2018 BMC Overture Magazine by Brevard Music Center

An Education for an Inspired Life Asheville School prepares high school students for a lifetime of education. Motivated by a challenging academic experience, our students develop critical thinking skills, communicate effectively, and form strong study habits. Students learn life lessons in a nurturing, close-knit community of 285 students from 20 states and 16 countries. The majority of our recent graduates are attending colleges and universities Barron’s rates as “highly selective” and “most selective.” For more than a century, Asheville School has fostered lives of leadership and service. We invite you to discover Asheville School and learn why our students have a competitive edge. Call today to request an admission packet, attend one of our open houses, or inquire about our merit scholarships. Voted most beautiful private school campus in NC - Architectural Digest Rated #7 among the top 50 U.S. boarding schools - GreatSchools.org

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ashevilleschool.org 828.254.6345 admission@ashevilleschool.org

INSIDE OVERTURE Letter from the President ........................................................................................... 4 About Keith Lockhart .................................................................................................. 5 Patron Information ....................................................................................................... 6 Dining and Accommodations .................................................................................... 7 Board of Trustees ........................................................................................................ 8 Brevard Music Center Staff ....................................................................................... 9 Sponsors and New Hearing System ..................................................................... 10 A Sound Future - A New Concert Hall in 2020 ................................................. 13 2018 Prelude .............................................................................................................. 16 A Challenge Among Friends.................................................................................... 17 Reflections on Bernstein .......................................................................................... 20 Leonard Bernstein: A Born Teacher ...................................................................... 24 The Bernstein Festival................................................................................................ 25 2018 Performance Schedule .................................................................................. 30 Ensembles ....................................................................................................................31 Performance Programs ..............................................................................................35 Soloists and Conductors ....................................................................................... 115 Artist Faculty ............................................................................................................. 126 Opera Artistic Staff................................................................................................... 140 Opera Cast ............................................................................................................... 144 Opera Designers ..................................................................................................... 148 Opera Artistic and Production Staff .................................................................... 149 Student Roster ......................................................................................................... 150 Distinguished Service and BMC Alumni Awards ............................................. 161 Brevard Music Center Association ...................................................................... 166 Brevard Music Center Association Board ..........................................................167 Giving Opportunities.................................................................................................172 Annual Fund Contributors .......................................................................................179 Lifetime Giving Society ........................................................................................... 183 Encore Planned Giving Society ............................................................................ 185 Gifts in Honor and Memory ................................................................................... 191 Brevard Music Center Endowment .................................................................... 196 2018 Overture Advertisers Index ......................................................................... 205

Editor Associate Editor Creative Design Advertising

Cally Jamis Vennare Dilshad Posnock Market Connections Market Connections

SEASON SPONSORS Jacquelyn and Bruce Rogow

MEDIA SPONSORS

TRAN TI SYLV M ANI A E S

The Biltmore Beacon

2018 Summer Institute & Festival

LETTER FROM THE PRESIDENT

BREVARD MUSIC CENTER

I live, breathe, and think about music every day. That's why I am delighted to welcome you to our home and to our stages for Brevard Music Center's 82nd season, composed for you under the extraordinary leadership of artistic director and Brevard alumnus, Keith Lockhart. This will be an amazing season, filled with classical masterworks from Bernstein, Beethoven, and Brahms along with groundbreaking new compositions by R.E.M.’s Mike Mills, Time for Three, Sō Percussion, and Terpsicorps. Important familiar faces are also returning to Brevard in 2018 including Asheville native and Berlin Philharmonic Concertmaster Noah Bendix-Balgley, virtuosic pianists Olga Kern and Conrad Tao, violinist Robert McDuffie, and bluegrass heroes Steep Canyon Rangers and Béla Fleck, as well as a distinguished faculty of over 80 artists from the nation's leading orchestras, conservatories, and colleges. As you are about to see, tucked away in North Carolina’s Blue Ridge Mountains near breathtaking waterfalls and lush forests, "in this best of all possible worlds," Brevard Music Center presents some of the world’s most celebrated performers as they share the stage with the next generation of classical luminaries. Festival highlights this year include a season long Leonard Bernstein Festival, celebrating the legacy and centennial of the iconic 20th century artist. See page 25 for the entire Bernstein Festival schedule of events including symphony, Broadway, and chamber concerts, the exuberant opera Candide, the movie West Side Story in concert with live orchestra (led by BMC alumnus Jayce Ogren), our season finale of Bernstein's Mass, and free lectures, readings, and discussions throughout our campus and community. And don't miss pages 20-21 for a very special Q&A with Keith Lockhart, who shares his personal perspectives on the legendary composer and musician. Take a moment to look closely through the Overture Magazine that you hold in your hands. Inside you will find a 10-week summer music festival filled with a genre-blending mix of symphony, opera, chamber, pops, jazz, dance, bluegrass, and more. Without exception, each genre, masterwork, and artist chosen for our season represents BMC's commitment to excellence in all we do, as well as a steadfast dedication to our mission of teaching gifted young musicians to prepare and perform great musical works at a high artistic level.

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"I can't live one day without hearing music, playing it, studying it, or thinking about it." —LEONARD BERNSTEIN In 2014, BMC launched an essential and comprehensive initiative—A Challenge Among Friends—to secure funding in support of vital upgrades across our 181-acre campus. Only three years later, I am so proud and grateful to recognize the contributions of hundreds of BMC ambassadors who collectively pledged over $5.4 million to upgrade WhittingtonPfohl and Straus Auditoriums; build new faculty residences, student housing, and rehearsal studios; and renovate more than half of the 151 buildings on our campus. The impact of such widespread generosity will live on for decades to come, not only in the beauty and ambiance of our campus, but also among the thousands of students whose lives will be transformed by their Brevard experience. As we look to the future and what is needed to ensure an inspiring environment for the next generation of artists and audiences, the possibilities may seem limitless. But here at Brevard Music Center, we are deeply committed to both our mission and our community. I am therefore very excited to announce that, due to a significant lead gift, Brevard Music Center will add a new concert hall to its campus by the summer of 2020. This intimate, 400-seat space will serve as the home for our piano program and chamber performances, as well as year-round events, concerts, and community gatherings. Please see page 13 for more details. As you can see, there is much to celebrate at Brevard Music Center! I can't wait to share our musical journey with you this season…and for many more summers to come. Thank you for that privilege and pleasure. Warmest regards always,

Mark Weinstein

ABOUT MARK WEINSTEIN Mark Weinstein has devoted his professional career to music having previously served as Executive Director of the New York City Opera at Lincoln Center, General Director of the Pittsburgh Opera, Executive Director of the Washington National Opera at the Kennedy Center, and CEO of the AT&T Performing Arts Center in Dallas, Texas. Mark has an MBA from the Harvard Business School and a BA in Political Science from Carleton College in Northfield, Minnesota. His wife, Susanne Marsee, was the leading Mezzo-Soprano soloist at New York City Opera at Lincoln Center for over 20 years.

Photo Credit: Marco Borggreve

LEADERSHIP

KEITH LOCKHART, ARTISTIC DIRECTOR David Effron Principal Conductor Chair In 2007, Keith Lockhart succeeded David Effron as Artistic Director of the Brevard Music Center Summer Institute and Festival. Lockhart’s appointment solidified an already special relationship with BMC; having attended as a teenager for two summers (1974, 1975), Lockhart was first featured as a guest conductor in 1996 and had since returned numerous times. He continues to serve as the Conductor of The Boston Pops Orchestra, and is newly appointed Chief Guest Conductor of the BBC Concert Orchestra in London, having served for the last eight years as its Principal Conductor.

spectacular, broadcast nationally for many years. The Boston Pops’ 2002 July Fourth broadcast was Emmy-nominated, and the Evening at Pops telecast of “Fiddlers Three” won the 2002 ASCAP-Deems Taylor Award. He has led the orchestra on four overseas tours of Japan and Korea, and 43 national tours in the US, reaching 18 states and more than 150 cities (including performances at Carnegie Hall, Radio City Music Hall, and sports arenas across the country) and extending to the pre-game show of Super Bowl XXXVI at the Louisiana Superdome in New Orleans. Since November 2004, he and the Boston Pops have released six self-produced recordings: 2017’s Lights, Camera…Music! Six Decades of John Williams, A Boston Pops Christmas—Live from Symphony Hall, Sleigh Ride, America, Oscar & Tony, and The Red Sox Album. Keith Lockhart and the Boston Pops Orchestra have also recorded eight albums with RCA Victor—Runnin’ Wild: Keith Lockhart and The Boston Pops Orchestra Play Glenn Miller, American Visions, the GRAMMY-nominated The Celtic Album, Holiday Pops, A Splash of Pops, Encore!, the Latin GRAMMY-nominated The Latin Album, and My Favorite Things: A Richard Rodgers Celebration. Highlights of his tenure as the seventh Principal Conductor of the BBC Concert Orchestra (2010-2017) include critically acclaimed North American tours (2010/2011 and 2012/2013, and 2014/2015), conducting annual performances at The Proms, and celebrating the orchestra’s 60th year in 2012. In June of that same year, Keith Lockhart conducted the orchestra during Queen Elizabeth II’s gala Diamond Jubilee Concert, which was broadcast around the world. In 2009, Keith Lockhart concluded eleven seasons as Music Director of the Utah Symphony. He led that orchestra through the complete symphonic works of Gustav Mahler, brought them to Europe on tour for the first time in two decades, and directed multiple appearances at the 2002 Olympic Winter Games. He stood at the front of that organization’s historic merger with the Utah Opera to create the first-ever joint administrative arts entity of the Utah Symphony and Opera. Under his baton, the Utah Symphony released its first recording in two decades, Symphonic Dances, in April 2006, garnered an Emmy award for a “Salute to Symphony” regional broadcast, and performed in a national PBS broadcast of Vaughn Williams’ oratorio Hodie.

Keith Lockhart has conducted nearly every major orchestra in North America, as well as the Royal Concertgebouw Orchestra, the Deutsches Symphonie-Orchester Berlin, the NHK Symphony in Tokyo, and the Melbourne Symphony Orchestra. In October 2012, he made his London Philharmonic debut in Royal Albert Hall. In the opera pit, Maestro Lockhart has conducted productions with the Atlanta Opera, Washington Opera, Boston Lyric Opera, and Utah Opera. Recent highlights included debut appearances with the Czech Philharmonic, the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome, the Vienna Radio Symphony, and the Hong Kong Philharmonic. The 20172018 season saw Lockhart make his French debut with the Orchestre Nationale de Lille, and his Norwegian debut with the Stavanger Symphony Orchestra, as well as return engagements in Japan and the Czech Republic. He also recently completed a recording of the Bernstein Serenade with violinist Anne Akiko Meyers and the London Symphony Orchestra.

Keith Lockhart served as Music Director of the Cincinnati Chamber Orchestra for seven years, completing his tenure in 1999. During his leadership, the orchestra doubled its number of performances, released recordings, and developed a reputation for innovative and accessible programming. Maestro Lockhart also served as Associate Conductor of both the Cincinnati Symphony Orchestra and the Cincinnati Pops Orchestra from 1990 to 1995.

In February 1995, Lockhart was named the 20th conductor of the Boston Pops Orchestra, succeeding John Williams and Arthur Fiedler. Now in his 24th season, he has conducted over 1900 concerts and made 79 television shows, including 38 new programs for PBS’s Evening at Pops, and the annual July Fourth

More information is available at KeithLockhart.com and cami.com.

Born in Poughkeepsie, NY, Maestro Lockhart began his musical studies on piano at the age of 7, and holds degrees from Furman University and Carnegie Mellon University, and also holds honorary doctorates from the Boston Conservatory, Boston University, Northeastern University, Furman University, and Carnegie Mellon University, among others. He was the 2006 recipient of the Bob Hope Patriot Award from the Congressional Medal of Honor Society, and was a recipient of the 2017 Commonwealth Award, Massachusetts highest cultural honor.

2018 Summer Institute & Festival

PATRON INFORMATION

BREVARD MUSIC CENTER

BOX OFFICE HOURS Whittington-Pfohl Auditorium

(Brevard Music Center Campus)

June 22 – August 5 Monday – Wednesday: 10 am to 5 pm Thursday – Saturday: 10 am through Intermission Sunday: Noon through Intermission

Group Sales By purchasing 10 or more tickets to any single Brevard Music Center performance, enjoy up to 25% off single ticket prices, access to the best seating available at the time of your purchase, personalized customer service and assistance with your group event, and flexible payment options. Call (828) 862-2131 or email groups@brevardmusic.org today!

Porter Center

Late Arrivals & Seating Latecomers will be asked to wait until an appropriate break in the performance before being seated.

June 21 - August 2 Open on performance days only, 2 hours prior to the start of a performance through intermission.

Photography & Recording Photography and the use of recording devices are strictly prohibited in all concert venues.

Phone: (828) 862-2105 Email: boxoffice@brevardmusic.org Website: brevardmusic.org

Restrooms Whittington-Pfohl Auditorium: Restrooms are located in the lobby and the adjacent building behind the concession kiosks.

(Brevard College Campus)

Exchanges are available up to 24 hours before the exchanged event. Refunds are not available. There is a $2 per ticket fee to exchange tickets; this fee is waived for BMC subscribers. Ticketing Alert: With the increase in third party ticket resale websites posing as BMC, we want to reassure you, our valued patrons, that Brevard Music Center in no way supports this activity. When obtaining tickets for any Brevard Music Center event, be sure to purchase them only from our official ticketing site at tickets.brevardmusic.org. Purchasing BMC tickets directly from us will assure the best ticket price and customer service. Brevard Music Center reserves the right to refuse ticket sales to any suspected third party reseller accounts.

Porter Center: Restrooms are located in the lobby, on either side of Scott Concert Hall. Telephones Please turn off all cell phones, pagers, and alarm watches during performances. Students Students 18 and older receive a 50% discount for tickets inside the auditorium. With a valid student ID, students 18 and older may sit on the lawn free of charge*.

Children Children 17 and under may sit on the lawn free of charge* with a paying adult. Auditorium tickets are available for $15 for children 6 and over. Children under 6 are not permitted inside Whittington-Pfohl Auditorium. Smoking Smoking is strictly prohibited in all BMC buildings; all forms of smoking are also prohibited on the adjacent outdoor lawn seating area during all performances. Lawn Etiquette We invite all patrons to enjoy a picnic and listen to the concert from the lawn. Please remember that noise and excessive movement during the performance can be distracting to the performers and other listeners. Pets Pets are not allowed in or around the area of the Whittington-Pfohl Auditorium during a performance. Properly identified service animals are permitted in all areas in which BMC patrons are allowed. Harmony Gifts Harmony Gifts is the official gift shop of the Brevard Music Center. Located at the front of Whittington-Pfohl Auditorium, it carries signature apparel, jewelry, music themed novelties, picnic accessories, and more. Harmony Gifts is managed by the Brevard Music Center Association and is staffed by volunteers. All proceeds directly benefit the educational programs of the Brevard Music Center. * Complimentary lawn tickets are not available for Opening Night, Season Finale and BMC Presents concerts.

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DINING AND ACCOMMODATIONS

BMC CONCESSIONS Bring your own picnic…or enjoy BMC’s delicious selection of casual fare and snacks while experiencing a performance at Whittington-Pfohl Auditorium (WPA). A full assortment of beverages is available for your enjoyment including wine by the glass, local craft beer and hard cider, soft drinks, bottled water, and coffee. Refreshing desserts, including crowd favorite Kiwi Gelato and fresh baked cookies, are offered as a delightful finish to your BMC experience. WPA concessions–located at the main concession building on the lawn and the white-tented areas on the WPA plaza– open one hour prior to each performance. Concessions at the Porter Center (Brevard College) A selection of wine, beer, soft drinks, coffee, and cookies is available in the lobby of the Porter Center prior to and during intermission of concerts and operas. Important Note: Please allow ample time to enjoy your picnic or concessions items. No food or drink, except bottled water, is permitted in any performance venue on the BMC campus or at the Porter Center.

Off Campus The following local restaurants support Brevard Music Center: Dugan’s Pub ......................................................(828) 862-6527 Food Matters Market and Cafe ......................(828) 885-3663 Hawg Wild BBQ................................................(828) 877-4404 Kiwi Gelato .........................................................(828) 877-4659 Marco Trattoria ..................................................(828) 883-4841 Pad Thai ..............................................................(828) 883-9299 Pisgah Fish Camp..............................................(828) 877-3129 Rocky’s Soda Shop ..........................................(828) 877-5375 Sora Japanese Restaurant...............................(828) 883-9808 The Square Root Restaurant .........................(828) 884-6171 Accommodations: Bed & Breakfast on Tiffany Hill.......................(828) 290-6080 Hampton Inn of Brevard...................................(828) 883-4800 Key Falls Inn........................................................(828) 884-7559 Pine Country Inn.................................................(828) 884-7195 The Bromfield Inn...............................................(828) 577-0916 The Greystone Inn.............................................(828) 966-4700 The Sunset Motel...............................................(828) 884-9106

Experience Excellence in the Arts Year-Round at Brevard College

Theatre

Art

Music

For more information call 828-884-8211 or visit brevard.edu/fine-arts-events/ 2018 Summer Institute & Festival

WELCOME FROM THE BOARD

BREVARD MUSIC CENTER On behalf of the BMC Board of Trustees, it is my pleasure to welcome you back to Brevard Music Center! This summer, we look to build on many recent successes: record ticket sales, the continued renovation and rejuvenation of key campus facilities, programming that continues to challenge, educate, and entertain, and attracting a corps of talented, dedicated students pursuing their dreams. My colleagues on the Board and the staff of the Music Center continue to be guided by the principles of our current strategic plan that reinforce and strengthen our mission, lay out our vision for the future, and create a path to take us there. Chief among these tenets are commitments to strengthen our educational and artistic excellence, raise our reputation for the highest level of instruction and performance, and ensure that our facilities meet these ideals. In addition to on-stage talent that seems to surpass that of each preceding year, the most visible signs of change and progress have been in support of creating a physical campus that meets the level of that talent. A Challenge Among Friends, a fundraising initiative to address long-needed improvements to facilities across our 180-acre campus, has made possible many of these enhancements. Key changes to date include an acoustic shell at Whittington-Pfohl Auditorium that greatly improves the educational experience of our student musicians and the concert experience of our audience; two new student housing facilities – Encore, which opened in 2017, and La Casa di Trentini, welcoming students this season; a refurbished Straus Auditorium, and the William R. Hackney III Student Practice Facility, adding significantly to the inventory of student instruction and practice rooms. More than 200 friends have contributed $5.4 million since the start of this campaign in fall 2014. Even as we achieve these successes, we continue to face and address the needs of a decades-old campus in need of rejuvenation. Much of our housing for students and faculty requires upgrades to roofs, bathrooms, and interiors, in order to extend the useful life of these structures instead of building anew. Other projects on the horizon include renovations to key campus roadways, as well as improvements to our dining hall, the hub of campus activity. Beyond this current campaign, and with an eye to the future and the experience we strive to provide our students and patrons, we plan to add a New Concert Hall to our campus, ready for the summer of 2020! This new, 400-seat performance space will anchor our piano program and host chamber music performances, as well as be available for year round programming and rental to the community. Our recent achievements have placed us in solid position to excel in the pursuit of our core mission to train the next generation of classical musicians. But there is still much more to do. Friends like you, who steadfastly believe in the educational mission of BMC and, more importantly, have experienced first-hand the outstanding performances of our students, are needed to continue to fuel BMC’s future. The renewal of BMC’s campus is not purely physical; it is the bedrock that provides the transformative experiences our students and audience enjoy each summer. Please consider joining us in supporting our students and BMC’s campus revitalization with a commitment to A Challenge Among Friends. Our staff can discuss with you convenient and comfortable options to support this effort, including pledges payable over several years. Once again, on behalf of the Board of Trustees, staff, and the entire Brevard Music Center family, thank you–our friends, patrons, and supporters—for your ongoing investment in our students and the music they create!

2018 BOARD OF TRUSTEES

T. Kenneth Cribb, Jr. Chairman, Board of Trustees

Doug Bailey Belleair, FL

Bill Hackney Marietta, GA

Helen Peery Charlotte, NC

Bruce Berryhill Cashiers, NC

Falls Harris Greenville, SC

Thomas C. Bolton Asheville, NC

Sue Henderson Winston-Salem, NC

Michel Robertson Pisgah Forest, NC Ex officio

Malcolm Brown Winston-Salem, NC

Phillip Jerome Pisgah Forest, NC

John S. Candler Brevard, NC

Marcia Chaplin Vienna, VA Ex officio

Trustee Emeriti Doug Booth Charlotte, NC Wilbur Boswell III Hendersonville, NC

Robby Russell Arden, NC

John S. Candler Brevard, NC

Arthur Schreiber Brevard, NC

Dicksie Cribb • Spartanburg, SC

Linda Thompson Pisgah Forest, NC

Mary Helen Dalton • Atlanta, GA

Katie Loeb-Schwab Marco Island, FL

Joella Utley Spartanburg, SC

Robert Dalton, Jr. Charlotte, NC

Preston Davitt Asheville, NC

Mary G. MacQueen Owen Asheville, NC

Mark Weinstein Brevard, NC Ex officio

Frederick Dent Spartanburg, SC

Jerusha Fadial Charlotte, NC

Ruby Morgan Greenville, SC

Charles Weiss Palm Coast, FL

Charles Goldsmith Boca Raton, FL

Doug Ombres Tequesta, FL

M. Beattie Wood Atlanta, GA

Martha Coursey Atlanta, GA T. Kenneth Cribb, Jr. Spartanburg, SC

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Kurt Zimmerli Spartanburg, SC Life Trustees Karl Straus • Asheville, NC Officers T. Kenneth Cribb, Jr., Chair Martha Coursey, Vice Chair Arthur Schreiber, Treasurer Linda Thompson, Secretary

Mitchell Watson West Palm Beach, FL

Mark Weinstein, President Ex officio

William White, Jr. • Charlotte, NC

• Deceased

BOARD AND STAFF

2018 STAFF

Mark Weinstein, President and CEO Keith Lockhart, Artistic Director

Instruction and Performance

Jason Posnock Director of Artistic Planning & Educational Programs Dorothy Knowles Director of Admissions Andrew Parker Artistic Administrator Jacob Paul Artistic Liaison* Lyndsay Wygant Artistic Liaison* Barney Culver Orchestra Manager* Stephen Nutt Assistant Orchestra Manager* Mark Fugina Head Librarian* Joshua Luty Associate Head Librarian* Marisa Blackman Assistant Librarian* Natalie Endres Assistant Librarian* Emery Kerekes Assistant Librarian* Sarah Mitchener Student Services Manager* Christian Smith Student Services Assistant* Michael Schweppe Supervisor of Recording* Robert Rydel Associate Director of Recording* Theron Dalton Audio Engineering Intern* Joshua Frey Audio Engineering Intern* Connor Hoffman Audio Engineering Intern* Melanie Montgomery Audio Engineering Intern* Kevin Stock Chief Piano Technician* Peter Sumner Chief Piano Technician* Steven Sykes Piano Technician*

Student Life

Cale Self Leigh Dixon Jacob Powers Thomas Rodman Amanda Talley

Production

Andrea Boccanfuso Matthew Queen Justin Mosher Juliet Jewett Joshua Goldstein Teila Vochatzer Garrett Rhodes

Development

Dean of Students* Assistant Dean* Assistant Dean* Assistant Dean* Assistant Dean*

Director of Production Assistant Production Manager* Assistant Production Manager* Purchasing Agent* House Manager* Company Manager* Technical Director*

Dave Perrett Director of Development Palma Cohen Manager, Annual Giving Sara Jerome Manager, Special Events & Partnerships Megan Shina Raffle Coordinator* Carlos Leon Garcia Special Events Intern* Lisa Stadtmiller Special Events Intern* Charles Stolze Special Events Intern*

Marketing and Box Office

Cally Jamis Vennare Director of Marketing & Communications Virginia Carter Manager, Box Office & Ticketing Mary Allison Lathem Marketing Intern* Heather Heilbronner Box Office Supervisor* Amber Svetik Box Office Supervisor* Lillie Bartleson Box Office Cashier* Diana Tang Box Office Cashier* Maria Vizcarra Box Office Cashier*

Information Technology Sean Manning

Director of Technology

Administration and Campus Operations

Keith Arbogast Director of Finance & Campus Operations Ashley Gilleland Operations Coordinator J Cantrell Accounting Manager Melissa Kamer Office Services Associate Carrli Cooper Business Administration Intern* Natalee Highman Business Administration Intern* Nathan Kawa Facilities Manager Steve Dunston Maintenance Randy Foster Maintenance Dearl Throckmorton Maintenance Blue Mountain Medicine Health Services EverGreen Housekeeping Professional Services Man Maid Housekeeping Cleaning Service Brevard College Catering Services Shelley Van Buren Food Service General Manager* Meagan Pettiford Concessions Manager* * Seasonal Staff

OUR MISSION: The Brevard Music Center, a summer institute and festival, teaches gifted young musicians to prepare and perform great musical works at a high artistic level.

2018 Summer Institute & Festival

2018 SPONSORS AND PARTNERS

BREVARD MUSIC CENTER BREVARD MUSIC CENTER Gratefully Acknowledges its 2018 Sponsors and Partners*

Jacquelyn and Bruce Rogow Season Sponsors

LEAD SPONSORS

Loyal Friends of Brevard Music Center Tchaikovsky 4

The Manhattan Transfer

Hampton Inn - Brevard BMC Presents Series Transylvania County Tourism Development Authority Pendergrast Family Patriotic Pops The Zimmerli Family Opera Endowment Madama Butterfly

Time for Three The Harold W. McGraw, Jr. Family Foundation, Inc. WQXR Young Artists Showcase

Steep Canyon Rangers with Orchestra

The Zimmerli Foundation BMC Piano Competition Finals

SEASON PARTNERS 35 Degrees North Official Landscape Services

Mike Mills Rock Violin Concerto

of Asheville

Bed & Breakfast on Tiffany Hill Official Bed and Breakfast

Season Finale: Bernstein's Mass

Nancy Crow Trentini Madama Butterfly

Community Outreach Sponsor

SUSTAINING SPONSORS

Conrad Tao Plays Beethoven

City of Brevard Pendergrast Family Patriotic Pops

Nancy B. Hicks, in memory of Jackson E. Hicks and in honor of Margaret Hicks Sargent, BMC Madama Butterfly, 1995 Madama Butterfly

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Bold Rock Hard Cider Official Hard Cider

Broad Street Wines Special Event Sponsor & Maestro Society Lounge Sponsor

Food Matters Market & Cafe Season Kickoff Reception Sponsor Hampton Inn - Brevard Official Hotel Johnson Building Supply Official Building Supply Provider New Leaf Garden Market

Official Plant and Garden Provider

SPONSORS AND NEW HEARING SYSTEM

Oskar Blues Brewery Official Beer

Steinway & Sons Official Piano

ADDITIONAL SUPPORT PROVIDED BY Blue Mountain Medicine

Steve Owen & Associates

COMMUNITY PARTNERS The Cindy Platt Boys & Girls Club of Transylvania County Brevard Ballet Charlieâ&#x20AC;&#x2122;s Angels Animal Rescue Connestee Falls Student Scholarship Program DuPont State Recreational Forest Friends for Life Muddy Sneakers Rise and Shine Transylvania County Arts Council Trout Unlimited, Pisgah Chapter United Way of Transylvania County Veterans of Foreign Wars Post 4039, Brevard WNC Military History Museum *Sponsors as of April 30, 2018

BREVARD MUSIC CENTER SPONSORSHIP OPPORTUNITIES A Brevard Music Center corporate sponsorship provides targeted opportunities to build and enhance your corporate brand, host your top clientele at a performance or gala, and establish invaluable visibility among BMC's 40,000 summer music festival attendees. All sponsorships are individually designed and tailored to meet your unique business and marketing goals. Opportunities include but are not limited to sponsorship of the Brevard Music Center: Institute, Summer Music Festival (including season long, series, or individual performance recognition), special events, marketing collateral, and much more! Allow us to help you identify and select the best sponsorship fit for your company. For more information, please contact BMC at development@brevardmusic.org or call (828) 862-2121.

WE ARE LOOPED!

New Induction Loop Hearing System Installed at Brevard Music Center In our ongoing efforts to ensure an optimal experience for all Brevard Music Center summer festival patrons, including our hearing impaired guests, BMC is delighted to announce the installation of a new state-of-the art induction loop hearing system at Whittington-Pfohl Auditorium. BMC's system was installed by the experts at Musician's Workshop (musiciansworkshop.com). A hearing loop is a wire that circles a room and is connected to a sound system. The loop transmits the sound electromagnetically. The signal is then picked up by a tiny receiver in the hearing aid called a telecoil, or T-Coil. To use a hearing loop, simply flip on the T-Switch or change to the T-Coil program in your hearing aid or cochlear implant. This activates the coil and no additional receiver is needed. Your hearing aids or implants are now able to become wireless headsets for all sound that is traveling through the sound system. You hear speech more clearly than you ever imagined! For those individuals who do not possess a T-Coil in their hearing aids, Brevard Music Center also has personal body pack receivers available in the Box Office. Brevard College is also "looped"â&#x20AC;&#x201D;an induction loop hearing system is now installed at Brevard College's Porter Center and Ingram Auditorium and is accessible at all BMC opera and chamber performances. The Loop System at Whittington-Pfohl Auditorium was made possible by a bequest from The Estate of Lois Maxine Gibbs, James Kimzey, executor.

2018 Summer Institute & Festival

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A SOUND FUTURE - A NEW CONCERT HALL IN 2020

A SOUND FUTURE BMC UNVEILS A NEW CONCERT HALL IN 2020 by Jason Posnock, Director of Artistic Planning & Educational Programs

Far Left: Architectural rendering of the exterior of the new concert hall overlooking Lake Milner. Upper Right: A side view of the modern, retractable system that allows for maximum flexibility in set-up of the 400-seat concert hall. Bottom Right: Exterior footprint of the concert hall, which will reside across from Searcy Cafeteria with an exquisite lobby and common area facing Lake Milner. Photo credits: Platt Architecture, P.A.

here are moments in the history of every organization— inflection points—that make an indelible mark from that time forward. For the Brevard Music Center, one thinks of its founding in 1936, its move to its current location in Brevard, and the construction of the Whittington-Pfohl Auditorium, among other seminal milestones. In June 2020, we will add to this remarkable list when we unveil a brand new 400-seat concert hall located on the picturesque waterfront of Lake Milner.

The new hall will be acoustically designed as a flexible space with a flat floor, a modern retractable seating system, and the capacity to add floor seating as needed. The team responsible for the 2016 WPA renovation will rejoin forces for this exciting project— led by Platt Architecture, P.A., and including Theatre Consultants Collaborative, and the sound designers at Akustiks. They will work together with BMC staff to create the first concert hall built on the BMC campus in over 50 years. During the summer season the hall will be home to Brevard’s wonderful piano program, hosting classes, seminars, recitals, and special concerts. Chamber music performances will be able to return to the BMC campus throughout the summer, increasing

student and public accessibility. The space will be outfitted with audio/video capability allowing for movie showings, multi-media lectures and presentations, and a variety of performance and social activities. Throughout the remainder of the year, the hall will serve as a beacon to the community. Concerts, lectures, and workshops will weave seamlessly with public gatherings and collective assemblies. Also available for weddings, social functions, and corporate events, the space will be designed for year-round operation and use. Simply put, this is a game changer for Brevard. The new hall will immediately impact all of Brevard’s nearly 500 students, our faculty and staff, our loyal patrons, and the greater community as a whole. It will strengthen student recruitment, and promote Brevard’s brand locally, regionally, and nationally. At this moment in Brevard’s history, a powerful sense of purpose shared by the board, the executive and artistic team, stalwart supporters, and the entire Brevard family, is poised to propel BMC forward into the next phase of our extraordinary journey. A lead gift of $1 million has been secured to make this bold vision an exciting reality.

2018 Summer Institute & Festival

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THEGREYSTONEINN.COM 14 Overture

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2018 Summer Institute & Festival

BREVARD MUSIC CENTER

2018 PRELUDE - MASQUERADE Brevard Music Center’s annual Prelude Gala is an evening of dining, dancing, and auctions that supports our student Scholarship Fund. The 2018 Prelude took place on Saturday, June 16, and we gratefully acknowledge the evening’s sponsors, auction item contributors, and volunteer leadership who ensured the event’s success.

Prelude Host Committee

Co-Chairs Susan Harrington Butts and Preston Davitt

SPONSORS

Committee Michael Andry Martha Coursey Julia Fosson Yvonne and Charlie Goldsmith Bill Hackney Jimmy Harris Sue Henderson Patti Jerome Susanne Marsee Ruby Morgan Mary Owen Helen Peery Parker Platt Brian Robinson and Brendan Hill Debbie and Turner Rouse Karen Tessier Linda Thompson Katina Turner

Ovation ($15,000)

Brian Robinson and Brendan Hill

Encore ($10,000)

Yvonne and Charles Goldsmith

Bravo ($5,000)

Dr. and Mrs. Malcolm Brown B.P. Solutions Bob and Inez Parsell Platt Architecture, P.A.

Cadenza ($3,000)

Donna and Dave Bailey Capital at Play Preston and Dennis M. Davitt Susan Harrington Butts and Timothy J. Butts Sue and Doug Henderson Mary and Charlie Owen

Intermezzo ($1,200) Susan and Bob Ableidinger Biltmore Beacon Richard and Janet Grey Falls L. Harris Ann and Bob Irelan Ronald Medinger Jack and Debera Millstein Mark Schwab and Katie Loeb-Schwab Willie and Rosa Stanfield Jim and Caroline Sullivan Dr. Joella Utley WNC Magazine

Overture ($600)

Kate and Jon Anderson Judy and Allain Andry Carol and Philip Attridge Dr. and Mrs. Bruce Berryhill M. David and Gay Y. Cogburn

Martha and Walter Coursey T. Kenneth Cribb, Jr. Nancy and Todd Fredin Paul and Teri Goodall-Komar Sandra and Peter Heckman Edward K. Isbey, Jr. M.D. and Rita S. Isbey Margareta and Al Koch Doug and Debbie Loeb Ron and Paula Mature Jennifer Hart Merrell Ruby Morgan Deborah Nethery Jennifer and James Newman Cal and Eileen Reynolds Debbie and Turner Rouse Michelle and Robby Russell Silvermoon Chocolates Mike and Melba Tracy Hugh N. Tucker and Paul E. Thomas Stan and Jaynie Whitcomb *Sponsors as of April 30, 2018

Auction Item Contributors* 2 on Crescent 35 Degrees North Sandi Anton Bellagio Bed & Breakfast on Tiffany Hill Dr. Ruffin Benton Blue Blue Ridge Bakery Bobbo's Stuff Bracken Mountain Bakery Brevard Music Center Brevard Music Center Costume Department Broad Street Wines Brooks Brothers The Brown Bean Coffee Lucy Clark and Lucy Clark Pottery The Compleat Naturalist Corner Kitchen Martha Coursey Jo Crebbin Ann Dergara D.D. Bullwinkel’s Davidson River Outfitters

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Decorating by Dee Ann Doggie Vacations Mike Domokur and Domokur Architects Estate Jewelry Ltd. Belinda Roberts and Elk Haven Wellness Center Empire Distributing The Falls Landing Fig Flat Rock Playhouse Julia Fosson Yvonne and Charles Goldsmith The High Museum of Art Headwaters Outfitters Brendan Hill Holiday Inn Express - Brevard Hunter and Coggins Clothing Co. KillerBeesHoney.com Larrimor’s Shellie Lewis Lily Pulitzer Lilly T's Clothing Lucy-Anne

Marco Trattoria Ruby Morgan Mountain Song Productions Mud Dabbers New Leaf Garden Market North Carolina Arboretum Olde World Christmas Shop O.P. Taylor's Origami Ink Andrew Parker Peace Center Helen Peery Donna and Walter Pendergrast Porter and Prince Dilshad and Jason Posnock The Proper Pot RBC Wealth Management of Asheville, NC Red House Inn Brian Robinson Robert and Janie Sargent Sassy Goose Scott Boutique Silvermoon Chocolates Sittin’ Pretty

The Square Root Station 114 Salon Talbot’s Mike Tiddy Melba and Mike Tracy Turner & Co. Raymond F. Vennare The Westin Poinsett – Greenville, SC Dick Whiteley Richie Wilkinson Williams-Sonoma Beth Womble Worthy Circle Jewelry *As of April 30, 2018

Special thanks to: Bold Rock Hard Cider BP Solutions Brevard Music Center Association Broad Street Wines Marco Trattoria Darron Meares/Meares and Associates Mountain Sun Community School Oskar Blues Brewery Silvermoon Chocolates

A CHALLENGE AMONG FRIENDS

A CHALLENGE AMONG FRIENDS ENSURING THE FUTURE OF OUR CAMPUS AND THE EXCELLENCE OF OUR PROGRAMS The Brevard Music Center’s A Challenge Among Friends— an effort launched in fall 2014 to secure funding to support critical and necessary campus improvements–now totals $5.4 million in commitments. More than 200 Music Center friends, patrons, supporters, BMCA volunteers, alumni, faculty, current and former Trustees, staff, private foundations, and government sources have participated to date in this campaign to support improvements that raise the level of our facilities to match the talent on our stages. Photo Credit: Platt Architecture P.A.

A Challenge Among Friends has made possible, among other enhancements, an acoustic shell at Whittington-Pfohl Auditorium that greatly improves the educational experience of our student musicians, two new student housing facilities–Encore and La Casa di Trentini, a refurbished Straus Auditorium, and the William R. Hackney III Student Practice Facility, adding significantly to the inventory of student instruction and practice rooms. But there is still much more to do. We continue to face and address the needs of a decades-old campus in need of rejuvenation: much of our housing for students and faculty requires upgrades to roofs, bathrooms, and interiors, in order to extend the useful life of these structures instead of building anew. Other projects on the horizon include renovations to key campus roadways, as well as improvements to our dining hall, the hub of campus activity.

Please consider joining the friends below who have already made their commitments to this important effort. Our staff can discuss with you convenient and comfortable options to participate, including pledges payable over several years. For $20,000, you can sponsor a room in new student housing. For $50,000 or more (depending on the project), you can name student or faculty housing in need of repair. Your investment—at any level—in the ambition and drive of our students, will help to ensure that our campus, programs, and mission, as well as the future of classical music, are secure. To learn how you can help, please contact Dave Perrett in the Music Center’s Development Office at (828) 862-2121 or dperrett@brevardmusic.org.

Brevard Music Center is grateful to these friends listed below, and all others who have contributed to date*, whose commitments to A Challenge Among Friends will help ensure its success. $250,000+

Malcolm and Patricia Brown The Cannon Foundation William R. Hackney, III Gail L. and William S. Hagler Foundation Nancy Crow Trentini Bill • and Betsy White

$100,000+

Sally and Doug Bailey Emily and Doug Booth T. Kenneth Cribb, Jr. The Estate of Lois Maxine Gibbs Yvonne and Charles Goldsmith Dr. Falls L. Harris Dr. Ruby Morgan Laurie and Douglas Ombres Linda and John Sarpy Carole and Arthur Schreiber Dr. Charles and Teena Ellen Weiss

$50,000+

Dr. and Mrs. Bruce Berryhill Betsy and Tom Bolton City of Brevard John and Kristine Candler Dan and Jane Carter Claudia and Henry Colvin Binky Curwen Eugenia and Robert Dowdeswell A.S. Fendler Family Foundation Sandy and Bernard Fox Helen C. Gift Mariam and Robert Hayes Trust

Vivian S. Hoeppner • John and Barbara Lawless Katie Loeb-Schwab and Mark Schwab Bob and Inez Parsell Donna and Frank Patton Brian Robinson Bert and Eleanor Schmidt Schweigaard-Olsen Patricia R. Webb

$25,000+

Nancy C. Albyn Katherine and Blan Aldridge Arcadia Foundation Sandra and John W. Barnett, Jr. Brevard Music Center Administrative Staff Martha and Walter Coursey Frederick Dent Bill and Jean Holmes George W. Howell, Jr. Martha Rivers Ingram Carlene S. Jerome Patti and Phillip Jerome Johnson Building Supply Nancy Y. and Philip E. Leinbach Emiley and Keith Lockhart Jack and Debera Millstein Neil and Rosalie Morris Helen and Walt Peery Donna Reyburn and Michael Griffith Dr. James T. and Valeria B. Robertson Transylvania County Joe R. and Joella F. Utley Foundation Harriet Hutchinson and Kenneth Wallace Walls

$10,000+

Anonymous Bruce D. Chadbourne Lucille and Peter Chaveas Chuck and Edie Dunn Mary and Jan Dryselius Dr. and Mrs. William J. Fogle III The Glass Foundation Doug and Sue Henderson Chris and Harriet Lewis Moore-Blanchard Funerals & Cremations, and Cathleen Blanchard Joel Reynolds, In Honor of Minnie Kent Biggs – “We Are Eighty” Michelle and Robby Russell Marshall L. Seymour Carol and Jim Smeaton Alice Smyth Mark Weinstein and Susanne Marsee Sybil and James Wells Neil Williams Family

$5,000+

Dr. J. Murray and Jerusha Barnum Fadial Nancy Hicks Gerda Moore Kahn Retha and Ross Lynch Reed and Jack Parker Mary Ellen and Jeff Pendergrast Kathy and Dave Perrett Dilshad and Jason Posnock June and Edwin Salvesen Gayle and Dennis Winchester

$1,000+

Charisma and Keith Arbogast Susan Barber Andrea Boccanfuso Susan Harrington Butts and Timothy Butts Bena and George Cates Ann and Steve Cohen David and Palma Cohen Kate and Chuck Gass Debra and Allen Haas Bill and Geri Hambley Sandy and John Harrington Sandi and Peter Heckman Nancy and Joe Hunter Elaine Knight Betty and Roger Lamberton Mr. and Mrs. William G. Lohr, Jr. Harry and Sande McCauley Janice Murray Vivian and Ron Rogers Penny and Jim Roubion Betty and Maurice Sponcler Martha Washington Straus and Harry H. Straus Foundation Jim and Caroline Sullivan Linda and Ron Thompson Melba and Mike Tracy Beverley and James Whitten Jan and Beattie Wood • Deceased *As of April 30, 2018

2018 Summer Institute & Festival

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We all agree that an evening at Brevard Music Center is pure magic. Discover more unforgettable experiences (like the one on page 153) with our free Adventure Guide and Waterfall Map. VISITWATERFALLS.COM (800) 648-4523

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

Reflections on

BERNSTEIN

Photo by Al Ravenna, 1955, courtesy of the Library of Congress

As the Brevard Music Center embarks on its season-long celebration of the 100th birthday of Leonard Bernstein, Artistic Director Keith Lockhart sat down with BMC’s Director of Marketing & Communications, Cally Jamis Vennare, to share some personal reflections on this distinguished and illustrious composer. The BMC Leonard Bernstein Festival will be one of more than 2,000 other events on six continents to recognize the life and work of the iconic conductor, educator, musician, cultural ambassador, and humanitarian.

Q: A:

How has Leonard Bernstein’s work influenced you as a person, conductor, and educator? Regretfully, I never met him, but I think it’s pretty hard to be an American classical musician, growing up in the second half of the 20th century, and not be affected by Bernstein.

I was among the last generation of conductors who could have studied with him at Tanglewood, but I chose to go to the West Coast and missed my opportunity to meet and work with him. I did see him perform once with the Israeli Philharmonic on tour in Pittsburgh in the mid 1980's. At that time, his legend was immense and it was incredible to actually see the person in the flesh on stage. I believe that Bernstein’s influence spread far beyond the people he worked with throughout his career. He was a touch point of inspiration for all of us, especially aspiring young conductors. Before him no American conductor was ever really highly regarded on the world stage. He was the first American conductor to show the rest of us that American musicians had something to say.

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In a profession not always renowned for its glamour, he was a glamorous figure. He was an attractive and compelling artist, as opposed to all the grandfatherly conductors we saw on the fronts of our album covers. His career also straddled many worlds: he was an educator, he was a conductor of note, and he was composer of significant 20th century concert works, as well as extraordinary musical theatre works. My career has been built around a wide range of musical expression. Bernstein showed me, at a young age, that was it was fine to be comfortable and conversant in the languages of popular music—like rock and jazz—and still be well-regarded for the interpretative insight you brought to the great artworks of our canon...that it was possible to be a popular musician, and still be a serious musician. That is just one of the things that I still think about when I think about Bernstein: he showed all of us that it was really possible to do it all!

REFLECTIONS ON BERNSTEIN

What is the most important thing you hope to convey to our Brevard audiences about Leonard Bernstein and his work?

One of the things that we are trying to show in our programming this year is the breadth and depth of his creative output—the staging of Candide, for example; our season finale performance of his Mass; the concerts featuring West Side Story, Age of Anxiety and Chichester Psalms.

Candide, in particular, is near and dear to my heart. This was the very first musical that I ever music-directed at a professional level. I personally believe that it couldn’t have been written by anyone other than Bernstein. It has lightness and a frothiness, a champagne-like quality that fits the subject matter just perfectly, and it’s also a really, really good piece for young operatic artists. I think it fits our Janiec Opera Company like a hand to a glove. I have never done West Side Story with the film. But I've been told that ‘it is an amazing experience’ by those who have performed this version. I am looking forward to sitting in the audience and watching that one! By highlighting these and other works, Brevard Music Center is presenting some of Bernstein’s greatest output and showing a wonderful variety of his music that is at the core of American classical music experience. We spend so much time celebrating the works of European masters like Beethoven, Mozart, Mahler, and Dvořák. And those works all deserve to be celebrated. But they must stand alongside Bernstein, Copland, and Gershwin—these masters gave American classical music its voice. It’s wonderful for Brevard to be joining in with orchestras and institutions all around the world in celebrating the birth of one of the most compelling musicians of our time…or any other time. At Brevard, our educational mission is at the core of all we do. So it's important to remember that we are not trying to do more Bernstein performances than anybody else, or more symposia, or anything like that. What we are trying to do is make sure we expose our students to a great musician and provide relevant context around his body of work.

Can you expand upon the connection between Mahler and Bernstein and how this has impacted or influenced you personally?

The program that I am proudest of in our Bernstein celebration is the one that presents Chichester Psalms and Mahler's Adagio in the first half and Age of Anxiety in the second half. Bernstein said himself that he had an immediate soul mate sort of connection to Mahler that I think he felt from his earliest exposure to the composer. When Mahler died in 1911, his music had not been done on a worldwide basis. Bernstein, who was born in 1918, was one of the conductors in the late 40’s and 50’s who began to really resurrect Mahler’s repertoire for a wider audience and for an American audience. He was one of the first conductors to complete a full cycle of recorded Mahler symphonies.

I think both conductors shared a lot of things: they were both humans who were very much in love with life and, in some ways, larger than life. They were both known in their lifetime as being among some of the greatest conductors of their generation. They

were both two men in search of beliefs. They both really, really wanted to believe, but were very much affected by the modern world around them. You have two people who were born Jewish. Mahler wrote the Resurrection Symphony and his entire Symphony No. 8 reflects the second part of Faust, when Faust is redeemed and ascends to heaven. Bernstein wrote a secular mass that is based on forms of the Catholic Mass. Neither conductor was playing around with someone else’s religion…they were simply trying to find out what made the world tick and what exactly they should believe in at the end of the day. I think that Bernstein had a huge kinship with Mahler in terms of the kind of music Mahler wrote. It takes you out on the farthest edges. It is everything but a safety net. And it is exactly what Bernstein excelled in as an interpreter. I don’t find myself to be as crazy or as much of a genius as either Mahler or Bernstein. But it is what I appreciate and love about both of them and I think that’s why I am attracted to both of their music.

What will our audiences experience at our season finale of Bernstein's Mass?

