Mona SandersSargent’s Fine CateringSeasons 52 - South FloridaSeasons 52Lori ShookBruce SiulinskiBetsy SmithSoaring Adventures of AmericaSourwood Inn

John and Susan StantonMike and Maureen SterinskyStonehurst Place“Stones” JewelryAnn Tartt StovallAnn StrotherTom SullivanSummer Brooke GardensThe Sykes FamilyMolly and Tom TarttThe Biltmore CompanyThe Cliffs Communities, Inc.The Falls LandingThe Hendersonville SymphonyThe Square RootThe Waverly InnSheila TreacySarah and Chris WallaceStuart WanuckTerry WhiteShannon WhitworthSteve and Beth Womble

Auction Donors

Prelude SponsorsDiamond

John CandlerBetsy O. Bareoot and John N. GardnerFirst Citizens Bank McCarroll Construction, Inc.SharonAnn and Bob PhilipMr. and Mrs. Charles W. Pickelsimer, Jr.Dr. and Mrs. James . Robertson

Joella Utley

Gold

Platt ArchitectureLynn P. Williams

Silver

Helen GitMr. and Mrs. Hugh Brady Haston IIIHarris Ace HardwareBarbara and Falls HarrisDonna and Bill LohrMary Ann and Bob McGarry Mountain 1st Bank and rust

Jack and Reed ParkerMichel and Bill RobertsonQuotations Coee Caé Janie and Robert SargentSmith Systems, Inc

Bronze

Renee and Drew Baker Joan and Bob Bednarek Liz and Sim CozartDixon Hughes, PLLCRichard and Janet Grey Vivian S. Hoeppner Johnson Building Supply, Inc

Marcia Millar Ann and Peter McKinney Parsec Financial

Contributor

Connestee Falls Property Owners AssociationDarlene and Jim Brindell Ann Grant and Carolyn Van NessPat and Fred McGarrahanKaren RosenbaumMac Heating and Air Conditioning, Inc.Mary and John SauerteigNancy and Charles Stoll


7/31/2019 2009 Overture


Rice University The Shepherd School of Music

VIOLIN

Kenneth GoldsmithCho-Liang LinSergiu LucaKathleen Winkler

VIOLA

James DunhamIvo-Jan van der Werff

CELLO

Norman FischerDesmond HoebigBrinton Averil Smith

DOUBLE BASSPaul EllisonTimothy Pitts

FLUTE

Leone Buyse

OBOE

Robert Atherholt

CLARINET

Michael Webster

BASSOON

Benjamin Kamins

TRUMPET

Marie Speziale

HORN

William VerMeulen

TROMBONE

David Waters

TUBA

David Kirk

PERCUSSION

Richard Brown

HARP

Paula Page

PIANO

Brian Connelly Jeanne Kierman FischerSohyoung Park

Jon Kimura ParkerRobert RouxC. Dean Shank, Jr.

VOICE

Kathleen KaunStephen KingSusanne Mentzer

OPERA STUDIES

Richard Bado Janet de ChambrierDebra DickinsonSusan Lorette DunnGrant Loehnig

CONDUCTING

Hans GrafThomas JaberLarry Rachleff

COMPOSITION

& THEORY

Karim Al-ZandAnthony BrandtShih-Hui ChenArthur GottschalkPierre JalbertRichard LavendaKurt Stallmann

MUSICOLOGY Walter BaileyGregory BarnettMarcia CitronDavid FerrisPeter Loewen

Rice University is committed to affirmative action and equal opportunity in education and employment. Rice does notdiscriminate on the basis of race, color, religion, sex, sexual orientation, national or ethnic origin, age, disability or veteran status.

713.348.4854http://music.rice.edu

P.O. Box 1892Houston, Texas 77251

Rice University, The Shepherd School of MusicDirector of Music Admissions

LifetimeGiving Society

$1,000,000 +Brevard Music Center AssociationNorth Carolina Arts Council

$750,000 - $999,999Jan and Beattie Wood

$500,000 - $749,000William G. Boggs, Jr.*Emily and Douglas BoothFrederick B. DentDr. William J. PendergrastJoella UtleyNelly and Kurt Zimmerli

$250,000 – 499,000The Cannon FoundationCitizens Telephone CompanyMr. and Mrs. James G. Dalton, Sr.Mr. and Mrs. Robert I. Dalton, Jr.The Janirve FoundationBarbara and Elwood SafronSurdna Foundation, Inc.

$100,000 - $249,000Mr. and Mrs. W. D. Bain, Jr.The Barnet Foundation TrustGeorge S. BetsillJohn S. CandlerDorothy Richard Starling FoundationDuke Energy Foundation

Ewing M. Kauman FoundationDr. and Mrs. J. Murray FadialFirst Citizens BankTracy and Tom HannahVivian S. HoeppnerIntercollegiate Studies InstituteIone M. Allen Music ScholarshipAnne IrwinCarlene JeromeBarbara and John LawlessAudrey Love Charitable FoundationDr. Ruby Morgan and Dr. DouglasMacDonaldFrances MunkSharonAnn and Robert PhilipThe Rauch FoundationMrs. Carlo RenzulliSpartanburg County FoundationLynda and Carl SykesMr. and Mrs. Paul F. Thiele

*deceased

The Lifetime Giving Society

honors the following individuals

and organizations who have sogenerously contributed more than

$100,000 to further the educational

and cultural programs of the Brevard

Music Center. These individuals and

organizations have a lasting impact

on all areas of the Music Center’s

mission. Their gifts have underwritten

major guest artists, built buildings

and supported numerous capital

projects and improvements, and

made the way for countless studentsto afford to be a part of BMC’s

distinctive mission. The Brevard

Music Center is deeply grateful for the

heartfelt support of these donors.


7/31/2019 2009 Overture


7/31/2019 2009 Overture


Contributors to the Brevard Music Center

Chairman’s Club$50,000 and aboveWilliam G. Boggs*Brevard Music Center

Association*The Cannon FoundationNorth Carolina Arts CouncilDr. William J. Pendergrast*The Rauch FoundationJacquelyn and Bruce RogowRogow Greenberg FoundationBarbara and Elwood Safron*Surdna Foundation, Inc.Nelly and Kurt Zimmerli*

President’s Club$25,000 - $49,999Audrey Love Charitable

FoundationPeggy BoggsJohn S. Candler*Joella Utley*Millie and George Wilkinson*

Impresario$10,000 – $24,999Maurine BagwellBetsy O. Barefoot and John N.

Gardner

Carol Peetris TrustBena and George CatesMary Helen and James Dalton*Gwin and Robert Dalton*Frederick B. Dent*Mimi and Peter ElderJerusha and Murray Fadial*First Citizens BankThe Estate of Markus H. FranckeNancy Glass and John BelmontCopey HanesBarbara and Falls Harris

Scott Timmons Hipp*Vivian S. Hoeppner*Ingram Foundation FundIntercollegiate Studies InstituteBarbara and John LawlessSharonAnn and Robert PhilipValeria and James RobertsonSandy and Harold SiebertCharlotte and Ned SloanKate and Mitchell WatsonPatricia R. WebbLynn P. WilliamsJan and Beattie Wood*Joseph Youngblood

Maestro$5,000 - $9,999Ann Anderson and Sara

Rebecca DavenportSally and Douglas BaileyGeorge S. BetsillRichard H. CushmanEugenia and Robert

DowdeswellJo P. FabianNeva and Bill FicklingMary Kathryn and Lloyd FisherMarilyn and Larry FogdallAnita and Joseph Hara

Ione M. Allen Music ScholarshipJerome and Summey Insurance

AgencyDonna and Bill LohrMartha Washington Straus and

Harry H. Straus FoundationMrs. Charles J. Meloun*Joan and Paul MesserDr. Ruby Morgan and Dr.

Douglas MacDonaldRosalie and Charles MorrisLadene and Russell Newton*Platt Architecture

The Estate of Stanley C. WestThe Transylvania TimesGeorgeanne and Cli Williams

Principal$2,500 - $4,999The Beattie FoundationThe Estate of Mrs. Mildred C.

BlahaMartha Cloud ChapmanThomas G. DavisMarti and Michael GarnerTracy and Tom Hannah*Rhoda and John McKeanBillie and Roy MesserJim MorgensFrances MunkMarshall L. Seymour

Dorothy and Herman DicksonStoweHarriet and Ken WallsBetsy and Bill WhiteElisha and Jerey Zander

Orchestra Player$1,500 - $2,499Elizabeth and Edward BavariaJoan and Buck BlessingPeter M. CareyTerry and Donald CayoThe Chattooga ClubCitizens Telephone Company

Louise and Edwin FrankLibby and Guy FreemanEllen and Emil GasperoniHelen GiftAnne and Walter HoeppnerMarge and Herbert JarvisAlice Keith KnowlesCarolin Lowy*Mary Alice and Jack McBrayerMcCarroll ConstructionSusan and Chris MehielMountain 1st Bank & TrustMrs. Gordon L. Ohlsson

Reed and Jack ParkerRonnie and Pete PetermanAnn and Charles PickelsimerMrs. Ben H. Reese, Jr.Michel and Bill RobertsonEleanor and Bert Schweigaard-

OlsenSigma Alpha Iota

Philanthropies, Inc.Anne J. StoutamireSybil and James Wells

Chorus Member$750 - $1,499Arline and Dennis AalfsNancy K. Albyn

Katherine and Blan AldridgeAnonymousDr. Mary F. ArgusBB&TMr. and Mrs. C. W. BeggerowAddie BlakeEmily and Douglas BoothJudy and Gary BreissingerBurlingame Country ClubCarolina First BankMarshall CasseGeorge CecilChloe and W. A. CogerAnne Collings

Elizabeth and Dallas CorserDr. and Mrs. Ray H. DunkelberArlene and David EronElizabeth and Robert GashElaine and George GoosmannAnn Grant and Carolyn Van NeMr. and Mrs. William G.

HambleyHarris Ace HardwareGretchen and Jonathan HeinriGloria and Norman HinkPatricia Hinkler and George

HowellEdith HowsonRichard H. Hoyt IIILynn and Donald HupeAnne IrwinAnn and William IvesHenry JaniecJames A. JudgeMichael KleinRichard N. KnowlesMrs. John G. Landrum, Jr.*Mark and Claire LewisMarilyn and Newton LockhartLynne and John MathesonM-B Industries

Mary Ann and Robert McGarryMu Phi Epsilon*Muriel and Thomas NashPhyllis and Douglas NesbittIsabel and John NicholsHarry W. PalmerJosephine W. PattonAstrid and Carroll PeacockAnne and Scott PerperPzer FoundationDonna R. QualmannThe Raymond E. and Ellen F.

Crane Foundation

The Brevard Music Center is grateful for the generous

nancial support of our donors. Without charitable

donations, we simply could not exist. The donors listed

below make up approximately half of all nancial support

needed to educate our students; we wish to thank all

of the individuals, foundations, corporations and other

organizations who have helped to make the Brevard

Music Center available to so many gifted and hard-

working students.

The following represents gifts received from

May 1, 2008 through April 30, 2009.


7/31/2019 2009 Overture


Overture

Nancy and Ed ReevesPeggy and Kevin RocheMrs. Ralph F. Sarlin*Glenna and Adger SattereldNancy and Richard SenneSandra Wright ShenHolly Shulman and John

StaggKathryn and Joel SmithSmith Systems, Inc.Wanda and Warren StephanBlaire and Bob TharpeThe GE FoundationClaire and Mark ThompsonNancy ThompsonAnnemarie and Roger VarinTheron WatsonCecily and Robert WellsFrank A. WhiteJoan Yarbrough*

Collaborator$500 - $749Afternoon Music ClubConsuelo and Joseph Arbena*Sue and Harold AronbergEdwin BetsillSally and William BoicePaula and David BonnerBP America, Inc.Mary Kay and Patrick BuhrkeCandy and Malcolm BurgessJane and Marshall ButlerJane and Dan CarterCaterpillar FoundationMary CatheyMarshall ChapmanCherie Roth Nate ScholarshipBernard S. ColemanConstance CostiganRufus M. DaltonNancy and James DoaneDuke Energy FoundationCarver and Edmund FarrarShirley and Stuart FendlerMary A. FergusonBarbara FordRobert E. Freeman

Myrna and Russell GibbsMimi and Hugh HastonHendersonville Printing

CompanySarah and George HillsMartha and Pierre HollowayPatricia and Carl HovelandChesley and David HuskinsRhoda HuxMary and Mark JensenFrederic JonesDorothy L. KnowlesDottie and Leo Kosiba

Roger and Julia KrebsMarietta and Walter LacykBarbara LeeElizabeth LemonCarol and Brooks LideMarilyn and Robert LobranoHenrietta and William

LowndesMallory LykesAnn and Peter McKinneyEdward T. McLeanSarah and Thomas MettlerCarolyn and Frederick MillsJanice and Bruce MurrayCraig NiesWilma and Edwin ParkerHoward N. ParksMr. and Mrs. Brad PopQuotations Coee CafeCarolyn and William

Robichaux

Deborah and Steve RogersDee and John RubinoJanie and Robert SargentMary and John Sauerteig*Carole and Arthur SchreiberElizabeth and David ScottMr. and Mrs. Richard