An EXTRAORDINARY event! Bernstein's Mass is something that transcends the normal concert experience. It is an epic work—a big, noisy, very 20th century struggle. It is a theatre piece designed for the concert stage that deals with the crisis of belief that is so common in our modern world. A piece that addresses, without being specifically political, the lack of faith of any higher power steering us to a better place. A piece that needs to be shared, needs to be talked about, and needs to be commented on. It is very timely right now…and I am delighted to be able to be in the position to share it with our audiences and our students.

Q: A:

What would you say to Bernstein if he was still alive today and you had the opportunity to meet him? I would thank him for making it possible for a boy from Poughkeepsie, New York to think he could follow anywhere near the footsteps of a boy from Lawrence, Massachusetts.

2018 Summer Institute & Festival

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2018 Summer Institute & Festival

BREVARD MUSIC CENTER

LEONARD BERNSTEIN: A BORN TEACHER by Jamie Bernstein, author of Famous Father Girl (available June 12)

Everything I do is in one way or another teaching. I even think of my conducting as teaching, in the same sense that one is teaching one’s vision of a piece to an orchestra, and through them to an audience. Anything which derives from the compulsion to share… comes in the category of teaching…I don’t really possess my own feelings until I’ve shared them. –Leonard Bernstein Leonard Bernstein was a man of many accomplishments, but he was proudest of his own achievements as a teacher. Luckily for all of us, it wasn't enough for Leonard Bernstein to compose music and conduct orchestras. He felt equally compelled to talk about music—to try and explain what made it tick, what made it good, and what made it affect us in all the ways that music does. The other piece of good luck was that Leonard Bernstein and television came along at the same time. They were born for each other. Bernstein's first TV appearances were actually for adults, the groundbreaking "Omnibus" series in the 1950s, but by 1957 Bernstein had convinced CBS to put his Young People's Concerts on the air. To think that for a while there, Leonard Bernstein's Young People's Concerts with the New York Philharmonic were on CBS primetime television!! All over America, families gathered in their living rooms in front of their big, bulky black & white TV sets, and watched Leonard Bernstein tell them all about classical music. Bernstein's great gift was his ability to convey his own excitement about music. Watching him explain sonata form or the difference between a tonic and a dominant, you had the sense that he was letting you in on a wonderful secret, rather than drumming facts into you that might prove useful later. It doesn't matter what your subject is; a teacher's own passion is going to improve the student's ability to absorb and process the information. Excitement is contagious. One thing I always loved about my father was how unafraid he was to be silly. In our family, goofiness was next to godliness. I wish you could have seen him playing the Pharaoh of Egypt, in a beach towel and lampshade crown, in my parents' epic home movie, "Call Me Moses." I wish you could have heard him tell the classic Jewish jokes or describe his favorite Vaudeville routines. But the good news is, you can see him acting pretty silly on his Young People's Concerts. The very fact that he came out in his nice suit and tie made any unusual behavior that much funnier. So, we teachers have to work twice as hard to make our lessons engaging. In the process of trying too hard to seem modern and trendy, we can all wind up looking just as foolish as our own math teacher did back in the 1970's, when he grew his hair over his ears and wore bell-bottoms. Come to think of it, my own father did exactly that when he turned himself back into a student

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Photo courtesy of the Leonard Bernstein Office

again in order to prepare his six Charles Eliot Norton Lectures at Harvard! But everybody loved him anyway. He immersed himself in Chomskyan linguistics, absorbing an entire new field of knowledge, so that he could then apply the principles of linguistics to music—thereby creating a brand new field of study, and turning himself back into a teacher again in the process. Ambitious? Oh, yes! Was he in over his head? Completely! He was never happier than he was in those 18 months on the Harvard campus, reveling in his dual roles as student and teacher. People often say that Leonard Bernstein was a born teacher, but actually it's more accurate to say that he was a born student who just couldn't wait to share what he learned. In his whole life, he never stopped studying. Most importantly, however, Leonard Bernstein loved music. ALL of it. And he gave a clear signal to his audiences that it was OK to love all music—and not to put a value judgment on one genre over another. He was the unsnobbiest person you could ever hope to meet. He loved people and was curious about everything. Those are good traits in a teacher.

BERNSTEIN FESTIVAL

AN EXPLORATION OF THE LEONARD BERNSTEIN FESTIVAL Brevard Music Center, Summer 2018

Photo by Paul de Hueck

Photo courtesy of the Leonard Bernstein Office

JUNE

24 JULY

JULY

BELOVED BERNSTEIN

BMC's 2018 Leonard Bernstein Festival officially launches with five of the composer's most vibrant, jazz-tinged and fanciful scores for Broadway, orchestra, and ballet.

JULY

BERNSTEIN & FRIENDS Bernstein Week kicks off in Brevard with a concert featuring some of his best-loved chamber music. Joined on the program will be works by a few of Bernstein's close friends and colleagues, all of whom who shaped American music in the second half of the 20th century. A post-concert discussion with Joseph Horowitz, one of the most prominent writers on the topic of American music, and Jason Posnock, BMC Director of Artistic Planning & Educational Programs, concludes the evening.

LEONARD BERNSTEIN/ AN AMERICAN ICON

JULY

26/28

Joseph Horowitz, one of the most prominent and widely published writers on the topic of American music, curates this free lecture exploring Bernstein's triumphs and tragedies as an American icon at the Transylvania County Library.

AUG JULY

A BERNSTEIN CELEBRATION Two Bernstein tone poems and a poignant work by Mahler co-mingle in one unforgettable evening. Keith Lockhart leads BMC faculty member Norman Krieger and the exquisite voices of the Greenville Chorale in a truly celebratory night of music making.

WEST SIDE STORY (movie + live symphony) Inspired by Shakespeare's Romeo & Juliet, the classic American movie musical comes to the big screen at Whittington-Pfohl Auditorium, with full symphony orchestra performing Bernstein's reverent and iconic score. Enjoy a pre-concert discussion, Bernstein & Justice, with Joseph Horowitz.

BERNSTEIN THE EDUCATOR A multi-media program revisiting Bernstein's fabled Young People's Concerts. Featuring Gershwin's An American in Paris and works by great American composers including Copland, Chadwick, and Harris. A post-concert discussion with Joseph Horowitz and special guest concludes the evening.

CANDIDE Here in Brevard, "in this best of all possible worlds," be dazzled by Leonard Bernstein's exuberant American Broadway musical comedy filled with fun and frolic. Based on Voltaire's satirical story, this opera (with English supertitles) features the arias "Glitter and Be Gay" and the finale "Make Our Garden Grow."

SEASON FINALE: BERNSTEIN'S MASS Imagined by Bernstein "not as a concert, but a fully staged dramatic pageant," this multi-faceted theatre piece for musicians, singers, and dancers premiered at the 1971 inauguration of the Kennedy Center. Join us as Keith Lockhart, BMCO, and hundreds of artists fill the WPA stage in final tribute to Bernstein's enduring legacy and centennial.

2018 Summer Institute & Festival

26 Overture

2018 Summer Institute & Festival

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DEGREE PROGRAMS: Classical Performance (BM, MM, PD) Jazz and Contemporary Music Studies (BM) Bachelor of Musical Arts (BMA) Music Composition (BM, MM) Music Education (BM) Orchestral Studies (MM, PD) Opera (PD) Performing Arts Administration (MA)

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Music is the universal language Sometimes the most meaningful communication happens without dialogue. Great music tells us that we are not alone with our emotions. We proudly salute the Brevard Music Center. wellsfargo.com/stories

2018 Summer Institute & Festival

2018

MONDAY

TUESDAY

WEDNESDAY

JUNE 25

JUNE 26

JUNE 27

Steep Canyon Rangers w/ Orchestra

12:30pm SH*

7:30pm IA

7:30pm WPA

7:30pm IA

JULY 2

JULY 3

JULY 4

The Shanghai Quartet Beethoven Cycle I

The Shanghai Quartet Beethoven Cycle II

Student Piano Recital

7:30pm PC

JULY 9

JULY 10

FRIDAY

SATURDAY

JUNE 21

JUNE 22

JUNE 23

Opera's Greatest Hits

Opening Night with Olga Kern

The Manhattan Transfer

7:30pm PC

7:30pm WPA

JUNE 28

JUNE 29

JUNE 30

JULY 1

Madama Butterfly

Student Piano Recital

Dvořák Bass Quintet

7:30pm PC

THURSDAY

12:30pm TCL*

7:30pm PC

7:30pm WPA

7:00pm WPA

JULY 5

JULY 6

JULY 7

JULY 8

Program of Song 4:30pm SH*

Patriotic Pops

Just Brass

Brahms Symphony No. 2

Mike Mills Rock Violin Concerto

2:00pm WPA

7:30pm WPA

JULY 11

JULY 12

JULY 13

New Music

JULY 14

12:30pm SH*

La Cenerentola (Cinderella)

4:30pm SA*

West Side Story

Piccolo Opera

Sō Percussion

Brandenburg Concerti 3 & 4

La Cenerentola (Cinderella)

7:30pm IA

7:30pm WPA

7:30pm PC

7:30pm WPA

8:30pm WPA

JULY 16

JULY 17

JULY 18

JULY 19

JULY 20

JULY 21

BMC @ TCL

Brevard Symphonic Winds

Student Piano Recital WQXR Young Artists Showcase

Conrad Tao Plays Beethoven

Brahms Double

7:30pm PC

7:30pm WPA

JULY 26

JULY 27

12:30pm SH*

Terpsicorps

Quartet for the End of Time

7:30pm PC

JULY 23

JULY 24

JULY 25

New Music

Student Piano Recital

BMC @ TCL

12:30pm SH*

A Bernstein Celebration

JULY 15 Bernstein the Educator 3:00pm WPA

(Movie + Live Symphony)

JULY 22 Pines of Rome

Program of Song

12:30pm SH*

2:00pm PC

Bernstein & Friends

7:00pm SA

3:00pm WPA

Enigma Variations

12:30pm SH*

Brahms String Quintet

Beloved Bernstein

2:00pm PC

12:30pm SH*

12:30pm TCL*

JUNE 24

Beethoven's "Pastoral" Symphony

Student Piano Recital

BMC @ TCL

Jan and Beattie Wood Concerto Competition Finals

Madama Butterfly

Mozart and Fauré

SUNDAY

3:00pm WPA

JULY 28

JULY 29

Bernstein's Candide

Soloists of Tomorrow 3:00pm WPA

Schumann Piano Trio No. 1

Bernstein's Candide

4:30pm SH*

2:00pm PC

Arensky Piano Trio

The U.S. Army Woodwind Quintet “Pershing’s Own”

Tchaikovsky 4

Time for Three

Supersonic

7:30pm IA

7:30pm SA*

7:30pm IA

7:30pm PC

7:30pm WPA

JULY 30

JULY 31

AUGUST 1

AUGUST 2

AUGUST 3

AUGUST 4

12:30pm TCL*

BMC @ TCL 12:30pm TCL*

Student Piano Recital

12:30pm SH*

New Music Piccolo Opera

Noah Bendix-Balgley & Friends

BMC Piano Competition Finals

12:30pm SH*

Brevard Camerata

Sondheim on Sondheim

4:30pm SA*

The Planets

Pictures at an Exhibition

7:30pm PC

7:00pm PC

7:30pm PC

7:30pm WPA

BOX OFFICE Phone: (828) 862-2105 Web: brevardmusic.org Email: boxoffice@brevardmusic.org

LOCATION GUIDE Brevard Music Center Campus SA Straus Auditorium SH Searcy Hall WPA Whittington-Pfohl Auditorium

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Brevard College Campus IA Ingram Auditorium PC Porter Center Downtown Brevard TCL Transylvania County Library *Free Event B = Bernstein Festival

AUGUST 5 Season Finale: Bernstein's Mass 3:00pm WPA

PRE/POST SEASON SPECIAL PERFORMANCES • Brevard Blues & BBQ Festival - June 1 & June 2 • Adam Holzman & The Texas Guitar Quartet - June 7 • An Evening with Randy Brecker - June 8 • Jazz @ Brevard - June 14 • Béla Fleck's Blue Ridge Banjo Concert - August 18 Artists, programs, and prices are subject to change.

ENSEMBLES

ENSEMBLES Brevard Music Center Orchestra The Brevard Music Center Orchestra is BMC’s flagship ensemble led by Artistic Director Keith Lockhart and renowned guest conductors throughout the season. The majority of the Music Center’s instrumental faculty performs in the ensemble, leading sections of College Division students. Brevard Sinfonia Students in the Music Center’s College Division comprise the Brevard Sinfonia. This ensemble will present one performance each week beginning with a program featuring Keith Lockhart conducting an all-Bernstein program on Sunday, June 24. Brevard Concert Orchestra The Brevard Concert Orchestra features Brevard Music Center’s talented high school students. The BCO will present four concerts this season, including the Pendergrast Family Patriotic Pops on July 4, and a performance of The Planets with Maestro Lockhart on August 3. Brevard Festival Orchestra Comprised of Brevard’s artist faculty and College Division students, the Brevard Festival Orchestra is the central ensemble for opera productions and special concerts. Brevard Symphonic Winds High school woodwind, brass, and percussion students make up the Brevard Symphonic Winds led by Kraig Alan Williams. The BSW performs three concerts over the summer, including the Pendergrast Family Patriotic Pops concert on July 4. itch itch is an ensemble comprised of instrumentalists in the College Division who have demonstrated ability and interest in the performance of new music. The ensemble performs new works by BMC’s composition students in four New Music concerts throughout the summer.

BREVARD MUSIC CENTER ORCHESTRA

The following artist faculty and students comprise the Brevard Music Center Orchestra. Personnel for each concert vary, depending on the requirements of the repertoire. Principal players are listed first, followed (alphabetically) by artist faculty, and students. The roster of students is accurate as of May 15, 2018. VIOLIN Jonathan Carney*++ William Preucil*++ Sheryl Staples*++ Eric Wyrick*++ Dr. and Mrs. William J. Pendergrast Concertmaster Chair Benjamin Sung*+ Soh-Hyun Park Altino* Marjorie Bagley* Jay Christy* Margaret Karp* Jason Posnock* Tina Raimondi* Wendy Rawls* Corinne Stillwell* Byron Tauchi* Sommer Altier Yasha Borodetsky Camilla Caldwell Mariko De Napoli Sydney Ebersohl Michael Eller Jessica Folson Amanda Frampton Moe Gray Michael Hahn Paul Halberstadt Morielle Haller Ingang Han Brittany Hausman Xinyi Jiang Jes Kachanes Lindsay Keck Madeleine Klee Claudia Kubarycz-Hoszowska Matthew Lee Tong Li Zhiyou Low Anna Luebke Emmeline MacMillan Christina Minton Tracy Morgan Deborah Olivier Mae Leigh Patchin Brian Schmidt Juliet Schreiber Elizaveta Shaikhulina Euimin Shin

Eva Shvartcer Natalie Smith Nathan Sonnenfeld Fangye Sun Joseph Tornquist Nishad Vaidya Thea Camille Valmadrid Yen-Chun Wang Alayne Wegner Ise Yoshimoto Amy Zhang VIOLA Scott Rawls*+ Jacob Adams* Jennifer Snyder Kozoroz* Maggie Snyder* Juliet White-Smith* Jacob Anderson Michael Anderson Gia Angelo Teresa Bloemer Mallory Carnes Kuan-Hua Chen Rebecca Flank Sara Frankel Aidan Garrison Nathan Groot Sarah Hamrin Brittany Hoff Joy Hsieh Shek Wan Li Emily McCabe Kelly Ralston Hunter Sanchez Morgan Spevak Andrew Sprinkle CELLO Jonathan Spitz*+ Leonardo Altino* Susannah Chapman* Benjamin Karp* Alistair MacRae* Joshua Bermudez Geng Chen Jack Flores Benjamin Fryxell Natalie Galster-Manz Lucy Grossman Todd Humphrey

Olivia Katz Samuel Lam Aurora Lawrie Matthew Lei Lacee Link Cameron MacMillan Sydney Maeker Andrew McFarland Anthony Schnell Amelia Smerz Sophie Stubbs Jacob Surak Eliott Wells DOUBLE BASS Craig Brown*+ Walter Linwood Pendergrast Double Bass Chair Kevin Casseday* George Speed* Bailey Bennett Sarah Bryant Nicholas Burton Eleanor Dunlap Benjamin Friedland Nathan Graham Ian Grems Peter Kim Leonard Ligon Alexander Loeb Jonathon Piccolo Luke Rogers FLUTE Amy Porter*+ Martha Pendergrast Coursey Flute Chair Dilshad Posnock* Kari Boyer Alison Dettmer Ryan Norville Deanna Pyeon Aaron Rib Chi Ting

2018 Summer Institute & Festival

BREVARD MUSIC CENTER BMCO Roster Continued OBOE Eric Ohlsson*+ Emily Brebach* Adrian Gonzalez William Jones Trevor Mansell Matthew Maroon Kelley Tracz Antonio Urrutia CLARINET Steve Cohen*+ Benjamin Freimuth* Torin Bakke Irina Chang Emily Manheimer Kenton Venskus Katia Waxman Claire Werling BASSOON William Ludwig*+ Sue Barber* Andrew Flurer Rachel Frederiksen Ian Morin Nathan Morris Bridget Piccirilli Marissa Takaki

SAXOPHONE Joseph Lulloff*+ Henning Schrรถder*+ Megan Elks Christopher Forbes Michael Matthews Nathan Salazar HORN Elizabeth Freimuth*+ Stefan de Leval Jezierski*+ Hazel Dean Davis* Robert Rydel* Valerie Ankeney Elizabeth Antici Nathan Goldin Torrin Hallett Rachelle Huffman Cooper Johnson Vincent Kiray Maxwell Paulus Thomas Vienna Helen Wargelin TRUMPET Neal Berntsen*+ Robert Sullivan*+ Joe R. Utley Trumpet Chair Mark Schubert*

Shea Kelsay Nathan Little David Nakazono Hyojoon Park Sean Whitworth

Michael Giunta Nathan Holzberg Daniel Moell Jackson Riffle Yonatan Rozin

TROMBONE David Jackson*+ Timothy Maines Patrick McGihon Ryan Murray

HARP Allegra Lilly*+ Ginevra Bridges Isabella Coty Sara Kawai Mia Venezia

BASS TROMBONE Dan Satterwhite*+ Simon Lohmann TUBA Aubrey Foard*+ Evan Zegiel TIMPANI Charles Ross*+ William Jefferson Pendergrast, Jr. Percussion Chair PERCUSSION David Fishlock*+ Gerald Noble*+ William Brown

KEYBOARD Jihye Chang*+ Michael Chertock*+ Deloise Lima*+ Hannah Bossner Gongming Jiang Thomas Ryskamp Gabriel Schirn Grace Spicuzza ++Concertmaster +Principal *Artist Faculty

BREVARD SINFONIA

The following student ensemble list is alphabetical and accurate as of May 15, 2018. The personnel for each concert vary depending on the requirements of the repertoire. VIOLIN Sommer Altier Yasha Borodetsky Camilla Caldwell Mariko De Napoli Sydney Ebersohl Michael Eller Jessica Folson Amanda Frampton Moe Gray Michael Hahn Paul Halberstadt Morielle Haller Ingang Han Brittany Hausman Xinyi Jiang Jes Kachanes Lindsay Keck Madeleine Klee Claudia Kubarycz-Hoszowska Matthew Lee Tong Li

32 Overture

Zhiyou Low Anna Luebke Emmeline MacMillan Christina Minton Tracy Morgan Deborah Olivier Mae Leigh Patchin Brian Schmidt Juliet Schreiber Elizaveta Shaikhulina Euimin Shin Eva Shvartcer Natalie Smith Nathan Sonnenfeld Fangye Sun Joseph Tornquist Nishad Vaidya Thea Camille Valmadrid Yen-Chun Wang Alayne Wegner Ise Yoshimoto Amy Zhang

VIOLA Jacob Anderson Michael Anderson Gia Angelo Teresa Bloemer Mallory Carnes Kuan-Hua Chen Rebecca Flank Sara Frankel Aidan Garrison Nathan Groot Sarah Hamrin Brittany Hoff Joy Hsieh Shek Wan Li Emily McCabe Kelly Ralston Hunter Sanchez Morgan Spevak Andrew Sprinkle

CELLO Joshua Bermudez Geng Chen Jack Flores Benjamin Fryxell Natalie Galster-Manz Lucy Grossman Todd Humphrey Olivia Katz Samuel Lam Aurora Lawrie Matthew Lei Lacee Link Cameron MacMillan Sydney Maeker Andrew McFarland Anthony Schnell Amelia Smerz Sophie Stubbs Jacob Surak Eliott Wells

ENSEMBLES Brevard Sinfonia Roster Continued DOUBLE BASS Bailey Bennett Sarah Bryant Nicholas Burton Eleanor Dunlap Benjamin Friedland Nathan Graham Ian Grems Peter Kim Leonard Ligon Alexander Loeb Jonathon Piccolo Luke Rogers FLUTE Kari Boyer Alison Dettmer Ryan Norville Deanna Pyeon Aaron Rib Chi Ting OBOE Adrian Gonzalez William Jones Trevor Mansell

Matthew Maroon Kelley Tracz Antonio Urrutia CLARINET Torin Bakke Irina Chang Emily Manheimer Kenton Venskus Katia Waxman Claire Werling BASSOON Andrew Flurer Rachel Frederiksen Ian Morin Nathan Morris Bridget Piccirilli Marissa Takaki SAXOPHONE Megan Elks Christopher Forbes Michael Matthews Nathan Salazar

HORN Valerie Ankeney Elizabeth Antici Nathan Goldin Torrin Hallett Rachelle Huffman Cooper Johnson Vincent Kiray Maxwell Paulus Thomas Vienna Helen Wargelin TRUMPET Shea Kelsay Nathan Little David Nakazono Hyojoon Park Sean Whitworth TROMBONE Timothy Maines Patrick McGihon Ryan Murray

TUBA Evan Zegiel TIMPANI & PERCUSSION William Brown Michael Giunta Nathan Holzberg Daniel Moell Jackson Riffle Yonatan Rozin HARP Ginevra Bridges Isabella Coty Sara Kawai Mia Venezia KEYBOARD Hannah Bossner Gongming Jiang Thomas Ryskamp Gabriel Schirn Grace Spicuzza

BASS TROMBONE Simon Lohmann

BREVARD CONCERT ORCHESTRA/BREVARD SYMPHONIC WINDS

The following student ensemble list is alphabetical and accurate as of May 15, 2018. The personnel for each concert vary depending on the requirements of the repertoire. VIOLIN Alexander Apicella-Adams William Arnold Alaina Barnett Rebecca Bowers Jenny Choi Mitchell Cloutier Mila Coleman Naomi Fan Laura Harrington Krystal Hsieh Makena James Emma Joyce Julia Kebuladze Grace Lee Myles McKnight Gordon Meeks Danielle Najarian Mackenzie Nies Ella Rawls Thomas Sarsfield Fuyuto Shigihara Harriet Skowronek Kathryn Sokol

Ryan Staub Christine Tran Stella Vujic Olivia Ward Zoe Willingham Aleksi Zaretsky VIOLA Damaris Billups Ariana Blevins Adam Brotnitsky Margot Cunningham Noah Eagle Swaycha Goli Hannah Langenbach Charlotte Lohmann Katherine MacKenzie Jenna McGeoch Phoebe Propst Joshua Singletary Rachel Stokol Michaela Stones Cora Tenenbaum

CELLO Alyssa Fetters Sarah Garretson Andrew Gillett David Graf Simone Hsu Casey Johnson Anna Jurling Chun Pei Li Harrison Marable Lindsay McKenna Ariel Najarian Caleb Slate Michael Tynes DOUBLE BASS Katelynn Baker Xavier Baker Hollie Greenwood Jacob Hoch Jesse Lear Lydia Nusbaum Alexander Wallack Hanna Wilson-Smith

FLUTE Sophia Brinkman Maximilian Goolsbey Rosa Kleinman Joseph O'Neill Joeli Schilling Joy Tan OBOE Bryn Carrier Michał Cieślik Lauren Derflinger Jacob Duff Michael Lazzaro Gennavieve Wrobel CLARINET Eric Butler Jacob Byers Alexander Cha Jason Chen Angelo Ciriello Aaron Lipsky

2018 Summer Institute & Festival

BREVARD MUSIC CENTER Brevard Concert Orchestra / Brevard Symphonic Winds Roster Continued BASSOON Leah Cocco Emma Eisenberg Thomas Klink Chloe Robbins Beck Rusley Zachary VonCannon SAXOPHONE Margaret Camp Megan Elks Michael Ethier Christopher Forbes Michael Matthews Nathan Salazar

FRENCH HORN Isaiah Adderholdt Gretchen Berendt Brennan Bower Emily Howell Grace Kim Keegan McCardell James Picarello Paige Quillen AndrÃ© Richter William Sands

Shannon Niland Carlos Richter Richard Stinson

TRUMPET Paul Armitage Gabriel Chalick David Green James Martin

TUBA Joel Horton Kenneth Ryerson

TROMBONE Gavin Kelley John Roselli Philip Williams BASS TROMBONE Richard Fox

TIMPANI & PERCUSSION Zachary Courtney Noah Mallett Alyssa Prichard Hannah Robins Julian Saint Denis Eric Whitmer HARP Sophie Thorpe KEYBOARD Hannah Bossner Gongming Jiang Thomas Ryskamp Gabriel Schirn Grace Spicuzza

JAZZ @ BREVARD

The following student ensemble list is alphabetical and accurate as of May 15, 2018. ALTO SAXOPHONE David Galli Eric Law Andrew Long Kevin Oliver John Pfeiffer Jason Zhu TENOR SAXOPHONE Roland Burnot Joseph Dowdy Jay Hammond Charles Jordan Adam Lord Trevor Mather Jonah Sutinen Liam Trawick BARITONE SAXOPHONE Andrew Duncan Adithya Sriram

34 Overture

TRUMPET Emerson Borg Sam Butler Benjamin Carroll Gabriel Chalick Andrew Esch Kathrine Hamann Taylor Hubbard Romel Sims Jermaine White Miles White TROMBONE Joel Ballard Alvin Bao Evan Byrd Ian Calhoun Wyatt Forhan Benjamin Lafo Leo Markel Grayson Mayne Zachary McRary Pablo Muller

Tyler Quick Altin Sencalar Matthew Sietsema Jackson Spellman Jordan Strominger Jack Trathen BASS Benjamin Chase Ramon Garcia-Martinez Leighton Harrell Liany Mateo Jonathan Muir-Cotton John O'Keefe Aidan Taylor Scott Wente Charles Wesselkamper Joshua Williams VOCALS Erika Hallenbeck Mary Steinbrecher

GUITAR Joshua Achiron Nathan Borton Anthony Oro Kathleen Yedor PIANO/ORGAN Andre Crawford Margherita Fava Neil Krzeski Clifton Metcalf Jonah Trudeau DRUMS Jacob Fleenor Malcolm Jackson Ahmad Johnson Jacob Metcalf Simon Metzger Sam Rosselot Aaron Wollfolk Will Younts

PRE-SEASON AT BMC

ADAM HOLZMAN AND THE TEXAS GUITAR QUARTET Thursday, June 7 at 7:30 PM Porter Center at Brevard College

Classical guitarist Adam Holzman’s “virtuosic technique” takes center stage alongside TxGQ’s daring, expressive arrangements.

JAZ Z @ B R EVAR D AN EVENING WITH RANDY BRECKER

Friday, June 8 at 7:30 PM Porter Center at Brevard College The “compositional genius” and multi-GRAMMY Awardwinning jazz trumpeter whose performances have graced hundreds of albums by artists—ranging from James Taylor and Bruce Springsteen to Frank Sinatra, Steely Dan, and Frank Zappa.

Michael Dease, director

JAZZ @ BREVARD

Thursday, June 14 at 7:30 PM Porter Center at Brevard College An evening to celebrate Brevard’s Jazz Institute, featuring BMC’s all-star faculty, guests & students.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

THURSDAY, JUNE 21 7:30 PM PORTER CENTER AT BREVARD COLLEGE OPERA'S GREATEST HITS Brevard Festival Orchestra Michael Sakir, conductor Janiec Opera Company of the Brevard Music Center

STRAUSS, JR Overture to Die Fledermaus (1825-1899) Brevard Festival Orchestra

"What a joy to be here!" from Die Fledermaus Janiec Opera Company VERDI "Un di, se ben rammentomi... Bella figlia dell’amore" (1813-1901) Act III Quartet, Rigoletto Rigoletto: Andrew René Duke: Victor Cardamone Gilda: Hannah Friesen Maddalena: Liz Culpepper MOZART “Soave sia il vento” Act I Trio, Così fan tutte (1756-1791) Fiordiligi: Avery Peterman Dorabella: Esther Atkinson Don Alfonso: Samuel Rachmuth "Sola, sola in buio loco..." Act II Sextet, Don Giovanni Donna Anna: Christine Boddicker Donna Elvira: Andrea Tulipana Zerlina: Myah Paden Don Ottavio: Cody Galyon Masetto: Ian Bolden Leporello: Kyle Bejnerowicz PUCCINI "Io so che alle sue pene" Act III Trio, Madama Butterfly (1858-1924) Suzuki: Tori Franklin Pinkerton: Victor Cardamone Sharpless: Robert Fridlender "Dunque è proprio finita" Act III Quartet, La bohème Mimi: Bizhou Chang Rodolfo: Miles Jenkins Musetta: Lucia Helgren Marcello: Scott Ballantine ROSSINI "Zitti, zitti, piano, piano" Act II Trio, Il Barbiere di Siviglia (1792-1868) Rosina: Virginia Reed Almaviva: Samuel DeSoto Figaro: David Gindra 36 Overture

THURSDAY, JUNE 21 PUCCINI "In un coupè?" Act IV Duet, La bohème (1858-1924) Marcello: Luke MacMillan Rodolfo: Jeremy Ayres Fisher

INTERMISSION

BIZET "Nous avons en tête une affaire..." Act II Quintet, Carmen (1838-1875) Frasquita: Christine Boddicker Mercédès: Megan Graves Carmen: Caroline Hewitt Remendado: Samuel DeSoto Dancaire: Matthew Huckaba DELIBES "Flower Duet" Act I, Lakmé (1836-1891) Lakmé: Danielle Bavli Mallika: Hannah Shea STRAUSS, JR “How engaging, how exciting…” Act II Duet, Die Fledermaus (1825-1899) Eisenstein: Scott Ballantine Rosalinda: Andrea Tulipana DONIZETTI “Chi mi frena in tal momento” (1797-1848) Act II Sextet, Lucia di Lammermoor Lucia: Emily Gallagher Alisa: Megan Graves Arturo: Samuel DeSoto Edgardo: Jeremy Ayres Fisher Raimondo: Zizhao Wang Enrico: Andrew René Chorus

OFFENBACH "Hélas! mon coeur s'égare encore!" (1819-1880) Act III Sextet, Les contes d'Hoffmann Giulietta: Virginia Reed Hoffmann: Victor Cardamone Dapertutto: Ian Bolden Nicklausse: Myah Paden Pitichinaccio: Cody Galyon Schlemil: Matthew Huckaba Chorus VERDI “Libiamo, ne’ lieti calici” Act I, La Traviata (1813-1901) Violetta: Hannah Friesen Alfredo: Miles Jenkins Chorus

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

FRIDAY, JUNE 22 7:30 PM WHITTINGTON-PFOHL AUDITORIUM OPENING NIGHT WITH OLGA KERN Brevard Music Center Orchestra Keith Lockhart, conductor Olga Kern, piano

Official piano of the Brevard Music Center

BARTÃ&#x201C;K Concerto for Orchestra (1881-1945) Introduzione: Andante non troppo. Allegro vivace Giuoco delle coppie: Allegretto scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto

INTERMISSION

RACHMANINOFF Piano Concerto No. 2 in C minor, Op. 18 (1873-1943) Moderato Adagio sostenuto Allegro scherzando Ms. Kern, piano BMC Alumnus

38 Overture

FRIDAY, JUNE 22 BÉLA BARTÓK (1881-1945) Concerto for Orchestra Premiered on December 1, 1944, in Symphony Hall, Boston, conducted by Serge Koussevitzky. If great works of art are like multi-layered onions, Bartók’s Concerto for Orchestra would be one giant onion. Like so many artists, Bartók left war-torn Europe to escape the destruction and violence. Sadly, he soon developed leukemia and died just as World War II was ending. His last major work is more than just a summation of his compositional journey, it is his crowning achievement. More importantly, it is a highly personal work that reveals an unbending spirit in the face of great adversity. It is also a testament to humanity in the midst of the war’s horrors. Let’s strip away some of these layers by working our way through each movement. Bartók explains that, “the title of this symphony-like orchestra work is explained by its tendency to treat the single instruments or instrument groups in a soloistic manner.” The first movement bears out Bartók’s explanation of his chosen title. The soloistic writing finds its roots in Bartók’s research of Eastern European folk music. The Koussevitzky Foundation had commissioned the work, knowing of Bartók’s serious health problems and his financial struggles. In response, Bartók was happy to share the beauty of the countries now in ruins. In “Giuoco delle copie” (Game of Pairs) Bartók explores the Croatian tradition of two-part singing in minor seconds, which he combines with the ancient chant “Veni, redemptor gentium” (Come, Redeemer of the Nations). This “jesting” second movement might represent the joy found in otherwise dire circumstances and the hope of redemption and peace, as the ailing composer had found it difficult to adjust to life in New York. Bartók describes the third movement as a “lugubrious deathsong,” expressing his sorrow over Hungary, the country he had to leave behind. Early in his career, the composer had become known for his highly expressive and dark “night music,” a style perfectly suited for this elegy. The most perplexing movement is the “Interrupted Intermezzo,” for we don’t know what is being interrupted and what the interruption really means. All we can say is that the interruption is not a good thing, as it seems to derail an otherwise happy gathering. The last movement is massive and takes up about half the score. Yet it is, as Bartók calls it, a “life-asserting” ending in the face of continued war and terminal illness. More than a summation of Bartók’s experience as composer and human being, it is a work of hope. And that is surely the main reason for its immediate and lasting success.

SERGEI RACHMANINOFF (1873-1943) Piano Concerto No. 2 in C minor, Op. 18 Premiered on November 9, 1901, in Moscow under the direction of Alexander Siloti with the composer as soloist. If there were a conservatory in Hell, if one of its talented students were instructed to write a program symphony on the “Seven Plagues of Egypt,” and if he were to compose a symphony like Mr. Rachmaninoff’s, then he would have fulfilled his task brilliantly and would bring delight to the inhabitants of Hell. This was part of César Cui’s review of Rachmaninoff’s First Symphony. The young composer was so devastated that he destroyed any materials associated with this piece (a piano version turned up later, which showed that Rachmaninoff redeemed himself with his last composition, the Symphonic Dances). He was unable to compose anything for the next three years. Only with the help of music-loving physician and hypnotist Dr. Nikolai Dahl was he able to work through his deep depression. Rachmaninoff writes: I heard the same hypnotic formula repeated day after day while I lay half asleep in the armchair in Dahl’s study. “You will write a Concerto. ... You will work with great facility. ... It will be excellent.” ... Although it may sound incredible, this cure really helped me. By the autumn I had finished two movements of the Concerto. The result is his stunning Second Piano Concerto, which would become the most often performed concerto of the 20th century—much to the chagrin of the progressives who viewed Rachmaninoff’s music as Romantic, and thereby hopelessly outdated. While he might have composed a conventional, Romantic piano concerto, there are nevertheless several imaginative elements. Most surprising is the role of the piano. Opening the piece with rolled chords, the pianist is actually the accompanist embellishing the memorable first theme introduced by the strings. When the pianist assumes her prominent role for the first time, she presents the second theme—a feature that had made Rachmaninoff very nervous (“When I begin the second theme no fool would believe it to be a second theme”). For the rest of the movement, the piano continues its ensemble role while, at the same time, dazzling with brilliant bravura passages. The second movement almost becomes chamber music, as the pianist switches roles frequently between accompanist and soloist. At the heart of the movement (and the whole work) is Rachmaninoff’s unforgettable tunes. But the most memorable tune of the whole work is the second theme of the last movement. Rachmaninoff’s ability to balance virtuosity, melodiousness, and ensemble playing creates a finale unequaled in 20th-century repertoire. - Siegwart Reichwald

The work was dedicated to Dr. Nikolai Dahl, who helped Rachmaninoff overcome his “writer’s block.”

2018 Summer Institute & Festival

BREVARD MUSIC CENTER LEAD SPONSOR BMC Presents Series

SATURDAY, JUNE 23 7:30 PM WHITTINGTON-PFOHL AUDITORIUM

Hampton Inn - Brevard SUSTAINING SPONSOR

BMC PRESENTS: THE MANHATTAN TRANSFER The Manhattan Transfer remains a cornerstone for great pop and jazz hits, a legacy that the group has cemented since their first recording, in 1972. The legendary quartet has been awarded 10 GRAMMY Awards of 20 nominations and has been inducted into the Vocal Group Hall of Fame. Trist Curless has now officially become a member of the group, joining Janis Siegel. Alan Paul, Cheryl Bentyne, all of whom are conscious of maintaining the integrity and artistry left by founding member Tim Hauser who passed away in 2014. The Manhattan Transfer was born when Tim Hauser was paying his bills by driving a New York City cab while aspiring to form a harmony vocal quartet that could authentically embrace varied musical styles, and still create something wholly unique in the field of American popular song. Through driving a taxi, he met the next members of the legendary group–Laurel Massé and Janis Siegel. Alan Paul, who was appearing in the Broadway cast of “Grease” at the time, was recommended as the additional male voice and the four became The Manhattan Transfer on October 1, 1972. Cheryl Bentyne joined The Manhattan Transfer in 1979, replacing Laurel. In 1974 the group began performing regularly throughout New York City at Trude Heller’s, Mercer Arts Center, Max’s Kansas City, Club 82, and other cabaret venues. By the end of the year they were the number one live attraction in New York City. They were signed to Atlantic Records and released their self-titled debut in 1975. The second single, a remake of the gospel classic “Operator,” gave the group their first national hit. The band was soon tapped to helm a weekly hourlong summer replacement comedy-variety show, which premiered on CBS on August 10, 1975. Their next two albums, Coming Out and Pastiche, brought them a string of Top 10 hits in Europe and produced a #1 smash in Britain and France with “Chanson d’Amour.”1979’s Extensions earned The Transfer another smash with “Twilight Zone/Twilight Tone.” The vocal remake of the classic “Birdland” became recognized as the group’s anthem and earned them their first two GRAMMY Awards, Best Jazz Fusion Performance Vocal or Instrumental and Best Vocal Arrangement for a Duo or Group (Janis Siegel, arranger). In 1981, they became the first group ever to win GRAMMY Awards in both Pop and Jazz categories in the same year – Best Pop Performance by a Duo or Group with Vocal for “Boy From New York City” and Best Jazz Performance Duo or Group for “Until I Met You (Corner Pocket).” That was followed by “Route 66.” The next two years, the group won consecutive GRAMMY Awards in the Best Jazz Vocal Performance Duo or Group. The 12 GRAMMY nominations they received for Vocalese in 1985 made it second to Michael Jackson’s Thriller as the most nominated album in one year ever, and cemented the group’s status as one of the most important and innovative vocal groups in the history of popular music. The band’s next studio album, the ground breaking Brasil, won the GRAMMY for Best Pop Performance by a Duo or Group. Their GRAMMY wins continued into the ‘90s with “Sassy” from The Offbeat of Avenues followed by the top-selling The Christmas Album. They expanded their repertoire to include The Manhattan Transfer Meets Tubby the Tuba, a children’s album, and their 1997 Swing which covered 1930s-era swing music. They are responsible for 19 singles and 29 albums over their stellar career and their music has been featured in major feature films and television shows. The group has also recorded with an impressive roster of artists including Tony Bennett, Bette Midler, Smokey Robinson, Laura Nyro, Phil Collins, B.B. King, Chaka Khan, James Taylor, and Frankie Valli. With sold-out world tours and worldwide record sales in the millions, The Manhattan Transfer celebrates its 45th Anniversary to bring unique and extraordinary infused vocal magic to their generations of fans!

40 Overture

SATURDAY, JUNE 23 SUNDAY, JUNE 24

SUNDAY, JUNE 24 3:00 PM WHITTINGTON-PFOHL AUDITORIUM

This project is supported in part by an award from the National Endowment for the Arts

BELOVED BERNSTEIN Brevard Sinfonia Keith Lockhart, conductor

BERNSTEIN Overture to Candide (1918-1990)

BERNSTEIN Fancy Free Big Stuff Enter the Sailors Scene at the Bar Enter Two Girls Pas de deux Variation 1: Gallop Variation 2: Waltz Variation 3: Danzon Finale

BERNSTEIN Three Dance Episodes from On the Town Great Lover: Allegro pesante Lonely Town: Pas de deux Times Square – 1944: Allegro

INTERMISSION

BERNSTEIN Divertimento for Orchestra 1. Sennets and Tuckets 2. Waltz 3. Mazurka 4. Samba 5. Turkey Trot 6. Sphinxes 7. Blues 8. March: “The BSO Forever” BERNSTEIN Symphonic Suite from On the Waterfront Andante (with dignity). Presto barbaro Adagio. Allegro molto agitato. Alla breve Andante largamente. More flowing. Lento Moving forward. Largamente. Andante come prima Allegro non troppo, molto marcato. Poco più sostenuto A tempo (Poco più sostenuto)

BMC Alumnus

2018 Summer Institute & Festival

BREVARD MUSIC CENTER LEONARD BERNSTEIN (1918-1990) Overture to Candide Candide opened on Broadway on December 1, 1956 under the direction of Tyrone Guthrie and conducted by Samuel Krachmalnick. Only Bernstein would be able to write a comic operetta based on a Voltaire novel produced on Broadway. Despite (or maybe because) of its initial lack of success, Bernstein would continually revise the work for the rest of his career. Candide was clearly important to him. The overture, which quickly took on a life of its own in the concert hall, gives us a glimpse of Bernstein’s genius. Conceived as a rather conventional overture, it showcases the wit, cleverness, and refinement of a work that can be thoroughly enjoyed by the casual listener and withstand rigorous analysis by the serious scholar—an achievement only the best opera composers can claim. Its clarity of expression is so vivid that absolutely no introduction or musical explanation are needed. Simply enjoy! Fancy Free Premiered on April 18, 1944, in New York. Sunday, November 14, 1943. The virtually unknown 25-yearold new assistant conductor of the New York Philharmonic is asked to fill in at the last minute for the great maestro Bruno Walter. The Carnegie Hall concert is broadcast live to millions of listeners all across the US. Bernstein’s memorable performance made him famous overnight: The first American born and trained great conductor! Astonishing as Bernstein debut was, it is even more astonishing that Bernstein was at the same time working on a score world’s away from Carnegie Hall. While sitting in the Russian Tea Room, Bernstein composed a little tune which he wrote down on a napkin. Later that day, dancer and choreographer Jerome Robbins introduced himself to Bernstein in order to propose a collaboration on something jazzy. Bernstein played the tune on his napkin for Robbins, and the idea for Fancy Free was born—along with one of the most important collaborations of the twentieth century. Bernstein offered the following synopsis: From the moment the action begins, with the sound of a juke box wailing behind the curtain, the ballet is strictly wartime America, 1944. The curtain rises on a street corner with a lamp post, a side-street bar, and New York skyscrapers pricked out with a crazy pattern of lights, making a dizzying backdrop. Three sailors explode onto the stage. They are on twenty-four-hour shore leave in the city and on the prowl for girls. The tale of how they meet first one, then a second girl, and how they fight over them, lose them, and dash off after still a third, is the story of the ballet. Three Dance Episodes from On the Town Premiered on February 13, 1946, in San Francisco with the composer conducting. Encouraged by the success of Fancy Free, Bernstein composed a sequel of sorts. This time three sailors explore the great city of New York on their 24-hour leave. The show On the Town opened on Broadway in December 1944 and was an instant hit. In fact, MGM acquired film rights that same year, and released a movie in 1949, starring Gene Kelly and Frank Sinatra. Bernstein

42 Overture

realized an opportunity to take some of the Broadway music and turn it into a concert piece by crafting Three Dance Episodes from On the Town. Again, Bernstein gives us the story line: In the Dance of the Great Lover, Gaby, the romantic sailor in search of the glamorous Miss Turnstiles, falls asleep in the subway and dreams of his prowess in sweeping Miss Turnstiles off her feet. In the Pas de Deux, Gaby watches a scene, both tender and sinister, in which a sensitive highschool girl in Central Park is lured and then cast off by a worldly sailor. The Times Square Ballet is a more panoramic sequence in which all the sailors in New York congregate in Times Square for their night of fun. There is communal dancing, a scene in a souvenir arcade, and a scene in the Roseland Dance Palace. Divertimento for Orchestra Premiered on September 25, 1980, in Boston under the direction of Seiji Ozawa. Composed for the Boston Symphony Orchestra’s centennial, the work was surely a labor of love. Born in Lawrence, MA, graduate of the Boston Latin School and Harvard University, Bernstein could look back on a long and successful career as composer and performer. He etched the pitches B (Boston) and C (Centennial) into the score in celebration of this great institution that had meant so much for his career as assistant conductor under the legendary Serge Koussevitzky. Symphonic Suite from On the Waterfront Premiered on August 11, 1955, at Tanglewood under the direction of the composer. If you are looking for a good classic movie to watch, On the Waterfront is a must-see. This 1954 movie starring Marlon Brando is No. 8 on the American Film Institute’s list of top American movies of all time. It is an iconic depiction of corruption in a New Jersey dockworkers union. While it might come as a surprise that this movie is Bernstein’s only attempt at writing movie music, it is understandable that a composer does not want his music relegated to the background. Bernstein once said, “it is musically unsatisfactory for a composer to write a score whose chief merit ought to be its unobtrusiveness.” There is nothing unobtrusive about the suite Bernstein extracted from the movie, as he took control of his own compositional material. This work is really much more interwoven than the title “suite” might suggest. The “movements” are actually sections of a larger compositional construct—more along the lines of a tone poem. At the heart of the piece is Terry’s theme (Marlon Brando’s character), heard from the horn right at the outset. Throughout the composition the theme is constantly transformed, as Terry struggles to find his place and identity in the gritty urban mob environment. Bernstein’s use of driving mixed meters and bright, brassy sounds anticipates his West Side Story, which Bernstein would write the following year. At the heart of the suite is the fourth movement, which uses the music from the rooftop scene about the young lovers, Terry and Edie. The suite ends climactically with Terry’s theme transformed to portray the battered hero. - Siegwart Reichwald

MONDAY, JUNE 25 MONDAY, JUNE 25 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE BMC ARTIST FACULTY: DVORÁK BASS QUINTET

CASTÉRÈDE Sonatine for Trombone and Piano (1926-2014) Allegro vivo Andante sostenuto Allegro David Jackson, trombone Norman Krieger, piano

SIMON Step Inside (1985-) Henning Schröder, soprano saxophone Gerald Noble, marimba

INTERMISSION DVOŘÁK String Quintet No. 2 in G major, Op. 77 (1841-1904) Allegro con fuoco Scherzo: Allegro vivace Poco andante Finale: Allegro assai Marjorie Bagley, violin Margie Karp, violin Jenny Kozoroz, viola Benjamin Karp, cello Craig Brown, bass

BMC Alumnus

2018 Summer Institute & Festival

BREVARD MUSIC CENTER JACQUES CASTÉRÈDE (1926-2014) Sonatine for Trombone and Piano Castérède’s stock as composer has been steadily on the rise lately. Initially somewhat marginalized for writing in a style that privileges tonality, melody, and regular pulsation at a time when modernism held sway, his approachable musical language has won over audiences around the world. Castérède had always been considered a technically superb composer, winning the Prix de Rome and then being appointed as professor of solfège and analysis. His Trombone Sonatine exemplifies his refined compositional style. Composed in Rome in 1957, the work explores the technical and expressive possibilities of the trombone to its limits. The term sonatine (little sonata), however, is misleading, as this piece is is a work full of rich content and a worthy addition to the canon of brass chamber music. GREG SIMON (1985-) Step Inside Composer’s program note: Step Inside is a fantasia on the work of French street artist Julien Malland, a.k.a. “Seth GlobePainter.” In his work, Malland (or “Seth”) creates images of young people gazing, stepping, or diving into surreal fields of color and imaginary (sometimes horrifying) creatures. The sprawling murals can take up a city block or the face of a building. Seth’s work combines childlike innocence and playfulness with a surrealist sensibility inherited from the likes of Dali and Braque; however, the viewer encounters it not in a manicured art gallery, but on the streets of their city. The harmony he achieves with these elements is like no other artistic work I’ve ever seen. I hesitate to say that Step Inside is a narration of the experience of Seth’s viewers, or his characters, or even the artist himself. The piece was inspired by imagining the experience of one of Seth’s subjects “stepping inside” his colorful otherworlds; but as I composed, visualizing their emotions of excitement and curiosity (and maybe a bit of fear), they began to feel universally resonant. In a way, we “step inside” a similarly alien realm whenever we listen to a new piece, read a new book, visit a new place. We unlock new worlds by revealing our true selves to friends or strangers; we perceive the chimerical nature of the unknown in experiencing anything for the first time. In my own life, every morning’s act of sitting down at the writing desk is a leap into new worlds which may inspire, intimidate, bore, or even destroy. The very act of composing is an act of stepping inside.