ShymanskiSusan and William SteifMrs. John H. E. StellingJudith F. StoneLea and Joe ThompsonDeb and George TibbettsGordon K. TooleyStella TrappAnne and John VanceEloise J. VibertWilliam E. Schmidt

Foundation, Inc.Monica and Bruce WilliamsDelmar Williams

Patron$300 - $499Conrad F. AhrensAnn and Robert AlexanderDiane Ames

Shirley and Emil BaerRenee and Andrew BakerHarriet and William BallCelso Barciela*Laurie and Kevin CassedaySandra and Fred CaswellAdele and Russell ChappellJoan and Stephen CookLinda CraveyMitzi and Raymond DoumarBetty and Robert EdgeSugie and Nathan EinsteinWilliam and Patricia Evans

Mr. and Mrs. W. MorganFoster

Yvonne and CharlesGoldsmith

James M. GosslerDonna R. Gri thGlenda and Robert Hamilton

Richard and Dottie HansenHugh C. HaynsworthBette C. HesterTerry and Skip HirshEvelyn and Merle HuntingtonMrs. Jean HurlburtIBM CorporationDebra and Bradley IvesPaula and Warren JacksonAnna and Thomas JoinerRoger J. KingMorton KornPat and Frederick McGarrahanCarol and James McKnight

Lesley and Ian McLachlanNancy MeisterLynne and Jon Montague-

ClouseAnn and Jackson ParkhurstNancy and Bascom PlummerSheila and Melvin PragerAlice and James ScanlonAlice SmythIsabel L. StudleyCharlene and Volney TinsleyAnita and Harold WatskyDorothy and Earl Whaley

Friends$100 - $299Carole and Keith AlbynRebecca AlexanderWilliam E. AndersonSusan and Richard AndreEleanor and Dan ArmstrongWalter E. AshleyFlorence and George AulbachSherri and Glenn AustinPatricia G. AustinNancy and Lester AveraCindy and Wayne Babb

Marianne and HowardBakkenSallee and Terry BallardJean and Charles BargerCharlotte and Joseph BarryEmily T. BartelsJoan and Robert BednarekClover BergmannDon BiegerCheryl and Boyd BlackMarcia and Edward BlochJoan and David BloomBarbara Boerner

Linda and Jim BolandaThomas C. BoltonIrene and Gordon BoyntonDoris A. BradleyCarol and James BradofMary A. BraukmanDarlene and Jim Brindell

Marjorie and RobertBrockwayBruce L. BrofmanJ. B. BrooksLeslie and Chip BrownElizabeth and Ronald BrownBecky and James BrueningLaurette and Donald BryanNancy and Donald

BuebendorfElizabeth ButlerFreida and Peter BybeePage and Peter CandlerMarilyn and Carl Carlson

Nancy M. CarsonVirginia and William

CarstarphenMarcia and James CaserioBarbara and Larry CatuzziMargaret C. CaughmanMr. and Mrs. Robert ChapinLucille and Peter ChaveasMargaret L. ChristensenToby and Stanley CohenPenelope and Howard ColbyPenny and David CrandalGail and Edward ComerMary C. ConnerConnestee Falls Property

Owners AssociationRenie and David CottinghamLiz and Sim CozartElizabeth and Frank CreechAnn and Carl CroftBetty and William CromerMartha D’AgataTerry and Max DajnowiczShelley and Marc DambaxJudy and John DavisJoan and Frank DavisRuth De Lagerberg

Ina DeRuoccoBeverly and Gary DillonDixon Hughes CPA & AdvisorsDick and Pat DranMr. and Mrs. J. G. DryseliusFrances W. DuboseDennis DuckerCarol and J. R. DunkleyCarol and Larry DussairRetha and Michael EasterlyGinny and Richard EdelenBetty and Calvin EdwardsStephanie Eller-Vaughn


7/31/2019 2009 Overture


Contributors Continued

Joyce and William EverettExxonMobil FoundationIris and Bernard FeldmanFlorida Federation of Music

ClubsTamsin and Mark FreemanJudith and George FreyDorothy and Alan FriedlandAnne M. GheganCharles and Yvonne

GoldsmithPatrick GoodwinCaroline and Angus GrahamNancy and Frederick GranrosNancy and Don GranthamClementine and Lyman

GregoryJanet and Richard GreyBarbara and Rudy Grin

Carole and Don GueyJacqueline GuryanDonna and Charles HainesAnne and John HanesMr. and Mrs. Hal HansenInge HansonCorinne and Robert Harvey

Claudia and Mike HawkinsHazel and Thomas HawkinsKaren and Robert HaywardJoan and Charles HendersonErnestine and Joseph HensonGeorge N. HesterNancy and Jackson HicksMrs. Ruby HicksJackie and Dick HillsAnne and Gary HimesBarbara and George

HochschildJudy and James HodgeMr. and Mrs. Stephen P.

HomanReidunn and John HolmWilliam C. HooksSusan and Carter HopkinsGayle and Ronald Hoverson

Diane and Gary HowardBety and William HowleJohn J. HrkachLoren HuberJean and Peter HuberRobbie and Kevin HughesRaymond Hughes

Patricia and J. HullLois and William HunleyTrish and James HuntLouise and William JacksonWilliam JacobsSharon and Robert JenkinsCarlene Jerome*Katherine and John JeterShelby and Bernie JohnsonLinda and Warren JohnsonKay and Geo JollayKatharine JonesMarcia and Michael JonesDorcas and Sandy JonesLonnie and Charles KantorNancy and Paul KaysMalcolm E. KendallKeystone CampMolly and Chester Kilpatrick

Kathy and Luke KitahataRichard KnightMarilyn and Howard KroneAgnes and Melvin LabreeKathy LahiryEileen and William LampeRita E. Landrum

Allan J. LawsonCarolyn R. LawtonMartha and James LeGereElizabeth and Mark LevineTine and Denny LiegerotTerrie and Rodney LinfordKirsten and Joe LinkerDeborah and Doug LoebLinda and Timothy LooneyDonna and Craig LovejoyRetha and Ross LynchMac Heating and Air

Conditioning, Inc.Sue and Norman MacoyRoss MagoulasDottie and James MannPenny MannBilli and Bernie MarcusMary and Fred Martin

Nancy and George MartinBeverly and Hugo MartinShirley D. MartinBette and James MaxwellJoan and William McAfeeLynda and Benjamin McCartySandra and Harry McCauley


7/31/2019 2009 Overture


Overture

Kristine F. McCreeryPeggy and David McDowellPeggy and Duane McKibbinDonald H. MenserEleanor and Alan MercerGayle MessickJeannine and Richard MillarHarvey H. MillerJoe D. MillsNancy and Robert MitchellBarbara and William MitchellBonnie MizzellJeanne MoreheadMaryann and Gerald MorieVeronica and Mace MorrowRobert MozakCarol and Michael MucciCarol and Ted MullettPeggy and Robert Neal

Ellen and Stan NiemiNancy and Tommy NixSuzanne and Jim NullFrances and Gregory OpreskoLouis J. OwenSue and Stephens PannillMarie and Hunter ParkLynn and Peter ParrottMary A. PetersLinda and Chester PletzkeBillie and Eldridge PlowdenDoris and Anco PrakJames W. PritchettTracy Proctor

Josephine and Marion QuillenRamsey & Pratt, PAJinks and Gayle RamseyVirginia and W. G. ReeseSuzanne and Patrick RennJoan and William RocamoraLucy and Robert RodesElizabeth and Richard RodneyKaren RosenbaumJessica and Randy RoweAmelia T. RudolphJennifer SalernoMona and David SandersGloria and James SandersRoberta and Bill SchlacksJeannette and Robert SchmittRhonda and Clark SchmitzJason ScullyCornell SecosanJane and Walter She eldLori ShookJean and Jeerson SimpsonJacki and Keith SkivingtonSky ClimberD. T. SmithM. J. SmithJane Smithers

William SomachDeborah and Rick SotoBonni and James SpryKathleen and Carl StammLinda and Lowell SteinfeldNancy and Charles StollAnn StrotherDonna and Edmund StudleyEdith SwartzBarbara SwidlerSharman Sykes and Richard

PottsCharles C. TaylorCarole and Frank TaylorMary and Nath ThompsonNancy and Richard ThompsonEdmund A. ThorntonKay and Mike TiddyEleanor and Roger Timpson

Margaret L. TomsSandra ToomanTransylvania Community

HospitalNancy TrentiniCaroline and David TrickeyElly and Marvin TruebenbachAlice and Gus TuckerBetsy and M. TurnerVirginia and Charles Van

DongenJohn N. VanderschaafAlma and Jose VelascoPam and Russ Wagner

Patience D. WalkerSarah and Christopher

WallaceDiana and Andrew WatsonCarol and Harry WeinhoferCatherine and Lawrence WeirJean and George WestBernice and Richard WheelerJeannette and David WilkesDonna and Richard WillardLynne and John WilliamsSue and Neil WilliamsRobert WilliamsBetsy and David WillisRichard WilsonCarole and Robert WilsonRuth and Roy WilsonPeter and Rose WimsattGerry W. WinterrowdOliver W. WorthingtonHelen and Ben WrightMarty and Murphy YoungBarbara and Thomas YoungJean and Paul YountSusan and Mike ZieglerAnn and Chad Zimmerman

Contributor$50 - $99Sarah and Carl AdkinsCharles W. AlmandKarla Atkinson and Michael

DomonkClara AydenNancy and Roger BattistellaJanet M. BenwayJoan and Bruce BerryhillSylvia and Richard BleeJoseph BoydMr. and Mrs. Robert D.

BradleyConnie and Larry BraistedCarol and Robert BryantBarbara and Clarence BurnsEthlyn and Francis ByrdCA, Inc

Bud CarterLouise and Anthony CasaleJudith ChapmanLillian M. ClarkKelly and A. J. CohenKaren and Robert ColeConnestee Falls Ladies ClubMargaret and John CrandallMrs. Dicksie CribbBarbara CroninKate and Ed DaigleMary H. DavisNancy and Wilburn DavisRobert W. DayElaine DeppeSona and Brian Du ToitBonnie DunerHoward and Dianne DyerSandra and Wesley EastmanKitty and Eddie EdwardsDaniel P. ElliottJudith and Jon EngbergJane and Michael EubanksAlbert J. EvansMarjorie and Joseph EvansElizabeth and Stanley FlatleyPhyllis and Francis Flynn

Marlene and Robert FrankNancy and Stephen FriotElizabeth FullerKatherine P. GageNancy and Gary GilchristGeorge R. GildersJane and Sam GlennClaudia L. GoadHanke GrateauBarbara and Paul GrossmanGordon G. HamrickJimmie and Roy HarrisJanice and Thomas HarveyAndrew Harwood

Theodore C. HegerYvonne and Robert

HeinekampMontine and Daniel HensleyMarilyn R. HigiCheryl JohnsonKathleen JohnsonKristine JohnsonLois and Richard JohnsonElizabeth and Robert JohnsonMargaret and Mike JordanRobert R. JuleDavid KahelinSondra and Sidney KayMorgan A. KentSabina KlausBarbara and Jerry KlineJean and Paul LaforcePeggy and William Lattimore

Elizabeth and MatthewLawsonLaura LedfordEllen L. LensingIrene and Richard LindgrenRobert B. LittonKathy and Terry LittrellSusan and Thomas MahanJean and David ManningMarlene and Edward MartinLinda and William MashburnMary P. MatthewsCharles MaurerBeth and Malcolm McAuley

Carol and Hugh McCollumZia and Frank McConnellDorothy and Benjamin

McGuckinJames H. McMillanJoan and Darrell MillerMarion and William MooreGregory MortonMargaret MossbargerMaj. Gen. John Osteen, Jr.John OwenLou and Paul OwenbyBetty and Bryan PadrickTheodore E. PattonLynne and Tom PennMaj. Gen. and Mrs. Wilton B.

Persons, Jr.Carol PooleJeanne and John PorterMercedes PosseMary A. ProsserLetitia and Rowland RadfordMargaret and Philip ReadIsabelle and Oscar ReinerAnne RobertsMichie and Frederick RogersBethe Rogers


7/31/2019 2009 Overture


urkish and Antique

562Ash

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Persian Ru& New Sin

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828.687.1968

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The New

Overtureis Green!Your cover may be RED, but the new format

for the Overture Program Book is saving

over 50,000 single programs thissummer. The articles will remain the same

for each of the three volumes printed;

the only thing changing will be the center

Program Pages.

You are WELCOME to take a copy home if

you are an Overture collector, just remember

to please reuse and recycle any extraOvertures at the end of the concert in the

receptacles provided. They will be used the

next night for another concert-goer, saving

paper and waste.

Make your RED

Overture GREEN by

reusing and recycling!