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So, Step Inside might be an attempt to capture all of these elements and the cartoonish, fantastical quality that defines Seth’s work. The music could be said to reflect the realm of the imagination, so beautifully represented in these paintings. It could also be said to portray the realm of reality: perhaps a pair of street musicians, playing rhythmic and improvisatory music on a corner near a GlobePainter mural. Or it could just be a musical journey through the real and imagined experience of the new: the moments of uncertainty and temptation, the sense of danger, and the tense breath before finally summoning courage and taking the first step. ANTONÍN DVORÁK (1841-1904) String Quintet No. 2 in G major, Op. 77 Premiered on March 18, 1876, in Prague. Dvořák wrote more chamber music than any other prominent 19th-century composer—and for good reason. As a seasoned viola player, Dvořák was quite literally in the middle of it. Not surprisingly, his Opus 1 was a string quintet with two violas—a youthful work that betrayed his training as violist. Fast forward fourteen years to 1875. Dvořák’s second string quintet is the work of a master, whose primary aim is artistic expression. Instead of a second viola, Dvořák adds a bass part, giving it the nickname “Bass Quintet.” Conceived as a five-movement serenade, it became Opus 18 in Dvořák’s catalog. For whatever reason, he decided not to publish it and set it aside—only to return to it thirteen years later. Maybe realizing that it was too serious for a serenade, Dvořák discarded one of the middle movements and made other minor revisions. When his publisher Simrock sent him the score, Dvořák was surprised to see it published at Opus 77, belying its earlier composition date. Regardless of the opus number, the work charms the listener with its infectious Czech accent synonymous with Dvořák. Each expertly written movement explores different aspects of the Czech-infused melodies and rhythms. As it turns out, the nickname “Bass Quintet” is appropriate, as Dvořák had realized the latent possibilities of the added bass in his quest for folk-like expression.

TUESDAY, JUNE 26 TUESDAY, JUNE 26 7:30 PM WHITTINGTON-PFOHL AUDITORIUM Produced in collaboration with Mountain Song Productions

LEAD SPONSOR BMC Presents Series

Hampton Inn - Brevard LEAD SPONSOR Platt Architecture, P.A.

BMC PRESENTS: STEEP CANYON RANGERS WITH ORCHESTRA Brevard Festival Orchestra Ken Lam, conductor Steep Canyon Rangers Fiddle player Nicky Sanders began studying classical violin at the age of five and acted as Woody Platt acoustic guitar, lead vocals Concertmaster of the Young People’s Symphony Graham Sharp banjo, lead/harmony vocals Orchestra in Berkeley, CA. He later attended Mike Guggino mandolin, harmony vocals Berklee College of Music in Boston, studying classical and jazz violin performance, as well as Nicky Sanders fiddle, vocals 20th Century classical music composition. Mike Ashworth box kit, cajón, vocals Barrett Smith upright bass

With OUT IN THE OPEN, Steep Canyon Rangers affirm their place as one of the most versatile bands in contemporary American music. The GRAMMY Award-winning sextet has spent nearly two decades bending and shaping the bluegrass aesthetic, wedding it to elements of pop, country, and folk rock to create something original. OUT IN THE OPEN is the Rangers bravest excursion thus far, transcending bluegrass while also getting closest to the genre’s true form thanks to 3x GRAMMY Award-winning producer Joe Henry’s traditional approach toward recording. Since Steep Canyon Rangers came together in 2000, they have developed a remarkable catalogue of original music that links them to the past while also demonstrating their ambitious intent to bring string-based music into contemporary relevance. In July 2017, Steep Canyon Rangers arrived at Fidelitorium Recordings, an intimate studio facility built, owned, and operated by legendary producer Mitch Easter. The band soon discovered that their producer–along with engineer/mixer Jason Richmond–intended to record all six members singing and playing in a room with no overdubs. The organic process allowed SCR to work fast, tracking a dozen songs in just three-and-a-half days. Steep Canyon Rangers are easily among the hardest working bands in any genre, pulling double duty on their own and as collaborators with Steve Martin. OUT IN THE OPEN is an undeniable milestone on the Rangers ongoing creative journey. As they approach their second decade, Steep Canyon Rangers are still moving forward, searching for new horizons and musical vistas.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

WEDNESDAY, JUNE 27 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE BMC ARTIST FACULTY: MOZART AND FAURÉ

MOZART Violin Sonata in E flat major, K. 302 (1756-1791) Allegro Rondo: Andante Grazioso Soh-Hyun Park Altino, violin Douglas Weeks, piano

MOZART Quintet for Piano and Winds in E flat major, K. 452 (1756-1791) Largo. Allegro moderato Larghetto Allegretto

Eric Ohlsson, oboe Steve Cohen, clarinet William Ludwig, bassoon Liz Freimuth, horn Norman Krieger, piano INTERMISSION FAURÉ Piano Quartet No. 1 in C minor, Op. 15 (1845-1924) Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto Jonathan Carney, violin Margaret Snyder, viola Susannah Chapman, cello Donna Lee, piano

46 Overture

WEDNESDAY, JUNE 27 WOLFGANG AMADEUS MOZART (1756-1791) Violin Sonata in E flat major, K. 302 If you want to hear a Mannheim steamroller, you’ve come to the right place. Not the group, Mannheim Steamroller, but the 18th-century compositional technique (from which the group took its name). The Mannheim orchestra under the direction of Johann Stamitz was considered the greatest orchestra of its time. Musical writer Charles Burney called them “an army of generals,” and their high performance standards inspired a whole generation of composers, including Haydn and Mozart. So when Mozart composed this Violin Sonata while in Mannheim in 1778, surely the Mannheim steamroller (extended crescendo) and the Mannheim rocket (swiftly ascending passage) were on his mind. The first movement of this “Sonata for the fortepiano with violin accompaniment” is a true duo sonata, composed for two generals. “Steamrollers” and a “rockets” (initially shooting down and later up) are an essential part of the Allegro’s fabric. The ensuing Rondeau betrays Mozart’s destination—Paris. This fashionable, tune-oriented genre was the perfect entry in the Parisian market. Sadly, Mozart wasn’t able to sell his new Sonatas for the price he had hoped. Even worse, the prolonged publication process didn’t even give Mozart the type of “advertisement” he had hoped for; he had to leave Paris just as his new Sonatas hit the market. Mozart would have never in his wildest dreams envisioned the lasting appeal of this “fashionable” sonata. MOZART (1756-1791) Quintet for Piano and Winds in E flat major, K. 452 Premiered April 1, 1784, in Vienna.

GABRIEL FAURÉ (1845-1924) Piano Quartet No. 1 in C minor, Op. 15 Premiered in Paris on February 11, 1880, by Ovide Musin, violin, Louis van Waefelghem, viola, Ermanno Mariotti, cello, and the composer at the piano. If Mozart’s forged ending presents a musicological mystery, Fauré’s Piano Quartet offers even greater intrigue—as a whole movement went missing. Fauré began the work in summer 1876 during one of the happiest times in his life, for he was in love with Marianne Viardot, leading to their engagement the following summer. Yet it took him another two years to finish his First Piano Quartet. During that time bliss had turned to bitter disappointment, as Marianne ended their engagement after four months. The work’s eventual premiere was generally a success—except for the last movement. His musical friends felt that it failed to provide the sort of summation where all the loose ends are tied up. So Fauré decided to withhold the last movement from his publisher and destroyed it. Three years later Fauré composed the last movement we now know. Everybody agrees that it indeed offers a satisfying ending to this exciting work. What made the difference between the two movements? Of course, we can only take the word of Fauré’s friends, but somehow the last movement lacked motivation and drive. There was no real sense of conclusion. Given the heartache Fauré had gone through, one might understand this open ending. The year he decided to finish his Piano Quartet, Fauré married Marie Fremiet. Presumably, Fauré was finally ready to truly finish the work, no more “what ifs”—only joy!

“Whodunit?” is usually not associated with classical music, but K. 452 offers a philological mystery that remains unsolved. In question is the ending of the piece, which was a forgery. With the last page of the autograph missing, somebody had to finish the work for publication after Mozart’s death, so the perpetrator actually created a forgery by imitating Mozart’s handwriting. The forgery was good enough to trick the folks of the 1957 Neue Mozart Ausgabe, which offered up both endings as having been composed by Mozart. It wasn’t until the 2000 Henle edition, when Wolf-Dieter Seiffert determined the shorter ending to be a forgery. Yet even in his 2013 blog post, Seiffert had only narrowed the suspects to four of Mozart’s friends or students. There is no mystery about the stunning beauty of the work! In a letter to his father, Mozart wrote, “I composed two grand concertos and then a quintet, which called forth the very greatest applause: I myself consider it to be the best work I have ever composed. It is written for one oboe, one clarinet, one horn, one bassoon and the pianoforte. How I wish you could have heard it! And how beautifully it was performed!” Mozart’s comment is noteworthy for several reasons. He composed it at the same time as two concertos, and, in fact, in many ways the quintet is a concerto—but on a higher intellectual plane. The unusual nature of this work becomes even more apparent by the fact that Mozart has to spell out the instruments. It seems as if Mozart purposely chose this unusual ensemble in order to write exceptional music— both in scoring and meaning. About the mystery. Considering it premiered on April 1, what if Mozart “misplaced” the ending as an April Fool’s joke?

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

THURSDAY, JUNE 28 7:30 PM SATURDAY, JUNE 30 2:00 PM

LEAD SPONSOR Nancy Crow Trentini SUSTAINING SPONSOR The Zimmerli Family Opera Endowment SUSTAINING SPONSOR Nancy B. Hicks, In memory of Jackson E. Hicks and in honor of Margaret Hicks Sargent, BMC “Madama Butterfly,” 1995

PORTER CENTER AT BREVARD COLLEGE

MADAMA BUTTERFLY Janiec Opera Company of the Brevard Music Center Dean Anthony, stage director Brevard Festival Orchestra Michael Sakir, conductor MUSIC Giacomo Puccini LIBRETTO Giuseppe Giacosa and Luigi Illica

ACT I

INTERMISSION

ACT II Bethanie Wampol Watson, Scenic Designer Tláloc López-Watermann, Lighting Designer Glenn Avery Breed, Costume Designer Brittany Rappise, Wig and Makeup Designer

BMC Alumnus

CAST Cio-Cio-san: Bizhou Chang Suzuki: Liz Culpepper Kate Pinkerton: Hannah Friesen Pinkerton: Jeremy Ayres Fisher Sharpless: Scott Ballantine Goro: Cody Galyon Yamadori: David Gindra Bonze: Kyle Bejnerowicz Imperial Commissioner: Matthew Huckaba

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The Zimmerli Family Opera Endowment was established in 2008 through a generous donation by Kurt and Nelly Zimmerli of Spartanburg, SC, to provide educational opportunities and resources for exceptional young musicians for many years to come.

ENSEMBLE Esther Atkinson Danielle Bavli Kyle Bejnerowicz Christine Boddicker Ian Bolden Samuel DeSoto Tori Franklin Robert Fridlender Hannah Friesen Emily Gallagher David Gindra Megan Graves Lucia Helgren

Caroline Hewitt Matt Huckaba Miles Jenkins Luke MacMillan Myah Paden Avery Peterman Samuel Rachmuth Virginia Reed Andrew René Hannah Shea Andrea Tulipana Zizhao Wang

THURSDAY, JUNE 28 SATURDAY, JUNE 30 GIACOMO PUCCINI (1858-1924) Madama Butterfly Premiered at Teatro alla Scala, Milan, on February 17, 1904.

SYNOPSIS

Madama Butterfly is East meets West before it became a cliché. Having attended David Belasco’s play Madama Butterfly in London, Puccini knew this would be his next opera. The composer applied for the rights and sent the original short story by John Luther Long to the librettist Luigi Illica. As it turns out, Long was an American writer, and his Madame Butterfly, published in Century Magazine in 1897, was based partly on a true incident as told by his sister, who had been a missionary in Nagasaki. Other parts of the story were taken from Madame Chrysantème, written by French novelist and travel writer Pierre Loti. So how does a true-to-the-core Italian opera composer write a work about two cultures he has never experienced? As one might guess, the answer is rather complicated!

Nagasaki, Japan, early 20th century. Lieutenant Pinkerton is shown a house for lease by Goro, a marriage broker. The house comes with a geisha wife Cio-Cio-San (Madame Butterfly) and three servants. After American consul Sharpless arrives, Pinkerton shares his Yankee philosophy of exploring the world and its pleasures. While he’s unsure of his feelings for Madame Butterfly, Pinkerton decides to marry her—against Sharpless’s warnings. Butterfly is formally introduced. During their conversation Pinkerton learns that the only 15-year-old Butterfly came from a prominent family, but after their fortunes declined she was forced to live as a geisha. As relatives arrive, Butterfly shows Pinkerton her possessions, including the dagger her father had used to killed himself with on the Emperor’s command. Butterfly assures Pinkerton of her intentions to accept his Christian faith. At the end of the wedding ceremony, Bonze the priest curses his niece Butterfly for rejecting her own religion. Once the new couple are alone, they meet in the garden.

While Puccini had no first-hand exposure to American or Japanese cultures, he had “first-hand” musical material from both countries. For the American Pinkerton. Puccini used “The Star-Spangled Banner,” which would only become the National Anthem in 1931. Before that time, it had been recognized as the official song of the US Navy—the perfect choice for Lieutenant Pinkerton. Since the opera is set in Japan, Puccini’s use of Japanese music was more complex and far-reaching. Through the use of at least seven Japanese folk melodies and their scales, Puccini’s score is saturated with Far Eastern ambience. Of course the story itself is universal, with the frail suffering heroine at the center, allowing Puccini to do what he does best—express the human experience through beautiful music. - Siegwart Reichwald

ACT I

ACT II Three years later. While Butterfly continues to wait for Pinkerton’s return, her servant Suzuki prays to her gods for intervention. Yet Butterfly rejects Suzuki’s prayer, expressing confidence in Pinkerton. Sharpless appears with a letter from Pinkerton, but he is interrupted by Goro’s wedding proposal of Prince Yamadori. Butterfly politely declines, reiterating her faith in Pinkerton. Sharpless begins to read Pinkerton’s letter and urges Butterfly to reconsider Yamadori’s wedding proposal. Butterfly responds by showing her Pinkerton’s child. Sharpless is in no state to finish reading the letter. Instead he promises to tell Pinkerton about the child. A cannon shot announces the arrival of a ship, which Butterfly identifies with her telescope as Pinkerton’s. As night falls, Butterfly and Suzuki excitedly prepare the house for Pinkerton’s arrival. ACT II - Part 2 Dawn breaks. On Suzuki’s insistence Butterfly retires to the bedroom with her child to get some sleep. As Pinkerton and Sharpless appear, Suzuki notices Kate and is told that she is Pinkerton’s American wife. They have come to take the child to America for a good upbringing. Pinkerton is overcome with guilt and leaves the room, unable to face Butterfly. Butterfly enters to meet Pinkerton but sees Kate instead. After some discussion, she agrees to give up the child but wants Pinkerton himself to pick up the child a little later. Once alone, Butterfly blindfolds the child and stabs herself with her father’s dagger—just as Pinkerton calls her name.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

FRIDAY, JUNE 29 7:30 PM WHITTINGTON-PFOHL AUDITORIUM BEETHOVEN'S “PASTORAL” SYMPHONY Brevard Music Center Orchestra Sebastian Lang-Lessing, conductor Itamar Zorman, violin

WAGNER Overture to Rienzi (1813-1883)

BERG Violin Concerto “To the Memory of an Angel” (1885-1935) Andante (Prelude). Allegretto (Scherzo) Allegro (Cadenza). Adagio (Chorale Variations) Mr. Zorman, violin INTERMISSION

BEETHOVEN Symphony No. 6 in F major, Op. 68, "Pastoral" (1770-1827) Allegro ma non troppo Andante molto mosso Allegro Allegro Allegretto

RICHARD WAGNER (1813-1883) Overture to Rienzi Premiered on October 20, 1842, at the Hofoper in Dresden. What do you do if you are worried that the audience might leave during intermission because your opera is six hours long? Stop the clock, so nobody realizes how late it is. Legend has it that is exactly what Wagner did at the premiere of his third opera, Rienzi, the Last of the Tribunes. Regardless of its length, the work was his first great success as an opera composer, putting him on the map as an important new voice. As it turns out, Rienzi would be his greatest success “at the box office,” which is ironic, since this grand opera predates the composer’s creation of his legendary music dramas. As is common practice, the overture was the last piece written. Composers would choose important musical material from the opera and weave it into a sonata form movement that functioned as a preview. In the case of Rienzi, that meant military action,

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political intrigue, and an unwavering faith in the people of Rome. Military action can be heard in the call to arms at the beginning of the overture and the military march that ends this exciting piece. Central to the overture are splendid melodies and orchestral brilliance—the heart and soul of grand opera. The overture quickly became a favorite concert piece during the composer’s life. ALBAN BERG (1885-1935) Violin Concerto “To the Memory of an Angel” Premiered on April 19, 1936, in Barcelona with Louis Krasner as soloist and Hermann Scherchen as conductor. The attacking criticism of twelve-tone music everywhere is that this music is only cerebral and without feeling or emotion. ...Think of what it would mean for the whole Schoenberg movement if a new Alban Berg Violin Concerto should succeed in demolishing the antagonism of the “cerebral, no emotion” cliché and argument.

FRIDAY, JUNE 29 These words by the American violinist Louis Krasner helped convince Alban Berg to compose the Violin Concerto for him. Berg had not even considered writing a concerto until Krasner approached him in January 1935. Berg rebuffed him saying, “You know, that it not my kind of music,” referring to the virtuoso concerto. Krasner’s above quoted response, however, not only convinced Berg that he and Krasner were on the same page, it whetted his appetite to show the musical world the expressive possibilities of twelve-tone music. At the heart of Krasner’s plea is the question of viability and accessibility of Schoenberg’s radical new approach to tonality, where all twelve chromatic pitches are equal. Instead of scales and chord progressions, the composer chooses a twelve-tone row that more or less becomes the “tonality” for that composition. Krasner had realized that Berg’s brand of dodecaphonic writing (fancy term for twelve-tone) offered a more conventional emotive approach after hearing Wozzeck and the Piano Sonata. Berg answered Krasner’s challenge by choosing a row consisting of conventional material. As Berg began contemplating the work, tragedy struck. In April 1835, the teenage daughter of a dear friend, Alma Mahler, died of polio. Berg not only dedicated the Violin Concerto to Manon, “to the memory of an angel,” but the work’s content, in particular its last section, deals with the tragedy. Berg decided to include the Bach setting of “Es ist genug” (“It Is Enough”) with the words included in the score: It is enough, Lord, when it is pleasing to you, then grant me release. May my Jesus come! Now good night, o world. I am going to heaven’s house, I go confidently from here with joy; my dismal sorrow remains down below. It is enough! As it turns out, the last pitches of Berg’s tone row are the beginning of the chorale. Berg also introduces a Carinthian folk tune that is to remind us “of the lovely image of the girl.” His aim was to create a tone poem which would paint her portrait. Sadly, the Violin Concerto would be Berg’s last completed work before his untimely death from complications from an infected wasp sting. Berg never heard his masterwork performed, and it would become a memorial not only for Manon but for the composer himself.

LUDWIG VAN BEETHOVEN (1770-1827) Symphony No. 6 in F major, Op. 68, “Pastoral” Premiered on December 22, 1808, in Vienna under Beethoven’s direction. Among the thousands of premieres of famous compositions, the first performance of Beethoven’s Sixth Symphony might rank in the top ten, albeit for all the wrong reasons. For whatever reason, Beethoven decided to introduce Vienna to as much new music as possible. This four-and-a-half-hour-long concert included not only the premiere of his Sixth Symphony, but also his monumental Fifth! The other pieces on this all-Beethoven program were his Fourth Piano Concerto, the Choral Fantasy, miscellaneous hymns and arias, and a movement from his Mass in C. Needless to say, Beethoven’s ground-breaking Sixth Symphony did not receive the attention it deserved. Every movement of this work has different innovative features. From the minimalist structures of the first movement and the harmonic stasis of the second, through the descriptive nature of the storm movement, to the idyllic setting of the last, Beethoven expanded the genre into the realm of program symphony. He was well aware of the audacity of his approach, which caused him to make a rare but necessary programmatic statement about the piece to prepare the listener for this new experience: Pastoral Symphony, more an expression of feeling than painting. 1st piece: pleasant feelings which awaken in men on arriving in the countryside. 2d piece: scene by the brook. 3d piece: merry gathering of country people, interrupted by 4th piece: thunder and storm, into which breaks 5th piece: salutary feelings combined with thanks to the Deity. And with one extraordinar(il)y (long) concert, music history was changed forever. - Siegwart Reichwald

Leopold Stokowski used an abbreviated version of the Pastoral Symphony for the 1940 film Fantasia.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

SATURDAY, JUNE 30 7:30 PM WHITTINGTON-PFOHL AUDITORIUM

Official piano of the Brevard Music Center

ENIGMA VARIATIONS Brevard Sinfonia Sebastian Lang-Lessing, conductor Dasol Kim, piano

MOZART Piano Concerto No. 25 in C major, K. 503 (1756-1791) Allegro maestoso

Andante Allegretto

Mr. Kim, piano

INTERMISSION

ELGAR Variations on an Original Theme, Op. 36, "Enigma" (1857-1934) Theme. Andante I. C.A.E. [Caroline Alice Elgar; Elgar’s wife] II. III. IV. V. VI. VII. VIII. IX. X. XI. XII. XIII. XIV.

H.D.S-P. [Hew David Steuart-Powell, pianist and chamber musician] R.B.T. [Richard Baxter Townshend, author of “Tenderfoot“ book series] W.M.B [William Meath Baker; squire of Hasfield, who “expressed himself somewhat energetically”] R.P.A. [Richard Penrose Arnold, son of poet Matthew Arnold, pianist] Ysobel [Ysobel Fitton, viola pupil of Elgar] Troyte [Arthur Troyte Griffith, friend, architect and novice at the piano] W.N. [Winifred Norbury, Elgar’s friend, particularly easy-going] Nimrod [Augustus J. Jaeger, music publisher and Elgar’s strong supporter; last name is German for hunter; Nimrod was Old Testament patriarch, “a mighty hunter before the Lord”] Dorabella [Dora Penny, Elgar’s friend, known for her stutter] G.R.S. [George Robertson Sinclair, organist who suggested to set to music his dog’s traumatic river experience] B.G.N. [Basil G. Nevinson, cellist] *** [Lady Mary Lygon, friend and benefactor of Madresfield Music Festival] E.D.U. [Elgar’s nickname]

Pomp and Circumstance March No. 1 ELGAR (1857-1934)

52 Overture

SATURDAY, JUNE 30 WOLFGANG AMADEUS MOZART (1756-1791) Piano Concerto No. 25 in C major, K. 503 Premiered on December 5, 1786 in Vienna. Piano Concertos were Mozart’s bread-and-butter; he relied on them as a main source of income and built his reputation as a performer and composer on them. He famously wrote to his father that concertos needed to be “a happy medium between what is too easy and too difficult; they are to be pleasing to the ear, and natural, without being vapid… The golden mean of truth in all things is no longer either known or appreciated. In order to win applause one must write stuff which is so inane that a coachman could sing it, or so unintelligible that it pleases precisely because no sensible man can understand it.” Apparently, after 24 concertos, Mozart had enough, so his 25th would become an emphatic exclamation mark, more or less ending his career as virtuoso performer. By December of 1786, Mozart had been in Vienna for over four years, his operas were successful, so Mozart was ready to shed his role as performer in order to focus exclusively on his career as composer. The choice of C major and his use of trumpets hint at the grandeur of this almost symphonic work. Mozart has something to say, and this piano concerto becomes his medium, making it not only his longest but also his least virtuosic—there’s no cadenza provided. Symphony was on his mind. In fact, Mozart had been working on his Prague Symphony, an unusual threemovement work that would become a milestone in Mozart’s development as symphonist. The C major Piano Concerto is one of Mozart’s most mature works, where the music (and the composer) takes center stage, and the soloist is “merely” the main character in the unfolding drama. At the heart of it are Mozart’s constant allusions to C minor, creating a dark undercurrent that draws the listener in. No other concerto by Mozart is more focused on the overall artistic experience, creating the perfect model for Beethoven (Piano Concerto No. 1 in the same key, to be performed here on July 20) and Schumann (Piano Concerto in A minor, to be performed on July 6). EDWARD ELGAR (1857-1934) Variations on an Original Theme, Op. 36, "Enigma" Premiered on June 19, 1899, at St. James’s Hall in London under the direction of Hans Richter. Sitting at home at the piano after a long day’s work, Elgar began improvising and chatting with his wife. They then hit upon the idea of creating variations of “friends pictured within.” He “commenced in a spirit of humor and continued in deep seriousness.” Elgar sent the completed theme and fourteen variations to German conductor Hans Richter, who championed the work, which would quickly become one of his most often performed works. As the title suggests, the piece contains a riddle, which is yet to be solved. Elgar wrote, “The enigma I will not explain—its ‘dark saying’ must be left unguessed, and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme ‘goes,’ but is not played—so the principal Theme never appears…”

While there is not enough space here to describe all fourteen variations, a few words about the theme shall suffice (please follow the descriptive titles printed in the program order). While the theme is a simple three-part ABA design, its highly expressive quality makes it, according to Elgar’s biographer Diana McVeagh, “as productive as a goldmine.” ELGAR (1857-1934) Pomp and Circumstance March No. 1 Premiered on October 19, 1901, in Liverpool under the direction of Alfred Rodewald. There’s a lot more “pomp and circumstance” than what we now associate with this march. Being a favorite selection for graduation ceremonies, we have greatly flattened the richness of Elgar’s six magnificent marches. Let’s look at the original context in the hope that we’ll be able to experience this old favorite with new ears. The title is derived from Shakespeare’s Othello: Farewell the neighing steed and the shrill trump, The spirit-stirring drum, th’ear-piercing fife, The royal banner, and all quality, Pride, pomp, and circumstance of glorious war! For the first march, Elgar included this verse from Lord de Tabley’s poem, The March of Glory: Like a proud music that draws men to die Madly upon the spears in martial ecstasy, A measure that sets heaven in all their veins And iron in their hands. I hear the Nation march Beneath her ensign as an eagle’s wing; O’er shield and sheeted targe The banners of my faith most gaily swing; Moving to victory with solemn noise, With worship and with conquest, and the voice of myriads. Based on these verses, this march seems more appropriate for the movie screen than a university auditorium. So how did we turn this patriotic war march into a graduation tune? When Yale University bestowed an honorary doctorate on Elgar in 1905, Elgar’s friend, the Yale music professor Samuel Sanford, wanted to celebrate Elgar with all the “Pomp and Circumstance” the composer deserved, and his wildly popular march seemed just right for the occasion. - Siegwart Reichwald

The March was used for the coronation of King Edward VII on August 9, 1902.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

MONDAY, JULY 2 7:30 PM PORTER CENTER AT BREVARD COLLEGE THE SHANGHAI QUARTET - BEETHOVEN CYCLE I Weigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello

BEETHOVEN String Quartet in A major, Op. 18, No. 5 (1770-1827) Allegro Minuet. Trio Andante cantabile con variazioni Allegro

BEETHOVEN String Quartet in E flat major, Op. 74, “Harp” Poco adagio. Allegro Adagio ma non troppo Presto. Piu presto quasi prestissimo Allegretto con variazioni INTERMISSION

BEETHOVEN String Quartet in E minor, Op. 59, No. 2 Allegro Molto Adagio. Si tratta questo pezzo con molto di sentiment Allgretto. Maggiore, Thème russe Finale: Presto

54 Overture

MONDAY, JULY 2 The great German poet Goethe described the classical string quartet in terms of a musical conversation, where a quartet performance is like “listening to four rational people conversing among themselves.“ Of course, Goethe was a classicist, and even Mendelssohn’s personal “music appreciation” sessions didn’t warm Goethe’s feelings for Beethoven’s “modern” music. Tonight’s and tomorrow’s programs will begin Brevard’s threeyear exploration of Beethoven’s compositional journey from the high classical “conversations” to mature romantic utterances. Throughout the journey, we will get to know Beethoven’s personality and see how life circumstances shaped his compositions. LUDWIG VAN BEETHOVEN (1770-1827) String Quartet in A major, Op. 18, No. 5 (1800) In 1792 Beethoven moved to Vienna to “receive the spirit of Mozart from Haydn’s hands.” Unfortunately, Haydn’s tutelage was not quite what Beethoven had expected. In fact, Beethoven ended up hiring additional teachers behind Haydn’s back. In the end Beethoven probably learned most from his own studies of Mozart’s and Haydn’s music—in particular their string quartets. With the six Opus 18 Quartets, published in 1801, Beethoven joined the ranks of his two idols as a master of the “classical” string quartet. Beethoven’s Fifth Quartet in A major closely follows Mozart’s Fifth (K. 464) of Six Quartets dedicated to Haydn. Besides the shared key, Beethoven also employed other important elements of Mozart’s “Haydn” Quartet, such as a second movement scherzo and a third movement theme and variations. Yet Beethoven’s irrepressible spirit is found on every page of this “classical” quartet, pointing toward the dawn of Romanticism.

String Quartet in E minor, Op. 59, No. 2 (1806) No other composer has inspired scholarly books with such provocative titles as Beethoven Hero (Scott Burnham, 1995) or Beethoven: The Man Who Freed Music (Robert Haven Schauffler, 1929). This string quartet is one of the reasons for so many superlatives. Starting the work with two pounding chords reminiscent of his Third Symphony, Beethoven sets out to move far beyond his classical heritage, creating a first movement with an intensity not seen before in a string quartet. The ensuing second movement is one of the most hauntingly beautiful movements Beethoven ever composed. Since the work was dedicated to Russian Count Andrey Rasumovsky, Beethoven decided to honor him with the inclusion of a Russian tune, which appears somewhat oddly in the middle of the third movement—a seeming afterthought. As it turns out, this tune would become the pivotal moment of the work, providing the motivic impetus for the exciting finale. This is just one of the many integrative elements that tie together all four movements. Just like his symphonies, his string quartets must be viewed as continuous four-movement narratives. This quartet goes far beyond “listening to four rational people conversing among themselves” - Siegwart Reichwald

String Quartet in E flat major, Op. 74, “Harp” (1809) “It was the best of times, it was the worst of times” (Charles Dickens) would seem to be an apt description of Beethoven’s personal life in 1809. For the first time in a long time he had no financial worries thanks to three benefactors—including Prince Lobkowitz, the dedicatee of Opus 74. Beethoven was also madly in love with Therese Malfatti and was considering a marriage proposal (which presumably inspired the harp sounds of plucked strings in the first movement). In the midst of this bliss, his compositional idol Haydn died, and Napoleon’s troops invaded Vienna. This “schizophrenia” runs right through the whole quartet, beginning with pastoral utterances rudely interrupted by harsh chords–indeed the whole first movement seems purposely out-of-joint. The second movement’s “somber nocturne” and the maniacal scherzo keep the listener unsettled. Based on Beethoven’s Third and Fifth Symphonies, the listener might expect a heroic or triumphant ending. Yet the off-beat theme and its whimsical variations just confirm that “we had everything before us, we had nothing before us.”

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

TUESDAY, JULY 3 7:30 PM PORTER CENTER AT BREVARD COLLEGE THE SHANGHAI QUARTET - BEETHOVEN CYCLE II Weigang Li, violin Yi-Wen Jiang, violin Honggang Li, viola Nicholas Tzavaras, cello

BEETHOVEN String Quartet in B flat major, Op. 130 (1770-1827) Adagio ma non troppo Presto Andante con moto ma non troppo Alla danza tedesca. Allegro assai Cavatina. Adagio molto espressivo Finale: Allegro INTERMISSION

BEETHOVEN String Quartet in F major, Op. 59, No. 1 Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto ThÃ¨me russe. Allegro

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TUESDAY, JULY 3 LUDWIG VAN BEETHOVEN (1770-1827) String Quartet in B flat major, Op. 130 (1824) By the time Beethoven wrote his late string quartets, classical form had disintegrated (at least in Beethoven’s mind). His main aim is direct, unfiltered communication - his music had moved from the beautiful to the sublime. Beethoven no longer tries to squeeze his narratives into four-movement “classical” designs. He tests the limits of musical language by reaching far outside the conventions of the string quartet. That doesn’t mean that this sixmovement work lacks structure or coherence. Rather, coherence is achieved through more complex overarching strategies supplanting traditional rules. At times, Beethoven draws on compositional models beyond the string quartet, employing a German rustic dance (movement four) and an operatic cavatina (movement five). At the premiere Beethoven ended the work with a grand fugue, which blew up all chamber convention, as players at some point play as loud as they can for five minutes straight. The publisher convinced Beethoven to write a more “fitting” finale. So Beethoven accepted the challenge and went in the opposite direction with a light-hearted dance. By 1824 Beethoven was completely deaf, living in his own world. The string quartet would become more than his artistic outlet for his remaining three years, it was his means of creating a world he could inhabit happily. In 1802, while struggling with oncoming deafness, he penned his now famous Heiligenstadt Testament. Having contemplated suicide, he wrote, “it seemed impossible to leave the world until I had produced all that I felt called upon me to produce, and so I endured this wretched existence.” 22 years later, it seems clear that Beethoven had more than fulfilled his calling. In the process, he had not just “freed” music (see last night’s program notes), but he had freed himself, living in a complex musical world that encompasses the whole spectrum of the human experience.

String Quartet in F major, Op. 59, No. 1 (1806) If the late string quartets had “freed” romantic music from classical convention, this particular string quartet begins the process of formal disintegration. By far his longest and most ambitious quartet up to that point in his career, Beethoven opens up new modes of communication by expanding dynamic contrasts and tonal strategies—which are fancy musical terms for creating music that is more intense and highly expressive. The third, slow movement, for example, cries out for an evocative title (a task Beethoven leaves for the audience). This music is not just listened to, it is experienced. As is the case with the second Op. 59 Quartet (see last night’s program), Beethoven again included a Russian folk song—in this case in the finale. He had acquired a catalog of Russian tunes for this task. It seems that a slow tune in minor mode caught his attention. But in order to make it work for the finale, he transformed the tune into a rollicking, joyful one. Exploring all of its possibilities, Beethoven develops a movement full of exuberance and joy. This quartet encapsulates Romantic music more than any other, and it would become the model for almost every 19th-century composer, most notably Mendelssohn, Schumann, and Brahms. - Siegwart Reichwald

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

WEDNESDAY, JULY 4 2:00 PM

SUSTAINING SPONSORS

City of Brevard

WHITTINGTON-PFOHL AUDITORIUM Transylvania County Tourism Development Authority

PENDERGRAST FAMILY PATRIOTIC POPS Brevard Symphonic Winds Kraig Alan Williams, conductor Brevard Concert Orchestra Ken Lam, conductor with Hannah Friesen, soprano Liz Culpepper, mezzo-soprano Samuel DeSoto, tenor Matthew Huckaba, baritone David Spencer, trumpet

BAGLEY

KEY

RICK KIRBY

RANDOL ALAN BASS DOUGLASS WAGNER

ERNST SACHSE

Today's concert was named in honor of a magnanimous gift to BMC’s endowment fund by Dr. William Pendergrast and his late wife Martha. Over the decades, the Pendergrast children and grandchildren have been students at Brevard, and the Pendergrast family continues to generously support BMC.

National Emblem March National Anthem An American Fanfare A New Birth of Freedom America, the Spirit Lives On Concertino in E flat for Trumpet and Winds

SAMMY NESTICO

Salute to American Jazz

RICHARD

Armed Forces Medley

arr. HOSAY

Battle Hymn 2000

Brevard Symphonic Winds

INTERMISSION

RICHMAN

LOCKLAIR Independence Day from Symphony No. 2, “America”

TCHAIKOVSKY

Colonial Liberty Overture

1812 Overture

Brevard Concert Orchestra 58 Overture

WEDNESDAY, JULY 4 THURSDAY, JULY 5

THURSDAY, JULY 5 7:30 PM WHITTINGTON-PFOHL AUDITORIUM JUST BRASS Brass Artist Faculty High School and College Brass Ensembles Neal Berntsen, program coordinator HOLST Suite from The Perfect Fool (arr. Friedman) (1874-1934) Introduction-Dance of the Spirits of the Earth Dance of the Spirits of the Water Dance of the Spirits of Fire VAUGHAN WILLIAMS Sea Songs (arr. Forbes) (1872-1958)

BYRD The Earle of Oxford’s March (arr. Howarth) (1538-1623)

MCDONALD Tribute to James Chambers (1939-2012)

TOMASI Fanfares Liturgiques (1901-1971) Annonciation Evangile Apocalypse (Scherzo) Procession du Vendredi-Saint

INTERMISSION LUTOSLAWSKI Mini Overture (1913-1994)

BIEBL Ave Maria (arr. Manduca) (1906-2001)

GABRIELI Canzon Quarti Toni (1557-1612)

BROILES Broiles’d! (arr. Rudd) (1929-2003)

STRAUSS Vienna Philharmonic Fanfare (1864-1949)

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

FRIDAY, JULY 6 7:30 PM WHITTINGTON-PFOHL AUDITORIUM

Official piano of the Brevard Music Center

BRAHMS SYMPHONY NO. 2 Brevard Music Center Orchestra Matthias Bamert, conductor Yekwon Sunwoo, piano

BERLIOZ Roman Carnival Overture, Op. 9 (1803-1869)

SCHUMANN Piano Concerto in A minor, Op. 54 (1810-1856) Allegro affettuoso Intermezzo Allegro vivace Mr. Sunwoo, piano

INTERMISSION

BRAHMS Symphony No. 2 in D major, Op. 73 (1833-1897) Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi andantino) Allegro con spirit

HECTOR BERLIOZ (1803-1869) Roman Carnival Overture, Op. 9 Premiered on February 3, 1844, in Paris under the direction of the composer. How to Write an Overture in Three Easy Steps might seem to be the appropriate subtitle for this masterwork. Berlioz, who literally wrote the book on orchestration (Grand Traité d’Instrumentation et d’Orchestration Modernes) the same year he composed the overture, would seem to be perfectly suited to show us how it’s done. As we will see, however, composing an opera overture is not as easy as might seem, which is presumably why Overtures in Three Easy Steps is an oxymoron. To begin with, one has to write the opera (first small problem). Berlioz had composed Benvenuto Cellini in 1838. Sadly, it was

60 Overture

a complete flop in Paris. Only a revised performance in Weimar 14 years later brought Berlioz deserved success. Second, the composer has to identify the arias most suited as main themes for the overture (not as easy as it might seem). In this case, a duet from Act 1 provides the melody for the slow introduction, and the carnival scene, also from Act 1, supplies the music for the main allegro. Third, and most importantly, one has to change the keys to make all the themes fit correctly into the overture (you might need to purchase Theory for Dummies for this part). Fourth (yes there is an unexpected fourth step), the vocal lines have to be reimagined within the colors of the orchestra—that was the easy part for Berlioz. Another small but important detail: If you fail the first time around (this is not the opera’s original overture), wait a few years and try again.

FRIDAY, JULY 6 ROBERT SCHUMANN (1810-1856) Piano Concerto in A minor, Op. 54 Premiered on January 1, 1846, in Dresden under the direction of Ferdinand Hiller with Clara Schumann as soloist.

JOHANNES BRAHMS (1833-1897) Symphony No. 2 in D major, Op. 73 Premiered on December 30, 1877, in Vienna under the direction of Hans Richter.

When Robert Schumann married one of the great pianists of his day, he knew there might be trouble ahead. He detested empty displays of virtuosity. In his music journal, Neue Zeitschrift für Musik, he wrote:

“[My second symphony] is so melancholy that you will not be able to bear it. I have never written anything so sad, and the score must come out in mourning.” Given that it had taken Brahms 14 years to finish his first, highly intense symphony, this letter to his publisher probably sent shivers down his spine—until Simrock caught on to the composer’s sarcasm! Brahms composed his Second Symphony during the summer of 1877 at the Wörther Lake in the Kärnten region of Southern Austria. Compared to the genesis of the First Symphony, his Second seems to have flown effortlessly from his pen. In contrast to the First, it is sunny and almost lyric in character. The beautiful natural Alpine surroundings clearly shaped the content and expression of this work; Brahms told his friend, Eduard Hanslick, how easy the compositional process was because of “the Wörther See virgin soil, with so many melodies flying about that you must be careful not to tread on any.”

Defying the symphony, contemporary piano-playing seeks to dominate by its own means and its own terms… And so we must await the genius who will show us in a newer and more brilliant way how orchestra and piano may be combined, how the soloist, dominant at the keyboard, may unfold the wealth of his instrument and his art, while the orchestra, no longer a mere spectator, may interweave its manifold facets into the scene. What to do? Between 1827 and 1839 Robert took four stabs at piano concertos, only to abandon them. In 1841, he wrote a one-movement Fantasie for piano and orchestra. But after two private run-throughs with Clara at the piano and Mendelssohn conducting the Leipzig Gewandhaus Orchestra, Schumann once again gave up. Fortunately, Schumann realized that he actually had been on the right track, and in 1845 he reworked his Fantasie as the opening movement of his piano concerto. In the process, he created a new type of concerto in which the piano and orchestra interact in a more “symphonic” manner. Clara Schumann wrote that, “the piano and orchestra parts are interwoven to the highest degree, one can’t imagine one without the other.” While the piano part is anything but easy, Schumann’s work created an overarching, unifying intent that gives the work focus and content. And at the heart of the piece is Clara—his muse and his pianistic model.

The opening Allegro non troppo features some of the melodies “flying about” the Wörther Lake, making the movement lush and pastoral. Yet one of the most important themes is a tune Brahms had brought with him, his famous Lullaby, Op. 49, No. 4 (“Guten abend, gute Nacht”). Brahms’s friend Billroth heard “all rippling streams, blue sky, sunshine, and cool green shadows.” And when Clara Schumann had played through the opening movement, she predicted great success. Neither of the two inner movements ever darkens the sky completely, moving the listener to an electrifying and jubilant finale. - Siegwart Reichwald

The Brahms premiere was scheduled for December 9, but it had to be postponed for three weeks, because the Vienna Philharmonic was struggling to learn the music for Wagner’s Das Rheingold.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

SATURDAY, JULY 7 7:30 PM

LEAD SPONSOR

WHITTINGTON-PFOHL AUDITORIUM

of Asheville

MIKE MILLS ROCK VIOLIN CONCERTO Brevard Sinfonia Daniel Hege, conductor Robert McDuffie, violin Mike Mills, bass guitar and keyboard MILLS Concerto from Violin, Rock Band, and String Orchestra (1958-) Composed by R.E.M.'s Mike Mills for Robert McDuffie Orchestration and Additional Music by David Mallamud Pour It Like You Mean It On the Okeefenokee Sonny Side Up Stardancer’s Waltz Nightswimming You Can Go Home Again Robert McDuffie, violin Mike Mills, bass guitar/keyboard John Neff, guitar Williams Tonks, guitar Patrick Ferguson, drums/percussion

INTERMISSION

BARBER Medea's Dance of Vengeance, Op. 23a (1910-1981)

DEBUSSY La Mer (1862-1918) De l'aube à midi sur la mer Jeux de Vagues Dialogue du Vent et de la mer

BMC Alumnus

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SATURDAY, JULY 7 MIKE MILLS (1958-) Concerto for Violin, Rock Band, and String Orchestra Premiered on June 17, 2016, in Toronto, with Robert McDuffie, violin; Mike Mills, bass and piano; John Neff, guitar; William Tonks, guitar; and Patrick Ferguson, drums. What seems a collision of two musical worlds is simply a collaboration with a trusted old friend. Mike Mills and Robert McDuffie grew up together in Macon, Georgia, playing hand bells and singing in junior choirs at church. Mills went off to UGA, where he formed R.E.M., while McDuffie studied at Juilliard. Enjoying highly successful careers in very different musical spheres, they decided to break down those barriers. While McDuffie had approached other living composers like Philip Glass to write a concerto for him, this project took things a step further. Yet McDuffie considers Mills “one of the greatest living American composers,” so commissioning a cross-over concerto from his friend seemed only natural. The concerto takes elements from both performance spaces, creating a truly original work. While the composition consists of distinct movements, Mills allows for musical dialog during transitions. The string orchestra and solo violin are joined by a four-piece rock band. Musically, the work offers a true synthesis of the two different traditions. McDuffie explains that, “we are in the trenches together. We admire each other and also each other’s worlds, and I think that’ll come through.” SAMUEL BARBER (1910-1981) Medea's Meditation and Dance of Vengeance, Op. 23a Premiered on February 2, 1956, in New York under the direction of Dimitri Mitropoulos. “Vengeance is in my heart, death in my hand, Blood and revenge are hammering in my head.” This Shakespeare quote from Titus Andronicus sums up perfectly the content of Barber’s tone poem. Conceived initially as a ballet in collaboration with famed choreographer Martha Graham, Barber wanted to “project states of jealousy and vengeance which are timeless. The choreography and music were conceived, as it were, on two time levels, the ancient-mythical and the contemporary.” Since the ballet was written for thirteen instruments, Barber decided to create a suite for full orchestra. The composer revised the work three times. Each time the composition got shorter and the orchestra larger, indicating Barber’s intent to make the narrative as clear as possible and orchestral sound as powerful as possible. For the premiere, Barber provided the following description: “Tracing her emotions from her tender feelings toward her children, through her mounting suspicions and anguish at her husband’s betrayal and her decision to avenge herself, the piece increases in intensity to close in the frenzied Dance of Vengeance of Medea, the Sorceress descended from the Sun God.”

CLAUDE DEBUSSY (1862-1918) La Mer Premiered on October 15, 1905, in Paris under the direction of Camille Chevillard. Debussy wanted to be a sailor growing up, so it doesn’t come as a surprise that he would eventually write a piece about the sea. What is striking, however, is his bold approach. Who would dare to write a twenty-five-minute piece solely about the sea— no stories, no events, no descriptions—just one’s own artistic impressions of the ocean? While this concept seems like a recipe for disaster, the work is still as mysterious, exciting, and modern as it was a little over a hundred years ago. Debussy purposely avoided the terms symphony and symphonic poem, instead using the designation “symphonic sketches.” The composer wanted neither any programmatic reading nor to get tangled up in the formalism of a traditional symphony. Symphonic sketches gave Debussy the necessary freedom to approach the subject on new terms, which he did beautifully. Relying on his stylistic ideals and his experiences with impressionistic art, Debussy set out not to give us a descriptive experience of the sea but to share his rendering of an artistic depiction of the sea. From Dawn to Midday on the Sea might well have been inspired by one of many paintings by the English artist J.M.W. Turner, who stared at the sea for hours from different vantage points and then painted various scenes from memory. Debussy constantly changes figurations of movement to express the array of motions in the sea, as the wind and sun offer new views of the sea. Play of the waves focuses even more on motion, once again avoiding any sense of traditional themes, but instead focusing on orchestral color, texture, and nuance. Dialogue Between Wind and Waves explores the rough nature of the sea, as these two elements of nature collide. - Siegwart Reichwald

The legendary 20th century pianist, Sviatoslav Richter, ranks La Mer "alongside St. Matthew's Passion and the Ring cycle as one of my favorite works."