7/31/2019 2009 Overture


BMW 328i Sedan, X3 3.0si SAV or the Z4 3.0i Roadster

BrevardMusicCenter

SUMMER INSTITUTE & FESTIVAL

Winner’s ChoiceOrder online or by phone:

www.brevardmusic.org828.862.2100

BMW 328i SedanX3 3.0si SAV

Z4 3.0i Roadster

Proceeds benefit the Brevard Music Center

Name:

Address:

City: State: Zip:

Phone: Email:

Enclosed is my check payable to the Brevard Music Center,or please charge my credit card:

Visa Master Card Discover AmEx

Card Number: Security Code:

Exp. Date: Signature:

How did you learn about this raffle:

This ra e is a fundraising event, and all proceeds be net the educational programs of the Brevard Music Center. Drawing will take place at the Brevard Music

Center’s concert on Sunday, August 9, 2009. All mail, fax, phone and internet orders must be received by 4:00 PM on S aturday, August 8, 2009. Participants

need not be present to win. BMC will pay for the manufacturer’s suggested retail price (MSRP) of the winner’s choice. The winner is responsible for all appli-

cable federal, state, and local taxes, deliver y costs and any options he or she may choose above the MSRP. Individuals may purchase as many tickets as they

wish; however, only 1200 tickets will be sold. Participants must be 18 years or older. BMC employees, faculty, and students over 18 are eligible to participate.

Winnings are not redeemable for cash. If a minimum of 500 tickets is not sold, all ticket holders will receive a full refund and the ra e will not o ccur.

I would like to purchase raffle ticket(s)

at $100 each to have a chance to win a BMW and

to support the Brevard Music Center.

(Drawing takes place August 9th, 2009)

Mail completed form to:

2009 BMW RaffleBrevard Music Center PO Box 312Brevard, NC 28712

Or order online or by phone:

www.brevardmusic.org828.862.2100

BrevardMusicCenter

SUMMER INSTITUTE & FESTIVAL


7/31/2019 2009 Overture


In Honor of Nancy K. AlbynCarole and Keith Albyn

In Honor of Dr. and Mrs. Bruce BerryhillBena and George CatesIn Honor of Emily and Doug Booth

Sue and Stephens PannillIn Honor of Mr. and Mrs. Joseph Boyd

Dorothy P. WimpyIn Honor of Robert Chanin

Alice and James ScanlonIn Honor of Mr. and Mrs. Frank Creech

Dorothy P. WimpyIn Honor of Robert I. Dalton, Jr.

Rufus M. DaltonIn Honor of Dr. and Mrs. J. Murray Fadial

Virginia and William Carstarphen

In Honor of Jamie HafnerMarcia and Michael Jones

In Honor of Doris HeadleyMs. M. J. Smith

In Honor of Kenn Hembree and Marvin-Joe MerckLucy Rollin

In Honor of Gary HimesChesley and David Huskins

In Honor of Bill and Ann IvesDebra and Bradley IvesKeystone Camp

In Honor of Page and Mark LemelDebra and Bradley Ives

In Honor of Bobby McDueCandy and Malcolm Burgess

In Honor of Mary McConnell PoeJennifer Salerno

In Honor of Russell and Ladene NewtonDottie and James Mann

In Honor of Michel RobertsonJohn S. CandlerPaula and Warren Jackson

In Honor of John and Linda SarpyKatherine P. Gage

In Honor of John and Mary Sauerteig’s50th Wedding AnniversaryRhonda and Clark Schmitz

In Honor of Kate and Mitchell WatsonIngram Foundation FundCandy and Malcolm Burgess

In Honor of Mitchell Watson’s birthdayAlice and James ScanlonWilliam Somach

In Honor of Jack and Nancy’s Hicks’50th Wedding AnniversaryMr. and Mrs. William HowleMr. and Mrs. Joseph Henson

In Memory of Dick AlbynJerusha and Murray Fadial

Michel and Bill RobertsonIn Memory of William AlexanderCelso Barciela

In Memory of William J. BaldwinMuriel and Harry AschAnne LlewellynEnola M. Sleeper

In Memory of Glenn BarrIntercollegiate Studies Institute

In Memory of William BelangerGeorge S. BetsillLouise and Anthony CasaleCorley Elementary SchoolJeanne R. Eanes

George R. GildersBrian M. HylandRobert R. JuleKathy and James KotasPat and Frederick McGarrahanAnn and Michael MorganJoyce and Caldwell NixonTracy ProctorMary A. ProsserElizabeth and Greig RabitailleMarie and John RecuperoJune M. SayerAnnabelle Underwood

In Memory of William G.Boggs, Jr.John S. CandlerLaurie and Kevin CassedayJune and William DechantElizabeth FullerPatrick GoodwinHarvey H. MillerAnn and Jackson ParkhurstTracy ProctorDonna R. QualmannJinks and Gayle RamseyNancy and Ed ReevesKathy and Michael Tinsley

In Memory of Linda Candler

Sarah and Carl AdkinsNancy K. AlbynSusan and Richard AndreHelen BelangerGeorge S. BetsillMr. and Mrs. Robert D. BradleyMargaret BrannenPage and Peter CandlerBud CarterCitizens Telephone CompanyChloe and W. A. CogerRenie and David Cottingham

The following are individuals in whose honor or memory funds were

donated to BMC between May 1, 2008 and April 30, 2009


7/31/2019 2009 Overture


Overture

Gwin and Robert DaltonShelley and Marc DambaxJoan and Frank DavisEugenia and Robert DowdeswellCarol and J. R. DunkleyArlene and David EffronStephanie Eller-Vaughn

Jane and Michael EubanksAlbert J. EvansJerusha and Murray FadialFirst Citizens BankMarilyn and Larry FogdallLibby and Guy FreemanElizabeth FullerBetsy O. Barefoot and John N. GardnerElizabeth and Robert GashHelen GiftPatrick GoodwinAnn Grant and Carolyn Van NessBarbara and Falls HarrisCorinne and Robert Harvey

Janice and Thomas HarveyClaudia and Mike HawkinsVirginia and Robert HeckertNancy and Jackson HicksAnne and Gary HimesAnn and Robert HoekeVivian S. HoeppnerRaymond HughesChesley and David HuskinsDebra and Bradley IvesAnn and William IvesHenry JaniecCarlene JeromePatti and Phillip JeromeAnna and Thomas JoinerKeystone CampMolly and Chester KilpatrickSabina KlausDorothy L. KnowlesMarietta and Walter LacykRita E. LandrumBarbara and John LawlessElizabeth and Mark LevineTine and Denny LiegerotMarilyn and Newton LockhartPenny MannJanet and Robert Masengill

Mary P. MatthewsBeth and Malcolm McAuleyMcCarroll ConstructionKristine F. McCreeryKathy and Gary McCulloughPeggy and Duane McKibbinAnn and Peter McKinneyNancy MeisterMrs. Charles J. MelounMarcia MillarMabry B. MillerNancy and Robert MitchellMountain 1st Bank & Trust

Frances MunkJanice and Bruce MurrayPhyllis and Douglas NesbittLadene and Russell NewtonIsabel and John NicholsNancy and Tommy NixBetty and Bryan Padrick