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

MONDAY, JULY 9 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE

This project is supported in part by an award from the National Endowment for the Arts

BMC ARTIST FACULTY: BERNSTEIN & FRIENDS

COPLAND Two Pieces for Violin and Piano (1900-1990) Nocturne Ukelele Serenade Jay Christy, violin

Deloise Lima, piano

BERNSTEIN Clarinet Sonata (1918-1990) Grazioso. Un poco piu mosso Andantino. Vivace e leggiero

Steve Cohen, clarinet

Deloise Lima, piano

COPLAND Old American Songs (1900-1990) The Boatman’s Dance The Dodger Long Time Ago Simple Gifts I Bought Me a Cat Caroline Worra, soprano

Deloise Lima, piano

INTERMISSION

BERNSTEIN Piano Trio (1918-1990) Adagio non troppo. Più mosso. Allegro vivace Tempo di marcia Largo. Allegro vivo et molto ritmico Byron Tauchi, violin

BMC Alumna

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Leonardo Altino, cello

ROREM Fantasy from The End of Summer (1923-) Ben Freimuth, clarinet Jason Posnock, violin

Jihye Chang, piano

BERNSTEIN Halil (1918-1990) Craig Nies, piano Charles Ross, timpani Amy Porter, flute Gerald Noble, William Brown, Jackson Riffle, Daniel Moell, percussion

MONDAY, JULY 9 AARON COPLAND (1900-1990) Two Pieces for Violin and Piano Have you ever wondered what a composer like Copland sounded before he was—well, Copland? These Two Pieces offer some fascinating insights. Composed in 1926—after his studies with Nadia Boulanger in Paris—Copland’s more popular musical diet is on full display. The rather traditional title Nocturne for the first piece doesn’t do the piece justice, as Copland seems to be equally inspired by Jazz and Blues in this somewhat “tipsy” work in 5/8. Making the piece even more whimsical is Copland’s stylistic node to Eric Satie. The contrasting Ukulele Serenade is the other side of the coin of French-American popular styles and doesn’t need any further explanations. LEONARD BERNSTEIN (1918-1990) Clarinet Sonata Premiered on April 21, 1942, in Boston with David Glazer on the clarinet and Bernstein at the piano. You know that you have a bright future ahead of you if your first composition receives the kind of attention as this Clarinet Sonata did. Bernstein wrote to Copland: The little Hargail Music Co. wanted to publish the Clarinet Sonata. Out of professional courtesy I showed it first to Warner’s, and they knocked me over by loving it, and insisting on publishing it. I was downhearted, since Hargail wanted to make a commercial recording of it. Now Hargail is offering me all sorts of fantastic royalty rates if I’ll give it to them, and says that they will make the recording anyway! A labor of love, if I ever heard one. But Warner’s points out that they, as a large firm...can do so much more for it than can a little thing like Hargail...Matters are now suspended by a hair. Warner’s presented me with a five-year contract! I’m taking it to a lawyer today to find out what it says. It looks like my life that I’m signing away. But it adds to my little old salary a substantial weekly advance on future mythical royalties, which increases each year. And the rest is history. . . COPLAND Old American Songs Premiered on June 17, 1950, at Aldeburgh, by Peter Pears with Benjamin Britten at the piano. Copland’s research at the Sheet Music Collection of the Harris Collection of American Poetry and Plays at Brown University led him to compose two sets of arrangements of songs he had found. The first set of songs were originally composed from the 1830s to the 1880s, covering everything from children songs to a Quaker tunes. The simplicity of Copland’s settings stands in stark contrast to the complexity of post-World War II politics, expressing the composer’s desire for a simpler world.

BERNSTEIN Piano Trio Premiered at Harvard in 1937 by the Madison Trio: Mildred Spiegel, piano; Dorothy Rosenberg, violin; and Sarah Kruskal, cello. Don’t underestimate the value of a good education. Bernstein had unmatched “academic” pedigree with degrees from Harvard (Walter Piston, composition) and Curtis (Fritz Reiner conducting; Isabelle Vengerova, piano; Renée Longy-Miquelle, transposition and sight-reading), not to mentions his informal studies with Dimitri Mitropoulos and Aaron Copland. His Piano Trio was composed at Harvard in 1937. It offers a fascinating kaleidoscope of “academic” writing infused with jazz elements. In short, it is already unmistakably Bernstein. NED ROREM (1923-) Fantasy from The End of Summer Named by Time magazine as “the world’s best composer of art songs,” Rorem knows how to write lyrical works. His Fantasy conveys the richness of Rorem’s lyricism. Having crossed paths with Bernstein on several occasions, both composers admired each other’s works, realizing their different compositional approaches. While Bernstein is the quintessential American composer, Rorem’s French influence has given him the nickname the “American Poulenc.” Composed in 1985 for the Verdehr Trio, it clearly reflects his modernist roots in a postmodern world. BERNSTEIN Halil Composer’s program note, included in the score: This work is dedicated “To the Spirit of Yadin and to his Fallen Brothers.” The reference is to Yadin Tanenbaum, a nineteenyear-old Israeli flutist who, in 1973, at the height of his musical powers was killed in his tank in the Sinai. He would have been twenty-seven years old at the time this piece was written. Halil (the Hebrew word for “flute”) is formally unlike any other work I have written, but is like much of my music in its struggle between tonal and non-tonal forces. In this case, I sense that struggle as involving wars and the treat of wars, the overwhelming desire to live, and the consolations of art, love and the hope for peace. It is a kind of night-music which, from its opening 12-tone row to its ambiguously diatonic final cadence, is an ongoing conflict of nocturnal images: wishdreams, nightmares, repose, sleeplessness, night-terrors and sleep itself, Death’s twin brother. I never knew Yadin Tanenbaum, but I know his spirit.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

TUESDAY, JULY 10 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE SŌ PERCUSSION Eric Cha-Beach Josh Quillen Adam Sliwinski Jason Treuting

VIJAY IYER TORQUE

CAROLINE SHAW Taxidermy DONNACHA DENNEHY Broken Unison

INTERMISSION

JASON TREUTING Amid The Noise

With innovative multi-genre original productions, sensational interpretations of modern classics, and an “exhilarating blend of precision and anarchy, rigor and bedlam,” (New Yorker), Sō Percussion has redefined the scope and vital role of the modern percussion ensemble. Sō’s repertoire ranges from “classics” of the 20th century, by John Cage, Steve Reich, and Iannis Xenakis, et al, to commissioning and advocating works by contemporary composers such as Caroline Shaw, David Lang, Steve Mackey, and Paul Lansky, to distinctively modern collaborations with artists who work outside the classical concert hall, including vocalist Shara Nova, electronic duo Matmos, the groundbreaking Dan Deacon, legendary drummer Bobby Previte, jam band kings Medeski, Martin, and Wood, Wilco’s Glenn Kotche, choreographer Shen Wei, and composer and leader of The National, Bryce Dessner, among many others. Sō Percussion also composes and performs their own works, ranging from standard concert pieces to immersive multi-genre programs – including Imaginary City, Where (we) Live, and A Gun Show, which was presented in a multiperformance presentation as part of BAM’s 2016 Next Wave Festival. In these concert-length programs, Sō Percussion employs a distinctively 21st century synthesis of original music, artistic collaboration, theatrical production values and visual art, into a powerful exploration of their own unique and personal creative experiences.

BMC Alumna

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TUESDAY, JULY 10 TORQUE (2018) – Vijay Iyer Commissioned by Andrew W. Siegel

Broken Unison (2017) – Donnacha Dennehy Co-commissioned by Carnegie Hall and Cork Opera House

At the piano, I listen for how the contortions of the hand can suggest the surges of a body in motion. In my trio music, I’m often evolving rhythmic shapes, shaping gestural patterns with an embodied resonance, and striving to evoke specific qualities of movement with our performed rhythms. Someone once compared us to the Flying Karamazov Brothers, with their coordinated, cyclical, antiphonal actions. I see the work of the rhythm section as a ritual of collective synchrony, aiming above all to generate a dance impulse for everybody in the room.

With Broken Unison, I took the opportunity - joyfully I might add to re-engage with questions of abstract compositional technique after a period writing more semantically charged music for operas and kind-of-operas. The work is full to the hilt with various ways of disrupting unisons, from antiphonal interchanges through staggered chorales to a fairly dizzying use of canons of various hues, from the airily spaced to the breathily close, so close that they veer towards a kind of fractured unison at times. I became even more ambitious with some of these ferociously close canons after hearing how well the So Percussion players executed them while I was trying out early drafts of the piece! Paradoxically, perhaps, as the music tends more towards actual unisons in its latter parts, its mood becomes progressively broken and dark. Maybe there is a semantic undertone after all.

Torque, a twisting force on a body, seems to appear for the listener at music’s formal boundaries, when one movement type gives way to another. This piece for Sō Percussion invites them to perform transformations that twist the music’s temporal flow, bringing the micro-relational art of the rhythm section to this virtuosic quartet. – Vijay Iyer Taxidermy (2012) – Caroline Shaw Why “Taxidermy”? I just find the word strangely compelling, and it evokes something grand, awkward, epic, silent, funny, and just a bit creepy — all characteristics of this piece, in a way. The repeated phrase toward the end (“the detail of the pattern is movement”) is a little concept I love trying (and failing) to imagine. It comes from T.S. Eliot’s beautiful and perplexing Burnt Norton (from the Four Quartets), and I’ve used it before in other work — as a kind of whimsical existentialist mantra.

I think of the dialogue between pattern and texture in this piece as a kind of magic realism. I limited myself strictly to equaltempered pitched instruments, despite the fact that much of my recent music plays with microtones to create a kind of harmony/ timbre based on the overtone series. Here instead the very close canons transform in and out of something akin to a jingly-jangly pulsating resonance, the overtones spilling over each other. Strictly in nine sections, the piece really separates into three larger parts – each accumulatively made up of a greater number of smaller sections (2, 3 and 4 respectively) - and each demarcated by the varied iteration of a type of material defined by the employment of very bright, close canons starting in C and then slipping away semi-tonally in a manner influenced by the harmonic language of Gesualdo’s later music.

– Caroline Shaw

– Donnacha Dennehy Amid The Noise (2006) – Jason Treuting ‘Amid the Noise’ is a set of short pieces exploring many forms of noise framed by drones and consistent yet subtly changing harmonies. They were conceived as small soundtracks for everyday moments in everyday life. It was written and recorded in 2006, but has been growing and changing ever since. – Jason Treuting

Sō Percussion’s 2017-2018 season is supported by The Aaron Copland Fund; The Fan Fox and Leslie R. Samuels Foundation; The Howard Gilman Foundation; The Alice M. Ditson Fund; The National Endowment for the Arts: Art Works; The New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; The New York City Department of Cultural Affairs in partnership with the City Council; and New Music USA’s NYC New Music Impact Fund made possible with funding from The Scherman Foundation’s Katharine S. and Axel G. Rosin Fund. Sō Percussion uses Vic Firth sticks, Zildjian cymbals, Remo drumheads, Estey Organs, and Pearl/Adams instruments. Sō Percussion would like to thank these companies for their generous support and donations.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

WEDNESDAY, JULY 11 7:30 PM WHITTINGTON-PFOHL AUDITORIUM BRANDENBURG CONCERTI 3 & 4 Brevard Camerata William Preucil, violin Amy Porter, flute Dilshad Posnock, flute BACH Brandenburg Concerto No. 3 in G major, BWV 1048 (1685-1750) Allegro Adagio Allegro BACH Brandenburg Concerto No. 4 in G major, BWV 1049 (1685-1750) Allegro Andante Presto Ms. Porter, flute Ms. Posnock, flute Mr. Preucil, violin

INTERMISSION

BMC Alumna

TCHAIKOVSKY Serenade for Strings in C major, Op. 48 (1840-1893) Pezzo in forma di sonatina: Andante non troppo. Allegro moderato Valse: Moderato. Tempo di valse Élégie: Larghetto elegiaco Finale (Tema russo): Andante. Allegro con spirit

The Brevard Camerata is comprised of BMC’s talented College Division students working side-by-side with members of the Artist Faculty. Directed by Jonathan Spitz, Principal Cellist of the New Jersey Symphony and long-time member and artistic leader of Orpheus, America’s premier conductorless ensemble, the Brevard Camerata explores nearly four centuries of music from the rich and diverse chamber orchestra repertoire.

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WEDNESDAY, JULY 11 JOHANN SEBASTIAN BACH (1685-1750) Brandenburg Concerti Nos. 3 and 4, BWV 1048-1049 Historically speaking, the six Brandenburg Concertos were complete failures. Written during Bach’s employment as Kapellmeister at the court of Prince Leopold of Anhalt in Cöthen, this collection was Bach’s feeble attempt to find greener pastures. After four satisfying years working for a true music lover and with some of the best musicians, Bach saw the writing on the wall when the count’s new wife made it clear that she had no appreciation for good music. Having endured a month of incarceration for breaking his contract at his previous employment in Weimar in order leave for Cöthen, Bach chose a more sensible approach. His attempt, however, to impress Margrave Christian Ludwig of Brandenburg by sending him these six concertos was a colossal failure, which was mostly Bach’s own fault. While these concertos represent the pinnacle of orchestral baroque music, they were based on the instrumentation at Cöthen. The Margrave of Brandenburg simply did not have the means to perform these works. Sadly, Bach never even received a Thank You note from the Margrave. As is typical for any of Bach’s stupendous collections, each concerto represents a different approach, offering a summation of the concerto grosso tradition of the 1720s. Concertos 3 and 4 are opposites: While the Third Concerto has no soloists (called ripieno/full ensemble concerto), the Fourth is the only concerto with all three soloists playing in all movements. The most curious “movement” is the second of No. 3, which consists of two chords, indicating some type of improvised cadenza, most likely by the solo violin. The most complex movement is the Presto of No. 4, which is a fascinating synthesis of concerto style and fugue. One wonders if Bach’s career path would have changed, had the Margrave of Brandenburg heard these brilliant concertos in performance.

PYOTR IL’YCH TCHAIKOVSKY (1840-1893) Serenade for Strings in C major, Op. 48 Premiered on October 30, 1881, in St. Petersburg under the direction of Eduard Napravnik. “Whether because it is my latest child or because in reality it is not bad, I am terribly in love with this serenade. . .” (Tchaikovsky) Many have since agreed with the composer that the piece is “not bad,” and almost everybody who hears Tchaikovsky’s Serenade for Strings falls in love with it immediately. Its obvious Mozartian character (Tchaikovsky himself admitted Mozart’s music as inspiration), its gorgeous melodies, its stunning beauty, and its emotive power have made it the piece for string orchestra. The success of the work can also be traced to another Mozartian quality: the ability to write popular works that withstand close intellectual scrutiny—making it “work” on many levels and for all audiences. While Tchaikovsky’s Op. 48 appears to be a rather simple serenade in a classically conceived, melody-oriented style, it is nevertheless a complex cyclic work (material from the first movement reappears at the end) that is rich in content and meaning. So what was the reason for the Serenade’s composition? In fall of 1880, Tchaikovsky was commissioned to write a work for the unveiling of a Pushkin memorial in Moscow. The composer’s frustrations with a work “with no warm feeling of love . . . and no artistic merits” caused him to begin work on his Serenade “from inner necessity.” As it turns out, both works would become some of his most often performed compositions, as the “noisy” work would become his 1812 Overture. - Siegwart Reichwald

Tchaikovsky’s teacher Anton Rubinstein declared the Serenade his best piece.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

THURSDAY, JULY 12 7:30 PM SATURDAY, JULY 14 2:00 PM PORTER CENTER AT BREVARD COLLEGE LA CENERENTOLA (CINDERELLA) Janiec Opera Company of the Brevard Music Center Crystal Manich, stage director Brevard Festival Orchestra Craig Kier, conductor

MUSIC Gioachino Rossini LIBRETTO Jacopo Ferretti

ACT I

INTERMISSION

ACT II Robin Vest, Scenic Designer Tláloc López-Watermann, Lighting Designer Glenn Avery Breed, Costume Designer Brittany Rappise, Wig & Makeup Designer

CAST Cenerentola: Caroline Hewitt Ramiro: Victor Cardamone Dandini: Luke MacMillan Don Magnifico: Andrew René Alidoro: Zizhao Wang Clorinda: Lucia Helgren Tisbe: Esther Atkinson

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ENSEMBLE Scott Ballantine Kyle Bejnerowicz Ian Bolden Samuel DeSoto Robert Fridlender Cody Galyon David Gindra Matthew Huckaba Miles Jenkins Samuel Rachmuth

THURSDAY, JULY 12 SATURDAY, JULY 14 GIOACHINO ROSSINI (1792-1868) La Cenerentola Premiered on January 25, 1817, in Teatro Valle in Rome.

SYNOPSIS

No composer in the first half of the 19th century enjoyed the measure of prestige, wealth, popular acclaim or artistic influence that belonged to Rossini. His contemporaries recognized him as the greatest Italian composer of his time. La Cenerentola is the perfect example of Rossini’s unparalleled success—and his genius. At the tender age of 24, Rossini had already reached public fame. Working under a full-time contract in Naples, Rossini had only short windows to produce operas elsewhere. One such opportunity arose in December 1816 for an opera production in Rome. Things got complicated, however, when all the suggested librettos were deemed unsuitable by the Vatican. They were quickly running out of time for an opera performance before Lent. Librettist Jacopo Ferretti detailed they race against time:

Don Magnifico’s rundown mansion. Cenerentola (Cinderella), who lives a rather miserable life under the mistreatment of her stepsisters, Clorinda and Tisbe, dreams of a king who will choose her for her innocence and goodness. When a beggar enters, the two sisters are disgusted while Cinderella feeds him breakfast. The beggar is actually Prince Ramiro’s tutor and philosopher Alidoro in disguise. Big news is announced by royal courtiers: the prince will throw a party that night in order to find a suitable wife. The sisters are wondering which one of them will become his princess, while Don Magnifico already imagines his affluent future.

I proposed some twenty or thirty subjects. But one was too dramatic for the carnival season, another too tricky, another required an expensive staging or did not suit the singers. Sick of proposals and nearly prostrate with weariness, I yawned: Cinderella. Rossini, in order to concentrate, was lying on his bed. He abruptly stood up like Alighieri's Farinata and said: “Would you have the heart for writing me a Cinderella?” I replied, “And you for setting it to music?” and he asked, ”when would the draft be ready?”; and I, “despite my sleepiness, tomorrow morning!”; and Rossini, “good night!”: he wrapped himself in the sheets and fell asleep. Only 24 days later La Cenerentola was completed—just in time for the premiere. Despite the breathtaking compositional speed, Rossini created a masterpiece that combines his unmistakable sense of humor with great story telling. By replacing magic with the meddling of the wise Alidoro, Rossini turns the fairy-tale into a story about “real people.” After initial reservations by some critics, who took issue with Rossini’s adaptation of the famous story, La Cenerentola proved to be enormously popular with performances all over Europe, Buenos Aires (1826), and New York (1826). In 1844 it became the first opera ever performed in Australia. - Siegwart Reichwald

ACT I

Alidoro (the beggar) tells Prince Ramiro about Cinderella, so Ramiro decides to meet her and also appears disguised (as his own valet) at her home. Their attraction is unmistakable. Meanwhile, the real valet, Dandini, now dressed up as the prince, tries to find out more about the family situation. When he asks about a third daughter, Magnifico lies, saying his other daughter is dead—with Cinderella in the room. Needless to say, Cinderella is not allowed to attend the ball. Sensing that his intervention is needed, Alidoro returns and personally invites her to the party. Don Ramiro’s country house. The charade continues, as “the prince” distracts Magnifico while “the valet” is snubbed by the sisters. A gorgeous stranger enters, and the sisters are bemused by her eerie resemblance to Cinderella. It’s time for dinner. ACT II A room in Don Ramiro’s country house. Magnifico realizes that marrying off one of his daughters to the prince has hit some roadblocks, yet he continues to hold fast to his dreams. Meanwhile, Cinderella has grown tired of the advances of “the prince” and tells him that she’s in love with “the valet.” Overhearing this, “the valet” reveals his identity as Prince Ramiro to Cinderella, who is not yet ready to give in to the prince. Instead, she gives him a matching bracelet, tells him to find her if he truly loves her, and disappears. Ramiro is ready to put an end to the charade, but Magnifico corners “the prince” to choose one of his daughters to marry. Dandini reveals himself as the valet and Magnifico is outraged. Back in Magnifico’s mansion. Cinderella once again sings her dreamy sad song. Magnifico and her stepsisters vent their frustrations over the mystery woman in her likeness who had spoiled their plans. A storm is brewing outside. As the storm subsides, Prince Ramiro enters, claiming that his carriage had broken down—a plan hatched by Alidoro. The Prince and Cinderella recognize one another, and their matching bracelets confirm their identities. Ramiro announces Cinderella as his bride. The stepsisters are outraged. While Alidoro warns them, Ramiro is furious at their treatment of his bride. Cinderella steps in and asks Ramiro to follow her lead and forgive them. The throne room in Don Ramiro’s palace. The wedding is celebrated. When Magnifico tries to win favor with Cinderella, her only request is that he acknowledge her as his daughter. The chorus joins in, praising Cinderella a worthy princess.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

FRIDAY, JULY 13 7:30 PM WHITTINGTON-PFOHL AUDITORIUM

Official piano of the Brevard Music Center

A BERNSTEIN CELEBRATION Brevard Music Center Orchestra Keith Lockhart, conductor Greenville Chorale Dunn Hamrick, boy soprano Norman Krieger, piano

This project is supported in part by an award from the National Endowment for the Arts

BERNSTEIN Chichester Psalms (1918-1990) Psalm 108:2, Psalm 100 Psalm 23, Psalm 2:1 – 4 Psalm 131, Psalm 133:1

MAHLER Adagio from Symphony No. 10 (1860-1911)

INTERMISSION

BERNSTEIN Symphony No. 2 ‘The Age of Anxiety' (1918-1990) Part One Part Two BMC Alumnus

Mr. Krieger, piano

LEONARD BERNSTEIN (1918-1990) Chichester Psalms Premiered on July 15, 1965, in New York under the direction of the composer. The commission by Chichester Cathedral came just at the right time. After six taxing but highly successful years as conductor of the New York Philharmonic, Bernstein had taken a sabbatical in order to compose a musical with the working title Skin of Our Teeth—yet the project fell apart. More devastating, however, were the deaths of his friend Mark Blitzstein and President Kennedy, which left the composer in a dark place: “Skin is stalled. Life, this agonizing November, is a tooth with its skin stripped off. I don’t know what I’m writing. . . I can’t get over Marc and Kennedy. Life is a tooth without skin.” The Psalm texts were surely soothing and

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life-affirming to the struggling composer. The project was made even more inviting by the stylistic suggestions: “Many of us would be very delighted if there was a hint of West Side Story about the music.” So Bernstein took music from Skin of Our Teeth and some discarded material from West Side Story to compose one of his most personal works. Psalm 108, verse 2 Urah, hanevel, v’chinor! A-irah shahar! Psalm 100 Hariu l’Adonai kol haarets. Iv’du et Adonai b’simcha. Bo-u l’fanav bir’nanah. D’u ki Adonai Hu Elohim.

FRIDAY, JULY 13 Hu asanu, v’lo anahnu. Amo v’tson mar’ito. Bo-u sh’arav b’todah, Hatseirotav bit’hilah, Awake, psaltery and harp! I will rouse the dawn! Make a joyful noise unto the Lord all ye lands. Serve the Lord with gladness. Come before His presence with singing. Know ye that the Lord, He is God. It is He that hath made us, and not we ourselves. We are His people and the sheep of His pasture. Enter into His gates with thanksgiving, And into His courts with praise, Hodu lo, bar’chu sh’mo. Ki tov Adonai, l’olam has’do, V’ad dor vador emunato. Psalm 23 Adonai ro-i, lo ehsar. Bin’ot deshe yarbitseini, Al mei m’nuhot y’nahaleini, Naf’shi y’shovev, Yan’heini b’ma’aglei tsedek, L’ma’an sh’mo. Gam ki eilech B’gei tsalmavet, Lo ira ra, Ki Atah imadi. Shiv’t’cha umishan’techa Heimah y’nahamuni. Ta’aroch l’fanai shulchan. Neged tsor’rai, Dishanta vashemen roshi Cosi r’vayah. Ach tov vahesed Yird’funi kol y’mei hayai, V’shav’ti b’veit Adonai L’orech yamim. Psalm 2, verses 1-4 Lamah rag’shu goyim Ul’umim yeh’gu rik? Yit’yats’vu malchei erets, V’roznim nos’du yahad, Al Adonai v’al m’shiho. N’natkah et mos’roteimo, V’nashlichah mimenu avoteimo. Yoshev bashamayim Yis’hak, Adonai Yil’ag lamo! Psalm 131 Adonai, Adonai, Lo gavah libi, V’lo ramu einai, V’lo hilachti Be thankful unto Him, and bless His name. For the Lord is good, His mercy is everlasting, And His truth endureth to all generations. The Lord is my shepherd, I shall not want.

He maketh me to lie down in green pastures, He leadeth me beside the still waters, He restoreth my soul, He leadeth me in the paths of righteousness, For His name’s sake. Yea, though I walk Through the valley of the shadow of death, I will fear no evil, For Thou art with me. Thy rod and Thy staff They comfort me. Thou preparest a table before me. In the presence of mine enemies, Thou annointest my head with oil, My cup runneth over. Surely goodness and mercy Shall follow me all the days of my life, And I will dwell in the house of the Lord Forever. Why do the nations rage, And the people imagine a vain thing? The kings of the earth set themselves, And the rulers take counsel together Against the Lord and against His annointed. Saying, let us break their bonds asunder, And cast away their cords from us. He that sitteth in the heavens Shall laugh, and the Lord Shall have them in derision! Lord, Lord, My heart is not haughty, Nor mine eyes lofty, Neither do I exercise myself Big’dolot uv’niflaot Mimeni. Im lo shiviti V’domam’ti, Naf’shi k’gamul alei imo, Kagamul alai naf’shi. Yahel Yis’rael el Adonai Me’atah v’ad olam. Psalm 133, verse 1 Hineh mah tov, Umah nayim, Shevet ahim Gam yahad. In great matters or in things Too wonderful for me. Surely I have calmed And quieted myself, As a child that is weaned of his mother, My soul is even as a weaned child. Let Israel hope in the Lord From henceforth and forever. Behold how good, And how pleasant it is, For brethren to dwell Together in unity.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER GUSTAV MAHLER (1860-1911) Adagio from Symphony No. 10 Premiered on October 12, 1924, in Vienna under the direction of Franz Schalk. If Bernstein was in a dark place when composing Chichester Psalms, Mahler was in much worse shape. “A symphony must be like the world. It must contain everything,” Mahler famously said. But what if the whole world around you seems to be falling apart? Like every summer, in 1910 Mahler had gone to his retreat at Toblach, in the Italian Alps, to compose his Tenth Symphony, which he drafted in five movements and just under 2000 measures. Yet unlike every previous summer, Mahler’s world had come apart upon the news that his wife Alma was in a relationship with the much younger Walter Gropius. While in many ways the sketches and drafts follow Mahler’s typical symphonic ideals, some revisions hint at the inner turmoil Mahler was facing. The title of the third movement is “Purgatorio” with the inscription “Annunciation of death.” For the second scherzo the words are “The Devil is dancing with me/Madness seizes me, the accursed/Destroy me/That I may cease to exist.” Yet it would be too simplistic to view the Tenth Symphony only within the context of Mahler’s emotional crisis, as the sketches of the last movement point to triumph. Furthermore, much of the drafting was done before the intensity of the crisis set in. The first movement, Adagio, was the only completed draft, composed before his breakdown. As it turns out, Mahler would recuperate and enjoy great success the following fall and winter. Sadly, he died before he could return to the work the following summer. One wonders what the next set of revisions would have revealed. BERNSTEIN Symphony No. 2 ‘The Age of Anxiety' Premiered on April 8, 1949, in Boston under the direction of Serge Koussevitzky with the composer at the piano The Age of Anxiety was an important work for Bernstein, as he was trying to establish himself as composer while continuing his promising career as conductor (and pianist). The commission from his mentor Serge Koussevitzky afforded him that opportunity. Bernstein’s Prefatory Notes from the Score (Excerpts) W. H. Auden’s fascinating poem, The Age of Anxiety; a Baroque eclogue, began to affect me lyrically when I first read it in the summer of 1947. From that moment the composition of a symphony based on The Age of Anxiety acquired a compulsive quality; and I worked on it steadily in Taos, in Philadelphia, in Richmond, Mass., in Tel-Aviv, in planes, in hotel lobbies, and finally (the week preceding the premiere) in Boston. The orchestration was started during a month-long tour with the Pittsburgh Symphony, and was completed on March 20, 1949, in New York City. I imagine that the conception of a symphony with piano solo emerges from the personal identification of myself with the poem. In this sense, the pianist provides an autobiographical protagonist, set against an orchestral mirror in which he sees himself, analytically, in the modern ambience. The work is therefore no “concerto” in the virtuosic sense, although I regard Auden’s poem as one of the most shattering examples of virtuosity in the history of English poetry.

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The essential line of the poem (and of the music) is the record of our difficult search for faith. In the end, two of the characters enunciate the recognition of this faith—even a passive submission to it—at the same time revealing an inability to relate to it in their daily lives, except through blind acceptance. I have divided Auden’s six sections into two large parts, each containing three sections played without pause. A brief outline follows: Part I (a) The Prologue finds four lonely characters, a girl and three men, in a Third Avenue bar, all of them insecure, and trying, through drink, to detach themselves from their conflicts, or, at best, to resolve them. They are drawn together by this common urge and begin a kind of symposium on the state of man. (b) The Seven Ages. The life of man is reviewed from the four personal points of view. (c) The Seven Stages. The four try every means, going singly and in pairs, exchanging partners, and always missing the objective. When they awaken from the dream-odyssey, they are closely united through a common experience (and through alcohol), and begin to function as one organism. PART II (a) The Dirge is sung by the four as they sit in a cab en route to the girl’s apartment for a nightcap. They mourn the loss of the “colossal Dad,” the great leader who can always give the right orders, fine the right solution, shoulder the mass responsibility, and satisfy the universal need for a fathersymbol. (b) The Masque find the group in the girl’s apartment, weary, guilty, determined to have a party, each one afraid of spoiling the others’ fun by admitting that he should go to bed. The party ends in anticlimax and the dispersal of the actors. (c) The Epilogue. What is left, it turns out, is faith. Throughout the Epilogue the piano-protagonist has taken no part, but has observed it, as one observed such development on a movie screen, or in another human personality. At the very end he seizes upon it with one eager chord of confirmation, although he had not himself participated in the anxietyexperience leading to this fulfilment. The way is open; but, at the conclusion, it still stretching long before him. - Siegwart Reichwald

Bernstein’s friend and collaborator, Jerome Robbins, choreographed a ballet to 'The Age of Anxiety' in 1950.

SATURDAY, JULY 14 SATURDAY, JULY 14 8:30 PM WHITTINGTON-PFOHL AUDITORIUM

This project is supported in part by an award from the National Endowment for the Arts

WEST SIDE STORY FILM WITH LIVE ORCHESTRA Brevard Sinfonia Jayce Ogren, conductor West Side Story® Associates

The Authors of West Side Story have donated their proceeds for tonight's performance to Equality NC.

presents

BMC Alumnus

WEST SIDE STORY MIRISCH PICTURES Presents “WEST SIDE STORY” A ROBERT WISE Production Starring NATALIE WOOD RICHARD BEYMER RUSS TAMBLYN RITA MORENO GEORGE CHAKIRIS Directed by ROBERT WISE & JEROME ROBBINS Screenplay by ERNEST LEHMAN Associate Producer SAUL CHAPLIN Choreography by JEROME ROBBINS Music by LEONARD BERNSTEIN Lyrics by STEPHEN SONDHEIM Based upon the Stage Play Produced by ROBERT E. GRIFFITH and HAROLD S. PRINCE Book by ARTHUR LAURENTS Play Conceived, Directed and Choreographed by JEROME ROBBINS Film Production Designed by BORIS LEVEN Music Conducted by JOHNNY GREEN Presented by MIRISCH PICTURES, INC. In Association with SEVEN ARTS PRODUCTIONS INC. Filmed in PANAVISION® TECHNICOLOR®

Film screening of West Side Story courtesy of Metro Goldwyn Mayer Studios Inc. WEST SIDE STORY© 1961 Metro-Goldwyn-Mayer Studios Inc. All Rights Reserved. West Side Story is available on Blu-ray DVD and all digital platforms. Tonight's program is a presentation of the complete film West Side Story with live performance of the film’s entire score. The program runs 2 hours and 34 minutes, plus an intermission. It also includes the underscoring played by the orchestra during the Saul Bass-designed End Credits. We ask that, out of respect for the music, for the musicians playing it and for your fellow audience members, you remain in your seats until the End Credits are completed. PRODUCTION CREDITS Producer: Paul H. Epstein for The Leonard Bernstein Office, Inc. Associate Producer: Eleonor M. Sandresky for The Leonard Bernstein Office, Inc. Production Supervisor: Eleonor Sandresky Technical Director: Chris Szuberla Sound Engineer: Nick Pierce Music Supervision: Garth Edwin Sunderland Original Orchestrations: Leonard Bernstein, Sid Ramin, Irwin Kostal Additional orchestrations: Garth Edwin Sunderland & Peter West Music Preparation: Peter West Original manuscript reconstruction: Eleonor M. Sandresky Technical Consultant: Laura Gibson

Soundtrack Adaptation–Chace Audio by Deluxe: Robert Heiber, Chris Reynolds, Andrew Starbin, Alice Taylor Sound Separation Technology provided by Audionamix Click Tracks and Streamers created by: Kristopher Carter and Mako Sujishi With special thanks to: Arthur Laurents and his Estate, Stephen Sondheim, The Robbins Rights Trust, The Johnny Green Collection at Harvard University, The Sid Ramin Collection at Columbia University, The Robert Wise Collection at the University of Southern California, Lawrence A. Mirisch, David Newman, Metro Goldwyn Mayer Studios Inc., MGM HD, Twentieth Century Fox Home Entertainment LLC, Ken Hahn and Sync Soundfonia.

West Side Story is a registered trademark of The Leonard Bernstein Office, Inc. in the US and other countries.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

SUNDAY, JULY 15 3:00 PM WHITTINGTON-PFOHL AUDITORIUM

This project is supported in part by an award from the National Endowment for the Arts

BERNSTEIN THE EDUCATOR Brevard Concert Orchestra Ken Lam, conductor Joseph Horowitz, producer Peter Bogdanoff, visual artist GERSHWIN An American in Paris (1898-1937) CHADWICK Melpomene Overture (1854-1931)

INTERMISSION

COPLAND Excerpts from Billy the Kid (1900-1990)

HARRIS Finale from Symphony No. 3 (1898-1979)

IVES Finale from Symphony No. 2 (1874-1954)

The composer/critic Virgil Thomson once called Leonard Bernstein “the ideal explainer of music, both classical and modern.” Bernstein explained more than that. The dozens of programs he wrote and hosted on television–including the Young People’s Concerts he presented with the New York Philharmonic (1958 to 1972)–range effortlessly from Bach to jazz, rock, and Broadway. As TV time capsules, they also explore an incidental topic scarcely apparent when these shows were new: Bernstein himself as the embodiment of America’s musical aspirations and disappointments over a period of two decades. His first telecast, in 1954, preceded his Philharmonic tenure. It was “Beethoven’s Fifth Symphony”—the first of a series of programs he created for “Omnibus” (then America’s most important cultural showcase, hosted by Alistair Cooke). Bernstein stood atop a gigantic reproduction of the symphony’s first page–a memorable tableau–and proceeded (with the help of a dozen musicians) to investigate the instrumental combinations so

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inscribed. He next demonstrated how the symphony might have sounded had Beethoven not discarded certain details. A flute part on page one, for instance, was crossed out. “The flute, being the instrumental equivalent of a soprano, would be intruding here like a delicate lady at a club smoker.” The main theme of the slow movement was sketched at least fourteen times–two of which versions Bernstein shared at the piano. Reproductions of the original score show violent scratches–“like the bloody record of a tremendous inner battle,” Bernstein suggested. By way of comparison, he produced a Stravinsky manuscript that “looks almost as beautiful as it sounds.” Bernstein was young, irreverent, eclectic. He swiftly established a pedagogical agenda that swept aside what Thomson called “the music appreciation racket.” Far from sanctifying famous music, he dismantled it to see how it worked, or juxtaposed it with popular music, which he adored. He campaigned for modern music and American music.

SUNDAY, JULY 15 The diversity of Bernstein’s curriculum, pursued through fiftythree televised Young People’s Concerts, twenty-one programs for “Omnibus,” “Ford Presents,” and “Lincoln Presents,” and six televised Norton lectures given at Harvard, was not wholly unprecedented. Olga Samaroff, once Leopold Stokowski’s wife, had endorsed “modern creative music” in her 1935 Layman’s Book of Music. In 1939 Aaron Copland, in What to Listen For in Music, had taught that “real lovers of music are unwilling to have their musical enjoyment confined to the overworked period of the three Bs.” But Bernstein, who first heard an orchestral concert only at the age of fourteen, and who once, as Lenny Amber, had supported himself arranging pop songs and transcribing jazz improvisations, was far fresher, more varied in scope and resource.

The subtext of Bernstein’s exercise is that the real Carmen is not grand opera, but a near cousin to American musical comedy. Its use of dialogue furnishes expressive possibilities foreclosed once the alternation of speech and song is abandoned. By way of appreciating French opera comique, Bernstein celebrates Broadway.

And yet Bernstein’s achievement as an explainer of music was short lived. No master educator has taken his place. His “young people” have not musically inculcated their young. Bernstein the teacher already seems an anachronism.

I would call that a triumphant exercise in pedagogy.

While not every Bernstein telecast considers American music, he typically draws on contemporary culture, high and low. Dealing with Beethoven or Gershwin, Stravinsky or Simon and Garfunkel, he is of his own time and place: the America of the Sixties. Partly because he came late to classical music, he feels challenged to mediate between Old World and New. The urgency of his need to place himself as an American classical musician reinforces the energy of his delivery. One can disagree with how he answers this need. But his communicative passion is irresistible; in the heat of engagement, what he says matters—and mattered to his young people, even when his ideas sail over their heads–because we feel sure it matters to him. This is one way of saying that Bernstein was never a patronizing or sanctimonious teacher. It also suggests the degree to which his style is self-referential–and that this is a strength. The interwar music appreciators were sensitive to how America looked to European eyes. Bernstein, who cannot be embarrassed, directly and familiarly engaged composers from other countries. For him, the United States is the place to be: young, versatile, breathless with possibility. My favorite Bernstein telecast is “The Drama of Carmen” for “Ford Presents” (March 11, 1962). In effect, it is a sequel to another Ford special: “American Musical Comedy” (October 7, 1956). In 1962, Bizet’s opera was invariably given with sung recitatives composed not by Bizet, but by Ernest Guiraud after Bizet’s death. That is: the original Carmen, following the template for French opera comique, interpolates speech. The Carmen revised by Guiraud is more properly “operatic”–always sung. Using two sets of performers – singers singing the recitatives vs. actors enacting the original spoken text (translated into English)– Bernstein demonstrates that Guiraud, compressing the libretto (by Henri Meilhac and Ludovic Halevy), simplified details of plot and characterization. Unlike Guiraud’s prissy Don Jose, Bizet’s Jose has murdered a man. And Bizet’s Carmen, more complex than Guiraud’s, is a “true beatnik” who “sees life as a drama.” What is more, Bizet’s way of moving from speech to song– “I won’t say a word,” Carmen tells Zuniga by way of launching a wordless chanson–opens a creative synapse.

A decade later, in 1972, Bernstein put his Carmen lesson into practice. Conducting a new production at the Met, he killed the recitatives and restored the dialogue. The result was a famous recording. Today, few opera houses present Carmen with recitatives.

— Joseph Horowitz (This article is adapted from Professor Lenny, first published in The New York Review of Books in 1993 and reprinted in Joseph Horowitz’s essay collection The Post-Classical Predicament in 1995.) JOSEPH HOROWITZ, producer Joseph Horowitz has long been a pioneer in the thematic, interdisciplinary classical music programming, beginning with his tenure as artistic advisor for the annual Schubertiade at New York’s 92nd Street Y. As executive director of the Brooklyn Philharmonic Orchestra, he received national attention for The Russian Stravinsky, Dvořák and America, American Transcendentalists, Flamenco, and other festivals that explored the folk roots of concert works and the quest for national identity through the arts. Now an artistic adviser to various American orchestras, he has created more than three dozen interdisciplinary music festivals since 1985. He is also the founding artistic director of Washington, D.C.’s pathbreaking chamber orchestra, PostClasscial Ensemble, in which capacity he has produced two DVDs for Naxos that feature classical documentary films with newly recorded soundtracks. He is also the award-winning author of eight books that address the institutional history of classical music in the United States. Both Classical Music in America: A History (2005) and Artists in Exile (2008) were named best books of the year by The Economist. PETER BOGDANOFF, media artist Media Artist Peter Bogdanoff explores the arts using traditional and emerging digital technology. He works in the field of video, audio, and computer-based media to bring the arts to new audiences. In collaboration with Joseph Horowitz, he has previously created visual presentations for live performances of Antonín Dvořák's New World Symphony and Igor Stravinsky's Symphony in Three Movements. Also with Mr. Horowitz, he created the visuals for Inside the Music: Tchaikovsky Symphony No. 6 (presented by the New York Philharmonic) and for a film, Remembering JFK (for the National Symphony Orchestra). He has worked extensively over the last 25 years in the field of computer-based arts explorations. Mr. Bogdanoff studied musical composition at Indiana University and California State University, Los Angeles, and is a Digital Media Specialist in the UCLA Herb Alpert School of Music.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

MONDAY, JULY 16 7:30 PM SCOTT CONCERT HALL AT THE PORTER CENTER BMC ARTIST FACULTY: BRAHMS STRING QUINTET THREE ENGLISH RENAISSANCE PIECES

SIMMES Fantasia (ed. Reynolds) (c. 1575-1625)

EAST Desperavi (ed. Fromme) (1580-1648)

GIBBONS In Nomine (ed. Reynolds) (1583-1625) Robert Sullivan, trumpet Mark Schubert, trumpet Robert Rydel, horn David Jackson, trombone Aubrey Foard, tuba

MOZART Divertimento in B flat major, K. 270 (1756-1791) Allegro molto Andantino Menuetto e trio Presto Eric Ohlsson and Emily Brebach, oboes William Ludwig and Sue Barber, bassoons Elizabeth Freimuth and Hazel Dean Davis, horns INTERMISSION

BRAHMS String Quintet No. 1 in F major, Op. 88 (1833-1897) Allegro non troppo ma con brio Grave ed appassionato. Allegretto vivace Finale: Allegro energico

BMC Alumnus

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Corinne Stillwell and Byron Tauchi, violins Maggie Snyder and Jacob Adams, violas Benjamin Karp, cello

MONDAY, JULY 16 Three English Renaissance Pieces are some of the earliest examples of chamber music which, according New Grove, “denotes music written for small instrumental ensemble, with one player to a part. … The term implies intimate, carefully constructed music, written and played for its own sake.” WILLIAM SIMMES (c. 1575-1625) Fantasia (edited by Verne Reynolds) There is very little known about William Simmes. We know that somebody under that name matriculated at Exeter College, Oxford in 1585 and another in 1607. In 1608 Simmes entered the service the Earl of Dorset. He was obviously a well-known composer during his lifetime, as some of his music circulated in a variety of anthologies, including his anthems and fantasias. MICHAEL EAST (1580-1648) Desperavi (edited by Arnold Fromme) Desperavi (“I Have Despaired”) was published in 1610 in East’s “Third Set of Bookes.” It is a five-part Fancy, which is the Elizabethan version of the Fantasia, a polyphonic work (parts move independently) without any formal restrictions. Composers are free to use their musical imagination and inventiveness. As the title indicates, this Fancy is rather serious in tone. ORLANDO GIBBONS (1583-1625) In Nomine (edited by Verne Reynolds) In Nomine is surely the strangest “genre” in the history of music. There are hundreds of In Nomine compositions by dozens of composers. The genre’s title refers to a movement from John Taverner’s six-part Mass Gloria tibi Trinitas. The tune used for that mass was an antiphon sung at first Vespers on Trinity Sunday in the Sarum rite. Somehow the “In Nomine” movement took on a life of its own—with many English composers responding with their own In Nomine pieces as purely instrumental works. Gibbons wrote four In Nomine settings.

WOLFGANG AMADEUS MOZART (1756-1791) Divertimento in B flat Major, K. 270 It has been suggested that Mozart composed a set of five (or six) wind sextets—including K. 270—as Tafelmusik (banquet music) for the Archbishop of Salzburg. If that is true, Mozart was either rather ignorant about dinner music (not likely), or perhaps he as having a little too much fun with it. This Divertimento is an expertly written Classical piece in four movements by a 20-yearold genius. It follows the textbook examples of sonata form (first movement), song (second), minuet (third), and a rondo finale. Yet the piece is peppered with constant dynamic changes between forte and piano—not the ideal background music for the Archbishop and his guests to enjoy dinner conversations. Or maybe Mozart was hoping to speed up the meal in order to get to the after-dinner cordials … JOHANNES BRAHMS (1833-1897) String Quintet No. 1 in F major, Op. 88 If Brahms was a chef, the String Quintet No. 1 might be one of his most daring and imaginative creations. To his publisher he wrote, “You have never before had such a beautiful work from me.” Spending the summer of 1882 in the idyllic Austrian town of Ischl, Brahms clearly was inspired by his natural surroundings, so as the first dish he presents one of his most melodious opening movements with fragrances of mountains and rivers. Like every great chef cooking for himself at home, Brahms’s challenge was to prepare a chamber work with ingredients from his cupboard. He had an old Sarabande and Gavotte, whipped up years ago for piano. Realizing that neither would be enough to stand on its own, he combined the two to create a fascinating second course that is half slow movement, half dance—one of the most daring combinations in the composer’s repertoire. The Baroque flavor of the Sarabande and Gavotte necessitated a finale that would finish off the meal brilliantly, so he decided to mix in a Baroque fugue (tune repeated in all voices) with the more customary sonata form (exploration of contrasting themes and keys). While meals have to be eaten fresh to be enjoyed, we have the luxury of savoring this Quintet more than 100 years after it was expertly prepared. Bon Appetit!

2018 Summer Institute & Festival

BREVARD MUSIC CENTER LEAD SPONSOR BMC Presents Series

TUESDAY, JULY 17 7:30 PM PORTER CENTER AT BREVARD COLLEGE

Hampton Inn - Brevard

BMC PRESENTS: TERPSICORPS TERPSICORPS THEATRE OF DANCE is thrilled to make its debut appearance at the Brevard Music Festival this season. Founded in 2003 by Artistic Director Heather Maloy, Terpsicorps is North Carolina's summertime contemporary ballet company known for innovative, thought provoking, and entertaining performances. Terpsicorps brings professional dance of the highest caliber to its home base of Asheville as well as throughout the state of North Carolina through collaborations with local and nationally known artists and arts organizations, and both outreach and dance training programs for children of all cultural and economic backgrounds designed to delight, enlighten, and educate. Terpsicorps hires critically acclaimed dancers from some of the most respected companies in the United States and abroad. These dancers bring their amazing technical skill and dramatic talents to choreography that is both physically challenging and artistically significant. This season Terpsicorps is pleased to welcome back to the company Augusto Cezar from Nashville Ballet; Jeff Ewing from Lucky Plush Productions and Cocodaco Dance Project; Mathew Griffin from Cincinnati Ballet; and Gavin Stewart who has danced with Wylliams/Henry CDC, MOVE: the Company, Richmond Ballet II, and Company E. Joining the company for their first season this year are Samantha Griffin from Cincinnati Ballet; Emma McGirr from Nevada Ballet Theatre; Kate Rouzer from St. Louis Ballet; and Marisa Whiteman from Kansas City Ballet. Artistic Director Heather Maloy is the lead choreographer for the company; her work frequently includes collaborations with local musicians and artists. The company’s repertoire also includes works by ballet master Christopher Bandy and master choreographer Salvatore Aiello. As part of its 15th Anniversary Season in 2018, Terpsicorps is restaging several works highlighting the company’s finest moments including Couch Potatoes, Le Suil Go…, Calm, and Second Line, among others.