Josephine W. PattonLynne and Tom PennPlatt ArchitectureNancy and Bascom PlummerMr. and Mrs. John M. Rivers, Jr.Michel and Bill RobertsonJeannette and Robert SchmittSky ClimberD. T. SmithWare SmithJane SmithersBarbara and David StackpoleCarole and Frank TaylorThomasville Entertainment Foundation

Mary and Nath ThompsonKathy and Michael TinsleyTransylvania Community HospitalThe Transylvania TimesAlice and Gus TuckerBetsy and M. TurnerEloise J. VibertBetsy and Bill WhiteAnn and Barry WilkinsonDonna and Richard WillardMonica and Bruce WilliamsLynne and John WilliamsSue and Neil WilliamsLynn P. WilliamsJan and Beattie WoodJoan YarbroughNelly and Kurt Zimmerli

In Memory of Sarah CannonIntercollegiate Studies Institute

In Memory of Janet CushmanDonna and Edmund StudleyIsabel L. Studley

In Memory of Martha D’AgataDaphne ChalaronAlbert J. EvansElizabeth FullerKathleen J. Gregg

Shirley and David KlumbBarbara KoppEllen L. LensingMarcia MillarMargaret and Philip ReadLucy and Robert RodesSusan P. StebbinsCarole and Frank TaylorStella TrappCatherine and Lawrence Weir

In Memory of John F. DulkenFrederick B. Dent

In Memory of Bertha Jean LancePatricia G. AustinPhyllis and Francis FlynnHazel and Thomas HawkinsAnne and Gary HimesRamsey & Pratt, PAMargaret L. Toms

In Memory of Wayne MorieNancy and Jackson HicksIn Memory of Margaret Pitts

Afternoon Music ClubIn Memory of John Sauerteig

Margaret L. ChristensenIn Memory of Peggy Stork

Afternoon Music ClubIn Memory of Ben Patterson

Nancy and Wilburn DavisIn Memory of Mason Wallace

Jerusha and Murray Fadial


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2009-2010 season

• Basically Berlin (Irving that is!)

September 4th & 5th at 7:30 pm featuring your favorites from the American Songbook

• Keyboard Brilliance

October 10th at 7:30 pm with Marina Lomazov, pianist

• A Carolina Christmas

December 11th at 7:30 pm & December 12th at 4:00 pmwith Carolina Concert Choir, Brad Gee, director

• Music in Nature

March 6th at 7:30 pm featuring the 2010 Young Artist Competition Winner

• Music from the Spring

May 22nd at 7:30 pm with The Kruger Brothers

697-5884 • hendersonvillesymphony.org

Thomas Joiner, Music Director & ConductorHendersonville Symphony OrchestraHendersonville Symphony Orchestra

All concerts performed at the new Blue Ridge Community College Conference Hall

Gifts Continued

Lucy RollinRenee and Charles SandySue and Tony SauderNancy and Robert ScharsichMonica SchwalbachJohn ShaferDoris and Herman SirlsSally and Daniel SmithMarilyn and Loran SmithBarbara and David StackpoleAnne StaordMarilyn and Byron SteeleCarolyn SteeleJay StewartDonna and Charles StohrNoretta and Robert TaylorThomasville Entertainment

FoundatMarianne and Ben Thompson

Kathy and Michael TinsleyGeorge TopkaAnnabelle UnderwoodMary Ann and John VillalvaJan WagonerJohn H. WarrenJudy and William Watson

Ruth and Charles WaugamanMarge and Carl WeaverGlenda and William WhiteAnn and Barry WilkinsonGeorge ZapalacDiana and Jack Zerby

*Denotes individuals thathave named endowments

the performance center in asheville

You Are Invited!

The site is secured, and the design team is

being assembled. Now area residents can

help to shape a performance center that will

expand our region’s entertainment, education

and economic development options for

generations to come. We invite you to add

your voice. Contact us at

[email protected]

or call 828-258-1850.

www.theperformancecenter.org


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Brevard Music Center EndowmentThe Brevard Music Center is grateful for the donors who

make contributions to the endowment. Endowment

gifts strengthen the long-term nancial security that is

required to ensure high quality educational programs

and artistic performances year after year.

Donors can establish named endowment funds starting

at $25,000. Contributions are tax-deductible and can be

for general support or designated to a specic program.

Immediate and long-term BMC needs include funds to

support scholarships, faculty salaries, guest artist fees,

and the maintenance of buildings and grounds. The

Music Center will work with donors to nd the area of

support that is the best t for their philanthropic wishes.Donations to existing endowment funds can be made at

any time and in any amount.

William H. Alexander Scholarship FundMary Stewart Allan Memorial Scholarship FundHoyt and Susan Andres Scholarship FundMartha West Andrews Memorial Scholarship FundArbena Family Scholarship FundGina Bachauer Artist FundValerie Barnet Scholarship FundCapt. Charles N. and Mrs. Marguerite G. Barnum FundRobert Barr Memorial Scholarship FundGeorge W. Blaha Memorial Scholarship FundTed Blanchard Memorial Scholarship FundBrevard Music Center Alumni Association Scholarship FundBrevard Music Center General Operations Endowment FundBrevard Music Center Memorial Scholarship FundBrevard Music Center Sta Scholarship FundBrevard Music Center Association Scholarship FundWilliam G. Boggs, Jr. Landscape FundEmily D. Booth Scholarship FundBill and Rebecca Boswell Scholarship FundDr. and Mrs. J. Kirven Brantley Scholarship Fund

Brown-Dilworth Scholarship FundJohnsie Burnham Memorial Scholarship FundWilliam I. Burt Memorial Scholarship FundJohn and Linda Candler Scholarship FundJames and Stuart Cannon Scholarship FundCarrier Memorial Scholarship FundWood Family Concerto Competition FundMarie B. Connell Memorial Scholarship FundMartha Pendergrast Coursey Flute ChairJanet E. Cushman Memorial Scholarship FundMary Helen and James Dalton FundGwin and Robert Dalton FundJane Darnall Memorial Scholarship FundSarah Darnall Memorial Scholarship Fund

Lee G. Davy Living TrustFloride Smith Dean Scholarship FundDent Operating FundMildred H. Dent Memorial Scholarship FundGlenn Dicterow Visting Concertmaster ChairMichael DiGirolamo Scholarship FundRobert W. and Esther H. Dobbins Scholarship FundTemple Wood Dowdeswell Memorial Scholarship FundFrances M. Drummond Memorial Scholarship FundDavid Eron Principal Conductor ChairFrances Falvey Music FundFiori Vollrath-Smith FundGeneral Operations Endowment FundWinifred Bush Gibson Memorial Scholarship Fund

Henry F. and Bailey R. Gould Memorial Scholarship FundTom and Tracy Hannah Operating FundTom and Tracy Hannah Scholarship FundJames M. Harris Memorial Scholarship FundAdelaide Caneld Hester Memorial Scholarship FundMargy Hicks Opera Scholarship FundAdelaide Van Wey Hill Memorial Scholarship FundCecil and Elizabeth Hill Scholarship FundDorothy Everett Hill Memorial Scholarship FundRobert N. Hill Scholarship FundWalter and Vivian Hoeppner Scholarship FundHoeppner-Scott Studio Maintenance FundHinda and Maurice Honigman Memorial Scholarship FundHinda Honigman NFMC Young Artists FundHowse-Diemer Choreographer’s FundGilbert and Frances Hunter Scholarship FundMark R. Hunting Memorial Scholarship FundRoger Hyde Memorial Scholarship FundJaniec Family FundHenry Janiec Chair

Frithjo Jensen Memorial Scholarship FundJerry Hart Jerome Memorial Scholarship FundLouise Hughes Alexander Kane Memorial Scholarship FundKeil/Willis Scholarship FundWillis and Jacquelyn Kuhn Memorial FundWalter and Marietta Lacyk Scholarship FundJohn G. Landrum, Jr. Memorial Scholarship FundJennie Aiken Laurens Memorial Scholarship FundElizabeth Crudup Lee Memorial Scholarship FundKeith Lockhart Scholarship FundLowy High School Flute Scholarship FundJohn Richards McCrae Opera FundJohn Richards McCrae Memorial Scholarship FundSadie R. McCrae Memorial Scholarship Fund

Duane and Peggy McKibbin Scholarship FundRuth H. Meinecke Operating FundEleanora W. Meloun Operating FundDavid Meyers Brass Studio FundDavid W. Meyers Memorial Scholarship FundVera S. Milner Memorial Scholarship FundAnne Gri n Moore Memorial Scholarship FundMu Phi Epsilon Composer-in-Residence FundDr. Charles and Nell Aiken Newland FundLadene Herring and Russell Emrich Newton, Jr.

Scholarship FundBetty Ann Page Memorial Scholarship FundDavid Parrott Scholarship FundMacon G. Patton Memorial Fund


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BMC Endowment Continued

Pendergrast Concertmaster’s ChairPendergrast Family FundPendergrast Horn ChairMartha Aiken Pendergrast Scholarship EndowmentW. Jeerson Pendergrast, Jr. Percussion Chair

Walter Linwood Pendergrast Double Bass ChairJames Christian Pfohl Memorial Scholarship FundMargaret Pitts Scholarship FundMary Ada Poole Student Activities FundLewis and Marion Powell Memorial Scholarship FundRabino Memorial Scholarship FundElizabeth M. Randolph Scholarship FundRegina Compton FundRuggiero Ricci Artist ChairSylvia Richter Scholarship FundDr. Julius and Barbara M. Sader Scholarship FundElwood and Barbara Safron Scholarship FundJohn and Mary Sauerteig Scholarship FundMary Nell Saunders Memorial Scholarship Fund

Frederic A. and Stine J. Schameyer Scholarship FundScott Musical Theatre FundMary K. Scott Memorial FundRichard and Betty Scott Scholarship FundEmily B. Searcy Operations Support FundSearcy Pavilion Maintenance FundEmily B. Searcy Scholarship FundFrancis and Marjorie Smiley Scholarship FundRose Thomas Smith Scholarship FundRobert and Louise Soehner Scholarship FundMarta Spoel Memorial Scholarship FundSykes Faculty Residence FundSykes Family Preservation FundJ.D. and Naomi Sykes Memorial Scholarship Fund

Bunny Thiele Memorial Scholarship FundPaul C. Thomas Memorial Scholarship FundElaine C. and Robert T. Thompson Scholarship FundEva McDonald Timmons Memorial Scholarship FundElizabeth Clarke Tindal Scholarship FundMargaret Beckley Upton Scholarship FundJoe R. Utley Trumpet ChairJoe and Joella Utley Scholarship FundTherese van der Heyden Memorial Scholarship FundHarriet Hutchinson and Kenneth Wallace Walls FundLucille Parish Ward Opera ChairCaroline M. Warnell Memorial Scholarship FundWilkinson Family Faculty Fund

L. Neil and Sue S. Williams Scholarship FundWood Memorial FundM. Beattie and Jan Wood FundRobert M. Wood Scholarship FundMartha G. Wooten and Phoebe N. Barstow

Memorial Scholarship FundEileen Wylie Memorial Scholarship FundLucinda Yang Scholarship FundYarbrough Master Teacher FundJoan Yarbrough Master Teacher FundCatherine Abbott Yon Memorial Scholarship FundZimmerli Family Opera Presentation FundZimmerli Piano Competition FundZimmerli Scholarship Endowment

Sphinx Chamber Orchestra with: Harlem Quartet

and Elena Urioste, violin

Tursday, September 24, 7:30 PM

tickets $40/$10 studentsthe dorothy meyer secosan memorial concert

b o x o f f i c e 1 - 8 2 8 - 8 8 4 - 8 3 3 0

r e d i s c o v e r y2 0 0 9 - 2 0 1 0 s e a s o n

Also -Randall Atcheson, piano/organ

Friday, September 4, 7:30 PM tickets $25/$10Gaelic Storm, celtic

Tursday, October 8, 7:30 PM tickets $30/$10visit us online for our full lineup!

season tickets - August 3

single tickets - August 17

online or at the box office!


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204 West Main Street Brevard NC 28712 828 883 4841

Italian Inspired Cuisine Wood oven Pizza, Pasta, Nightly

Northern Cuisine Specials, Wine

retail, Spirits, Reasonable Prices,

kids Menu, Communaltables and Outdoor Dining

Open Everyday in Summer

www.marcotrattoria.com


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7/31/2019 2009 Overture


Featuring Robert McDufe, violin, and Distinguished Artists o the Robert McDufe Center or Strings

Robert McDuffie

& FriendsLabor Day Festival for Strings

at Mercer UniversityS e p t e m b e r 3 – 7 , 2 0 0 9

An exceptional opportunity oroutstanding high school junior and

senior string musicians to studywith elite concert artists in a strings

immersion workshop.