HEATHER MALOY is the founder, resident choreographer and artistic director of Terpsicorps Theatre of Dance, creating over 25 works for Terpsicorps over the past 15 years. Heather received her training at the North Carolina School of the Arts (NCSA). She began her professional career when she joined the North Carolina Dance Theatre (NCDT) at the age of 17, making her at that time the youngest dancer to be hired as a full company member in NCDT’s history. Heather stayed for thirteen years, dancing principal and soloist roles. Mentored by NCDT artistic director, Salvatore Aiello, she choreographed her first professional work when she was only 19. After Aiello’s death, his successor, Jean-Pierre Bonnefoux, commissioned her to create five more pieces for NCDT. Heather has also created two premieres for the Chautauqua Ballet, three ballets for the Nashville Ballet and one work each for the Wake Forest and Jacksonville College Dance Departments. She has participated in Central Pennsylvania Youth Ballet’s Choreoplan, the Ballet Nouveau Colorado 21st Century Choreography Competition, and the National Choreographer’s Initiative. She has also had the honor to return to UNCSA to create a new work for the Spring Dance program and to stage her work Le Suil Go… for their alumni performance in Manteo, NC.

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TUESDAY, JULY 17 TUESDAY, JULY 17 7:30 PM STRAUS AUDITORIUM BREVARD SYMPHONIC WINDS Kraig Alan Williams, conductor featuring David Spencer, trumpet

EWAZEN Shadowcatcher: a concerto for brass quintet and (1954-) wind ensemble Offering to the Sun Among the Aspens The Vanishing Race Dancing to Restore the Eclipsed Moon

INTERMISSION

BERNSTEIN Symphonic Suite from On the Waterfront (arr. Bocook) (1918-1990) Andante (with dignity). Presto barbaro Adagio. Allegro molto agitato. Alla breve Andante largamente. More flowing. Lento Moving forward. Largamente. Andante come prima Allegro non troppo, molto marcato. Poco più sostenuto A tempo (Poco più sostenuto)

2018 Summer Institute & Festival

BREVARD MUSIC CENTER

WEDNESDAY, JULY 18 7:30 PM PORTER CENTER AT BREVARD COLLEGE

Official piano of the Brevard Music Center

BMC ARTIST FACULTY: QUARTET FOR THE END OF TIME

DEBUSSY Sonata for Flute, Viola, and Harp (1862-1918) Pastorale Interlude Finale Dilshad Posnock, flute Jenny Kozoroz, viola Allegra Lilly, harp MESSIAEN Regard de l’Esprit de joie from (1908-1992) Vingt Regards sur l’Enfant Jésus Michael Chertock, piano INTERMISSION

MESSIAEN Quartet for the End of Time (1908-1992) Crystal liturgy Vocalise, for the Angel who announces the end of time Abyss of birds Interlude Praise to the eternity of Jesus Dance of fury, for the seven trumpets Tangle of rainbows, for the Angel who announces the end of time Praise to the immortality of Jesus

Steve Cohen, clarinet Benjamin Sung, violin Jonathan Spitz, cello Jihye Chang, piano

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WEDNESDAY, JULY 18 CLAUDE DEBUSSY (1862-1918) Sonata for Flute, Viola, and Harp

the seventh in its repose prolongs itself into eternity and becomes the eighth, of unfailing light, of immutable peace.

For Debussy, things looked bleak in 1915: He was battling cancer, and France was at war. Debussy therefore planned to write six sonatas to explore his French heritage and pay homage to 18thcentury models, placing himself squarely within the French tradition. The composer was able to complete only the first three, with this combination of instruments as the most unusual of the three.

1. “Liturgy of crystal.” Between the morning hours of three and four, the awakening of the birds: a thrush or a nightingale soloist improvises, amid notes of shining sound and a halo of trills that lose themselves high in the trees. Transpose this to the religious plane: you will have the harmonious silence of heaven.

All three movement of this impressionistic work are filled with ambiguity. Debussy said about this piece that, “It is the music of a Debussy whom I no longer know—it is frightfully mournful, and I do not know whether one should laugh or cry.” Yet, at the same time Debussy also saw value in his music when he wrote to Stravinsky that, “…some new beauty should fill the air when the guns fall silent.”

OLIVIER MESSIAEN (1908-1992) Regard de l’Esprit de joie (Contemplations of the Joyful Spirit) from Vingt Regards sur l’Enfant Jésus (Twenty Contemplations on the Infant Jesus) Poet Maurice Toesca had the idea of combining poetry, art, and music on the topic of reflecting on the Jesus child. His hope was to collaborate with Messiaen and Rouault or Picasso. While the project never materialized, Messiaen expanded on Toesca’s twelve-poem idea and composed 20 movements, creating one of the most important (and imposing) two-hour-long piano works of the 20th century. No. 10, Contemplations of the Joyful Spirit was described by Messiaen as “a vigouros dance, the intoxicating sound of horns the ecstasy of the Holy Spirit.” Elsewhere, the composer writes, “God’s love in the soul of Jesus Christ—I have always been struck by the fact that God is happy, and that His continual and ineffable joy inhabited the soul of Christ, Joy is, for me, a transport, an intoxication in the maddest sense.” It is hard to believe that Messiaen wrote this work in 1944 during the Nazi occupation, when nothing in life was sure and joy was hard to find anywhere in Paris.

MESSIAEN (1908-1992) Quartet for the End of Time Composer’s note from the preface to the score: I saw a mighty angel descending from heaven, clad in mist, having around his head a rainbow. His face was like the sun, his feet like pillars of fire. He placed his right foot on the sea, his left on the earth, and standing thus on the sea and the earth he lifted his hand toward heaven and swore by Him who liveth for ever and ever, saying: “There shall be time no longer, but at the day of the trumpet of the seventh angel the mystery of God shall be consummated.” (Revelation, 10:1, 6-7) Conceived and written in the course of my captivity, the Quartet for the End of Time was performed for the first time in Stalag 8-A on January 15,1941, by Jean Le Boulaire, violinist; Henri Akoka, clarinetist: Etienne Pasquier, cellist, and myself at the piano. It is directly inspired by this excerpt from "The Revelation of St. John." Its musical language is essentially transcendental, spiritual, catholic. Certain modes, realizing melodically and harmonically a kind of tonal ubiquity, draw the listener into a sense of the eternity of space or time. Particular rhythms existing outside the measure contribute importantly toward the banishment of temporalities. (All this is mere striving and childish stammering if one compares it to the overwhelming grandeur of the subject!) This quartet contains eight movements. Why? Seven is the perfect number, the creation of six days made holy by the divine Sabbath;

2. “Vocalise, for the angel who announces the end of Time.” The first and third parts (very short) evoke the power of that mighty angel, his hair a rainbow and his clothing mist, who places one foot on the sea and one foot on the earth. Between these sections are the ineffable harmonies of heaven. From the piano, soft cascades of blue-orange chords, encircling with their distant carillon the plainchant-like recitativo of the violin and cello. 3. “Abyss of the birds.” Clarinet solo. The abyss is Time, with Its sadnesses and tediums. The birds are the opposite of Time; they are our desire for light, for stars, for rainbows and for jubilant outpourings of song! 4. “Interlude. Scherzo.” Of a more outgoing character than the other movements but related to them, nonetheless, by various melodic references. 5. “Praise to the eternity of Jesus.” Jesus is here considered as one with the Word. A long phrase, infinitely slow, by the cello expatiates with love and reverence on the everlastingness of the Word, mighty and dulcet, "which the years can in no way exhaust." Majestically the melody unfolds itself at a distance both intimate and awesome. "In the beginning was the Word, and the Word was with God, and the Word was God." 6. “Dance of fury, for the seven trumpets.” Rhythmically the most idiosyncratic movement of the set. The four instruments in unison give the effect of gongs and trumpets (the first six trumpets of the Apocalypse attend various catastrophes, the trumpet of the seventh angel announces the consummation of the mystery of God). Use of extended note values, augmented or diminished rhythmic patterns, non- retrogradable rhythms--a systematic use of values which, read from right to left, remain the same. Music of stone, formidable sonority; movement as irresistible as steel, as huge blocks of livid fury or icelike frenzy. Listen particularly to the terrifying fortissimo of the theme in augmentation and with change of register of its different notes, toward the end of the piece. 7. “Cluster of rainbows, for the angel who announces the end of Time.” Here certain passages from the second movement return. The mighty angel appears, and in particular the rainbow that envelops him (the rainbow, symbol of peace, of wisdom, of every quiver of luminosity and sound). In my dreamings I hear and see ordered melodies and chords, familiar hues and forms; then, following this transitory stage I pass into the unreal and submit ecstatically to a vortex, a dizzying interpenetration of superhuman sounds and colors. These fiery swords, these rivers of blue-orange lava, these sudden stars: Behold the cluster, behold the rainbows! 8. “Praise to the immortality of Jesus.” Expansive violin solo balancing the cello solo of the fifth movement. Why this second glorification? It addresses itself more specifically to the second aspect of Jesus--to Jesus the man, to the Word made flesh, raised up immortal from the dead so as to communicate His life to us. Its slow rising to a supreme point is the ascension of man toward his God, of the son of God toward his Father, of the mortal newly made divine toward paradise.

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BREVARD MUSIC CENTER

THURSDAY, JULY 19 7:30 PM

LEAD SPONSOR The Harold W. McGraw, Jr. Family Foundation, Inc.

PORTER CENTER AT BREVARD COLLEGE WQXR YOUNG ARTISTS SHOWCASE Young Artists Showcase is a WQXR weekly radio show that since 1978 has sought out and displayed the talents of young emerging artists. Robert Sherman, award-winning broadcaster and writer, recently celebrated his 56th anniversary with WQXR. Formerly Program Director and later Senior Consultant, he continues to produce and host The McGraw-Hill Companies' Young Artists Showcase—now in its 34th year on the station—and since their inception, has hosted the Lincoln Center presentations of the annual the Avery Fisher Career Grants. His popular and award-winning folk series Woody's Children, which began on WQXR is 1969, is now heard on WFUV. For more than forty years, Bob was a music critic and columnist for The New York Times and for nearly twenty served on the faculty of The Juilliard School. A concert narrator with such esteemed ensembles as Canadian Brass, the United States Military Academy (West Point) Band, and the Greenwich Symphony, he sits on the Advisory boards of many cultural organizations, also serving them variously as competition judge, pre-concert lecturer, panel moderator, and fundraising emcee. Co-author of The Complete Idiot’s Guide to Classical Music and two best-selling books with Victor Borge, he also joined with his brother, Alexander Sherman, to compile a pictorial history of their celebrated mother, pianist Nadia Reisenberg. This concert is recorded live for future broadcast on WQXR (New York), BPR Classic (Asheville), and WDAV (Charlotte).

WQXR, the nation's first commercial classical radio station, is at 105.9 on the FM dial in the New York City metropolitan area and at 90.3 FM in Westchester, NY. To listen to Young Artists Showcase, and other classical programming, visit wqxr.org.

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THURSDAY, JULY 19 FRIDAY, JULY 20

FRIDAY, JULY 20 7:30 PM

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WHITTINGTON-PFOHL AUDITORIUM CONRAD TAO PLAYS BEETHOVEN Brevard Music Center Orchestra Rune Bergmann, conductor Conrad Tao, piano

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MOZART Overture to Le Nozze di Figaro (1756-1791) BEETHOVEN Piano Concerto No. 1 in C major, Op. 15 (1770-1827) Allegro con brio Largo Rondo: Allegro scherzando Mr. Tao, piano

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STRAUSS Also sprach Zarathustra, Op. 30 (1864-1949) Einleitung, oder Sonnenaufgang (Introduction, or Sunrise Von den Hinterweltlern (Of Those in Backwaters) Von der groÃ&#x;en Sehnsucht (Of the Great Longing) Von den Freuden und Leidenschaften (Of Joys and Passions) Das Grablied (The Song of the Grave) Von der Wissenschaft (Of Science and Learning) Der Genesende (The Convalescent) Das Tanzlied (The Dance Song) Nachtwandlerlied (Song of the Night Wanderer) CONRAD TAO - 2018 GINA BACHAUER ARTIST In 1980, a memorial fund was established through the generosity of Mr. and Mrs. Carlo Renzulli, longtime friends of celebrated pianist Gina Bachauer who appeared frequently at Brevard. The fund enables the Music Center to invite an internationally renowned pianist to Brevard each year as the Gina Bachauer Artist.

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BREVARD MUSIC CENTER WOLFGANG AMADEUS MOZART (1756-1791) Overture to Le Nozze di Figaro Premiered on May 1, 1786, at the Burgtheater, Vienna, under the direction of the composer. Few overtures have captured the spirit of an opera better than Marriage of Figaro. Yet surprisingly, not a single note of the overture is found in the opera itself. Apparently, Mozart quickly composed the overture just days or even hours before the opera’s premiere—which might not only explain its freshness but its perfect expression of the work’s hilarity. Mozart had been absorbed in rehearsals, and the complete work was right in front of him. We can just see the tangled web of comedy, romance, and misadventure in this five-minute orchestral masterwork. Marriage of Figaro marked Mozart’s first collaboration with librettist Lorenzo Da Ponte. While the opera was very well received in Vienna, it took Prague by storm, causing Mozart to write to his father, “I looked on, with greatest pleasure while all these people flew about in sheer delight to the music of my Figaro… For here they talk about nothing but Figaro. Nothing is played, sung, or whistled but Figaro. No opera is drawing like Figaro. Nothing, nothing but Figaro. Certainly a great honor for me!” The success of Figaro and its short, infectious overture impacted Mozart greatly: He would make a compositional leap forward with his Prague symphony, K. 504, and his C major Piano Concerto, K. 503, ushering in his “mature” style (at the tender age of 30). LUDWIG VAN BEETHOVEN (1770-1827) Piano Concerto No. 1 in C major, Op. 15 Premiered on December 18, 1795, in Vienna with Beethoven as soloist. “One of my first concertos [in B-flat] and therefore not one of the best compositions is to be published by Hofmeister, and Mollo is to publish a concerto [in C major] which indeed was written later but which also does not rank among the best of my works in this form.” Did Beethoven really think this was a good way to sell his music? It’s a wonder that his first two concertos sold at all! Actually, Beethoven’s self-critical tone in 1801 speaks to a compositional shift that had taken place since he had written the piano concertos in 1795. Or maybe Beethoven just liked to show false modesty, for he wrote not one, not two, but three cadenzas for his first piano concerto several years later. Obviously, he liked his First Piano Concerto more than he let on. Beethoven clearly had studied in detail Mozart’s great C major Concerto, K. 503 (see our Sinfonia concert on June 30). In many ways, Beethoven picks up right where Mozart left off. Most of all, Mozart’s symphonic approach to the concerto was attractive to Beethoven. Despite what one might think from Beethoven’s seemingly humble statements, the young composer and piano virtuoso did not shy away from comparisons with Mozart. In fact, he was eager to step out of Mozart’s shadow. The first movement puts Beethoven’s compositional prowess on display

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with many subtleties in his deft handling of unusual keys. The second movement foreshadows the contemplative nature of his Pathétique Sonata, while the boisterous final movement is full of humor, which makes one wonder if Beethoven was grinning from ear to ear when he questioned the quality his First Piano Concerto. RICHARD STRAUSS (1864-1949) Also sprach Zarathustra, Op. 30 Premiered on November 27, 1896, in Frankfurt under the direction of the composer. Taking a philosophical novel as the basis of a musical composition is among the most daring things anyone has ever tried in the history of music. One wonders if Strauss realized the depth and importance of Nietzsche’s monumental work that includes his famous dictum “God is dead” and his use of the term “Übermensch.” While Mahler referenced lines from Zarathustra in his third symphony and Delius set some of the poetry to music in A Mass of Life, Strauss decided to take on the whole work. Considering that the composition has one of the most recognizable openings ever written, Strauss seems to have been up to the challenge. Conductor Marin Alsop offers the following explanation for the universal appeal of the opening: “The piece starts in the depth of the orchestra, almost out of range of human hearing. Then the trumpets enter in unison, playing a fanfare-like figure based on perfect intervals. Perfect intervals give a sense of possibility and vastness.” She goes on to say the effects are “strength, breadth, optimism, possibility.” Strauss distilled Nietzsche’s work in eight sections. When he introduced the work in Berlin, he explained his compositional approach: I did not intend to write philosophical music or to portray in music Nietzsche's great work. I meant to convey by means of music an idea of the development of the human race from its origin, through the various phases of its development, religious and scientific, up to Nietzsche's idea of the Superman. The whole symphonic poem is intended as an homage to Nietzsche's genius, which found its greatest expression in his book Thus Spake Zarathustra. Nietzsche might have approved of the composer’s attempt to put this heady work to music since he once explained that his book “really belongs among the symphonies.” - Siegwart Reichwald

SATURDAY, JULY 21 SATURDAY, JULY 21 7:30 PM WHITTINGTON-PFOHL AUDITORIUM BRAHMS DOUBLE Brevard Sinfonia Rune Bergmann, conductor Sergey Khachatryan, violin Narek Hakhnazaryan, cello SVENDSEN Norwegian Artists' Carnival, Op. 14 (1840-1911)

TCHAIKOVSKY Romeo and Juliet Overture-Fantasy (1840-1893)

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BRAHMS Double Concerto for Violin and Cello in A minor, Op. 102 (1833-1897) Allegro Andante Vivace non troppo Sergey Khachatryan, violin Narek Hakhnazaryan, cello

JOHAN SVENDSEN (1840-1911) Norwegian Artists’ Carnival, Op. 14 Premiered on March 17, 1874, in Christiania, Norway, under the direction of the composer. “Norwegians in Rome” might be an appropriate subtitle for this work. Edvard Grieg and Johan Svendsen were the towering Norwegian musical figures of the nineteenth century. Yet their music is very different, with Grieg focusing on smaller forms while Svendsen loved large orchestral works. He was widely traveled, spending time in Leipzig, Paris, and Rome. Svendsen

would eventually settle in Copenhagen as conductor of the Royal Opera. Norwegian Artists’ Carnival reflects his cosmopolitan lifestyle. Having recently returned from Paris in 1874, he decided to write an overture where Norway meets Rome. The artists in question hail from Norway but live in an artists’ colony in Rome, founded by the great Danish sculpture Bertel Thorvaldsen (1770-1844). Svendsen uses Norwegian and Italian folksongs in this Roman carnival celebration. Ironically the strongest musical influence is neither Roman nor Norwegian, as the imaginative use of orchestral colors, one of Svendsen hallmarks, betrays the French virtuosic approach of Hector Berlioz.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER PYOTR IL’YCH TCHAIKOVSKY (1840-1893) Romeo and Juliet Overture-Fantasy Premiered (in its final form) on May 1, 1886, in Tiflis under the direction of Mikhail Ippolitov-Ivanov. Few tunes are more easily recognized than the Lover’s Theme from this overture. From movies to commercials and animations, this theme is firmly entrenched in popular culture. Shockingly, early performances in Russia and Europe were not well received by audiences and critics alike—despite two rounds of revisions. Today Tchaikovsky’s Romeo and Juliet is considered by far the most successful musical adaptation of Shakespeare’s most popular play. It was the composer’s first masterwork that aided his stylistic development as the master of synthesis of the various Russian and European compositional trends. Romeo and Juliet was composed in 1869-70 at the prompting of Tchaikovsky’s friend Balakirev and was revised in 1880. In this concert overture the composer achieved the perfect synthesis of the two competing ideals held by Liszt and Brahms—as the unusual title “Overture-Fantasy” suggests. Tchaikovsky does not attempt to follow the action of Shakespeare’s play, but instead chooses to express the plot conceptually through the interactive use of themes. Thus, the solemn, chorale-like opening represents Friar Lawrence, while the turbulent first subject depicts the feuding of the Montague and Capulet families. The lovers make their entrance with the often-quoted lyrical theme. A stormy development section driven by the feuding families over the pleas of Friar Lawrence leads to the story’s tragic climax followed by a funeral march. The tragedy’s apotheosis is expressed effectively in the work’s somber coda.

More than twenty operas have been written on Romeo and Juliet.

JOHANNES BRAHMS (1833-1897) Double Concerto for Violin and Cello in A minor, Op. 102 Premiered on October 18, 1887, in Cologne under the direction of Brahms with Joseph Joachim and Robert Hausmann as soloists. What do you do if one of your best friends hasn’t talked to you for the last three years? If you’re Brahms, you communicate through music! Brahms realized that any hope of reconciliation with his long-time friend Joachim would have to be through his music. But not just any music; it had to be something absolutely special. Since the cellist of the Joachim Quartet, Robert Hausmann, had pestered Brahms for the last several years about writing a cello concerto, the composer conceived of the idea of a concerto for violin and cello, which would not only draw in Joachim as the obvious violin soloist, but the duet texture would demand “conversation.” The piece opens with a cello cadenza—and the violin answers. Brahms’s wooing continues further with the second theme, which is an obvious allusion to one of their favorite and most often performed works, Viotti’s Violin Concerto No. 22. The subtext is set for Joachim to respond to his friend’s plead for reconciliation. Their quarrel arose in 1884 when Joachim suspected that his wife had an affair, an accusation she strongly denied. Brahms wrote her a letter of encouragement, which was made public during their contentious divorce hearings. Joachim felt betrayed by his good friend and musical collaborator. After all, they had toured together and “fought” in the trenches against the New German School and the music of Liszt and Wagner. Brahms’s great Violin Concerto had been the fruit of their collaboration. In the second movement of the Double Concerto, reconciliation is achieved in form a love duet—one of the most lyrical movements ever wrote. Brahms scholar Malcolm MacDonald goes as far as stating that even “Verdi himself could hardly have built a more vocal culmination than Brahms.” Just like the Violin Concerto, the Double Concerto ends with a Hungarian Rondo, another favorite of Joachim’s, who was Hungarian by birth and had taught Brahms how to play in the “Gypsy style.” Fortunately, Joachim accepted Brahms’s overtures for another large-scale collaboration. As soon as the work was finished, they toured once again, together with Hausmann, offering their conciliatory work to the public. The Double Concerto would be Brahms’s last completed orchestra work, and his synthesis of two virtuoso soloists within the context of his symphonic writing is the fitting exclamation mark of a composer who valued friendships. - Siegwart Reichwald

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SUNDAY, JULY 22 SUNDAY, JULY 22 3:00 PM

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PINES OF ROME Brevard Concert Orchestra Ken Lam, conductor Annelle Gregory, violin

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SUK Scherzo Fantastique, Op. 25 (1874-1935) DVOŘÁK The Noonday Witch, Op. 108 (1841-1904)

INTERMISSION

WAXMAN Carmen Fantasy (1906-1967) Ms. Gregory, violin

RESPIGHI Pines of Rome (1879-1936) I pini di Villa Borghese (The Pines of Villa Borghese) Pini presso una catacomba (Pines near a catacomb) I pini del Gianicolo (The Pines of the Janiculum) I pini della Via Appia (The Pines of the Appian Way)

SUK (1874-1935) Scherzo Fantastique, Op. 25 Premiered on April 18, 1905, in Prague. Can you write program music without a program? Well, sort of! Suk’s Scherzo Fantastique seems to be full of fantastic creatures on a variety of adventures. Yet the identity of the characters and the story are not given. In good Romantic fashion, it is up the listener to imagine the scenery and plot. Throughout the

19th century, composers wrote Scherzos that had a narrative, beginning with the Scherzo in Beethoven’s Fifth Symphony. The greatest composer of Scherzos was arguably Felix Mendelssohn, whose Scherzo style would infiltrate other works such as his Midsummer Night’s Dream Overture. Suk clearly is building on this tradition. Of course, as a student and son-in-law of Dvořák, Suk was perfectly positioned to place himself follow in the footsteps of Beethoven, Mendelssohn, Berlioz, and, of course, Dvořák.

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BREVARD MUSIC CENTER ANTONIN DVORÁK (1841-1904) The Noonday Witch, Op. 108 Premiered on June 1896, at the Prague Conservatory under the direction of Antonín Bennewitz.

OTTORINO RESPIGHI (1879-1936) Pines of Rome Premiered December 14, 1924, in Rome under the direction of Bernardino Molinari.

Dvořák wrote the work in 1896 upon his return from his highly successful three-year stint in New York. By this point, he was one of the world’s most respected composers, and Brahms encouraged Dvořák to move to Vienna in order to cement his legacy as symphonist alongside Brahms. Instead, Dvořák returned to Bohemia and changed direction by turning away from the “classical” symphony and composing four tone poems in the Lisztian tradition, based on Czech folk-legends by Karel Jaromír Erben.

Sequels are often disappointing, lacking originality. So when Respighi composed his sequel for his enormously successful, Fountains of Rome (1915), he made sure to be original. Respighi explains that, unlike in Fountains of Rome, where he “sought to reproduce by means of tone an impression of Nature,” in Pines of Rome he “uses Nature as a point of departure, in order to recall memories and vision. The centuries-old trees which so characteristically dominate the Roman landscape become witnesses to the principal events in Roman life.” Respighi’s notes detail this approach more fully:

While we can only guess the story of Suk’s Scherzo Fantastique, Dvořák leaves no doubt in his detailed musical retelling of the somewhat horrifying tale of “The Noonday Witch.” A mother is trying to prepare lunch, but her child demands all of her attention. When in desperation she warns her misbehaving child about the Noon Witch, the mother never imagined that the Witch would actually show up. Terrified, they are chased until the mother faints in exhaustion, shielding her son. Just then the bells toll the noon hour, causing the Witch to disappear. When the father comes home for lunch, he finds the unconscious mother, holding her dead son. FRANZ WAXMAN (1906-1967) Carmen Fantasy Premiered on September 9, 1946 on the radio program, The Bell Telephone Hour by Jascha Heifetz. Waxman might be one of the most familiar composers you’ve never heard of. With film scores for The Philadelphia Story (1940), Rebecca (1935), Dr. Jekyll and Mr. Hide (1941), Sunset Boulevard (1951), and A Place in the Sun (1951)—to name just a few—his music is probably more familiar than that of Stravinsky or Schoenberg. Like Schoenberg, Waxman also was forced to leave Nazi Germany. Having already worked successfully in the German film industry, it was easy for Waxman to find work in Hollywood, making him one of the most sought-after film composer. His Carmen Fantasy, composed for the 1946 film Humoresque, was originally intended for Jascha Heifetz, but in the end Isaac Stern played the soundtrack. In the movie it was “performed” by actor John Garfield, but the close-ups of Garfield’s playing are actually Isaac Stern’s hands. After having watched the movie, Heifetz asked Waxman to expand the work for him. Taking material from Bizet’s Carmen, Waxman created a masterfully crafted showpiece that quickly took the world by storm.

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The Pines of the Villa Borghese (Allegretto vivace)—Children are at play in the pine groves of the Villa Borghese, dancing the Italian equivalent of “Ring around a Rosy.” They mimic marching soldiers and battles. They twitter and shriek like swallows at evening, coming and going in swarms. Suddenly the scene changes. The Pines Near a Catacomb (Lento)—We see the shadows of the pines, which overhang the entrance of a catacomb. From the depths rises a chant, which echoes solemnly, like a hymn, and is then mysteriously silenced. The Pines of the Janiculum (Lento)—There is a thrill in the air. The full moon reveals the profile of the pines of Gianicolo’s Hill. A nightingale sings. The Pines of the Appian Way (Tempo di Marcia)—Misty dawn on the Appian Way. The tragic country is guarded by solitary pines. Indistinctly, incessantly, the rhythm of unending steps. The poet has a fantastic vision of past glories. Trumpets blare, and the army of the Consul bursts forth in the grandeur of a newly risen sun toward the Sacred Way, mounting in triumph the Capitoline Hill. - Siegwart Reichwald

Be sure to come back on July 28 to hear the Brevard Sinfonia perform Respighi’s “threequel,” Roman Festivals.

MONDAY, JULY 23 MONDAY, JULY 23 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE

Official piano of the Brevard Music Center

BMC ARTIST FACULTY: ARENSKY PIANO TRIO

BACH Prelude, Fugue, and Allegro in E flat major, BWV 998 (1685-1750) Adam Holzman, guitar

ZWILICH Quintet for Alto Saxophone and String Quartet (1939-) Movement I Movement II Movement III

Joe Lulloff, saxophone Marjorie Bagley, violin Corinne Stillwell, violin Juliet White-Smith, viola Alistair MacRae, cello

INTERMISSION

ARENSKY Piano Trio No. 1 in D minor, Op. 32 (1861-1906) Allegro Moderato Scherzo: Allegro molto Elegia: Adagio Finale: Allegro non troppo

Ben Sung, violin Susannah Chapman, cello Elisabeth Pridonoff, piano

2018 Summer Institute & Festival

BREVARD MUSIC CENTER JOHANN SEBASTIAN BACH (1685-1750) Prelude, Fugue, and Allegro in E flat major, BWV 998 (for solo guitar) It is difficult for us to fathom that in 1737 Bach was attacked as an old-fashioned composer who was more about artifice than expression. The criticism caused the eminent composer to once again take stock of modern musical trends. BWV 998 was composed in response to the criticism. The work is focused on transparent textures in favor of learned counterpoint. The fugue is unusually free with a middle section full of figurations over simple fugue subject statements. Even more unusual is the addition of the Allegro—a simple two-part binary dance. Yet most surprising is the designation for lute or harpsichord. As the premier keyboardist of his day, Bach was working closely with the instrument maker Gottfried Silbermann on keyboard innovations, including the lute-harpsichord, a gut-strung variant of the traditional harpsichord. Bach scholar Christian Wolff has suggested that Bach might have written this work for this new (but short-lived) instrument. While Bach might not have silenced the critics, he proved to them (and to us) that he was more than able to react to current trends. The critics (and Bach) would be stunned to find out that in 2016 the original manuscript of BWV 998 sold at Christie’s for £2,518,500. ELLEN TAAFFE ZWILICH (1939-) Quintet for Alto Saxophone and String Quartet Premiered on January 16, 2008, by Ashu and the Chicago Chamber Musicians. In the composer’s own words: I’m the kind of composer who has a ‘wish list’ of works I’m eager to write, but on occasion someone suggests an idea not on my ‘list’ that I find immediately exciting and the leads me in an unexpected direction. My Quintet for Alto Saxophone and String Quartet was inspired by such a suggestion. In honor of the diverse musical ideas stimulated by Jean-Paul Bierny’s suggested medium, I dedicate the piece to him. My ideal concept for chamber music is a conversation among equals, a conversation that is unique to the parties involved. In the instance the alto sax brings a luscious singing quality and a certain sassy attitude to the mix, while the strings offer their amazing agility and variety of articulation, color and phrasing. One of the great pleasures in writing (or playing or listening to) chamber music is that each player can be a virtuoso soloist one moment and a sensitive partner the next, and this ‘electricity’ becomes an agent of musical form.

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ANTON ARENSKY (1861-1906) Piano Trio No. 1 in D minor, Op. 32 Russian composers are known for their beautiful melodies, and Arensky is no exception. His music lives from his lyricism, and the First Piano Trio is case in point. Yet the key of D minor and the sweeping opening melody betray a surprising, non-Russian inspiration: Felix Mendelssohn and his First Piano Trio in the same key. Arensky presumably was exposed to Mendelssohn’s music by Tchaikovsky, who was more open to Western influences than his Russian contemporaries, causing his teacher RimskyKorsakov to view Arensky’s “Westernized” music with suspicion. Maybe sensing Rimsky-Korsakov’s uneasiness, Tchaikovsky pleaded with him: “I like him so much and wish you would sometimes take an interest in him, for, as regards music, he venerates you more than anyone else. He needs stirring up; and such an impulse given by you would count for so much with him, because he loves and respects you.” While Mendelssohn might have been a major musical influence, it is Tchaikovsky’s Trio written in memory of Nikolai Rubinstein that served as an equally important model. Like Tchaikovsky, Arensky also composed his trio in memory of a great musician, in his case the cellist Karl Davidoff. The elegiac and cathartic third movement is the heart of the work. The second movement scherzo and its waltz-like qualities, however, are uniquely Arensky—as is the last movement. Eventually maturing into a major composition teacher in Moscow, Arensky would become an important influence on several of his students—in particular Rachmaninoff, who would not only continue the trend of composing commemorative piano trios but become the great melodist of the next generation of Russian composers.

WEDNESDAY, JULY 25 WEDNESDAY, JULY 25 7:30 PM INGRAM AUDITORIUM AT BREVARD COLLEGE

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BMC ARTIST FACULTY: SCHUMANN PIANO TRIO NO. 1

BRAHMS Viola Sonata in E flat major, Op. 120, No. 2 (1833-1897) Allegro amabile Allegro appassionato Andante con moto. Allegro non troppo

Scott Rawls, viola Michael Chertock, piano INTERMISSION

SCHUMANN Piano Trio No. 1 in D minor, Op. 63 (1810-1856) Mit Energie und Leidenschaft Lebhaft, doch nicht zu rasch Langsam, mit inniger Empfindung Mit Feuer

Jason Posnock, violin Alistair MacRae, cello Craig Nies, piano

BMC Alumnus

2018 Summer Institute & Festival

BREVARD MUSIC CENTER JOHANNES BRAHMS (1833-1897) Viola Sonata in E flat major, Op. 120, No. 2 Premiered in Vienna on January 8, 1895, by Mühlfeld and Brahms. It is difficult to imagine that by the end of the 19th century there was hardly any clarinet solo repertoire—not to mention sonatas for the viola. Brahms, however, did not write his two Op. 120 sonatas in order to fill the void. Rather, he had discovered the beauty of the darker timbre of the clarinet, partly due to the artistry of clarinetist Richard Mühlfeld, whom the composer heard perform the Mozart and Weber clarinet concertos. Considering that Brahms had just recently retired from composing, the composition of these two sonatas has special meaning. Brahms published his Op. 120 as Sonatas for Clarinet or Viola. That these two sonatas were a labor of love becomes evident from Brahms’s correspondence. He can barely contain his excitement in letters to Mühlfeld and Clara Schumann. After several failed attempts to get together, they are finally able to rehearse in beautiful Berchtesgaden for a week in midSeptember. Over the next couple of months, they gave at least seven private performances in front of friends and colleagues such as Clara Schumann and Joseph Joachim (who presumably helped with the viola part) and even at the Altenstein Castle in Meiningen as part of the Duke’s wedding festivities. Not surprisingly the premiere and the many subsequent performances by Brahms and Mühlfeld were an unqualified success.

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ROBERT SCHUMANN (1810-1856) Piano Trio No. 1 in D minor, Op. 63 Better late than never might be the right slogan for Schumann’s Piano Trios. Both his friend Felix Mendelssohn and his wife Clara had composed their Piano Trios before Schumann entered the arena. Schumann knew what he was “up against,” for in his review of Mendelssohn’s First Trio Schumann proclaimed it “the masterpiece of our time,” and Clara’s Trio is considered her compositional masterpiece. As if the choice of the same key of Mendelssohn’s Trio isn’t proof enough that he had Mendelssohn’s Op. 49 on his mind, both Trios’ opening themes have the same three pitches, followed in Schumann’s case by the pitches F and Bb—“F-elix B-artholdy.” Clearly Mendelssohn’s trio was Schumann’s model. Yet there are other equally important factors to be considered. Schumann had found a new compositional approach, which he called ars combinatoria, a new way of looking at musical ideas beyond their purely melodic content. The conversational yet complex texture of the piano trio allowed Schumann to pursue this new approach. None of these compositional approaches, however, tell us much about the work’s content. Schumann described his emotional state as that of “gloomy moods,” precipitated by the deaths of Mendelssohn’s sister Fanny Hensel and his own 16-month-old son Emil. The emotionally charged Trio seems to want to deal with these tragedies. Yet unlike Mendelssohn’s Trios ending in redemption, Schumann’s seems to end in defiance.

THURSDAY, JULY 26 SATURDAY, JULY 28

THURSDAY, JULY 26 AT 7:30 PM SATURDAY, JUNE 28 AT 2:00 PM

This project is supported in part by an award from the National Endowment for the Arts

PORTER CENTER AT BREVARD COLLEGE CANDIDE Janiec Opera Company of the Brevard Music Center Dean Anthony, stage director Brevard Festival Orchestra Michael Sakir, conductor MUSIC BY:

BOOK ADAPTED FROM VOLTAIRE BY:

LYRICS BY:

LEONARD BERNSTEIN

HUGH WHEELER

RICHARD WILBUR

With additional Lyrics by STEPHEN SONDHEIM and JOHN LATOUCHE Produced on Broadway by the Chelsea Theater Center of Brooklyn In conjunction with HAROLD PRINCE and RUTH MITCHELL Broadway Production Conceived and Directed by HAROLD PRINCE

PART I

INTERMISSION

PART II Bobby Bradley, Scenic and Lighting Designer Glenn Avery Breed, Costume Designer Brittany Rappise, Wig and Makeup Designer

CAST Candide: Miles Jenkins Cunegonde: Avery Peterman Paquette: Virginia Reed Pangloss/Voltaire/Host/Sage: Ian Bolden Maximilian: Robert Fridlender Old Lady: Tori Franklin Governor: Samuel DeSoto Baron: Kyle Bejnerowicz Baroness: Lucia Helgren

COMPANY OF PLAYERS Esther Atkinson Jeremy Ayres Fisher Scott Ballantine Hannah Friesen Danielle Bavli Emily Gallagher Kyle Bejnerowicz Cody Galyon Christine Boddicker David Gindra Victor Cardamone Megan Graves Bizhou Chang Lucia Helgren Lauren Culpepper Caroline Hewitt Samuel DeSoto Matthew Huckaba

Luke MacMillan Myah Paden Samuel Rachmuth Andrew RenÃ© Hannah Shea Andrea Tulipana Zizhao Wang

CANDIDE is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com The videotaping or other video or audio recording of this production is strictly prohibited.

BMC Alumnus

2018 Summer Institute & Festival

BREVARD MUSIC CENTER LEONARD BERNSTEIN (1918-1990) Candide Premiered on October 29, 1956, in Boston; revised version premiered on December 20, 1973 at Chelsea Theater Center, New York. It’s not just what you know but who you know. That saying rings true for Candide and its complicated history. No other work by Bernstein has been labored over more intensely than this comic operetta/ musical theater piece, and Bernstein’s connections in the musical world and beyond were central in the genesis of this masterpiece. Based on Voltaire’s novella under the same name, Lillian Hellman’s initial libretto focused rather intensely on the parallel between Voltaire’s satirical portrayal of the Catholic Church’s violent treatment of dissenters and the inquisition-like tactics implemented by the UnAmerican Activities Committee. Problem was, Bernstein was under investigation by that committee for his political views. Fortunately, Bernstein was good friends with then Massachusetts senator J. F. Kennedy. After a lunch meeting, Kennedy must have intervened, for the investigation was suspended. Ironically, the most damning political material of the score never made it to the stage, as they had fallen prey to Bernstein’s many revisions. The 1956 Broadway production of Candide lasted only 73 performances—a success for any opera production but an utter failure by Broadway standards. So the revisions began. A collaborative effort of heavyweights Hugh Wheeler (Sweeney Todd) and Steven Sondheim led to the so-called “Chelsea” version (performed today) with 740 performances, starting in 1974. Reimagined as a one-act musical theater piece, it gained wide critical acclaim and popular success. Further revisions combined the “Chelsea” version with original and new materials, leading to the 1988 Scottish Opera version. At the heart of all versions are Bernstein’s existential questions that haunt the listener in almost all of his compositions. Excerpts from his remarks during the 1989 London concert provide some insights into Bernstein’s intentions: Voltaire’s masterpiece was a tough, skinny little novella called Candide, which inspired the playwright Lillian Hellman and me to have a bash at it musically. Voltaire's book was actually entitled Candide, or Optimism, it being a viciously satirical attack on a prevalent philosophical system known as Optimism, which was based on the rather indigestible writings of a certain Gottfried Wilhelm von Leibniz and popularized by our own, beloved Alexander Pope, for example in this great line from his Essay on Man: "One truth is clear—whatever is, is right." Now, according to Leibniz, whose ideas Pope was lyricizing, if we believe in a Creator, then he must be a good Creator, and the greatest of all possible creators, and therefore could have created only The Best of All Possible Worlds. In other words: "Everything that is, is right." Granted that in this world the innocent are mindlessly slaughtered and that crimes go mostly unpunished, that there is disease and death and poverty. But if we could only see the whole picture, the divine and universal plan, then we would understand that whatever happens is for the best. Thus spake Leibniz. Naturally Voltaire found this idea absurd every day of his life, but particularly on that day in 1755 when all of Lisbon, Portugal exploded in an earthquake, and uncountable numbers of people were drowned, crushed, burned alive, exterminated. Now if Leibniz was right, said Voltaire, then God is just playfully spraying his flit gun and down go a million mosquitos, at random, haphazardly.

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The particular evil which impelled Lillian Hellman to choose Candide and present it to me as the basis for a musical stage work was what we now quaintly and, alas, faintly recall as McCarthyism—an "ism" so akin to that Spanish inquisition we just revisited in the first act as to curdle the blood. This was a period in the early '50s of our own century, exactly 200 years after the Lisbon affair, when everything that America stood for seemed to be on the verge of being ground under the heel of that Junior Senator from Wisconsin, Joseph McCarthy, and his inquisitorial henchmen. That was the time of the Hollywood Blacklist— television censorship, lost jobs, suicides, expatriation and the denial of passports to anyone even suspected of having once known a suspected Communist. - Siegwart Reichwald SYNOPSIS

Voltaire, the aged professor, narrates the story of four young people who live in the castle of the Baron Thunder-Ten-Tronck in Westphalia. Voltaire takes on the role of Dr. Pangloss, the tutor of Candide (bastard cousin), Paquette (sexy maid), Cunegonde (Baron’s daughter), and her brother Maximilian (narcissist). Their class is followed by Paquette's private tutoring on the relative specific gravity of male and female bodies. Cunegonde searches out Candide, and they are interrupted in their recreation of Paquette's experiment, causing the Barron to banish Candide; thus his adventures begin. Candide is forced to join the Bulgarian army, which attacks the Baron’s home and scatters everybody; Candide escapes from the army and sets off to wander the world, convinced his friends are dead. In Lisbon, Cunegonde has moved from brothel to brothel, but now entertains both the Grand Inquisitor and a fabulously wealthy Jew, Don Issachar. Having survived an earthquake, Candide arrives in Lisbon and reunites with Dr. Pangloss, before both are arrested for heresy. Pangloss is hanged, but an Old Lady rescues Candide and nurses him back to health, reuniting him with Cunegonde. Candide accidentally kills Cunegonde’s wealthy companions, and they flee to Cadiz. After the Old Lady is unsuccessful in her attempt to seduce the locals, the trio continues onto the New World of Cartagena, Columbia. Meanwhile, Maximilian and Paquette move about as two women. When the Governor chooses Maximilian as his wife, only to discover his real identity, they are once again on the run. Cunegonde, Candide, and the Old Lady run into trouble when pirates seize their ship; the women are carried off, and Candide is left for dead. In a cathedral, he runs into Paquette and Maximilian, now disguised as priests. After a struggle, it is now Maximilian who is left for dead by Paquette and Candide. Set up for a happy existence in the fabled land of Eldorado, Paquette and Candide find themselves out of place, so they steal jewels and silver, stuff them into two friendly sheep, and return to Cartagena. Here they reunite with the Old Lady, and learn that Cunegonde was taken to Constantinople. Paquette and Candide are given a boat by the Governor and leave to find her. The vessel sinks, and they are stranded on a desert island; fortunately, the sheep (with the fortune) reappear. After finally making their way to Constantinople, they find Cunegonde disguised as a belly dancer. Spending everything that’s left of his fortune, Candide buys the freedom of Cunegonde and Maximillian, who miraculously ended up in the same place. Penniless and clueless, they approach a wise man for advice, and are reunited with their company. Pursuing a simple, honest life, they resolve to return to Westphalia, and grow their own Garden of Eden.

FRIDAY, JULY 27 FRIDAY, JULY 27 7:30 PM

SUSTAINING SPONSOR Loyal Friends of Brevard Music Center

WHITTINGTON-PFOHL AUDITORIUM TCHAIKOVSKY 4 Brevard Music Center Orchestra JoAnn Falletta, conductor Noah Bendix-Balgley, violin

BRAHMS Academic Festival Overture, Op. 80 (1833-1897)

BENDIX-BALGLEY Fidl-Fantazye: A Klezmer Concerto (1984-) Khosidl - Doina - Balkan Dance: Sam's Syrtos Doina - Lied (song) - Hora Doina – Freylekhs Mr. Bendix-Balgley, violin

INTERMISSION

TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 (1840-1893) Andante sostenuto. Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato. Allegro Finale: Allegro con fuoco

JOHANNES BRAHMS (1833-1897) Academic Festival Overture, Op. 80 Premiered on January 4, 1881, at the University of Breslau (Wrocław) under the direction of the composer. When Brahms was conferred the honorary doctorate from the University of Breslau as “the foremost composer of serious music in Germany today,” he initially sent merely a Thank You note acknowledging the honor. After the conductor Bernard Scholz, who nominated Brahms, explained to him that protocol required a more substantial gesture, preferably in form of a musical work, Brahms composed the Academic Festival Overture. The work was premiered at a special convocation held by the University on January 4, 1881, with Brahms as the conductor.

While the University might have expected a symphony or an equally substantial work, Brahms decided on an overture that would capture the various elements of student life. Brahms wrote in a letter that he had created a “very boisterous potpourri of student drinking songs à la Suppé.” Despite the use of three student ditties in the exposition, this work is anything but simple. Brahms creates a complex sonata form design that sparkles with inventiveness, learned counterpoint, and masterful instrumentation. The piece comes to a triumphant close with quotation “Gaudeamus igitur,” which was at the time perhaps the best-known student song at European universities.

2018 Summer Institute & Festival

BREVARD MUSIC CENTER NOAH BENDIX-BALGLEY (1984-) Fidl-Fantazye: A Klezmer Concerto Premiered on June 17, 2016, in Pittsburgh under the direction of Manfred Honeck with the composer as soloist. Program notes provided by the composer: I grew up around klezmer music and it had a significant influence on my musical upbringing. My father, Erik Bendix, is a dance teacher who specializes in Eastern European folk dancing. He is an expert on Yiddish dance, so as a child I often listened to recordings of klezmer music or heard live bands play at workshops and festivals where my father taught. I began picking up klezmer tunes shortly after I had started playing the violin. I then was lucky to learn from great klezmer musicians such as Michael Alpert and Alan Bern of Brave Old World and Alicia Svigals of The Klezmatics. To this day, playing klezmer music is a wonderful counterweight to my classical playing, since it allows the performer to improvise and embellish on the spot. Developing this freedom helps me play with greater flexibility and imagination within the stricter structures of classical repertoire. Klezmer music is vividly emotional, ranging from deeply mourning improvisations to the irresistible drive of its fast dance music. The idea of a klezmer violin concerto was one I had for a while, since I was looking for a virtuoso piece in the klezmer style to play with orchestra. My original thought was to commission the work from another composer, but I was encouraged by my father, by Manfred Honeck and by Michael Alpert to write the work myself. I am thankful to them for this suggestion. I decided to write a virtuosic violin fantasy accompanied by full orchestra. I am extremely grateful that the wonderful composer Samuel Adler agreed to orchestrate the piece for me, realizing a full version of the violin and piano score that I composed. The piece is constructed in three movements that are played without pause. Each movement is a medley of different dances. After a short orchestral introduction, the violin enters alone, playing a simple Khosidl tune. A Khosidl is a slow and heavy line dance in the old Hassidic style. The violin soon plays duets with various other solo instruments, presenting the tune in virtuosic style. This is followed by a Doina, a Romanian-style improvisation over of a held harmony, the first of three Doina sections in the piece that serve as transitions. The melody of the next section uses my musical translation of the name Samuel: E-flat (eS in German), A, E-natural (Mi in solfege), C (Ut in solfege), E, A (La in solfege). My middle name is Samuel and I was named after my great-grandfather, Samuel Leventhal, who was a violinist. Like me, he went to Germany to study violin, and following his studies joined the Pittsburgh Symphony. He was later concertmaster of the Hartford Symphony. Because of my connection with him as well as the happy coincidence that Samuel Adler is the orchestrator of this work, the musical version of the name felt like a nice dual homage. It appears throughout the work in different forms. Sam's Syrtos at the end of the first movement is a dance in mixed meter (7/8) and refers to the Syrtos music of the Greek islands that was absorbed into klezmer music under the name Terkisher, or ‘in the Turkish style’, Greece having long ago been under Ottoman Turkish rule.

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The second movement opens with another Doina that features a duet with solo viola. This leads to a slow Nigun or Lid, a wordless song which then becomes a Hora, a slow dance in three. Here I incorporate small quotes from Mahler's 5th Symphony, the work in the second half of this concert. Gustav Mahler incorporated klezmer tunes and elements into a number of his works (most famously in the 3rd movement of the 1st symphony). Here my quotations of his melodies came from the question: what if the classical melodies in Mahler’s 5th symphony had been inspired by klezmer tunes? What would those tunes have sounded like? So in the 2nd movement of the Fantazye, I incorporated some Mahler into a version of Hora, and wove more Mahler into my version of Freylekhs. The third movement is an extended medley of fast tunes, alternating between full orchestra and smaller ensembles within the orchestra. Throughout I wanted the solo violin to trade off tunes with individual members of the orchestra. At the end, the full orchestra joins in, with a wild race to the finish. PYOTR IL’YCH TCHAIKOVSKY (1840-1893) Symphony No. 4 in F minor, Op. 36 Premiered on March 4, 1878, in Moscow with Nicolai Rubinstein as the conductor. This symphony seems to be rife with programmatic readings, both biographically and programmatically. After all, Tchaikovsky wrote his Fourth Symphony during the darkest period of his life: a doomed three-month marriage to a person he barely knew, which seemed to be at the time the perfect cover for the composer’s homosexuality. When Tchaikovsky tried to pick up the pieces, he secretly dedicated the work to his mysterious benefactor, Nadezdha von Meck. Since she insisted on wanting to understand the work’s content, Tchaikovsky wrote out a detailed account, explaining the “true meaning” of the work. In it, the composer likens his work to Beethoven’s Fifth and the use of a fate motif. Tchaikovsky later qualified his program, when he wrote to his former student Taneyev: Of course my symphony is programmatic, but this program is such that it cannot be formulated in words. That would excite ridicule and appear comic. Ought not a symphony—that is, the most lyrical of all forms—to be such a work? Should it not express everything for which there are no words, but which the soul wishes to express, and which requires to be expressed? What makes this symphony so interesting within the context of the composer’s difficult circumstances is the joy and exuberance expressed in it. He explained to von Meck that one needs to “get out among the people. Look what a good time they have simply surrendering themselves to joy.” - Siegwart Reichwald

In the third movement of Tchaikovsky's fourth Symphony, the strings play only pizzicato.

SATURDAY, JULY 28 SATURDAY, JULY 28 7:30 PM

LEAD SPONSOR

WHITTINGTON-PFOHL AUDITORIUM TIME FOR THREE Brevard Sinfonia JoAnn Falletta, conductor Time for Three Ranaan Meyer, double bass Nick Kendall, violin Charles Yang, violin

SIERRA Fandangos (1953-) HIGDON Concerto 4-3 (1962-) The Shallows Little River Roaring Smokies Time for Three INTERMISSION

TIME FOR THREE Originals and Mashups

Time for Three

RESPIGHI Roman Festivals (1879-1936) Circenses (Circuses) Giubilio (Jubilee) L'Ottorbrata (October Festival) La Befana (The Epiphany) ROBERTO SIERRA (1953-) Fandangos Premiered on February 28, 2001, in Washington D.C. under the direction of Leonard Slatkin. Born and raised in Puerto Rico, Roberto Sierra feels as much at home in Europe as the US, where he has received numerous commissions from American orchestras, including Fadangos, which was commissioned by the National Symphony Orchestra in

Washington. After initial studies at the University of Puerto Rico and the Puerto Rico Conservatory, Sierra studied at several European institutions, most notably under György Ligeti in Hamburg. Returning to Puerto Rico, Sierra underwent what he calls the process of “tropilization,” a style on display in Fandangos. The composer has provided the following notes: There are two prevailing theories about the origins of the fandango: one places it in the Iberian Peninsula, while the other

2018 Summer Institute & Festival

BREVARD MUSIC CENTER points out to the New World (the West Indies and Nueva España – modern México). Although during the 18th century the dance was considered to be too sensual, the fandango became very popular and many composers integrated it in their works. A harpsichord work attributed to Antonio Soler (1729-83) was my point of departure. Soler’s Fandango seems fractured, almost like a written improvisation, an important element that provided me the base for writing this orchestral fantasy, where I also incorporated elements from Luigi Boccherini’s (1743- 1805) and Domenico Scarlatti’s (1685-1757) respective fandangos, as well as my own Baroque musings. A basic D minor chord progression can be heard through different transformations, from beginning to end, over a web of elaborated orchestration and highly virtuosic instrumental writing that brings the music of the 18th and the 21st centuries together. These trans-formations, which are always based on material heard before, amplify small motifs and elaborate the musical fabric by varied repetition or dense superimpositions of melodic and rhythmic layers. JENNIFER HIGDON (1962-) Concerto 4-3 Premiered on January 10, 2008, in Philadelphia under the direction of Christoph Eschenbach with the string trio Time for Three as soloists Over the last two decades Jennifer Higdon has become an important voice in American music. Born and raised in Atlanta until age ten when her family moved to Seymour, Tennessee, Higdon grew up with marching bands and bluegrass, musical styles evident in her Concerto 4-3. The composer explains: “Concerto 4-3” is a three-movement concerto, featuring 2 violins and a bass, which uses the language of Classical music, with dashes of bluegrass technique. The work is divided into three movements, with the option to perform a cadenza between the first and second movements. The movement titles refer to rivers that run through the Smoky Mountains (where growing up, I heard quite a bit of bluegrass): “The Shallows”, “Little River”, and “Roaring Smokies”. I wanted to reference the Smokies, because East Tennessee was the first place that I really experienced bluegrass (or as they call it there, Mountain Music). The first movement, “The Shallows”, incorporates unique extended techniques (a manner of playing beyond the normal way of playing these instruments) that mimic everything from squeaking mice to electric guitars. These sounds resemble parts of the mountain rivers that move in shallow areas, where small rocks and pebbles make for a rapid ride that moves a rafter quickly from one side of the river to the other. The second movement, “Little River”, is slow-moving and lyrical, very much in hymn-like fashion. This movement reflects the beauty of Little River as it flows through Townsend and Walland, Tennessee. At times there is real serenity and a majestic look to the water, with no movement obvious on the pure, glassy surface. The third movement, “Roaring Smokies”, is a rapid-fire virtuosic movement that shifts and moves very much like a raging river

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(those wild mountain waters that pour out of the mountains). It is fun to swim in those cold waters, but your attention must always be alert, as danger lurks...the water goes where it wants and will take you with it. While Concerto 4-3 is written in the Classical vein, with certain bluegrass techniques incorporated into the fabric of the piece: emphasis on offbeats, open strings, and slides. But the language is definitely tonal, 21st Century and American-sounding in style. OTTORINO RESPIGHI (1879-1936) Roman Festivals Premiered on February 21, 1929, in New York under the direction of Arturo Toscanini. That Respighi loved Rome is an understatement. He wrote not only one or two, but three major orchestra works celebrating Rome’s rich history and vibrant culture. Roman Festivals is the third of the trilogy (Fountains of Rome, 1915 and Pines of Rome, 1923-4). Except for Richard Strauss and his tone poems, there’s no other composer more adept at writing highly descriptive program music. Respighi therefore provided detailed programs for most of his works, including Roman Festivals: I. CIRCENSES. A threatening sky hangs over the Circus Maximus, but it is the people’s holiday: “Ave Nero!” The iron doors are unlocked, the strains of a religious song and the howling of wild beasts mingle in the air. The crowd comes to its feet in frenzy. Unperturbed, the song of the martyrs gathers strength, conquers, and then is drowned out in the tumult. II. IL GIUBILEO. Pilgrims trail down the long road, praying. Finally, from the summit of Monte Mario appears to ardent eyes the gasping spirits of the Holy City: “Rome! Rome!” A hymn of praise bursts forth, the churches ring out their reply. [This movement is built largely on the 12th-century Eastern hymn Christ ist erstanden—“Christ is risen.’] III. L’OTTOBRATA. The Ottobratta [October festival] in the Roman castelli covered with vines; echoes of the hunt, tinkling bells, songs of love. Then in the tender twilight arises a romantic serenade. IV. LA BEFANA. The night before Epiphany in the Piazza Navona: a characteristic rhythm of trumpets dominates the frantic clamor; above the swelling noise float, from time to time, rustic motifs, saltarello cadenzas, the strains of a barrel-organ in a booth, and the call of a barker, the harsh song and the lively stornello with its expression of the popular sentiment—“Lassàtase passà, somo Romani!” [“Let us pass, we are Romans!”]. - Siegwart Reichwald

SUNDAY, JULY 29 SUNDAY, JULY 29 3:00 PM WHITTINGTON-PFOHL AUDITORIUM

Official piano of the Brevard Music Center

SOLOISTS OF TOMORROW Brevard Music Center Orchestra Ken Lam, conductor In 2001, second generation BMC trustee Beattie Wood and his wife, Jan, were recognized for their continued support of the Music Center with the naming of the annual concerto competition and concert. The competition is open to all full-session instrumental students and is a highlight of the student experience. Today’s concert will feature the 2018 winners of the Jan and Beattie Wood Concerto Competition, who will all receive scholarships to the 2019 BMC Institute and Festival.

SUNDAY, JULY 29 7:30 PM WHITTINGTON-PFOHL AUDITORIUM SUPERSONIC Hypnotic rhythms and spectacular, syncopated drumming combine for a mesmerizing evening of family fun! BMC’s percussion students and faculty present works by Bach, Barber, Khachaturian, Rouse, G. H. Green, and many others.

2018 Summer Institute & Festival

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BREVARD MUSIC CENTER

MONDAY, JULY 30 7:30 PM PORTER CENTER AT BREVARD COLLEGE

Official piano of the Brevard Music Center

NOAH BENDIX-BALGLEY & FRIENDS

MENDELSSOHN String Quintet No. 2 in B flat major, Op. 87 (1809-1847) Allegro vivace Andante scherzando Adagio e lento Allegro molto vivace Noah Bendix-Balgley, violin Marjorie Bagley, violin Scott Rawls, viola Juliet White-Smith, viola Jonathan Spitz, cello INTERMISSION

BRAHMS Horn Trio in E flat major, Op. 40 (1833-1897) Andante Scherzo Adagio mesto Allegro con brio Noah Bendix-Balgley, violin Stefan de Leval Jezierski, horn Norman Krieger, piano

BMC Alumnus

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MONDAY, JULY 30

FELIX MENDELSSOHN (1809-1847) String Quintet No. 2 in B flat major, Op. 87

JOHANNES BRAHMS (1833-1897) Horn Trio in E flat major, Op. 40

Mendelssohn’s extremely high compositional standards are the reason why several masterworks were left unpublished— including such popular works as his Italian Symphony No. 4 and his Second String Quintet. Fortunately, Mendelssohn did not go as far as Brahms, who destroyed many of his “unfinished” works. Mendelssohn explained that, “Though [it is] not an art work in the highest sense, it is still an exercise in forms and the representation of ideas. Here you have the reason why I have written so many compositions which have not and never should be printed.” Fortunately, even great composers get it wrong sometimes!

Despite the growing prevalence of the modern valved horn during Brahms’s lifetime, one wonders what possessed the composer to write a chamber work featuring its allusive and outdated counterpart, the natural horn (Waldhorn)? Being aware of his unusual scoring, Brahms wrote in preparation for an upcoming chamber concert for the horn player to “practice the [natural] horn for some weeks before-hand, so as to be able to play it on that.” Clearly, Brahms wanted the sound of the natural horn—but why? The answer might be found in the work’s inspiration. The compositional setting was the beautiful Black Forest region surrounding Brahms’s summer home in BadenBaden, presumably putting the composer in a nostalgic mood. A much more obvious and personal reason, however, is the death of his mother in 1865, which precipitated the composition of his German Requiem. Parts of the Trio might be viewed as a wordless requiem, and the darker and (in Brahms’s mind) “richer” timbre would capture the work’s affect more clearly.

Composed in the summer of 1845 after an extremely taxing and hectic schedule, Mendelssohn was finally free to compose. The opening movement explodes with youthful energy reminiscent of his Octet, while displaying the elegance and assuredness of his mature style. In the understated Andante scherzando every note is perfectly weighted, allowing the performers to “dance” a waltz together. The third movement vacillates between intensity and reflection. The last movement was presumably the reason for Mendelssohn’s hesitance to publish the work. Uncharacteristically, the second theme is not properly recapitulated toward the end of the movement. Of course, one might argue that the composer’s intuitive omission was a stroke of genius. Had Mendelssohn lived longer, perhaps his intellect might have caught up with his spontaneous choices.

Brahms masterfully features all three players as soloists and does not shy away from the natural horn’s stopped notes. As if to match the outdated instrument, the first movement is an old-fashioned slow-fast-slow-fast Baroque sonata form. The lively Scherzo turns inward into a melancholy melody before returning to the Scherzo. The heart of the piece is the somber Adagio mesto that reaches a ray of hope only to return to darkness. The gloominess is transformed to light in the exuberant Finale. Nowadays, hornists will play the trio on their modern instruments—a practice going back to Brahms’s day. - Siegwart Reichwald

2018 Summer Institute & Festival

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BREVARD MUSIC CENTER

WEDNESDAY, AUGUST 1 7:30 PM PORTER CENTER AT BREVARD COLLEGE

Official piano of the Brevard Music Center

BREVARD CAMERATA Adam Holzman, guitar

TURINA La Oración del Torero (The Bullfighter's Prayer), Op. 34 (1882-1949)

VIVALDI Guitar Concerto in D major (1678-1741) Allegro giusto Largo Allegro Mr. Holzman, guitar

INTERMISSION

SUK Serenade for Strings in E flat major, Op. 6 (1874-1935) Andante con moto Allegro ma non troppo e grazioso Adagio Allegro grocoso, ma non troppo presto

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WEDNESDAY, AUGUST 1

JOAQUÍN TURINA (1882-1949) La Oración del Torero (The Bullfighter's Prayer), Op. 34 Premiered on January 3, 1927, in Madrid under the direction of Bartolomé Pérez Casas. “One afternoon of bullfighting in the Madrid arena…I saw my work. I was in the court of horses. Behind a small door, there was a chapel, filled with incense, where toreadors went right before facing death. It was then there appeared, in front of my eyes, in all its plenitude, this subjectively musical and expressive contrast between the hubbub of the arena, the public that awaited the fiesta, and the devotion of those who, in front of this poor altar, filled with touching poetry, prayed to God to protect their lives.” Music with exotic flavor had been all the rage in fashionable Paris at the turn of the 20th century—think Bizet’s Carmen, Debussy’s Ibéria, or Ravel’s Rhapsodie espagnole. While Debussy and Ravel traveled to Spain for inspiration, Spanish composer Turina traveled to France for musical training. On the surface, their “Spanish” compositions might seem similar: impressionistic works with a Spanish flavor. Yet Turina’s deeper understanding of Spanish culture is not just a piece on a Spanish topic; rather, it conveys a Spanish way of life. ANTONIO VIVALDI (1678-1741) Guitar Concerto in D major Given that Vivaldi composed over 500 concertos, one might easily view RV 93 as just another concerto. The numbers tell a different story: While he wrote 230 solo violin concertos and 120 more for a variety of other solo instruments, only a handful of concertos feature the guitar, making them stand out among Vivaldi’s vast repertoire. In case of RV 93, we even know that it was written for Johann Joseph von Wrtby of Bohemia, who was an excellent lute player. Vivaldi composed the concerto in the early 1730s during a five-year period of extensive travel. What stands out musically is Vivaldi’s use of what we call rounded binary form (two repeated parts with a return of the opening in the second part) used for dances—rather than the customary

ritornello and aria forms. Obviously, Vivaldi somehow felt that the guitar would benefit from a different approach, one that would be befitting for a more intimate setting. Presumably, it was even written for a specific occasion. So rather than thinking of this as just another concerto, one ought to behold it as the work of a master who wanted every concerto to be original and better than the previous. It is not by accident that contemporaneous masters like Bach carefully studied Vivaldi’s concertos as models for their own works. JOSEPH SUK (1874-1935) Serenade for Strings in E flat major, Op. 6 Premiered on February 25, 1895, at the Prague Conservatory under the direction of Antonín Bennewitz. Sometimes spending an extra year in school can be a good thing! Upon graduation from the Prague Conservatory in 1891, the 17-year-old Suk decided to stay at the conservatory for another year to study chamber music with Dvořák, who had just joined the faculty. Dvořák found Suk’s music too serious and melancholy, so he assigned Suk the composition of a lighter type of chamber work, a string serenade. Not surprisingly, Suk would take Dvořák’s own masterful String Serenade as his model. Suk’s work caught the attention of Brahms, who aided the young composer in getting the work published (as he had done for Dvořák years earlier). The Serenade would become the launching point for a highly successful career. And as it turns out, Suk eventually married Dvořák’s daughter Otilka. Spending the extra money and time to continue his education for an extra year was probably the best investment Suk ever made! - Siegwart Reichwald

Suk was a founding member of the famous Czech Quartet in 1892, and continued to perform with it until his retirement in 1933.

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THURSDAY, AUGUST 2 7:30 PM PORTER CENTER AT BREVARD COLLEGE SONDHEIM ON SONDHEIM Members of the Janiec Opera Company of the Brevard Music Center Dean Anthony, stage director Ian Silverman, director Eileen Downey, music director Neill Campbell, piano Josh Quinn, piano MUSIC AND LYRICS BY: STEPHEN SONDHEIM

CONCEIVED AND DIRECTED ON BROADWAY BY: JAMES LAPINE

ACT I

INTERMISSION

ACT II Lindsey Purvis, Scenic Designer Tláloc López-Watermann, Lighting and Projection Designer COMPANY Ladies: Christine Boddicker Liz Culpepper Emily Gallagher Lucia Helgren Caroline Hewitt Myah Paden Avery Peterman Virginia Reed

Gentlemen: Kyle Bejnerowicz Ian Bolden Samuel DeSoto Robert Fridlender Cody Galyon Matthew Huckaba Andrew René

SONDHEIM ON SONDHEIM is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com The videotaping or other video or audio recording of this production is strictly prohibited.

BMC Alumnus

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THURSDAY, AUGUST 2 FRIDAY, AUGUST 3

FRIDAY, AUGUST 3 7:30 PM WHITTINGTON-PFOHL AUDITORIUM THE PLANETS Brevard Symphonic Winds Kraig Alan Williams, conductor Brevard Concert Orchestra Keith Lockhart, conductor

BMC gratefully acknowledges Pisgah Astronomical Research Institute (PARI) and Christopher Price, PARI Marketing Director, for providing tonight’s images accompanying Holst’s The Planets.

with Dilshad Posnock, flute Alistair MacRae, cello

BACH Toccata and Fugue in D minor, BWV 565 (1685-1750) (trans. Hunsberger) MASLANKA O Earth, O Stars (1943-2017) Chorale You are the image of the unending world Dragons and Devils of the Heart Chorale Ms. Posnock, flute Mr. MacRae, cello MARKOWSKI joyRiDE (1986-) Brevard Symphonic Winds INTERMISSION

HOLST The Planets, Op. 32 (1874-1934) Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic

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BREVARD MUSIC CENTER JOHANN SEBASTIAN BACH (1685-1750) Toccata and Fugue in D minor, BWV 565 (trans. Hunsberger) The Toccata’s iconic opening has provided many memorable moments from Disney’s Fantasia to The Phantom of the Opera. Yet Bach might have been ashamed of this youthful transgression featuring doubled octaves—a grave musical sin. Bach presumably wrote the piece early in his career in Arnstadt at an organ that lacked a 16-foot register (no large pipes, no real low notes). The octave doublings, not found in any later works, provided the allusion of a richer sound. The work was finally published over 100 years later by Felix Mendelssohn, who performed the work on August 6, 1840 at Bach’s St. Thomas Church in Leipzig. Since then the Toccata has been not only one of Bach’s most often performed works, it also has inspired countless transcriptions for a variety of instruments and ensembles. DAVID MASLANKA (1943-2017) O Earth, O Stars Premiered on November 18, 2010, by the Illinois State University Wind Ensemble under the direction of Stephen K. Steele with Kimberly Risinger, flute and Adriana La Rosa Ransom, cello. Program Note by David Maslanka: O Earth, O Stars is a double concerto for flute and cello. The music can stand on its own without any programmatic references, but I am strongly drawn to certain images and depths that are touched when the music relates to these images. Over the years I have been especially concerned with music that has grown out of the old Chorale melodies. The connections made between image or idea and music are complex. They resonate deeply and are not confined to a single set of interpretations. The six movements of this concerto, with chorales on either end, and one in the middle, give the impression of a Baroque cantata. The story being told is one you find for yourself. Chorale – The chorale melody, taken from the 371 Four-part Chorales by J. S. Bach, is “Jesu, meine Freude,” meaning “Jesus my joy,” or “Jesus my pleasure.” It is one of my favorite tunes which I have also used in Recitation Book for saxophone quartet, and Symphony No. 8. “You are the image of the unending world” – This line comes from The Red Book of Carl Jung. It relates in my mind to the Buddhist image of the “Pure Land,” which is about a returning of the earth to its original pristine balance. “You are the image of the unending world…” It is through each of us that the Pure Land is reborn. Dragons and Devils of the Heart – a quote and a poem: Carl Jung: “It is wise to nourish the soul, otherwise you breed dragons and devils in your heart.” A.A. Milne: Sometimes when the fights begin, I think I’ll let the dragons win, But then again perhaps I won’t, Because they’re dragons, and I don’t.

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The image of the dragon is fearful, and from the quote and the poem we have the feeling of a necessary struggle, and a requirement of victory over the dragon in order to be whole. But there are other images of the dragon: there protector of the priceless treasure; the guardian of the heart, which is the gateway of the Source. To “defeat” the dragon is to come into relationship with your own deepest power. Chorale – The melody which I have borrowed is Aus tiefer Not schrei Ich zu dir – From Deepest Need I Cry to You – the human condition, and knocking on the door of the source for help; the transformation of the heart. MICHAEL MARKOWSKI (1986-) joyRiDE Adapted from a program note by the composer: joyRiDE, premiered at New York’s Carnegie Hall in 2005, was the second piece of music that I'd written for concert band, and it included some beautiful mistakes. For instance, 18-year old Me really wanted to hold true to the spirit of Beethoven's 9th Symphony by keeping my mash-up in Beethoven's original key of D major. However, looking back, I realize that while D major is a string player's best friend, it is not so copacetic with band players, who often prefer their tonal centers to be flat (pun intended). Luckily, E flat major is just up the block so for this 2014 revision, I decided it best to raise a portion of the piece by a half-step. Other edits included re-spelling accidentals, re-notating rhythms, filtering out an impractical 2nd Tenor Saxophone part, re-managing the percussion forces, and polishing the overall orchestration in a few key sections that seemed a bit sloppy. For the longest time, though, I wrestled with whether or not I should even revise the piece—thinking that it should be kept exactly as-is, that I should honor the original as a sort of time capsule of myself and where I was—but I think this version finds a healthy balance between preserving what my 18-year-old self musically intended while maximizing the piece's playability. Although I've improved the piece since 2005, don't worry. I'm not exactly George Lucas and I'm not trying to remake Star Wars. GUSTAV HOLST (1874-1934) The Planets, Op. 32 The premiere of the complete work took place on November 15, 1920, in London under the direction of Albert Coates. The Planets is one of those rare works whose origins we cannot even begin to explain. Seemingly out of nowhere Holst created a work without precedence, thus producing a composition that defined him and his career. While we cannot explain the artistic genius of the work, there are a few biographic circumstances that shed some light on the reasons for the piece. During his tour of Spain in 1913, Holst was introduced to astrology, piquing his curiosity in this field of study. Compositionally, Schoenberg’s Five Orchestral Works challenged his approach to his craft, and one can see how that work served as a starting point for this work. It is completely beyond anybody’s guess, however, how the composer moved from simple influences to conceptualizing a work of such grandeur and depth of expression. While much has been written about the various descriptive content of each

FRIDAY, AUGUST 3 movement, music historian Colin Matthews offers a pertinent interpretation that takes a more personalized view: A great deal of Holst’s musical personality is encapsulated in The Planets: a rare glimpse of the extrovert in “Jupiter,” a more characteristic heavy-handed humor in “Uranus,” a sad processional in “Saturn.” He is at his most relaxed and lyrical in “Venus,” a vein that he did not often recapture in later life. Though in mood the other three movements could not be more different one from another, they share a common harmonic background, with a particular emphasis on bitonality: in “Mars” this serves to produce harsh dissonance, in “Mercury” a quicksilver elusiveness, and in “Neptune,” remoteness and mystery. In this last movement Holst uses an offstage choir of women's voices, singing wordlessly to magical effect—something he had already employed in Sāvitri (and may have borrowed from the third of Debussy's Nocturnes, which he almost certainly heard the composer conduct in London in 1909).

The seven planets represented in Holst's musical work include Mars, Venus, Mercury, Jupiter, Saturn, Uranus, and Neptune.

With this interpretation in mind, we can begin to come to terms with the enormity and originality of the work. Fortunately, we don’t have to truly understand the why and how of the piece to enjoy the beauty and power of this brilliant composition. - Siegwart Reichwald

Learn more the origin and evolution of the planets, galaxies, and stars at the Explore Space: A Cosmic Journey traveling exhibition coming to the Transylvania County Library–August 11 through October 5.

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SATURDAY, AUGUST 4 7:30 PM

SPONSOR A Loyal Friend of Brevard Music Center

WHITTINGTON-PFOHL AUDITORIUM PICTURES AT AN EXHIBITION Brevard Sinfonia Ken Lam, conductor Zorá String Quartet Dechopol Kowintaweewat, violin Hsuan-Hao Hsu, violin Pablo Muñoz Salido, viola Zizai Ning, cello DZUBAY Ra! (1964-) LEES Concerto for String Quartet and Orchestra (1924-2010) Allegro con brio Andante cantando Allegro energico Zorá String Quartet INTERMISSION

MUSSORGSKY Pictures at an Exhibition (orch. Ravel) (1839-1881) Promenade Gnomus Promenade Il Vecchio Castello Promenade Tuileries Bydlo Promenade Ballet Of The Chicks In Their Shells Samuel Goldenburg And Schmuyle The Marketplace At Limoges Catacombae, Sepulchrum Romanum Con Mortuis In Lingua Mortua The Hut On Fowl's Legs The Great Gate At Kiev

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SATURDAY, AUGUST 4 DAVID DZUBAY (1964-) Ra! Premiered in spring of 1999 by the National Symphony Orchestra of Ireland.

are explored in a melodious Andante. The last movement then combines the rhythmic drive of the first movement with the melodiousness of the second movement, bringing the work to a climactic close.

Program Note provided by the composer:

MODEST MUSSORSGSKY (1839-1881) Pictures at an Exhibition (orch. Ravel) Ravel’s orchestration of Pictures at an Exhibition was premiered on October 22, 1922, in Paris under the direction of Serge Koussevitzky.

The sun god Ra was the most important god of the ancient Egyptians. Born anew each day, Ra journeyed across the sky in a boat crewed by many other gods. During the day Ra would do battle with his chief enemy, a serpent named Apep, usually emerging victorious, though on stormy days or during an eclipse, the Egyptians believed that Apep had won and swallowed the sun. Ra! is a rather aggressive depiction of an imagined ritual of sun worship, perhaps celebrating the daily battles of Ra and Apep. There are four ideas presented in the movement: 1) a "skin dance" featuring the timpani and other percussion, 2) a declarative, unison melodic line, 3) a layered texture of pulses, and 4) sun bursts and shines. The movement alternates abruptly between these ideas, as if following the precise dictates of a grand ceremony. While this movement can be performed alone, it is actually the first movement of sun moon stars rain, a four movement, 18-minute orchestral work, which was commissioned by the Barlow Endowment for Music Composition at Brigham Young University for the Minnesota Orchestra, Baltimore Symphony, and St. Louis Symphony. The version for wind ensemble was composed in the summer of 2002. BENJAMIN LEES (1924-2010) Concerto for String Quartet and Orchestra Premiered on January 19, 1965, in Kansas City under the direction of Hans Schwieger with the Paganini Quartet as soloists. After you listen to this String Quartet Concerto, chamber music will never be the same again. Lees’s energetic and aggressive style turns the most intellectual of all chamber ensembles into a ferocious beast that devours everything that get in its way. Well, this might be an overstatement, but you get the idea. Lees’s music is known for its rhythm drive and constant meter changes, and the vintage-Lees first movement leaves the audience (and the players breathless). The composer decided to treat the string quartet as an ensemble rather than four soloists, creating a synergetic interplay between the orchestra and the quartet. In a 1987 interview with Bruce Duffie, Lees explains that has he taken a somewhat different approach to composing. He decided early on to stay uninfluenced by the turbulent American scene. Even when he decided to study in Europe, he avoided the typical American landing spots, spending time in Longpontsur-Orge, France, Vienna, and Helsinki. Lees deliberately chose to compose in an accessible style, rejecting the avant-garde approaches of his American and European contemporaries. Ironically, his teacher George Antheil, who is mostly known for his avant-garde works, told Lees that “music must have a face. A theme must have a face, something which is really recognizable, both to you and the listener.” The second movement opens as a funeral march, and the expressive qualities of the string quartet

Mussorgsky’s most famous work is the ultimate testament to the power of collaboration. The death of his artist friend Victor Hartmann in 1873 at age 39 was a big blow to Mussorgsky and the Russian art community. When critic Vladimir Stassov organized an exhibition of some of Hartmann’s work, Mussorgsky decided to compose a musical tribute to his friend by composing a piano piece depicting an imaginary tour of Hartmann’s work. After only six weeks he had finished Pictures at an Exhibition, and it was published three years later. Surprisingly, the work was never performed in public during the composer’s lifetime. RimskyKorsakov, the executor of Mussorgsky’s musical estate, realized the potential for the piece, and his student Mikhail Tushmalov orchestrated the work. After another attempt by Sir Henry Wood, Maurice Ravel tried his hand, and it is his masterful 1922 orchestration that has made Mussorgsky’s pianistic impressions of his friend’s artwork one of the great orchestral masterworks. Almost fifty years after Hartmann’s death, his art had found a new form of expression through the hands of Mussorgsky and Ravel. Sadly, the pictures for only five of the ten movements have survived. Mussorgsky explains that in the piece he was “roving through the exhibition, now leisurely, now briskly, in order to come closer to a picture that had attracted his attention, and at times sadly, thinking of his departed friend.” The recurring promenade theme serves the role of the strolling composer. The first drawing, Gmonus, depicted a tree ornament, “a kind of nutcracker, a gnome into whose mouth you put a nut to crack” (Stassov). In The Old Castle the composer gives voice to Russian sounding folk music, which Ravel updated to 20th-century sensibilities with the use of the saxophone. Tuileries is a famous Parisian park full of playing children. The next two pictures depict country scenes: Bydlo is about a Polish wagon passing by, while Ballet of the Chicks in their Shells was a drawing of costumes for a ballet. Samuel Goldenberg and Schmuyle are characters Hartmann drew during a visit to a Jewish ghetto in southern Poland. Limoges was the inspiration for more than 150 watercolors, including The Market Place at Limoges. Catacombs takes us back to Paris, this time the dark underground with a pile of skulls. Baba Yaga was a child-eating monster according to Russian folklore, living deep in the woods. Hartmann’s sketch was actually a bronze clock in the shape of the monster’s hut. The most fascinating artwork is The Great Gate of Kiev, created for an architectural design competition for a new city landmark. Unfortunately, the project never materialized for lack of funds. The closest we can come to experiencing this monument is through Mussorgsky’s (and Ravel’s) imagination. - Siegwart Reichwald

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SUNDAY, AUGUST 5 3:00 PM

LEAD SPONSOR

WHITTINGTON-PFOHL AUDITORIUM SEASON FINALE: BERNSTEIN'S MASS Brevard Music Center Orchestra Keith Lockhart, conductor Janiec Opera Company of the Brevard Music Center Dean Anthony, stage director Brevard Music Center Festival Chorus David Gresham, chorus master John McVeigh, tenor J'ericson Newby, boy soprano

This project is supported in part by an award from the National Endowment for the Arts

BERNSTEIN Mass (1918-1990) I. Devotions before Mass VII. Mediation No. 2 1. Antiphon: Kyrie eleison VIII. Epistle: “The Word of the Lord” 2. Hymn and Psalm: “A Simple Song” IX. Gospel-Sermon: “God Said” 3. Responsory: Alleluia X. Credo II. First Introit (Rondo) 1. Credo in unum Deum 1. Prefatory Prayers 2. Trope: “Non Credo” 2. Thrice-Triple Canon: Dominus vobiscum 3. Trope: “Hurry” III. Second Introit 4. Trope: “World without End” 1. In nomine Patris 5. Trope: “I Believe in God” 2. Prayer for the Congregation XI. Meditation No. 3 (De profundis, part 1) 3. Epiphany XII. Offertory (De profundis, part 2) IV. Confession XIII. The Lord’s Prayer 1. Confiteor 1. Our Father … 2. Trope: “I Don’t Know” 2. Trope: “I Go On” 3. Trope: “Easy” XIV. Sanctus V. Meditation No. 1 XV. Agnus Dei VI. Gloria XVI. Fraction: “Things Get Broken” 1. Gloria tibi XVII. Pax: Communion (“Secret Songs”) 2. Gloria in excelsis 3. Trope: “Half of the People” 4. Trope: “Thank You”

BMC Alumnus

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SUNDAY, AUGUST 5 LEONARD BERNSTEIN (1918-1990) Mass Premiered on September 8, 1971, at the inauguration of the Kennedy Center, directed by Gordon Davidson, conducted by Maurice Peress, and choreographed by Alvin Ailey. It has often been noted that Music reflects culture. Bernstein’s Mass is the perfect example of this truism. Easily Bernstein’s most eclectic work, it is conceived as a staged dramatic pageant rather than a concert piece. Prescriptive notes about the performers are needed in the score to explain the unusual staging, which includes parts of the orchestra in costumes, a rock band, a robed choir, a celebrant, and dancers as Acolytes. Even more eclectic (if that’s possible) is the choice of texts. Commissioned by Jacqueline Kennedy Onassis for the inauguration of the John F. Kennedy Center of the Performing Arts, Bernstein decided on the most traditional of all genres, the Mass, in order to memorialize John F. Kennedy, America’s first Catholic President. In collaboration with Stephen Schwartz (Godspell), the Latin Mass text is supplemented with contemporary English texts by Bernstein and Schwartz, creating a sort of argument with God, grappling with the pressing political and cultural issues of the day. So it is a “Mass” dragged into the early 70s that’s celebrated and questioned at the same time. The eclecticism is also reflected in the music with blues, rock, gospel, folk, Broadway and jazz idioms appearing side by side with 12-tone-serialism, symphonic marches, solemn hymns, Middle Eastern dances, orchestral meditations, and lush chorales.

Despite its eclecticism—or maybe because of it—Bernstein’s Mass is a piece meant to bring people together. The Vietnam War and the Cold War had created fissures in America’s fiber. Bernstein felt that modern society was in a state of crisis— both politically and spiritually, and he wanted to offer his own thoughts and struggles as a way forward. It is a work of faith and peace—but it requires struggle, tolerance, and a common vision that’s large enough for everybody. At the heart of the work is the celebrant who is able to guide the people (musicians and audience) through doubts about god and humanity. Conductor and Bernstein protege Marin Alsop views Mass as “the essence of Bernstein as a complex man and artist. Sure, the music is intoxicating, but beneath the showiness on the surface is a profound statement of faith. Bernstein was a nimble composer. He moved comfortably between high art and pop culture, not confined by stylistic boundaries. This was long before ‘crossover’ became trendy. Today, Mass seems even more vital and relevant. Political volatility . . . and our ongoing struggle as individuals to find faith and spirituality in contemporary society—this was the backdrop for Bernstein’s portrayal of a modern-day crisis of faith. And while the music and the text may have less shock value to our contemporary ears, the message of Mass has enduring significance.” - Siegwart Reichwald

"Bernstein's Mass is something that transcends the normal concert experience. It is an epic work...a theatre piece designed for the concert stage that deals with the crisis of belief that is so common in our modern world. A piece that addresses, without being specifically political, the lack of faith of any higher power steering us to a better place. A piece that needs to be shared, needs to be talked about, and needs to be commented on. It is very timely right now." — KEITH LOCKHART

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SATURDAY, AUGUST 18 7:30 PM WHITTINGTON-PFOHL AUDITORIUM

LEAD SPONSOR BMC Presents Series

Hampton Inn - Brevard

Produced in collaboration with Mountain Song Productions

BMC PRESENTS: BÉLA FLECK'S BLUE RIDGE BANJO CONCERT Just in case you aren't familiar with Béla Fleck, there are some who say he's the world’s premier banjo player. Others claim that Béla has virtually reinvented the image and the sound of the banjo through a remarkable performing and recording career that has taken him all over the musical map and on a range of solo projects and collaborations. If you are familiar with Béla, you know that he just loves to play the banjo, and put it into unique settings. The 15-time GRAMMY Award winner has been nominated in more categories than any other artist in GRAMMY history, and remains a powerfully creative force globally in bluegrass, jazz, classical pop, rock and world beat. Any world-class musician born with the names Béla (for Bartok), Anton (for Dvořák) and Leos (for Janacek) would seem destined to play classical music. Fleck made the classical connection with Perpetual Motion, his critically acclaimed recording that went on to win a pair of GRAMMYs. Collaborating with Fleck on Perpetual Motion was his long-time friend and colleague, bassist/composer Edgar Meyer. The two have also collaborated on The Melody of Rhythm, a triple concerto for banjo, bass and tabla, in collaboration with world-renowned tabla virtuoso, Zakir Hussain. In 2009, Béla produced the award-winning documentary and recordings, Throw Down Your Heart, where he journeyed across Africa to research the origins of the banjo. The impact of fatherhood sparked Juno Concerto, a piece for banjo and orchestra, named for his firstborn son. His first banjo concerto The Impostor has now been performed over 50 times worldwide, and his latest concerto was recently premiered with the Louisiana Philharmonic. These days, Fleck bounces between various intriguing touring situations: he performs his concertos worldwide, collaborates in a duo with Chick Corea and a trio with Zakir Hussain and Edgar Meyer. He performs in concert with the Brooklyn Rider string quartet, in banjo duet with Abigail Washburn, banjo and mandolin duet with Chris Thile, and occasionally back to bluegrass with his old friends Sam Bush, Jerry Douglas, Stuart Duncan, Bryan Sutton and others. He collaborates with African artists such as Oumou Sangare and Toumani Diabate, in a jazz setting with The Marcus Roberts Trio, and with Béla Fleck and the Flecktones, who continue to perform together 25 years after the band’s inception.

Béla Fleck’s concert at Whittington-Pfohl Auditorium is the culmination of the inaugural Blue Ridge Banjo Camp–the world’s premier banjo camp. The camp features instructors Tony Trischka, Kristen Scott Benson, Steve Cooley, and Béla Fleck–all virtuosos in their respective styles. Instructors will join Béla and other special guests for this unique concert displaying the wondrous diversity of the banjo. 114 Overture

SOLOISTS AND CONDUCTORS

SOLOISTS AND CONDUCTORS JOANN FALLETTA, BMC Principal Guest Conductor JoAnn Falletta is internationally celebrated as a vibrant ambassador for music, an inspiring artistic leader, and a champion of American symphonic music. She serves as the Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra and Principal Guest Conductor of the Brevard Music Center. Ms. Falletta has guest conducted over a hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America, and Africa. In 2018-19 she will guest conduct orchestras in the Netherlands, Poland, Sweden, and across the U.S. A strong advocate and mentor for young professional and student musicians, in 2017-18, she led the Orchestra Now at Alice Tully Hall, and adjudicated the prestigious Malko Conducting Competition in Denmark. She has led seminars for women conductors for the League of American Orchestras and served in residence at SUNY Potsdam. In 2016, Falletta was elected to the American Academy of Arts and Sciences, joining an esteemed roster that dates to the Academy's founding in 1780. She has served as a Member of the National Council on the Arts and is the recipient of many of the most prestigious conducting awards. She has introduced over 500 works by American composers, including well over 100 world premieres. JoAnn is a leading recording artist for Naxos. Her discs have won two GRAMMY Awards and ten GRAMMY nominations. Falletta recently celebrated the release of her 100th recording, Stravinsky’s Soldier's Tale Suite / Octet / Les Noces with the Virginia Arts Festival Chamber Players. Other recent recordings with the Buffalo Philharmonic includes the Naxos release of music of Kodaly, which was a BBC Music Magazine Choice Recording for February 2018, Music of Vitezslav Novak, Wagner, Music from the Ring, and a recording of music of Franz Schreker with the Berlin Radio Symphony Orchestra. In August Falletta will record her fifth world premiere recording of music of Kenneth Fuchs with the London Symphony. Upon her appointment as Music Director of the Buffalo Philharmonic, Falletta became the first woman to lead a major American ensemble. She has since been credited with bringing the Philharmonic to a new level of national and international prominence. This Spring, Falletta and the BPO were invited to Poland, the BPO’s first international tour in 30 years. The Orchestra performed to great acclaim at Warsaw’s prestigious Beethoven Easter Festival, where Falletta made history as the first American woman to conduct an orchestra at the 20-year-old festival and the BPO became the first full American Orchestra to perform there. Ms. Falletta received her undergraduate degree from the Mannes School of Music, and her master’s and doctorate degrees from The Juilliard School.

KEN LAM, BMC Resident Conductor Ken Lam is Music Director of the Charleston Symphony Orchestra, Illinois Symphony Orchestra, and Artistic Director of Hong Kong Voices. In 2011, Mr. Lam won the Memphis Symphony Orchestra International Conducting Competition and was a featured conductor in the League of American Orchestra’s 2009 Bruno Walter National Conductors Preview with the Nashville Symphony. He made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008 as one of four conductors selected by Leonard Slatkin. In recent seasons he has led performances with the symphony orchestras of Cincinnati and Cincinnati Pops, Baltimore, Detroit, Memphis, Illinois, Hawaii, Meridian, Hilton Head, and the Brevard Philharmonic, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, Guiyang Symphony Orchestra, and the Taipei Symphony Orchestra. In opera, he has led critically acclaimed productions at Spoleto Festival USA, Lincoln Center Festival, and at the Luminato Festival in Canada, and has directed numerous productions of the Janiec Opera Company at Brevard. Ken Lam studied conducting with Gustav Meier and Markand Thakar at Peabody Conservatory, David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen, and Leonard Slatkin at the National Conducting Institute. Previous conducting positions include Associate Conductor for Education of the Baltimore Symphony Orchestra and Assistant Conductor of the Cincinnati Symphony Orchestra. He read economics and law at St. John’s College, Cambridge University, and previously spent ten years as an attorney specializing in international finance. Mr. Lam was the recipient of the 2015 Johns Hopkins University Global Achievement Award.

DR. KRAIG ALAN WILLIAMS, Director, Brevard Symphonic Winds Dr. Kraig Alan Williams is currently the Director of Bands, Associate Professor of Music, and Director of the Wind Studies Program at the Mason Gross School of the Arts, Rutgers University. His duties include the artistic guidance of the GRAMMY-nominated Rutgers Wind Ensemble and administration of all aspects of a large, dynamic, and comprehensive university band program. Other responsibilities include teaching graduate and undergraduate conducting and the mentoring of master’s and doctoral students in Wind Studies. Maintaining an active schedule as a guest conductor, clinician and lecturer, Williams has appeared in those capacities in more than 15 states and with such prominent ensembles as the Dallas Wind Symphony and The United States Air Force Band. Williams has conducted performances in Graz, Budapest, Malta, Marktoberdorf, and Prague. He has performed in Carnegie Hall, conducted live radio broadcasts on NPR, and has recorded for Mark Records, Albany Records, and ADK in Prague, Czech Republic.

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BREVARD MUSIC CENTER Prior to arriving at Rutgers, Williams served as the Director of Bands at University of Memphis (2003-2011); conductor of the Duke University Wind Symphony and director of the Duke in Vienna program (1997-2000); director of bands and chamber ensembles at California State University, Los Angeles (1993-1996); assistant conductor of Southern California Inland Empire Symphony and Los Angeles Solo Repertoire Orchestra in Burbank, and Music Director of the Lake Elsinore Civic Light Opera (1990-1993). Williams received his doctorate from The University of Texas at Austin, where he studied with Jerry F. Junkin. He received a Master of Music degree in performance from California State University, Northridge. Williams is a member of CBDNA, TMEA, and is a sponsor and honorary member of the Memphis chapters of Kappa Kappa Psi and Tau Beta Sigma. Williams joined the conducting faculty at the Brevard Music Center in 2001 and was named Director of Band Activities in 2008. He has regularly achieved critical acclaim for his work with the Symphonic Band and Chamber Winds.

MATTHIAS BAMERT, conductor Matthias Bamert's reputation in the Classical to Romantic repertoires, his championship of contemporary music, and his innovative programming has received international praise. In 2017, he was appointed Principal Guest Conductor of the Daejeon Philharmonic Orchestra (South Korea), and from April 2018 he holds a position of Chief Conductor of the Sapporo Symphony Orchestra (Japan). Matthias Bamert's distinguished career began in North America as an apprentice to George Szell, later as Assistant Conductor to Leopold Stokowski, and Resident Conductor of the Cleveland Orchestra under Lorin Maazel. Since then, he has held Music Director positions with the Swiss Radio Orchestra, London Mozart Players, West Australian Symphony, and the Malaysian Philharmonic Orchestra. He has also served as Principal Guest Conductor of the Royal Scottish National Orchestra and New Zealand Symphony Orchestra, and as Associate Guest Conductor of the Royal Philharmonic Orchestra in London. Music Director of the London Mozart Players for seven years, Matthias Bamert masterminded a hugely successful series of recordings of works by “Contemporaries of Mozart” and many of which have won international prizes. In the UK, Matthias Bamert has worked frequently with such orchestras as the Philharmonia, BBC Symphony Orchestra, London Philharmonic, City of Birmingham Symphony Orchestra, and BBC Philharmonic, featuring regularly at the BBC Proms. Internationally, he has appeared with many of the great orchestras, including the Cleveland Orchestra, Pittsburgh Symphony, Los Angeles Philharmonic, Orchestre de Paris, Orchestre symphonique de Montreal, Leningrad Philharmonic, Sydney Symphony, and NHK Symphony Orchestra. Principal Guest Conductor of the Royal Scottish National Orchestra and Director of the Glasgow contemporary music festival Musica Nova from 1985-90, he became renowned for his innovative programming, conducting many world premieres.