For audition inormation, visit

mercer.edu/mcdufeestival(478) [email protected]

Mercer University is an accreditedmember o the National

Association o Schools o Music.

music.mercer.edu

Amy SchwartzMoretti

Director o theRobert McDufeCenter or Stringsand ormerConcertmastero the OregonSymphony

Andrés DíazRenowned

Concert Cellist

David HalenConcertmaster

o the St. LouisSymphonyOrchestra

ChristopherRex Principal Cellisto the AtlantaSymphonyOrchestra

Robert McDufeInternationalconcert violinistand DistinguishedUniversityProessor oMusic at MercerUniversity

SabinaThatcherPrincipal Violisto The SaintPaul ChamberOrchestra

Paul Murphy AssociatePrincipal Violisto the AtlantaSymphonyOrchestra

ElizabethPridgen

Piano Chair othe McDufeCenter

t

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National Federationof Music Clubs Southeast Region

The National Federation of

Music Clubs (NFMC) Southeast

Region has held its annualmeeting at the Brevard Music

Center since 1948. Members

participate in a weekend of

conferences and performances. NFMC

is an organization dedicated to music education and the

promotion of creative and performing arts in the United

States. Its American Music Program is dedicated to

providing scholarships and awarding monies to talented

American performers and composers, encouraging the

performance of American musical works.

The Brevard Music Center has a long relationship with

the National Federation of Music Clubs, especially the

clubs of the Southeast Region. In 2005, the BMC Board

of Trustees established a new ex-o cio position to

the BMC board for the Vice President in charge of the

Southeast Region of NFMC. Beth McAuley lls that

position today.

Each summer, the Music Center presents a concert in

memory of Hinda Honigman who served as president

of NFMC from 1967 to 1971 and as a BMC trustee from

1966 to 1985. This year the concert will be on Friday,

July 10 at 7:30 pm and will be conducted by

Keith Lockhart.


7/31/2019 2009 Overture


A Country Inn on 30 acres, 2-1/2 miles from Brevard.Comfortable elegance

plus hiking trail to falls,tennis, full breakfast& afternoon tea.

Key Falls InnBED & BREAKFAST

circa 1862

A unique setting for yourspecial event . . .

with full service cateringand lodging available

Key Falls EVENT SERVICES

additional offerings available at Key Falls

www.keyfallsinn.comwww.bbdirectory.com/Inn/key-falls-inn

Key Falls LUXURY CABIN

www.keyfallsevents.com

www.keyfallsinn.com/cabin.php

Nestled in the forest on the banks of

Key Falls Creek . . .this 2 bedroom cabin with gracious amenitiesis convenient to hiking, biking, numerous

waterfalls and to the town of Brevard.

151 Everett Road • Pisgah Forest, NC 28768 • Phone: 828-884-7559


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Overture

Dr. AngusGraham

Dr. Mark Lemel

Quality First in Joint Care Whether you’ve got a sports injury or need a full joint replacement or treatment for the knee,hip, shoulder, hand or foot, our board-certied, fellowship-trained

orthopaedic surgeons have got you covered.

Brevard Orthopaedics

884-2055316 Chestnut St., Brevard, NC 28712

at Transylvania Regional Hospital

Concert Sponsors of the 2009 Season

Mr. Pete’s Market

Brevard Music Center uses only the fine pianos of Steinway and Sons

Audrey LoveCharitable Foundation

The RauchFoundation

Jacquelyn and Bruce Rogowand the Greenberg Foundation

Additional support provided by


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Professional Degrees

Perormance

Music Education

Church Music

Music Theory and

Composition

Liberal Arts Degrees

Bachelor o Arts in Music

Individualized curriculum

Program Features

Distinguished aculty

Music in Italy program

Remarkable acilities

25 Perorming ensembles

Member o National

Association o Schools

o Music since 1937

For information, contact:

William Thomas, ChairFurman University

Music Department

Greenville, S.C. 29613

864.294.2086

[email protected]

www.MusicAtFurman.com

Music study—like all learning at

Furman—is flled with opportunities

or collaboration and discovery as

students work closely with gitedaculty members who are active as

artists and committed as teachers.

Furman’s emphasis on Engaged Learning

permeates the programs o the university

as students and aculty engage in a

myriad o experiential projects that

include internships and study-abroad

programs. Furman’s 2,600 students are

challenged to test their imaginations

both in and outside the classrooms,

studios and rehearsal halls.

Engage, believe, succeed

2009 Overture Advertisers Index

Anderson University, 10

Appalachian Summer Festival, 76

Asheville Area Center for the Performing Arts, 80

Asheville Citizen-Times, 2

Asheville Lyric Opera, 20

The Biltmore Company, 28

The Boston Conservatory, 59

Brevard Orthopaedics, 87

Case Brothers, 90, 91

The Cleveland Institute of Music, 62

College Walk, 26

Comporium, 92

Converse College/Petrie School of Music, 16

D.D. Bullwinkel’s, 89

Diana Wortham Theatre at Pack Place, 5

Eastman School of Music, 3

Ed Boudreaux’s Bayou Bar-B-Que, 26

Fisher Realty, 47

Flat Rock Playhouse, 45Florida State University, 44

Furman University, 88

The Greystone Inn, 60

Hampton Inn of Brevard, 37

The Hartt School, 4

Hendersonville Symphony Orchestra, 80

Highland Farms Retirement Community, 29

Highland-Cashiers Chamber Music Festival, 74

Indiana University/Jacobs School of Music, 14

Jerome & Summey Insurance Agency, 39

Key Falls Inn, 86

Marco Trattoria, 83

McDue Center for Strings at Mercer College, 85

New England Conservatory, 22

Northwestern University, 6

Mannes College/ The New School, 63

Peabody Conservatory, 18

Poppies Market & Café, 30

Porter Center at Brevard College, 82

RCG Realty, 64

The Shepherd School of Music, 70

The Shops at Hollingsworth, 35

Skin Care & Vein Centre, PLLC, 46

Soli Classica, 31

Sora Japanese Restaurant, 44Southern Methodist University, 83

Swift Directories, 84

Togar, 76

Transylvania Builders, Inc., 35

University of Cincinnati/CCM, 36

University of Louisville School of Music, 44

University of Memphis School of Music, 36

WCQS Public Radio, 23

WDAV Classical Public Radio, 68

White Squirrel Shoppe, 34

Yellowbook, 38


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Media Sponsors of the 2009 Season


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7/31/2019 2009 Overture


the william steinway

limited edition piano

Named after the first president of Steinway & Sons, the William Steinway Limited Edition pianois a meticulous reproduction of the famous Steinway centennial piano made in 1876. Its exquisite

period detailing and uncompromising style are the result of highly skilled handcraftsmanship which was typical of the day, and ever enduring at Steinway & Sons. This masterpiece combines

extraordinary beauty with incomparable sound and touch, and will become a beloved family treasure for generations to come. Limited to 115—available in Ebony or East Indian Rosewood.

For information call 1-800-STEINWAY or visit us at www.steinway.com.

S T E I N W A Y S O N S

One Steinway Place, Long Island City, NY 11105© 2009 Steinway & Sons. Steinway and the Lyre are registered trademarks.

introducing


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2009 overture

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