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This gift came to the fore during his acclaimed tenure as Director of the Lucerne Festival (1992-98), when he was also responsible for the opening of the KKL concert hall and founded the new Easter and Piano festivals.

NOAH BENDIX-BALGLEY, violin First Concertmaster of the Berliner Philharmoniker, Noah Bendix-Balgley has thrilled and moved audiences around the world with his performances. Since becoming a Laureate of the 2009 Queen Elisabeth Competition in Brussels and gathering top prizes at further international competitions, he has appeared as a soloist with the Pittsburgh Symphony Orchestra, the Orchestre Philharmonique de Radio France, the Orchestre National de Belgique, the Utah Symphony, the Auckland Philharmonia, and the Nagoya Philharmonic. From 2011 to 2015, Noah was Concertmaster of the Pittsburgh Symphony Orchestra, and in 2016 he performed the world premiere of his own klezmer violin concerto, Fidl-Fantazye with the Pittsburgh Symphony and Manfred Honeck. Other highlights include his concerto debut with the Berliner Philharmoniker in January 2018, recital tours in Taiwan, China, and Europe, and performances of his klezmer concerto with orchestras in the USA and with the China Philharmonic, as well as his period instrument debut, performing the Beethoven Violin Concerto with the Apollo’s Fire Orchestra in Cleveland.. Noah is a passionate and experienced chamber musician. He currently performs as a member of the multigenre septet Philharmonix, which features members of both the Berlin and Vienna Philharmonic orchestras, and performs in a piano trio with cellist Peter Wiley and pianist Robert Levin. Noah appears regularly at music festivals in Europe, North America, and Asia, including the Aspen Festival, Seattle Chamber Music Society, the Sarasota Festival, ChamberFest Cleveland, Domaine Forget, the Zermatt Festival, and the Le Pont Festival in Japan. Born in Asheville, North Carolina, Noah began playing violin at age 4. At age 9, he played for Lord Yehudi Menuhin in Switzerland. Noah graduated from the Indiana University Jacobs School of Music and the Munich Hochschule. His principal teachers were Mauricio Fuks, Christoph Poppen, and Ana Chumachenco. In his spare time, Noah enjoys playing klezmer music. He has played with world-renowned klezmer groups such as Brave Old World, and has taught klezmer violin at workshops in Europe and in the United States. Noah performs on a Cremonese violin made in 1732 by Carlo Bergonzi.

RUNE BERGMANN, conductor An energetic and compelling figure on the podium, Norwegian conductor Rune Bergmann is a dynamic, versatile conductor with an extensive classical, romantic, operatic and contemporary repertoire. Considered among today’s most talented young Scandinavian conductors, his elegant interpretations and reputation as an inspiring

SOLOISTS AND CONDUCTORS and profound musician continue to attract the attention of orchestras throughout the world. Recently named Music Director Designate of Canada’s Calgary Philharmonic as well as Artistic Director & Chief Conductor of Poland’s Szczecin Philharmonic, Bergmann has been Artistic Director of Norway’s innovative Fjord Cadenza Festival since its inception in 2010. Additionally, he regularly conducts a wide range of distinguished orchestras and opera houses worldwide, including the Oslo Philharmonic Orchestra, Norwegian National Opera, Mainfranken Theater Würzburg, and Philharmonie Südwestfalen, as well as the symphony orchestras of Malmö, Helsingborg, Bergen, Kristiansand, Stavanger, Trondheim, Karlskrona, and Odense, and Lisbon's Orquestra Sinfonica Portuguesa. In North America, he has guested with such orchestras as the Alabama Symphony Orchestra (where he led the world premiere of Grawemeyer Award-winning Serbian composer Djuro Zivkovic’s Psalm XIII), Detroit, Grand Rapids, and Houston Symphony Orchestras, and New Mexico Philharmonic, and the Brevard Music Center Orchestra. A multitalented musician who also plays trumpet, piano, and violin/viola, Rune Bergmann studied choral and orchestral conducting under Anders Eby, Jin Wang and Jorma Panula at Sweden’s Royal College of Music. He graduated with high honors from the Sibelius Academy in Helsinki, Finland, where he studied conducting under Chief Conductor Emeritus of the Helsinki Philharmonic Orchestra/former principal conductor of the Vienna Radio, Finnish Radio, and Danish National symphony orchestras, Leif Segerstam. Honors include the 2010 Kjell Holm Foundation Culture Prize, the 2009 SMP Press culture award, and second prize in Helsingborg’s 2002 Nordic Conducting Competition. Maestro Bergmann’s former posts include deputy – General Musik Direktor with the Augsburger Philharmoniker and Theater Augsburg in Germany.

GREENVILLE CHORALE The Greenville Chorale was organized in 1961 as the “Rotary Civic Chorale” by the Rotary Club of Greenville. From that initial group of forty-five voices, the Chorale has grown to include a roster of over 170 of the most talented voices drawn from across the Upstate, providing our region and its audiences with an accomplished symphonic chorus. Today, as an independent not-for-profit organization, the Greenville Chorale pursues its mission to promote and celebrate the art of choral music. It performs concerts of the great choral masterworks at the highest level of excellence; supports the creative and artistic lives of singers at all stages of their musical development; and reaches into the community to bring the power of live performance to as many people as possible. Seven years after its founding by Rotary, in 1968, the “Greenville Civic Chorale Association” was chartered as an independent organization, and in 1987, the official title was changed to the Greenville Chorale. Auditions are held annually, but many singers have remained with the organization for decades, sharing their love of choral music by committing hundreds of hours of rehearsal and performance time each year. The Chorale has been led by a succession of outstanding conductors: Founding Director, William Jarvis (1961–1965);

Dr. Jerry Langenkamp (1965–1966); Dr. Patrick Partridge (1966– 1967); Dr. Milburn Price (1967–1981). Dr. Bingham L. Vick, Jr. has served as Conductor and Artistic Director since 1981.

ANNELLE GREGORY, violin Award-winning violinist Annelle K. Gregory is a laureate of international competitions, virtuoso violinist, and recording artist. She is 1st Prize & Audience Choice Award winner of the 2017 National Sphinx Competition and Laureate of the 2013 Stradivarius International Violin Competition. Her most recent project was the release of the firstever CD of Sergei Rachmaninoff's complete violin/piano works, recorded with Russian pianist Alexander Sinchuk (Bridge Records 2017). The CD has received international acclaim and aired on radio stations across the U.S. and Europe. Gregory was awarded the 2017 Isaac Stern Award, the 2014 Glenn Dicterow Music Scholarship, has received scholarships from the League of Allied Arts and the Musical Merit Foundation, and has been supported in part by a Sphinx MPower Artist Grant. Other awards include 1st Prizes in the 2017 “Grand Prize Virtuoso” International Competition, the 2017 NANM National Strings Competition, the 2016 American Protégé International Concerto Competition, and the 2017 Beverly Hills National Auditions. As a soloist Gregory has performed with the symphonies of Detroit, La Jolla, San Diego, Chicago Sinfonietta, Houston, Nashville, Santa Monica, California Chamber Orchestra, and Torrance, working alongside such conductors as Mei-Ann Chen, Robert Franz, Tomasz Golka, Andrew Grams, Guido Lamell, Ken-David Masur, Anthony Parnther, Chelsea Tipton, Michelle Merrill, and Thomas Wilkins. Gregory has made appearances at Carnegie Hall, Walt Disney Hall, and the Kennedy Center, as well as abroad in Russia, the U.K., Germany, and Portugal. She has been featured on BBC, American Public Media, KUSC, and WQXR radios, as well as on German Television and Detroit Public TV. Gregory graduated first in her class, summa cum laude from USC’s Thornton School of Music, where she studied under former New York Philharmonic concertmaster Glenn Dicterow. She also studied with Michael & Irina Tseitlin and Alexander Kirov. In addition to violin, Gregory also performs on viola and has played piano, drumset, guitar, and bass guitar and performed tap, jazz, flamenco, and Japanese classical dance. In her spare time, she enjoys reading Russian classics and cooking.

NAREK HAKHNAZARYAN, cello Since winning the Cello First Prize and Gold Medal at the XIV International Tchaikovsky Competition in 2011 at the age of 22, Armenian cellist Narek Hakhnazaryan has performed with major orchestras across the globe and has established himself internationally as one of the finest cellists of his generation. Hakhnazaryan has earned critical acclaim worldwide, with The Strad describing him as “dazzlingly brilliant” and the San Francisco Chronicle hailing his performing as “nothing short of magnificent”. In 2014 he was

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BREVARD MUSIC CENTER named a BBC New Generation Artist and in August 2016 he made his highly distinguished BBC Proms debut. The cellist’s impressive performance history includes concertos with the Detroit, Chicago, Seattle, Milwaukee, Toronto, London, Sydney, and NHK Symphony Orchestras, Los Angeles Chamber Orchestra, Aspen Music Festival Orchestra, the Rotterdam, Czech, and Seoul Philharmonics, the Frankfurt Radio Orchestra, and l’Orchestre de Paris, among others, and he has appeared with acclaimed conductors such as Gergiev, Guerrero, Hrůša, Koopman, Neemi Järvi, and Slatkin. An eager chamber musician and recitalist, Hakhnazaryan has performed in New York’s Carnegie Hall, Boston’s Jordan Hall at New England Conservatory, Chicago’s Harris Theatre, the Concertgebouw Amsterdam, Salle Pleyel Paris, Wigmore Hall, Berlin Konzerthaus, Vienna Konzerthaus, Oji Hall Tokyo, Shanghai Concert Hall, and esteemed festivals such as Ravinia, Aspen, Piatigorsky, Mecklenburg-Vorpommern, Kissinger Sommer, Robeco Summer concerts, Beethovenfest Bonn, Mikkeli, Pau Casals, Lucerne, and Verbier. The cellist is Artist-in-Residence with the Malta Philharmonic, and he regularly tours with the Z.E.N. Piano Trio with colleagues Zhou Zhang and Esther Yoo. Narek Hakhnazaryan was born in Yerevan, Armenia, into a family of musicians. In September 2017, he was awarded the title of “Honored Artist of Armenia” by the President of Armenia Serzh Sargsyan. He was mentored by the late Rostropovich and plays the 1707 Joseph Guarneri cello and F.X. Tourte and Benoit Rolland bows.

DUNN HAMRICK , boy soprano Dunn Hamrick is a rising eighth grader. During his four years with The Choir School at St. Peter’s he has sung in numerous productions, including collaborations with Opera Carolina and Central Piedmont Community College. In 2017 he made his solo debut in the Blumenthal Performing Arts Center’s Belk Theater singing the Youth role in Mendelssohn’s Elijah with the Charlotte Symphony Orchestra and Chorus. Later that year he was the boy soprano soloist in Dan Forrest’s Requiem for the Living with Carolina Voices’ Festival Singers in Charlotte. Dunn also studies piano and plays trombone in his middle school band.

DANIEL HEGE, conductor Daniel Hege is widely recognized as one of America’s finest conductors, earning critical acclaim for his fresh interpretations of the standard repertoire and for his commitment to creative programming. He served for eleven seasons as the Music Director of the Syracuse Symphony and in June 2009, was appointed Music Director of the Wichita Symphony. As of the 15/16 season, he was named Principal Guest Conductor of the Tulsa Symphony, and during the 16/17 season served as the Principal Guest Conductor of the Binghamton (NY) Philharmonic. Additional positions include a five-year tenure with the Baltimore Symphony where he held the titles of Assistant, Associate, and Resident Conductor, Associate Conductor of the Kansas

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City Symphony, Assistant Conductor of the Pacific Symphony, Music Director of the Encore Chamber Orchestra in Chicago and Music Director of the Chicago Youth Symphony, where he was twice honored by the League of American Orchestras for innovative programming. Daniel Hege has guest conducted the Detroit, Seattle, Indianapolis, Oregon, Colorado, San Diego, Columbus and Phoenix symphonies, as well as the Calgary Philharmonic, among others. International engagements include performances with the Singapore Symphony and the St. Petersburg Symphony at the Winter Nights Festival. Mr. Hege has also worked with the Syracuse Opera with which he led productions of Madame Butterfly, La Traviata, Tosca and Don Pasquale. Recent and upcoming guest conducting engagements include appearances with the Rochester, Buffalo, Oklahoma, Rhode Island and Naples Philharmonics; the Louisville, Sarasota and Florida Orchestras; and the Houston, Edmonton, Pacific, Puerto Rico, Hartford, Omaha, Madison, Tucson, Charleston and Virginia symphonies. Sought after as an educator and mentor by many of America’s orchestral training programs for highly talented young musicians, Daniel Hege has appeared with the Texas Music Festival, Music Academy of the West, National Repertory Orchestra, National Orchestral Institute and the Aspen Music Festival and School. Born in Colorado, Mr. Hege currently resides in Syracuse with his wife and their three daughters.

ADAM HOLZMAN, guitar Adam Holzman is an international performing and recording artist. He has been a winner in major international competitions including First Prize at the 1983 Guitar Foundation of America Competition, Top Prize in the Ninth Concorso Internazionale di Interpretazione di Gargnano, Italy, and Bronze Medal at the Third Toronto International Guitar Festival. Mr. Holzman has performed at the prestigious Concertgebouw in Amsterdam, distinguished New York venues such as Kaufman Hall at the 92nd St. Y, Merkin Hall, and Carnegie Recital Hall, as well as in music festivals and series from Miami to San Francisco, Boston to New Orleans. His extensive international performances have taken him throughout Europe, Canada, Mexico, Central and Latin America. Mr. Holzman's recordings for the Naxos label have been critically acclaimed. The first two are discs of the music of Fernando Sor, and discs three and four contain the music of Manuel Ponce. His latest Naxos release is the Bardenklange, Opus 13, of Johann Kaspar Mertz. Mr. Holzman's commitment to new music has led him to co-commission Samuel Adler's first Concerto for Guitar and Orchestra. He has also premiered works by composers Robert Helps, Roland Dyens, and Stephen Funk Pearson among others. Adam Holzman is founder of the Guitar Department at the University of Texas at Austin's Butler School of Music. From 1992-1994 Mr. Holzman held the title of "Maestro Extraordinario" given by the Universidad Autonoma de Nuevo Leon, Monterrey, Mexico, where he served as artist-in-residence.

SOLOISTS AND CONDUCTORS He was awarded the Ernst von Dohnanyi Prize for Outstanding Achievement from Florida State University and has been named The Parker C. Fielder Regents Fellow in Music at the University of Texas at Austin. Mr. Holzman has been featured on the covers of both Classical Guitar Magazine and GuitArt Magazine. Mr. Holzman's performance studies were with Bruce Holzman at Florida State University, Albert Valdes Blain, Eliot Fisk and Oscar Ghiglia. He was chosen twice to perform in the historic Master classes of the legendary Andres Segovia.

SERGEY KHACHATRYAN, violin Born in Yerevan, Armenia, Sergey Khachatryan won First Prize at the VIII International Jean Sibelius Competition in Helsinki in 2000, becoming the youngest ever winner in the history of the competition. In 2005 he claimed First Prize at the Queen Elisabeth Competition in Brussels.

OLGA KERN, piano

In recent seasons, Sergey has performed with the Bamberger Symphoniker, Münchner Philharmoniker, Swedish Radio Symphony Orchestra, Mariinsky Orchestra and Orchestre de Paris. He has also collaborated with the Berliner Philharmoniker, Royal Concertgebouw Orchestra, Radio Filharmonisch Orkest, Rotterdam Philharmonic, Orchestre National de France, and the London, NHK and Melbourne Symphony Orchestras.

Russian-American pianist Olga Kern is now recognized as one of her generation's great pianists. She jumpstarted her U.S. career with her historic Gold Medal win at the Van Cliburn International Piano Competition in Fort Worth, Texas as the first woman to do so in more than thirty years.

Sergey’s most recent appearances in the US were with the Seattle Symphony Los Angeles Philharmonic, Cleveland Orchestra and National Symphony Orchestra Washington. He has also visited the New York Philharmonic, Boston Symphony, Philadelphia Orchestra, and San Francisco Symphony as well as the Ravinia, Blossom and Mostly Mozart Festivals.

Adam Holzman performs on D'addario strings and currently resides in Austin, Texas with his wife Carolyn and their son Benjamin.

First prize winner of the Rachmaninoff International Piano Competition at seventeen, Ms. Kern is a laureate of many international competitions. In 2016 she served as Jury Chairman of both the Seventh Cliburn International Amateur Piano Competition and the first Olga Kern International Piano Competition, where she also holds the title of Artistic Director. Kern serves as Artist in Residence to the San Antonio Symphony’s 2017-18 season, appearing in two subscription weeks as well as solo recital. She will also perform with Madison Symphony, Rochester Philharmonic, Copenhagen Philharmonic, Austin Symphony, New Mexico Philharmonic, Arizona Musicfest Orchestra, Colorado Symphony, and Hawaii Symphony Orchestra. Ms. Kern will premiere her first American concerto Barber’s Piano Concerto with the Detroit Symphony Orchestra under the baton of Leonard Slatkin. She will give recitals at the University of Arizona, the Lied Center in Lincoln, NE, the Sanibel Music Festival in Sanibel, FL, and abroad in Mainz and Turin. Additionally, Ms. Kern will perform in the Huntington Estate Music Festival with Musica Viva in Australia. Recent season highlights include the Royal Philharmonic, Orchestre Philharmonique de Nice, Orchestre National De Lyon, and the Baltimore, San Antonio, Detroit, Nashville, and NHK Symphonies. As an avid recitalist, she has appeared in solo and collaborative recitals at Carnegie Hall, the Great Hall of the Moscow Conservatory, Salzburger Festspielhaus, La Scala in Milan, Tonhalle in Zürich, and Chatelet in Paris. Ms. Kern's discography includes her GRAMMY Nominated recording of Rachmaninoff’s Corelli Variations and other transcriptions (2004), Brahms Variations (2007) and Chopin Piano Sonatas No. 2 and 3 (2010). She was featured in the award-winning documentary about the 2001 Cliburn Competition, Playing on the Edge.

Highlights of the 2017/18 season include Sergey’s debuts at the Aspen Festival in Colorado, the Elbphilharmonie Hamburg with the Hamburger Symphoniker and at the Salzburger Festspiele performing Beethoven’s Violin Concerto. Re-invitations include the Finnish Radio Symphony Orchestra, Orchestra dell’Accademia di Santa Cecilia, Rotterdam and Royal Flemish Philharmonic Orchestras, St Petersburg Philharmonic, and the Cleveland Orchestra At the beginning of the 2014/15 season, Sergey performed Beethoven’s Violin Concerto at the Lucerne Festival with the Vienna Philharmonic and Gustavo Dudamel as the latest recipient of the Credit Suisse Young Artist Award. Sergey and Lusine are regular duo partners. Together, they have given recitals at Konzerthaus Dortmund, Wigmore Hall (London), Théâtre des Champs-Élysées and Cité de la Musique (Paris), Amsterdam Concertgebouw, Palais des Beaux Arts (Brussels), Philharmonie Luxembourg, Carnegie Hall and Alice Tully Hall (New York) and Herbst Theater (San Francisco). This season saw the pair’s debut at the Victoria Hall (Geneva) and a return to Auditori Nacional Madrid. Sergey plays the 1740 Ysaÿe Guarneri violin on kind loan from the Nippon Music Foundation.

DASOL KIM, piano Winner of the 2010 YCA International Auditions in Leipzig and the 2015 Young Concert Artists International Auditions in New York, Dasol Kim is a sought-after soloist who has appeared with the New York Philharmonic in Seoul, the Tonhalle Orchestra Zurich, the Berlin Konzerthaus Orchestra, the Bavarian Radio Symphony Orchestra, the Orchestre de la Suisse Romande, the Berlin Chamber Orchestra, the MDR Leipzig Radio Symphony, Concerto Budapest, and the Belgium National Orchestra among others.

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BREVARD MUSIC CENTER Among his many noteworthy accomplishments, Mr. Kim is engaged to perform the complete cycle of the 32 Beethoven Piano Sonatas in Switzerland and Korea this season. He also appears this season in the PyeongChang Festival Chamber Music concerts in the Young Concert Artists Series in New York at Alice Tully Hall and at the Kennedy Center, where he also makes his Washington, DC recital debut on April 9, 2018. He performs recitals this season at the Salk Institute in La Jolla, the Jewish Community Alliance in Jacksonville and Mary Baldwin University in Virginia, and will perform the Mozart Piano Concerto No. 25 at the Brevard Music Festival in North Carolina. Mr. Kim has appeared at several festivals including La Roque d'Anthéron in France, the Kissinger Sommer in Germany, and the Great Mountain Music Festival in Korea. He has partnered with prominent musicians including cellist David Geringas, violinist Svetlin Roussev, violist Maxim Rysanov, cellist Myung Wha Chung, and YCA alumnus violinist Paul Huang. Dasol Kim won First Prize in the 2011 Epinal International Piano Competition in France, and Second Prize in the 2012. Dasol Kim appears by arrangement with Young Concert Artists, Inc.

NORMAN KRIEGER, piano Norman Krieger is professor of piano at the Indiana University Jacobs School of Music. A native of Los Angeles, he is one of the most acclaimed pianists of his generation and is highly regarded as an artist of depth, sensitivity, and virtuosic flair. He previously served as professor of keyboard studies at the University of Southern California's Thornton School of Music since 1997. Zubin Mehta, Marin Alsop, Myung-Whun Chung, Miguel HarthBedoya, JoAnn Falletta, Jeffrey Kahane, Donald Runnicles, Leonard Slatkin, Michael Tilson Thomas, Keith Lockhart, Jaap van Zweden, and Carl St. Clair are just a few of the conductors with whom Krieger has collaborated. Krieger regularly appears with the major orchestras of North America, among them the New York, Los Angeles, Buffalo, Dayton and Rochester philharmonics, the Minnesota Orchestra, Boston Pops Orchestra, National Symphony, Pacific Symphony, and the symphony orchestras of Austin, Baltimore, California, Chicago, Cincinnati, Columbus, El Paso, Florida, Grand Rapids, Hartford, Honolulu, Indianapolis, Jacksonville, Kansas City, Long Beach, Milwaukee, New Haven, New Mexico, North Carolina, Oregon, Phoenix, Pittsburgh, Richmond, Saint Louis, San Antonio, San Diego, San Luis Obispo, Santa Fe, Santa Rosa, Spokane, Stockton, Syracuse, and Virginia, among others, as well as Mexico's Orquesta Filarmónica de la Ciudad de México and Orquesta Sinfónica de Xalapa. Abroad, he has been guest soloist with Germany's Philharmonisches Orchester Augsburg, Holland's Orkest van het Oosten, Prague's Czech National Symphony Orchestra, Turkey's Presidential Symphony Orchestra, New Zealand's Auckland Philharmonia, Taiwan's National Symphony Orchestra, the Shanghai Symphony, and the Hong Kong Philharmonic.

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In recital, Krieger has appeared throughout the United States, Europe, Mexico, and Asia, while chamber music collaborations have included appearances with sopranos Beverly Hoch and Sheri Greenawald, cellists Jian Wang and Zuill Bailey, and the Tokyo and Manhattan string quartets. Krieger is the Gold Medal Winner of the first Palm Beach Invitational Piano Competition, the recipient of the Paderewski Foundation Award, Bruce Hungerford Memorial Prize, Victor Herbert Memorial Prize, Buffalo Philharmonic Young Artists Competition Prize, and Saint Louis Symphony Prize.

SEBASTIAN LANG-LESSING, conductor German conductor Sebastian Lang-Lessing has been Music Director of the San Antonio Symphony Orchestra since 2010. Mr. Lang-Lessing, who received the Ferenc Fricsay Award when he was twenty-four years old, began his career at the Hamburg State Opera. Based on Sebastian’s work as assistant conductor to Gerd Albrecht in Hamburg, legendary stage director and opera manager Götz Friedrich engaged him as Resident Conductor at Deutsche Oper Berlin. Today, Sebastian LangLessing regularly appears with the leading opera companies of the world, including those in Paris, Hamburg, San Francisco, Los Angeles, Washington, Oslo, Copenhagen, and Stockholm. His operatic repertoire is exceptionally wide, with seventy-five works ranging from Baroque to contemporary opera. Lang-Lessing was Chief Conductor of the Orchestre symphonique et lyrique de Nancy and Artistic Director of the Nancy Opera, which, under his direction, was promoted to Opéra National de Lorraine. From 2004 until 2011, Mr. Lang-Lessing was Music Director of the Tasmanian Symphony Orchestra, which grew to become one of the leading orchestras in the Pacific Rim. With this orchestra, Sebastian Lang-Lessing built a comprehensive, award-winning discography, especially of Classical and Romantic repertoire. He appears regularly as guest conductor with leading French orchestras including the symphony orchestras of Bordeaux and Toulouse, as well as with leading orchestras in North America such as the Vancouver, Cincinnati, and Milwaukee Symphonies, and European orchestras including regular appearances with the Copenhagen Philharmonic and the symphony orchestras of Gran Canaria, Malaga, and Palermo. Maestro Lang-Lessing led the Philharmonia Orchestra in the 2013 recording performance for Renée Fleming’s Guilty Pleasures album (Decca). Other notable recordings have included the complete symphonies of Mendelssohn Bartholdy and Schumann with the Tasmanian Symphony, and the sensational re-discovery of the works of Joseph-Guy Ropartz with the Orchestre symphonique et lyrique de Nancy. Late 2017 saw the release of the DVD of his critically acclaimed production of Der Rosenkavalier from the NCPA in Beijing, and of a Christmas CD with Pavel Sporcl and the Royal Liverpool Orchestra. Lang-Lessing has been at the forefront of educational programming for classical music with a younger audience, an area in which he has shown great passion and commitment with orchestras throughout the world.

SOLOISTS AND CONDUCTORS ALISTAIR MACRAE, cello Cellist Alistair MacRae has appeared as a soloist, chamber musician, and orchestral principal throughout North America, Europe, Asia, South America, and the Middle East. His playing has been praised for its "rich sound and lyrical phrasing" (Palm Beach Daily News) and his performances have been featured in radio broadcasts across the United States on WQXR, WWFM, WDAV, WCQS, and Vermont Public Radio. As a chamber musician and recitalist, he has performed in Carnegie Hall's Zankel and Weill Halls, Palm Beach's Kravis Center for the Performing Arts and in New York City chamber music venues such as BargeMusic, Merkin Hall, the 92nd St Y, and Miller Theatre at Columbia University. He has appeared on a variety of Carnegie Hall concert series as a member of Soprello, Puget Sound Piano Trio, Richardson Chamber Players, Fountain Ensemble, and the Berkshire Bach Ensemble; with the Manhattan Sinfonietta, Suedama Ensemble, and counter induction. MacRae has also performed at numerous summer festivals such as the Central Vermont Chamber Music Festival, Monadnock Music, and the Music Festival of the Hamptons. His eclectic collaborations have found him on stage with Paul Taylor Dance Company, the Westminster Choir, tap dancer Savion Glover, jazz bassist Ben Wolfe, the Paragon Ragtime Orchestra, and the rock band The Scorpions. Mr. MacRae is Principal Cello of the Princeton Symphony Orchestra and is the Cordelia Wikarski-Miedel Artist in Residence at the University of Puget Sound, where he teaches cello and chamber music. He has also served on the faculties of Princeton University; the Aaron Copland School of Music at Queens College CUNY; The College of New Jersey; and, each summer since 2009, the Brevard Music Center.

ROBERT MCDUFFIE, violin GRAMMY-nominated violinist, Robert McDuffie, enjoys a dynamic and multi-faceted career. While appearing as soloist with the world’s foremost orchestras, he has also shared the stage with Chuck Leavell and the late Gregg Allman in Midnight Rider and with actress/playwright Anna Deavere Smith in Martin Luther King, Jr.’s Letter from Birmingham Jail. Philip Glass dedicated his Second Violin Concerto, The American Four Seasons, to Mr. McDuffie. Mike Mills of the iconic band R.E.M. has composed a Concerto for Violin, Rock Band , and String Orchestra for him. Robert McDuffie is the founder of both the Rome Chamber Music Festival in Italy and the Robert McDuffie Center for Strings at Mercer University in his native city of Macon, Georgia. Mr. McDuffie holds the Robert McDuffie Violin Faculty Chair at the Aspen Music Festival and School. Robert McDuffie has appeared as soloist with most of the major orchestras of the world. He gave the world premiere of Philip Glass’ Violin Concerto No. 2, The American Four Seasons with the Toronto Symphony and completed a thirty-city U.S. tour with the Venice Baroque Orchestra, pairing the Glass Four Seasons with the Vivaldi Four Seasons. The Mills Concerto for Violin, Rock Band and String Orchestra was also premiered with the Toronto Symphony, followed

by performances at the Rome Chamber Music Festival, the Aspen Music Festival, and a three week tour of the U.S. Robert McDuffie recorded The American Four Seasons and the Mike Mills Concerto for Violin, Rock Band and String Orchestra on the Orange Mountain Music label. His acclaimed Telarc and EMI recordings include the violin concertos of Mendelssohn, Bruch, Adams, Glass, Barber, Rózsa, Bernstein, William Schuman, and Viennese violin favorites. He has been profiled on NBC’s Today, CBS Sunday Morning, PBS’s Charlie Rose, A&E’s Breakfast with the Arts, and in the Wall Street Journal. As founder of the Rome Chamber Music Festival, Robert McDuffie has been awarded the prestigious Premio Simpatia by the Mayor of Rome, and holds the Mansfield and Genelle Jennings Distinguished University Professor Chair at Mercer University in his native city of Macon, Georgia. He plays a 1735 Guarneri del Gesù violin, known as the “Ladenburg”. Mr. McDuffie appears by arrangement with Columbia Artists Management LLC.

JOHN MCVEIGH, tenor Acclaimed for his “fresh-toned and touching portrayal” by Opera News and lauded by the New Orleans Times-Picayune for his “rich lyrical tenor, fabulous top notes, and striking good looks,” John McVeigh continues to garner attention for his countless world-class performances at the most revered houses worldwide. This season, McVeigh performed Goro in Madama Butterfly with Opera Theatre of St. Louis, the tenor solo in Händel’s Messiah with DCINY, the solo in Mahler’s Das Lied der Erde with Trinity Church Wall Street, and productions of Turandot and The Merry Widow with The Metropolitan Opera. He also performs as a soloist in Bernstein’s Mass with Brevard Music Center Summer Music Festival. Next season will see McVeigh return to The Metropolitan Opera along with Opera Theater of St. Louis to sing Don Basilio in their production of The Marriage of Figaro. Last season, McVeigh performed the tenor solo in Beethoven’s Symphony No. 9 with Portland Symphony Orchestra; Phillip Glass’ Symphony No. 5 with The Washington Chorus; Händel’s Messiah with Indianapolis Chamber Orchestra, Evansville Philharmonic Orchestra, and DCINY; and a solo performance in a brand new concert entitled Rev. 23 with Prototype Festival. Additionally, he performed the role of the Footman in Der Rosenkavalier with Boston Symphony Orchestra, and returned to The Metropolitan Opera for their production of Eugene Onegin. An accomplished “cross-over” artist, McVeigh shares his talents both in operatic and theatrical settings. His extensive work includes performances as Lysander in A Midsummer Night’s Dream at Utah Opera and in his Central City Opera début; Johnny Inkslinger in Britten’s folkloric operetta, Paul Bunyan, with Central City Opera; Feeny in Bennett’s The Mines of Sulphur and Hot Biscuit Slim in Paul Bunyan at New York City Opera (broadcast on Live from Lincoln Center on PBS); his Ravinia Festival début as Henrick in A Little Night Music alongside Patti LuPone; the title role in Candide with Austin Lyric Opera; and Anatol in Vanessa with San Diego Opera.

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BREVARD MUSIC CENTER MIKE MILLS, bass guitar/keyboards Mike Mills is one of the founding members of R.E.M., the internationally-acclaimed rock band from Athens, GA. His trademark vocal harmonies and intricate bass lines led fans and critics alike to dub him the band’s “secret weapon.” Born in Orange County, California, Mills moved to Macon, Georgia, where he and drummer Bill Berry attended the same high school. The pair left Macon to attend the University of Georgia in Athens where they teamed up with guitarist Peter Buck and singer Michael Stipe, and began writing songs for the band which would become R.E.M. The group's first show was at a friend's birthday party in an abandoned church on April 5, 1980. Mills, the son of a tenor who sang on The Ed Sullivan Show and in the Naval Aviation Choir, developed a keen ear for harmonies and a talent for playing instruments at an early age. He has always been known for his musicianship, songwriting, vocals, and production sensibilities in his work with R.E.M., as well as his side projects and solo works. He also contributed piano, keyboards and assorted other instruments. After thirty-one years and more than eighty million records sold, R.E.M. disbanded in 2011, but the band members remain good friends and actively pursue further musical adventures and other artistic and humanistic pursuits. R.E.M., one of the seminal groups of its generation, won numerous awards and toured most corners of the world throughout their storied career. Despite several hit singles such as Everybody Hurts, Losing My Religion, Man on the Moon, Leaving New York, and The One I Love, R.E.M. always maintained their creative edge, and along with it, critical acclaim and their loyal and supportive fan base.

J'ERICSON NEWBY, boy soprano J’Ericson Newby is nine years old and a rising fourth-grader. He recently completed his first year as a chorister at The Choir School at St. Peter’s and loves to sing and play the piano. In addition to his musical activities, he is a member of the Royal Rangers and, at seven years old, was one of the youngest competitors in Optimist International’s Annual Oratorical Contest. He lives in Charlotte with his parents and his twin sister.

JAYCE OGREN, conductor Jayce Ogren is building a reputation in both orchestra and opera as one of the finest young conductors in the United States. During the summer of 2018 he makes his San Francisco Symphony debut and leads West Side Story with film for the Hong Kong Philharmonic and the Brevard Music Festival. Highlights of the 2018/2019 include appearances with the orchestras of Dallas, Edmonton, Santa Rosa, Portland, Omaha, Oklahoma City, and Spokane. He leads the score to Terrance Malick's The Voyage of Time with the Wordless Orchestra at the Brooklyn Academy of Music and Charlie Chaplin's Modern Times with the Casa da Musica in Porto, Portugal. In 2017/18, Ogren returned to the National Arts Centre Orchestra in Ottawa, and to the Indianapolis, Dallas, Colorado, Nashville,

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and Edmonton Symphonies. He debuted with the orchestras in Columbus, Louisville, and Asheville, NC leading works from Beethoven and Mendelssohn to Sibelius, Copland, and John Adams. Jayce led the world premieres of Rufus Wainwright’s Prima Donna in New York and Paris, and Jack Perla’s Shalimar the Clown for the Opera Theatre of St. Louis. In recent seasons, he has conducted Rossini's LaCenerentola, Britten's Turn of the Screw, Rossini's Mosè in Egitto, Bernstein’s A Quiet Place, and Le Nozze di Figaro. Ogren has creatively crossed boundaries to fulfill his interests in new and alternate kinds of productions, leading Basil Twist’s Rite of Spring at Lincoln Center's White Light Festival and all-Stravinsky programs with the New York City Ballet. He has collaborated with the International Contemporary Ensemble at Lincoln Center's Mostly Mozart Festival and at the Wien Modern Festival, and has led concerts with l’Ensemble Intercontemporain in Paris – where he also led Robert Carson’s production of My Fair Lady at the Chatelet. Jayce Ogren has conducted the Boston, Utah, and Pittsburgh Symphonies, the New York, Copenhagen and Los Angeles Philharmonics, the Cleveland Orchestra, and the Deutsches Symphonie-Orchester in Berlin.

AMY PORTER, flute American flutist Amy Porter enjoys a versatile and distinguished career as one of the world’s leading concert performers. Ms. Porter combines her exceptional musical talent with her passion for scholarship and her musical achievements have resulted in many awards and accolades for her concerts and discography. Ms. Porter first leapt to international attention winning the Third Kobe International Flute Competition in Japan, which led to invitations to perform throughout the world. In 2001 she won the Paris/Ville d’Avray International Flute Competition in France, combined with the Alphonse Leduc Prize for outstanding musicianship. In the United States, Ms. Porter has won first prizes in the Young Artists Competitions of the National Flute Association, Artists International, Ima Hogg, and Flute Talk, among others. In 2006 Ms. Porter became the first performing artist by the University of Michigan to be named a Henry Russel Award recipient for distinguished scholarship and conspicuous ability as a teacher. Ms. Porter is a Haynes Artist who performs recitals in the major concert halls of Asia and the United States with pianist Christopher Harding. She has performed as concerto soloist with orchestras throughout the world. Ms. Porter has been heard in recital on National Public Radio, highlighted on PBS Live From Lincoln Center. She has been featured on the covers and written articles for Flute Talk Magazine in the USA and The Flute Magazine in Japan. A native of Wilmington, Delaware, Ms. Porter is a graduate of the Juilliard School in New York. Her teachers at Juilliard were Samuel Baron and Jeanne Baxtresser, and in Austria her teachers were Alain Marion and Peter-Lukas Graf. She held the position of Associate Principal Flute in the Atlanta Symphony Orchestra for eight years before becoming Professor of Flute at the University of Michigan. She is the founder and Past President of the non-profit Southeast Michigan Flute Association, founder of the popular workshop, “Amy Porter’s Anatomy of Sound”, and the master teacher for the MPULSE Summer Institute for advanced High School students at U of M.

SOLOISTS AND CONDUCTORS DILSHAD POSNOCK, flute Originally from Mumbai, India, flutist Dilshad Posnock has appeared as a soloist and chamber musician in concerts and festivals across the United States, England, Puerto Rico and India, and has been featured on BBC TV and BBC World Service Radio. Ms. Posnock's performance experience is wide and varied, including concerto appearances with the Bombay Chamber Orchestra, Brevard Symphonic Winds, McKeesport Symphony, Pittsburgh Civic Orchestra, and Royal College of Music Symphony Orchestra. She has performed solo and chamber recitals with musicians from the New York Chamber Ensemble, the Chamber Orchestra of Europe, the Academy of St. Martin-in-theFields, Renaissance City Winds and The Meridian Ensemble. Ms. Posnock has participated in such international music festivals as the Casals Festival in Puerto Rico, the Cape May Music Festival, Musica Viva, and was a founding member of the Sangat Music Festival in Mumbai, India. Ms. Posnock completed her undergraduate studies with Honors at the Royal College of Music, London, and her Masters Degree at Carnegie Mellon University in Pittsburgh, where she studied with renowned flutist and pedagogue Jeanne Baxtresser, former Principal Flute of the New York Philharmonic. While in Pittsburgh, she performed regularly with ensembles including the Pittsburgh Symphony, the Pittsburgh Ballet, and Pittsburgh Opera. Ms. Posnock served as Artist Lecturer in Flute, and Director of the Artist Diploma Program at the Carnegie Mellon School of Music. Apart from her activities on the flute, Ms. Posnock served as the coordinating editor for Jeanne Baxtresser's publication "Great Flute Duos of the Orchestral Repertoire," published by Theodore Presser in 2002, and as Assistant Director for the annual Jeanne Baxtresser International Master Class. She also worked on a publication project with world-renowned flutist, Sir James Galway, for Theodore Presser. Ms. Posnock currently lives in Brevard with her husband Jason, and two young children. She serves on the faculties of the Brevard Music Center and Brevard College, has performed with the Asheville Choral Society, and has appeared as Guest Principal Flute with the Asheville Symphony Orchestra.

WILLIAM PREUCIL, violin William Preucil is concertmaster of The Cleveland Orchestra and Distinguished Professor of Violin at the Cleveland Institute of Music. Previously, he was first violinist of the Cleveland Quartet from 1989 to 1995 and Eastman School of Music faculty while the Quartet was in residence there. Other concertmaster positions have included the Atlanta Symphony Orchestra and the Utah and Nashville Symphony Orchestras. Mr. Preucil has appeared frequently as a recitalist, chamber musician and soloist with orchestras and at major chamber music festivals in the United States and abroad. He attended the Interlochen Arts Academy at age 14 and studied with the legendary Josef Gingold at Indiana University. Among his numerous recordings, Mr. Preucil is featured on the New World Records release of Stephen Paulus' Violin Concerto, dedicated to him, with the Atlanta Symphony. He has also recorded

on Telarc with the Cleveland Quartet, including the complete Beethoven string quartets. As a member of the Lanier Trio, Mr. Preucil recorded the complete Dvorák piano trios, named one of the top ten records of 1993 by Time magazine.

SHANGHAI QUARTET Renowned for its passionate musicality, impressive technique and multicultural innovations, the Shanghai Quartet has become one of the world’s foremost chamber ensembles. Its elegant style melds the delicacy of Eastern music with the emotional breadth of Western repertoire, allowing it to traverse musical genres including traditional Chinese folk music, masterpieces of Western music and cutting-edge contemporary works. Formed at the Shanghai Conservatory in 1983, the Quartet has worked with the world’s most distinguished artists and regularly tours the major music centers of Europe, North America and Asia. Recent festival performances range from the International Music Festivals of Seoul and Beijing to the Festival Pablo Casals in France and the Beethoven Festival in Poland, as well as numerous concerts in all regions of North America. The Quartet has appeared at Carnegie Hall in chamber performances and with orchestra; in 2006 they gave the premiere of Takuma Itoh’s Concerto for Quartet and Orchestra in Isaac Stern Auditorium. Among innumerable collaborations with noted artists, they have performed with the Tokyo, Juilliard and Guarneri Quartets, cellists Yo-Yo Ma and Lynn Harrell, pianists Menahem Pressler, Peter Serkin, Jean-Yves Thibaudet and Yuja Wang, pipa virtuoso Wu Man and the vocal ensemble Chanticleer. The Shanghai Quartet has been a regular performer at many of North America’s leading chamber music festivals, including Maverick Concerts where they recently made their 27th consecutive annual appearance. The Quartet has a long history of championing new music and juxtaposing traditions of Eastern and Western music, commissioning more than 30 new works. The tradition continues with a forthcoming work by Tan Dun composed for their 35th Anniversary in 2018. The Shanghai Quartet currently serves as Quartet-in-Residence at the John J. Cali School of Music, Montclair State University in New Jersey, Ensemble-in-Residence with the Shanghai Symphony Orchestra, and visiting guest professors of the Shanghai Conservatory and the Central Conservatory in Beijing. They are proudly sponsored by Thomastik-Infeld Strings and BAM cases. The Shanghai Quartet play on very fine instruments by Goffriller, Guarneri del Gesu and Stradivari generously loaned through the Beare’s International Violin Society.

DAVID SPENCER, trumpet Associate Professor at the University of Memphis, enjoys a diverse professional career in orchestral, chamber music, and jazz/commercial idioms worldwide. Dr. Spencer has appeared on numerous classical, film, and popular music recordings in Korea, Japan, and the United States. He has served as Principal Trumpet with the Seoul Philharmonic, the Manhattan Chamber Orchestra, and

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BREVARD MUSIC CENTER the Sinfonica de Asturias in Spain, which included concert and television performances with tenor Luciano Pavarotti. As a jazz musician, Dr. Spencer has performed with numerous jazz artists, including Freddie Hubbard, Michael Brecker, James Moody, and Marvin Stamm. While at the University of North Texas, he was a member of the GRAMMY-winning One O'clock Lab Band. Equally active as a clinician, he has presented master classes in New York, Dallas, Cleveland, Istanbul, Scotland, Italy, and Asia. In addition to trumpet performance, Dr. Spencer also specializes in conducting and repertoire, having studied with Eugene Corporon, Jack Stamp, Dennis Fischer, and Eddie Smith. David Spencer serves on the board of directors for the Memphis chapter of the National Academy of Recording Arts and Sciences and was recently named Employment Editor for the International Trumpet Guild.

YEKWON SUNWOO, piano Gold medalist of the Fifteenth Van Cliburn International Piano Competition, 28-yearold pianist Yekwon Sunwoo began learning piano at age 8. He gave both his recital and orchestra debuts in 2004 in Seoul before moving to the United States in 2005 to study with Seymour Lipkin at the Curtis Institute of Music. He earned his bachelor’s degree there, his master’s at The Juilliard School with Robert McDonald, and his artist diploma at the Mannes School of Music with Richard Goode. He currently studies under Bernd Goetzke in Hannover. Mr. Sunwoo credits each for their guidance in his artistic development and approach, and honored the late Mr. Lipkin by performing his cadenza during his Semifinal Round performance of the Mozart Piano Concerto in C Major, K. 467. The first Korean to win Cliburn gold, Mr. Sunwoo launched his debut season in 2017–2018 with invitations to the Aspen, Grand Teton, and Duszniki International Music Festivals. Additional concerts included recitals in Chicago, Houston, Los Angeles, and Vancouver, and a nine-city tour of the United States with the National Orchestra of Cuba. Appearances in Europe include performances in Scotland, Hamburg, Brussels, Copenhagen, and Madrid and Asian appearences include Beirut, Taiwan, Hong Kong, and across South Korea. Record label Decca Gold released Cliburn Gold 2017 two weeks after his Cliburn win, which includes his award-winning performances of Ravel’s La valse and Rachmaninoff’s Second Piano Sonata. In previous seasons, Mr. Sunwoo has performed as soloist with the Baltimore Symphony Orchestra, The Juilliard Orchestra, Houston and Forth Worth Symphony Orchestras, National Orchestra of Belgium, Sendai Philharmonic Orchestra, and others. He has performed recitals in Tokyo, Paris, New York’s Carnegie Hall, Wigmore Hall in London, and throughout South Korea, Germany, Switzerland, Prague, and Morocco. A self-proclaimed foodie, Mr. Sunwoo enjoys finding pho in each city he visits and takes pride in his own homemade Korean soups. Mr. Sunwoo appears by arrangement with the Cliburn.

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CONRAD TAO, piano Conrad Tao has appeared worldwide as a pianist and composer, performing to universal acclaim from critics and audiences alike. His accolades and awards include being a Presidential Scholar in the Arts, a YoungArts gold medal-winner in music, a Gilmore Young Artist, and an Avery Fisher Career Grant-winner. With each passing year, the former prodigy continues to emerge as a mature, thoughtful and thought-provoking artist, confidently pushing boundaries as a leading performer, composer, curator, and commissioner, championing new music while continuing to present core repertoire in a new light. Tao's career as composer has garnered eight consecutive ASCAP Morton Gould Young Composer Awards and the Carlos Surinach Prize from BMI. In the 2013-14 season, while serving as the Dallas Symphony Orchestra's artist-in-residence, Tao premiered his orchestral composition, The world is very different now, commissioned in observance of the 50th anniversary of the assassination of President John F. Kennedy. In September 2015, the Chamber Orchestra of Philadelphia premiered his piano concerto An Adjustment, with Tao at the piano. Tao’s 2017-18 season includes his Lincoln Center debut with a solo recital including a work by American composer Jason Eckhardt, a residency with the Utah Symphony performing both Bernstein’s Age of Anxiety and Prokofiev’s Piano Concerto No. 2, and debut engagements with the Atlanta Symphony, New Jersey Symphony, and Seattle Symphony. Tao will both perform in his own recital and have a new work composed for Paul Huang and Orion Weiss performed at Washington Performing Arts Society, and opens the ProMusica Chamber Orchestra’s season with the world premiere of a new commissioned work, Over. Additionally, a new multimedia work, Ceremony, developed with vocalist Charmaine Lee, will receive its premiere at Brooklyn’s Roulette. Tao is Warner Classics recording artist, and his first two albums Voyages and Pictures have been praised by NPR, The New York Times, The New Yorker’s Alex Ross, and many more.

TIME FOR THREE The groundbreaking, category-shattering trio Time for Three (Tf3) transcends traditional classification, with elements of classical, country western, gypsy and jazz idioms forming a blend all its own. The members — Nicolas (Nick) Kendall, violin; Charles Yang, violin; and Ranaan Meyer, double bass — carry a passion for improvisation, composition, and arrangements, all prime elements of the ensemble’s playing. To date, the group has performed hundreds of engagements as diverse as its music: from featured guest soloists on the Philadelphia Orchestra’s subscription series, to Club Yoshi’s in San Francisco, to residencies at the Kennedy Center, to Christoph Eschenbach’s birthday concert at the Schleswig-Holstein Festival in Germany. Recent Highlights include Carnegie Hall, appearances with the Boston Pops, Baltimore Symphony Orchestra, Toronto Symphony Orchestra, Hong Kong Philharmonic, Melbourne and Sydney Symphony Orchestras, sold-out concerts with the Czech Philharmonic and BBC Proms, and an appearance on the ABC prime time hit show “Dancing with the Stars.” In 2016 Time for Three

SOLOISTS AND CONDUCTORS traveled throughout Europe as a highlight act of the NOTP (Night of The Proms) tour and was featured in the Emmy-winning PBS show “Time for Three in Concert”. In 2014, Time for Three released their debut Universal Music Classics album, Time for Three, which spent seven consecutive weeks at the Top 10 of Billboard’s Classical Crossover Chart. The ensemble has also embarked on a major commissioning programs to expand its unique repertoire for symphony orchestras, including Concerto 4-3, written by Pulitzer-Prize winning composer Jennifer Higdon, Travels in Time for Three by Chris Brubeck in 2010, cocommissioned by the Boston Pops, the Youngstown Symphony, and eight other orchestras, and Games and Challenges by William Bolcom, commissioned by the Indianapolis Symphony. Their latest project, a three-year residency with the Sun Valley Summer Symphony, includes commissions for three new works. Time for Three premiered the first of these works, Elevation: Paradise, in Sun Valley in August 2015 and the second, Free Souls, in July 2016.

ZORÁ STRING QUARTET The Zorá String Quartet came to national attention in 2015, after capturing the Grand Prize and Gold Medal of the Fischoff National Chamber Music Competition, and First Prize in the Coleman National Chamber Music and Young Concert Artists International Auditions. Since then, the quartet has been named Quartet-in-Residence at the Curtis Institute of Music and gave its New York and Washington, DC debuts in the Young Concert Artists Series to critical acclaim. It recently gave debuts in Boston at the Isabella Stewart Gardener Museum and in London at Wigmore Hall, and performed for the Philadelphia Chamber Music Society, The Chamber Music Society of Lincoln Center, Chamber Music Northwest, the Banff Centre in Canada, and the Verbier Academy in Switzerland. The Zorá String Quartet has collaborated with Pulitzer-Prize-winning composer Caroline Shaw, cellist Peter Wiley, clarinetist David Shifrin and violist Roberto Diaz, and has worked extensively with the Tákacs Quartet, the Pacifica Quartet and the American String Quartet.

ITMAR ZORMAN, violin Top prize winner of the 2011 International Tchaikovsky Violin Competition, Itamar Zorman has appeared with major orchestras across four continents - USA, Europe, Asia and South America - including the American Symphony Orchestra, the Tokyo Symphony, the KBS Symphony, the Orchestre National du Capitole de Toulouse, Het Gelders Orkest, Frankfurt Radio Symphony Orchestra, the Israel Philharmonic, and the St. Petersburg Philharmonic. He has given recitals at Carnegie Hall in the ‘Distinctive Debuts’ series, the Louvre Recital Series in Paris, Tokyo’s Suntory Hall, the Laeiszhalle Hamburg, Muziekgebouw Frits Philips in Eindhoven, the HR-Sendesaal Frankfurt and the Kolarac Hall in Belgrade; and at festivals including Marlboro, Classical Tahoe, Chamberfest Cleveland, Kronberg Academy, Rheingau, and the Copenhagen Summer Festival. He has also collaborated with a number of legendary artists such as Richard Goode and Mitsuko Uchida. Mr. Zorman is recording a CD of the works for violin and orchestra with BBC National Orchestra of Wales and Philippe Bach for BIS Records. His first solo CD recording, entitled “Portrait” was released by Profil - Editions Günther Hänssler. He is the recipient of an Avery Fisher Career Grant and a Borletti-Buitoni Trust award, and, in addition to receiving top prize at the 2011 International Tchaikovsky Competition, other competition successes include first prize at the 2010 International Violin Competition of Freiburg and the Juilliard Berg Concerto Competition in April 2011. Born in Tel-Aviv in 1985 to a family of musicians, Itamar Zorman began his violin studies at the age of six. He holds degrees from the Jerusalem Academy of Music and Dance, The Juilliard School, and Manhattan School of Music. He is an alumnus of the Kronberg Academy where he studied with Christian Tetzlaff and Mauricio Fuks, and the recipient of scholarships from the America-Israel Cultural Foundation. He has taken part in numerous master classes around the world, working with Itzhak Perlman, Pinchas Zuckerman, Shlomo Mintz, Ida Haendel, and Ivry Gitlis.

The Zorá String Quartet aspires to educate individual students, serve as mentors for collegiate-level string players, and initiate outreach projects to introduce new audiences to chamber music. The Quartet’s members earned prestigious Chamber Music Performer’s Diplomas from the Jacobs School of Music at Indiana University, where it served as graduate quartet-in-residence under the tutelage of the Pacifica Quartet and Atar Arad. It recently gave master classes for YCA alumna Ani Kavafian and for Sir András Schiff. The name “Zorá” means “sunrise” in Bulgarian.

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ARTIST FACULTY

BREVARD MUSIC CENTER JACOB ADAMS is Assistant Professor of Viola at the University of Alabama and Principal Viola of the Tuscaloosa Symphony. He frequently performs with A Far Cry, Manchester Summer Chamber Music, Blueshift Ensemble, and the Santa Barbara, Mobile, Huntsville, and New Haven Symphony Orchestras. Chamber music highlights include performances with the Erato Quartet, Camerata Pacifica, the Muir String Quartet, and the St. Petersburg String Quartet. Jacob is a graduate of Oberlin Conservatory, Yale School of Music, and University of California, Santa Barbara. ROBERT ALDRIDGE has written more than 80 works for orchestra, opera, musictheater, dance, string quartet, solo, and chamber ensembles. He has received numerous fellowships and awards for his music from institutions including the Guggenheim Foundation and the NEA. Aldridge received the 2012 GRAMMY for Best Contemporary Classical Composition for his opera, Elmer Gantry. He is currently Head of Composition at the Mason Gross School of the Arts, Rutgers University. Cellist LEONARDO ALTINO serves on the faculty at Wheaton College and has taught at the University of Memphis, Masterworks Festival, Duxbury Music Festival, Lexington Music Festival, and the Academia y Festival del Nuevo Mundo. He won first prize at the International Cello Competition in Viña Del Mar, Chile, and he has appeared as a soloist in South America, Europe, Asia, and the United States. Leonardo studied at the New England Conservatory of Music, Detmold Musihöchschule, and the University of Illinois.

Violinist SOH-HYUN PARK ALTINO is highly regarded as a gifted teacher and performer. She is currently on faculty at the University of Wisconsin-Madison and previously taught at the Masterworks Festival, Fabrica de Musica, Festival y Escuela Internacional de Musica, and the University of Memphis, where she performed with the Dúnamis Trio and Ceruti Quartet. A native of South Korea, Soh-Hyun received her bachelors, masters, and Doctor of Musical Arts degrees from the Cleveland Institute of Music.

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Violinist MARJORIE BAGLEY made her Lincoln Center concerto debut in 1997 and has since been active throughout the world as a recitalist, chamber musician, and teacher. Ms. Bagley holds degrees from the University of Michigan and the Manhattan School of Music, where she graduated in the first class of Pinchas Zukerman. Currently, Ms. Bagley is Professor of Violin at the University of North Carolina Greensboro and is Principal Second Violin of the ProMusica Chamber Orchestra.

SUE BARBER serves as Professor of Bassoon, Chair of the Woodwind Area, and member of the Montpelier Wind Quintet at James Madison University. Dr. Barber is an active performer and clinician, presenting workshops and recitals throughout the United States. She has previously held positions with the Baton Rouge Symphony, The Hartford Symphony, The Connecticut Opera, Sarasota Opera, Orquesta Sinfonica de Galicia, and the Soni Fidelis Woodwind Quintet. NEAL BERNTSEN joined the trumpet section of the Pittsburgh Symphony in 1997, after previously serving as a member of the Chicago Lyric Opera, and Principal Trumpet of the Bamberg Symphony Orchestra (Germany). He has performed with the Chicago, Boston, and Houston Symphony Orchestras in addition to many others. Mr. Berntsen teaches at Carnegie Mellon University, is Artist in Residence at the Chicago College of Performing Arts at Roosevelt University, and has presented masterclasses and recitals around the world. EMILY BREBACH joined the Atlanta Symphony as English Horn and Oboe in 2012. Concurrently, she is an Artist Affiliate Instructor of Oboe at Emory University and performs with the Grand Teton Music Festival. Prior to joining the ASO, Ms. Brebach held the position of English Horn and Oboe with the Sarasota Orchestra. She has also performed with the Boston Symphony, Minnesota Orchestra, Houston Symphony, and Kansas City Symphony. Ms. Brebach holds degrees from Oberlin Conservatory and Rice University. Bassist CRAIG BROWN is a member of the North Carolina Symphony and serves on the faculty at the University of North Carolina at Greensboro. He has been Principal Bass in the Des Moines Metro Opera Orchestra, and has been a member of the Toledo Symphony. Mr. Brown is an active chamber musician, has taught at Indiana University, and has also been a bass clinician for the American String Teachers Association.

ARTIST FACULTY

ARTIST FACULTY JONATHAN CARNEY is in his 18th season as Concertmaster of the Baltimore Symphony Orchestra, after serving in the same position with Londonâ&#x20AC;&#x2122;s Royal Philharmonic Orchestra. Mr. Carney hails from a musical family with all six members having graduated from The Juilliard School. After completing his degree, he was awarded a Leverhulme Fellowship to continue his studies in London at the Royal College of Music. Mr. Carney serves as Artistic Director for the Maryland Classic Youth Orchestras and is on the board of the Baltimore School for the Arts. Bassist KEVIN CASSEDAY is a member of the Jacksonville Symphony Orchestra and teaches bass at the University of Florida. Mr. Casseday holds degrees from Indiana University, and has studied with Stuart Sankey, Eugene Levinson, and Edgar Meyer. As a composer, he has written music for solo bass, chamber ensembles with bass, and a book of technical exercises written to help players of all levels maintain a relaxed technique. Pianist JIHYE CHANG is the first prize recipient of the Mikhashoff composer-pianist competition and has appeared as a soloist, collaborative artist, and a lecturer throughout North and South America, Europe, and Asia. An avid performer of new music, Chang has also recorded for Albany, Centaur, Sony/ BMG Korea, and Parma. She holds degrees from Indiana University and Seoul National University. Dr. Chang currently serves on the faculty of Florida State University and plays with the Intersection Contemporary Ensemble. Cellist SUSANNAH CHAPMAN is well established as a chamber musician, soloist, and performer in leading chamber orchestras. She performed the entire 2012-13 season with the New York Philharmonic, has played Principal Cello in the Oregon Bach Festival, the Mostly Mozart Festival Orchestra, is a former member of the Saint Paul Chamber Orchestra, and currently performs regularly with the Orpheus Chamber Orchestra. Ms. Chapman holds a DMA from SUNY Stony Brook, and teaches at Sarah Lawrence College, Kean University, Princeton University, and Rutgers University. Pianist MICHAEL CHERTOCK serves as Chair of the Keyboard Division at the University of Cincinnati College-Conservatory of Music, and as Keyboardist of the Cincinnati Symphony. He has appeared as a soloist with orchestras worldwide, and collaborated with conductors such as James Conlon, Jaime Laredo, Keith Lockhart, Erich Kunzel, and Andrew Litton. Mr. Chertock has won awards at major competitions including the Joanna Hodges International Piano Competition, the St. Charles International Piano Competition, and the World Piano Competition of the American Music Scholarship Association.

JAY CHRISTY is Assistant Principal Second Violin of the Atlanta Symphony Orchestra. He has performed with the Cleveland Orchestra, the National Symphony, the Pittsburgh Symphony, the Minnesota Orchestra, and the Grand Teton Music Festival. An active teacher and coach in the metropolitan Atlanta area, he is an Artist Affiliate at Emory University, and has been on the faculty of Reinhardt College and Covenant College. Mr. Christy holds degrees from The Cleveland Institute of Music and Indiana University. Soprano CYNTHIA CLAYTON is an audience favorite in opera houses throughout the United States and overseas for her critically acclaimed performances. She has performed leading roles with New York City Opera, Houston Grand Opera, Dallas Opera, San Diego Opera, Cleveland Opera, Fort Worth Opera, and Opera San JosĂŠ. Ms. Clayton's concert performances have included appearances with orchestras across the United States. She is currently a member of the faculty at the Moores School of Music at the University of Houston.

STEVE COHEN is Professor of Clarinet at Northwestern University. He performs regularly with the Chicago Symphony and the Chicago Lyric Opera. He is the former Principal Clarinet of the New Orleans Symphony, and previously served on the faculties of Cincinnati CollegeConservatory of Music and the Louisiana State University. Mr. Cohen holds degrees from the Oberlin Conservatory and his teachers have included Loren Kitt, Larry McDonald, Karl Leister, and Robert Marcellus. Hornist HAZEL DEAN DAVIS resides in Boston, where she performs frequently with the Boston Symphony and Pops and the GRAMMY-nominated chamber orchestra, A Far Cry. She is on faculty at the University of New Hampshire. Hazel spent 11 years as a member of the Virginia Symphony horn section. She has spent summers at the Tanglewood Music Festival, Marlboro Music Festival, Pacific Music Festival, and the Aspen Music Festival. She holds degrees from The Juilliard School and Harvard University.

DAVID DZUBAY is chair of the Composition Department and Director of the New Music Ensemble at the Indiana University Jacobs School of Music. His music has been performed by orchestras, ensembles, and soloists throughout North America, Europe, and Asia, and has been recorded on the Sony, Bridge, and Naxos labels. Honors include Guggenheim and MacDowell fellowship, a 2011 Arts and Letters Award, the 2015 Sackler Prize, and a 2015 Fromm commission.

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ARTIST FACULTY

BREVARD MUSIC CENTER JOSEPH EVANS has appeared as leading tenor at opera houses around the world including La Scala, English National Opera, La Fenice, and New York City Opera. Concert appearances include performances with the New York Philharmonic, the Cleveland Orchestra, the Atlanta Symphony, the Tokyo Philharmonic, the Orchestre Lâ&#x20AC;&#x2122;Ile de France, and the Radio-Symphonie Orchester of Berlin. Mr. Evans is Professor of Voice and Division Chair of Voice Studies at the University of Houston Moores School of Music.

DAVID GRESHAM currently serves as Director of Choral Activities and Music Major Coordinator at Brevard College, Artistic Director/Conductor of the Transylvania Choral Society, and Minister of Music at the Lutheran Church of the Good Shepherd. He is President of the North Carolina chapter of the National Association of Teachers of Singing. In addition to his conducting, Dr. Gresham is a singer and studio teacher and has been most active as an oratorio soloist and recitalist.

DAVID FISHLOCK , Principal Percussion of the Cincinnati Symphony Orchestra, grew up in Buffalo, New York. He received his Bachelor of Music degree from the Cleveland Institute of Music and was a fellow at the New World Symphony. David has toured the United States, Asia, and Europe and has worked with many of the world's leading conductors and soloists. David has taught at Miami (OH) University and Northern Kentucky University, in addition to his private teaching and coaching schedule.

ADAM HOLZMAN, Naxos recording artist, international performer and founder of the Guitar Department at the University of Texas at Austin's Butler School of Music, has won acclaim from concert critics around the world. He was chosen twice to perform in the historic master classes of the legendary Andres Segovia. His commitment to new music has led him to commissions and premieres by composers such as Samuel Adler, Robert Helps, Roland Dyens, and Stephen Goss. Mr. Holzman studied at Florida State University.

AUBREY FOARD is Principal Tuba of the Charlotte Symphony Orchestra and Professor of Tuba at the University of California, Los Angeles (UCLA). He also serves as Principal Tuba of the Britt Festival Orchestra and the Santa Barbara Symphony. He has performed with the Los Angeles Philharmonic, The Cleveland Orchestra, as acting Principal Tuba of the San Diego Symphony, and as a soloist with several orchestras and chamber ensembles.

DAVID JACKSON , Professor of Trombone at the University of Michigan School of Music, enjoys an active career as a performer and teacher. He is a member of the Detroit Chamber Winds and Chicagoâ&#x20AC;&#x2122;s Fulcrum Point New Music Project. He has performed with orchestras throughout the United States including the Detroit Symphony, Dallas Symphony, Fort Worth Symphony, Michigan Opera Theater, the Cabrillo Music Festival, and Chicago Symphony. Mr. Jackson is a S. E. Shires artist and clinician.

BEN FREIMUTH is acting Associate Principal and E-flat Clarinet of the Cincinnati Symphony, and previously held positions with the San Francisco and Kansas City Symphony Orchestras. Mr. Freimuth is on faculty at Miami (OH) University and has held similar posts at the University of Cincinnati College-Conservatory of Music, Ohio State University, San Francisco Conservatory, and the University of Missouri Kansas City. He holds degrees from Rice University and The Cleveland Institute of Music. ELIZABETH FREIMUTH is Principal Horn of the Cincinnati Symphony and Pops Orchestras. Before joining the CSO, Elizabeth was Principal Horn of the San Francisco Ballet Orchestra, the Kansas City Symphony, and Assistant Principal Horn of the Colorado Symphony. She holds degrees from the Eastman School of Music and Rice University, where her teachers included Verne Reynolds, W. Peter Kurau, and William VerMeulen.

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STEFAN DE LEVAL JEZIERSKI is a member of the Berlin Philharmonic horn section. A native of Boston, he was trained at the University of North Carolina School of Arts and Cleveland Institute of Music. During his studies he was already performing in concerts with the Cleveland Orchestra. As a soloist and chamber musician, Stefan de Leval Jezierski appears at leading international music festivals in Europe, Asia, and North America and is a founding member of the Scharoun Ensemble of Berlin. BENJAMIN KARP, Professor of Cello at the University of Kentucky School of Music, is Principal Cello of the Lexington Philharmonic Orchestra and the Chamber Orchestra of Sarasota. He has served on the faculty of the Jacobs School of Music at Indiana University, and frequently performs with the Cincinnati Symphony. Mr. Karp received his MM degree from Indiana University where he was a student of Janos Starker, and a BA in philosophy from Yale. He is a Larsen Performing Artist.

ARTIST FACULTY

ARTIST FACULTY Violinist MARGARET KARP is Lecturer in Violin and Viola at the University of Kentucky School of Music. She is Assistant Concertmaster of the Lexington Philharmonic, and a member of the Lexington Chamber Orchestra and the Chamber Orchestra of Sarasota. Previously she was Principal Second Violin of the Florida Orchestra and the Sarasota Opera, and a member of the Philharmonia da Camera in Dortmund, Germany. Ms. Karp received her degree from Indiana University and in 2015 was named Outstanding Educator by the Kentucky chapter of ASTA. Violist JENNIFER SNYDER KOZOROZ regularly performs with the Milwaukee Symphony, and has appeared with the Columbus Symphony, ProMusica Chamber Orchestra, The Ritz Chamber Players, Virginia Chamber Players, The Arcas String Quartet and Manhattan Virtuosi. Previously, Ms. Kozoroz has been the Assistant Principal Viola of the Virginia Symphony and violist of the Harrington String Quartet. She completed her high school studies at Interlochen Arts Academy and went on to earn degrees from Ohio State University and The Juilliard School.

NORMAN KRIEGER is Professor of Piano at the Indiana University Jacobs School of Music. He regularly appears as recital and concerto soloist across the United States, Europe, and Asia. Mr. Krieger has studied with Adele Marcus, Alfred Brendel, Maria Curcio, and Russell Sherman, and holds degrees from The Juilliard School and New England Conservatory. Former Professor of Keyboard Studies at the University of Southern California, Mr. Krieger was named Gold Medal Winner of the first Palm Beach Invitational Piano Competition. Pianist DONNA LEE made her debut in 1990 with the National Symphony Orchestra. She has since appeared as soloist and collaborative artist in Asia, Europe, and throughout the U.S. A student of Julian Martin, Rudolf FirkuĹĄnĂ˝, and Thomas Schumacher, Ms. Lee earned degrees from Peabody Conservatory, The Juilliard School, and University of Maryland. Ms. Lee is a Steinway Artist and is currently Professor of Piano at Kent State University.

ALLEGRA LILLY is Principal Harp of the St. Louis Symphony and has also appeared with the New York Philharmonic, the Boston, Chicago, Pittsburgh, Toronto, and Charlotte Symphonies, the Boston Pops and Boston Pops Esplanade Orchestras, the All-Star Orchestra, and the St. Paul Chamber Orchestra. Ms. Lilly made her solo debut at the age of 12 with the Detroit Symphony, and has since appeared as soloist with the St. Louis Symphony, Juilliard Orchestra, National Repertory Orchestra, and International Symphony.

A sought-after accompanist and chamber musician, pianist DELOISE LIMA has performed extensively throughout Brazil, Europe, and South America with many recognized singers and instrumentalists. She holds degrees from the School of Music and Fine Arts of Parana, the Trinity College of Music, the Royal College of Music, University of Notre Dame, and Florida State University. Ms. Lima is currently Assistant Professor of Collaborative Piano at Florida State University and Principal Keyboard of the Tallahassee Symphony.

WILLIAM LUDWIG is Professor of Bassoon and Chair of the Woodwind Department at Indiana University Jacobs School of Music. Previously he had been Professor of Bassoon at Louisiana State University. Mr. Ludwig has performed as Principal Bassoon with the Baton Rouge Symphony and the Florida Orchestra, and more recently as extra with the Los Angeles Philharmonic. A noted chamber musician, he has performed in a wide variety of settings throughout the United States and Europe. Mr. Ludwig holds degrees from LSU and Yale School of Music. Saxophonist JOSEPH LULLOFF is in demand as a soloist and clinician throughout the United States and abroad, and has worked under many leading conductors as Principal Saxophone in the St. Louis, Cleveland, and Chicago Symphony Orchestras. A recipient of the Concert Artist Guild and Pro Musicis Awards, and the MSU Distinguished Faculty Award, Mr. Lulloff serves as Professor of Saxophone and Chair of the Woodwinds Area at Michigan State University. Mr. Lulloff is a Yamaha and Vandoren Performing Artist. Cellist ALISTAIR MACRAE has appeared in concerts throughout North America and in Europe, Asia, South America, and the Middle East. He has performed in Carnegie Hall's Zankel and Weill Halls; as a member of Soprello, Puget Sound Piano Trio, Richardson Chamber Players, Fountain Ensemble, and the Berkshire Bach Ensemble; and with the Manhattan Sinfonietta, Suedama Ensemble, and counter induction. Mr. MacRae is Principal Cello of the Princeton Symphony Orchestra and is the Cordelia Wikarski-Miedel Artist in Residence at the University of Puget Sound.

JANICE MURRAY has performed throughout North America as soloist, accompanist, and chamber player. She currently serves as Rehearsal/ Performance Pianist at Miami University (OH), and has been an adjunct faculty member at Brevard College, where she taught piano, music theory, and served as staff accompanist. At the Brevard Music Center, she teaches courses in music theory and keyboard skills, and serves as Music Director of the High School Voice program.

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132 Overture

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ARTIST FACULTY

BREVARD MUSIC CENTER CRAIG NIES is Associate Professor of Piano at the Blair School of Music, Vanderbilt University. He has performed and recorded extensively across the U.S. and collaborated with world-renowned ensembles and conductors. His performances have ranged from his work with 10 Pulitzer Prize-winning composers to a recital series of Bach's complete Well-Tempered Clavier. Dr. Nies holds degrees from Curtis, Yale, and SUNY Stony Brook. His teachers have included Mieczyslaw Horszowski, Rudolf Serkin, Claude Frank, Beveridge Webster, and Gilbert Kalish. GERALD NOBLE is Director of Percussion at Wright State University, member of the Dayton Philharmonic, a Cedarville University faculty member, and performs regularly with his pop/jazz group "Moment's Notice." Previously, he was a member of the USAF Band of Flight. He performs regularly with the Cincinnati Symphony/Pops, Louisiana Philharmonic, Fort Wayne Philharmonic, Cincinnati Chamber Orchestra, Alabama Symphony, and Indianapolis Chamber Orchestra. Jerry holds degrees from the University of Cincinnati College-Conservatory of Music, Indiana University, and Cleveland State University.

ERIC OHLSSON is the Charles O. DeLaney Professor of Music in Oboe at Florida State University and serves as Principal Oboe of the Tallahassee Symphony and Palm Beach Opera Orchestra. He has performed throughout the U.S. and in Europe, South America, and Canada. Mr. Ohlsson was previously Assistant Professor of Oboe and Assistant Director at the University of South Carolina. Mr. Ohlsson holds degrees from The Ohio State University. His teachers have included John Mack, William Baker, and James Caldwell. Flutist AMY PORTER enjoys a versatile and distinguished career as one of the worldâ&#x20AC;&#x2122;s leading concert performers. She has performed as a concerto soloist with orchestras throughout the world. A native of Wilmington, Delaware, Ms. Porter is a graduate of The Juilliard School. She is currently the Professor of Flute at University of Michigan and previously held the position of Associate Principal Flute with the Atlanta Symphony Orchestra. Ms. Porter is the founder and Past President of the Southeast Michigan Flute Association. Flutist DILSHAD POSNOCK, originally from Bombay, India, has appeared in concerts across the U.S., England, and India. She has served as Artist Lecturer in Flute at Carnegie Mellon University, and performed with the Pittsburgh Symphony, and Pittsburgh Opera and Ballet. She holds performance degrees from the Royal College of Music, London, and Carnegie Mellon, where she was a student of Jeanne Baxtresser. Ms. Posnock is currently on the faculty of Brevard College and performs regularly with the Asheville Symphony.

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JASON POSNOCK is Director of Artistic Planning & Educational Programs at the Brevard Music Center, and Concertmaster of the Asheville Symphony Orchestra. He has appeared as soloist, chamber musician, and orchestral principal throughout the United States, UK, and Asia, and has performed with prominent American ensembles including the Philadelphia Orchestra and Pittsburgh Symphony. He holds the AB degree from Princeton University and graduate degrees from Carnegie Mellon and the Royal College of Music. WILLIAM PREUCIL is Concertmaster of The Cleveland Orchestra and Distinguished Professor of Violin at the Cleveland Institute of Music. Previously, he was First Violin of the Cleveland Quartet. Other concertmaster positions he has held include the Atlanta, Utah, and Nashville Symphony Orchestras. Mr. Preucil appears frequently as a recitalist, chamber musician, and soloist with orchestras and at major chamber music festivals in the United States and abroad. Internationally known pianist ELISABETH PRIDONOFF taught for over three decades at the University of Cincinnati College-Conservatory of Music. A graduate of The Juilliard School, she earned masterâ&#x20AC;&#x2122;s degrees in piano with Adele Marcus and Sasha Gorodnitzski, and in voice with Hans Heinz and Anna Kaskas. Ms. Pridonoff is a Steinway Artist, and performs internationally with her husband pianist Eugene Pridonoff as the Pridonoff Duo. Violinist TINA RAIMONDI studied music at DePaul University and the University of Minnesota, where she received the Doctor of Musical Arts degree. She currently performs with the Palm Beach Opera Orchestra and The Symphonia Boca Raton. Previously, she was a member of the New World Symphony and the Florida Philharmonic Orchestra. Dr. Raimondi is a registered Suzuki teacher, maintaining a successful private studio and serving as adjunct faculty at Lynn University Conservatory of Music. Violist SCOTT RAWLS has appeared as soloist and chamber musician throughout North America, Japan, and Europe. With the Nikkanen/Rawls/Bailey string trio, he has played recent tours in Alaska, Washington, Arizona, and Texas. His recordings can be heard on the Centaur, CRI, Nonesuch, Capstone, and Philips labels. Dr. Rawls currently serves as Professor of Viola at the University of North Carolina at Greensboro. He is also Principal Viola of the Greensboro Symphony Orchestra directed by Dmitry Sitkovetsky, and the Palm Beach Opera directed by David Stern.

ARTIST FACULTY

ARTIST FACULTY Violinist WENDY RAWLS is presently Assistant Concertmaster of the Greensboro Symphony and Concertmaster of the Chamber Orchestra of the Triangle. She has also performed with the North Carolina Symphony and the Charlotte Symphony. Ms. Rawls earned degrees from Ithaca College, New England Conservatory, and Mannes. Her major teachers have included Paul Kantor, Linda Case, and Hiroko Yajima. Ms. Rawls is founder and director of the Gate City Suzuki School in Greensboro, N.C.

Saxophonist HENNING SCHRÖDER has performed at major venues worldwide, both as a soloist and with renowned ensembles including the Berlin Philharmonic, Max Raabe & Palast Orchester, and Opus 21. He is a member of the Capitol Quartet and has been featured at international saxophone conferences in Europe and the U.S. A dedicated pedagogue, Dr. Schröder serves as Assistant Professor of Music at Ohio Northern University, where he teaches saxophone, chamber music, music theory, and music history.

SIEGWART REICHWALD is Professor of Music History at Converse College where, in addition to teaching music history, he also conducts the Converse Symphony Orchestra. He holds a BM degree in Organ Performance from the University of South Carolina, a MM degree in Instrumental Conducting, and a Ph.D. in Historical Musicology from Florida State University. Dr. Reichwald is the author of The Genesis of Felix Mendelssohn’s Paulus, and editor of Mendelssohn in Performance.

MARK SCHUBERT is on the faculty at Baylor University where he teaches Applied Trumpet, coaches chamber music and sectionals for large ensembles, and teaches brass method courses. Mr. Schubert graduated from the New England Conservatory and was a member of the Honolulu Symphony for thirty-three years. He has also performed with such orchestras as the Boston Symphony, Boston Pops, and the Houston Symphony.

CHARLES ROSS is Principal Timpani of the Rochester Philharmonic and is on the faculty of the Eastman School of Music. A graduate of the Curtis Institute of Music, he has performed as timpanist with many orchestras in the U.S. and abroad, including the Philadelphia Orchestra, La Scala Opera, Baltimore Symphony, Santa Fe Opera, RAI Torino, Chatauqua Festival Orchestra, and the Moscow and Philadelphia Chamber Orchestras. Hornist ROBERT RYDEL is a member of the Charlotte Symphony, performs regularly with the Atlanta and Pittsburgh Symphony Orchestras, and is on the faculty of Winthrop University. He attended the New England Conservatory, where he studied with Richard Mackey of the Boston Symphony. In addition to his playing responsibilities, Mr. Rydel is also a recording engineer, and serves as Brevard’s Associate Director of Recording.

DAN SATTERWHITE is Associate Professor of Trombone at Lynn Conservatory of Music and serves as Bass Trombone of the Miami Symphony and Atlantic Classical Orchestra. A former member of the Dallas Brass, Mr. Satterwhite has performed throughout the United States, appearing with the Cincinnati Pops and the New York Pops in Carnegie Hall. Freelance experience includes the Chicago Symphony, Cleveland Orchestra, Metropolitan Opera, and recordings with artists from Renee Fleming to Rihanna. Mr. Satterwhite is a Yamaha Performing Artist.

GREG SIMON is Assistant Professor of Composition and Jazz Studies at the University of Nebraska-Lincoln. His works have been performed around the world by artists and groups including the Nu Deco Ensemble, Alarm Will Sound, and the Esoterics; and recorded on the Blue Griffin, Open G, and Equilibrium labels. He was named winner of the 37th Annual NACUSA Young Composers’ Competition, and recently completed an artist residency at the Kimmel Harding Nelson Center for the Arts. Greg received his D.M.A. from the University of Michigan. MAGGIE SNYDER is Associate Professor of Viola at the Hugh Hodgson School of Music at the University of Georgia. She is Principal Viola of the Chamber Orchestra of New York with whom she records for Naxos. Her two solo albums are released on Arabesque Records. Ms. Snyder has performed and given masterclasses throughout the U.S. and in Russia, Korea, and Greece. She attended the Peabody Conservatory and has previously served on the faculties of Ohio University, West Virginia University, and the University of Alabama. Bassist GEORGE SPEED is Associate Professor of Double Bass at Oklahoma State University and Principal Bass of the Oklahoma City Philharmonic. He has also performed with the Florida Philharmonic, Boston Pops Esplanade Orchestra, and the symphonies of Boston, Dallas, and Fort Worth. In 2005, Mr. Speed co-founded the Oklahoma Bass Bash, a summer clinic for Oklahoma pre-college bassists. A native of Spartanburg, SC, Mr. Speed earned his degrees from Vanderbilt University and Boston University.

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ARTIST FACULTY

BREVARD MUSIC CENTER JONATHAN SPITZ is Principal Cello of the New Jersey Symphony Orchestra and the American Ballet Theater, and a member of the Orpheus Chamber Orchestra. He is an active recitalist and chamber musician and has recorded for the Deutsche Grammophon and Sony labels, among others. Mr. Spitz is a graduate of the Curtis Institute, and currently serves on the faculty and as Strings Area Coordinator of the Mason Gross School of the Arts, Rutgers University.

BYRON TAUCHI is the Principal Second Violin of the Louisiana Philharmonic. He has served as Concertmaster of the Manhattan Chamber Orchestra and Associate Concertmaster of the San Jose Symphony, and has been on the faculty at the University of Nevada, Las Vegas. Mr. Tauchi studied at the Manhattan School of Music with Raphael Bronstein and Ariana Bronne, and also holds a degree in computer science from the University of California at Berkeley.

Violinist SHERYL STAPLES joined the New York Philharmonic as Principal Associate Concertmaster in September 1998. She has since been featured in more than 25 concerto performances with the Philharmonic and is a member of the New York Philharmonic String Quartet. Ms. Staples previously held positions with The Cleveland Orchestra, Pacific Symphony, and the Santa Barbara Chamber Orchestra. She completed her studies at the University of Southern California and is currently on faculty at Manhattan School of Music and The Juilliard School.

Steinway Artist DOUGLAS WEEKS is the Babcock Professor of Piano at Converse College. A prizewinner in the Casadesus (now Cleveland) International Piano Competition, he has performed solo and chamber recitals in the U.S., Europe, Central America, and China, as well as in South Asia, Africa, and the Middle East under the auspices of the U.S. State Department. He holds degrees from Indiana University, Florida State University, Illinois State University, and the Ecole Normale de Musique in Paris.

CORINNE STILLWELL is Associate Professor of Violin at Florida State University. She has performed across the U.S. and in China, Europe, and Canada. Having performed nearly 30 works as soloist with orchestra, she was previously Assistant Concertmaster of the Rochester Philharmonic, and toured with the Harrington Quartet. Ms. Stillwell entered The Juilliard School at age 10, where she studied with Dorothy DeLay. She is Concertmaster of the Tallahassee Symphony and has recorded for Naxos, Harmonia Mundi, and MSR Classics.

ROBERT SULLIVAN is Professor of Trumpet at Northwestern University's Bienen School of Music. He has served as Principal Trumpet of the Cincinnati Symphony and Cincinnati Pops Orchestras, and held positions with the Cleveland Orchestra, New York Philharmonic, Charleston (SC) Symphony, U.S. Air Force Band and Orchestra, and Chicago Chamber Brass. Mr. Sullivan has appeared as soloist with several orchestras and wind ensembles, and has recorded two solo albums for Summit Records.

BENJAMIN SUNG is Associate Professor of Violin at Florida State University. Dr. Sung has performed as soloist with the Camerata Romeu (Cuba), the Virtuosi of Festival Internacionale de Musica (Brazil), and the National Repertory Orchestra. This fall he will release a new album of solo violin music by Berio, Sciarrino, Schnittke, and Maderna. Dr. Sung has degrees from the Eastman School of Music with Oleh Krysa, and from Indiana University with Nelli Shkolnikova.

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JULIET WHITE-SMITH is Professor of Viola at The Ohio State University and has presented master classes around the U.S. and the world. She previously served on the faculties at the University of Northern Colorado and Western Michigan University as well as Bravo! Summer Institute for Strings and Piano in Minnesota and the Interlochen Arts Academy in Michigan. White-Smith earned a DMA at the Eastman School of Music, and holds degrees from Louisiana State University and the University of Houston. JANICE WILLIAMS has served as Director of Choral Activities at Bolton High School in Arlington, Tennessee, on the faculty of the University of Memphis Community Music School, and as director of the Memphis Area Children’s Choir. Ms. Williams has made presentations for the Texas Music Educators Association and has been published in “Texas Music Education Research.” Violinist ERIC WYRICK has been Concertmaster of the New Jersey Symphony Orchestra since 1998 and has held numerous leadership roles with the Orpheus Chamber Orchestra. He has appeared as a soloist with the New Jersey Symphony Orchestra, Danish Radio Orchestra, and Orchestre de Toulouse. An active chamber musician, he performs with the NJSO Chamber Players, as well as with members of his family in the Wyrick Chamber Players. Mr. Wyrick is currently on faculty at Princeton University.

ARTIST FACULTY

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OPERA ARTISTIC STAFF

BREVARD MUSIC CENTER DEAN ANTHONY Director of Opera Enjoying a 25+ year career as a stage performer, Dean Anthony - referred to as “The Tumbling Tenor” - created over 100 roles and was praised as a character artist for his vocal, dramatic, physical and acrobatic abilities. Mr. Anthony has quickly established himself as a dynamic stage director and teacher on the operatic scene with his energetic, gritty and physical style of work. In the 2018-19 season, Mr. Anthony will serve as the Opera Director in Residence at the Crane School of Music at SUNY Potsdam, where he will direct the world premiere of Mayo by Tom Cipullo. In the summer of 2013 Mr. Anthony began his appointment as Director of Opera with the Janiec Opera Company at the Brevard Music Center. A member of the faculty at Brevard since 2008, his productions include Le nozze di Figaro, Street Scene, A Midsummer Night’s Dream, The Ballad of Baby Doe, Rigoletto, the Merry Widow, Falstaff, Albert Herring, Sweeney Todd, The Threepenny Opera, Elixir of Love, Suor Angelica, Tintypes, HMS Pinafore, a workshop of Robert Aldridge’s new opera Sister Carrie, a workshop of J. Mark Scearce’s Falling Angel in collaboration with the Center for Contemporary Opera, and the world premiere of the new opera, Speed Dating Tonight! conceived by Mr. Anthony, with words and music by Michael Ching. Mr. Anthony recently directed Aida at Knoxville Opera, Man of La Mancha at Pensacola Opera and Amarillo Opera, Falstaff at Opera on the James; Dead Man Walking, Glory Denied, and Aida at Pensacola Opera; Semeramide at Opera Delaware; La Traviata and The Merry Widow for Pensacola Opera, HMS Pinafore and Dead Man Walking for Shreveport Opera, Glory Denied with Ft. Worth Opera Festival, Elixir of Love with Opera Delaware, Barber of Seville with Opera Naples, Falstaff with Winter Opera of St. Louis, Sweeney Todd with St. Petersburg Opera, I Pagliacci with Shreveport Opera, The Magic Flute with Opera on the James, Trouble in Tahiti & Arias and Barcarolles at the University of Kansas, Pirates of Penzance with Nashville Opera, La Bohéme at Pensacola Opera, as well as Carmen for Opera on the James, the Pacific Symphony, Tulsa Opera, Florentine Opera, and Pensacola Opera.

“Music, of all the arts, stands in a special region, unlit by any star but its own, and utterly without meaning...except its own." — LEONARD BERNSTEIN

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EILEEN DOWNEY Music Director, Chorus Master, Vocal Coach Eileen Downey is currently Lecturer of Piano at the University of Tennessee-Knoxville, where she is a vocal coach and collaborative pianist, as well as a rehearsal pianist for Knoxville Opera. Ms. Downey is also the Music Director for the Janiec Opera Company at the Brevard Music Center, where she has been engaged as the chorus master and vocal coach for the summer seasons of 2013-14, and 2016-18. She has been an accompanist for the Middle/East Tennessee Metropolitan Opera National Council Auditions since 2012, and was recently a pianist for the International Tuba and Euphonium Conference and a guest artist of the Tennessee Cello Workshop. Eileen is an alumna of the Merola Opera Program, and was one of the 2011 staff accompanists for AIMS in Graz. Other programs in which she has been involved include SongFest, Project Canción Española, Aspen Opera Theater Center, Opera North, and the Opera Theatre and Music Festival of Lucca, Italy. Ms. Downey received a Bachelor’s degree in Piano Performance and a Master’s Degree in Collaborative Piano from Michigan State University.

ANDREW WENTZEL Voice Instructor One of the most requested bass-baritones in the U.S. during his most active years, Mr. Wentzel has performed with a number of the country’s top opera companies, including the Metropolitan Opera. A popular concert singer and recitalist, he appeared regularly with major symphony orchestras including the Boston Symphony and the National Symphony. Mr. Wentzel is Professor of Voice at the University of Tennessee, Administrator of the Knoxville Opera Studio, and sits on the Board of Directors of the Knoxville Opera.

ARNOLD RAWLS Voice Instructor Internationally acclaimed tenor Arnold Rawls sings in major opera houses around the world and serves as Artist in Residence at Ouachita Baptist University. Recently, Dr. Rawls made his Metropolitan Opera debut as Manrico in Verdi’s Il Trovatore, and this past season returned to the Met to sing Calaf in Puccini’s Turandot. He has performed with companies including Opera Frankfurt, Bregenzer Festspiele, Dallas Opera, Vancouver Opera, and Seattle Opera. Rawls is the recipient of a major career grant from the Olga Forrai Foundation, NYC.

OPERA ARTISTIC STAFF

OPERA ARTISTIC STAFF CAROLINE WORRA Voice Instructor Caroline Worra has been hailed by Opera News as "one of the finest singing actresses around." She has sung over 75 different operatic roles including more than 20 World, American, and Regional Premieres. She has worked at over 30 opera companies across the United States and abroad as well as two National tours as Violetta and Rosalinda. She was internationally acclaimed for her performances and recordings of The Mines of Sulphur, (GRAMMY nominated for Best Opera Recording), The Greater Good, Glory Denied, and Amleto, each being recognized by Opera News as one of the best opera recordings of the year.

SUSANNE MARSEE Guest Lecturer Susanne Marsee (B.A., UCLA; advanced studies, The Juilliard School), was one of New York City Opera’s leading mezzos for over twenty years and had the honor of partnering with Beverly Sills for ten of those years. Ms. Marsee taught voice at Carnegie Mellon University, Catholic University, and as an associate professor at LSU. Nationally, Ms. Marsee has sung extensively throughout the United States at such opera companies as San Francisco Opera, Houston Grand, Washington Opera, Philadelphia Grand, San Diego Opera, New York City Opera, and many others. Her concert repertoire is extensive and she has performed with the Hollywood Bowl, Los Angeles Chamber Orchestra, Cincinnati Symphony Orchestra, St. Paul Chamber Orchestra, Handel Society at Kennedy Center, Los Angeles Philharmonic, and New York Philharmonic, among many others.

CRAIG KEIR Conductor In addition to maintaining a busy freelance schedule, Craig Keir is also the Director of the Maryland Opera Studio at The University of Maryland School of Music. From 2010 – 2013, Kier was Associate Conductor under Patrick Summers at Houston Grand Opera where he prepared mainstage productions and led dozens of performances. Kier’s recent and upcoming guest engagements include conducting debuts with San Francisco Opera’s Merola Opera Program, Wolf Trap Opera, Arizona Opera, and Opera Saratoga. Additional guest engagements include productions with Houston Ballet, Central City Opera, Lyric Opera of Kansas City, Atlanta Opera, Opera Birmingham, and the Glimmerglass Festival.

MICHAEL SAKIR Conductor Michael Sakir took on the role of Music Director of Opera Memphis in the 2017-18 season. Recent guest conducting engagements include Des Moines Metro Opera, Shreveport Opera, Eugene Opera, Opera Orlando, Opera Company of Middlebury, Intermountain Opera Bozeman, Northwestern University, American Opera Projects, Opera in the Ozarks, and Opera North. Sakir has held music staff positions with Santa Fe Opera, Washington National Opera, Florida Grand Opera, among other companies. He holds degrees from the Oberlin Conservatory and The Boston Conservatory. He was a participant in the 2017 Opera America Leadership Intensive. Sakir is a native of Northern California.

CRYSTAL MANICH Stage Director Crystal Manich has been directing for ten years. As a diverse director of theatre, Crystal has directed musicals and operas at various companies in the United States and abroad in Argentina and Australia. She also served as Assistant Artistic Director on Cirque du Soleil’s Quidam tour in South America in 2009-2010. Upcoming engagements include Rigoletto with Wolf Trap Opera and Madama Butterfly with Opera Columbus. Crystal is a graduate of Carnegie Mellon University.

IAN SILVERMAN Assistant Director Ian Silverman joins BMC's opera program as Assistant Director for the 2018 summer. Previous Assistant Directing credits include The Rake’s Progress (Frost Opera Theater), Sweeney Todd (Pittsburgh Festival Opera), Der Freischütz (Bronx Opera), as well as the world premieres of Carson Kievman’s Tesla (Sobe Arts) and Ricky Ian Gordon’s Morning Star (OnSite Opera). He has worked with the Prototype Festival on Greg Spears’ Fellow Travelers. Ian graduated from the University of Miami in 2017 and will begin his graduate studies in opera direction in the fall of 2018.

NEILL CAMPBELL Staff Pianist Pianist Neill Campbell returns this summer to the Janiec Opera Company at Brevard Music Center! Neill is a graduate of Michigan State University, where he received both his MM in Collaborative Piano, and his BM in Performance. In addition to Brevard, he has been a pianist/coach for Pensacola Opera and Shreveport Opera, and will join the Seagle Music Colony for their fall season this year. At Shreveport, Neill was a Resident Artist, where he served for two years as chorus master, rehearsal pianist, and pianist for the Shreveport Opera Xpress outreach and touring program. Neill has performed across the United States, and internationally in Italy and in Havana, Cuba.

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BREVARD MUSIC CENTER JOSH QUINN Staff Pianist Josh Quinn has recently been seen in productions with the Opera Theatre of Saint Louis, Merola Opera Program, the Prototype Festival in New York City, Beth Morrison Projects, West Edge Opera, PortOpera, the American Symphony Orchestra, Naples Philharmonic, Charleston Symphony, the New Haven Symphony Orchestra, the Metamorphosis Orchestra, the Left Coast Ensemble, and the Apollo Chorus of Chicago. He has also won awards from the Wigmore Hall Competition, Orpheus Vocal Competition, Gerda Lissner Lieder Competition, George London Foundation, Francisco Viñas Competition, Opera Index Competition, and the Metropolitan National Council Auditions. Josh Quinn is an artist member of Music for Food, a musician-led initiative to fight hunger in our home communities.

LINDSAY WOODWARD Staff Pianist Pianist Lindsay Woodward is known for her spirited performances as a vocal and instrumental collaborator. She was a resident artist at Minnesota Opera from 2015-18, and with Utah Opera for the 2014-15 season. Ms. Woodward spent last summer as a Coaching Fellow with Wolf Trap Opera, and spent the previous two summers at the Aspen Music Festival. Ms. Woodward holds a Master’s degree in accompanying from Manhattan School of Music.

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OPERA CAST

ESTHER ATKINSON mezzo-soprano Hometown: Bangor, Northern Ireland

IAN BOLDEN baritone Hometown: Akron, Ohio

Education: BM Ouachita Baptist University (2018), pursuing MM University of Maryland

Education: BM The Ohio State University (2014), MM University of Tennessee (2018)

SCOTT BALLANTINE baritone

VICTOR CARDAMONE tenor

Hometown: Fort Collins, Colorado

Hometown: Pittsburgh, Pennsylvania

Education: BM Northern Arizona University (2013), MM Boston Conservatory (2015)

Education: BMEd Youngstown State University (2016), currently pursuing AD Ball State University

DANIELLE BAVLI soprano

BIZHOU CHANG soprano

Hometown: New York City, New York

Hometown: Liaoning, China

Education: BM Vanderbilt University (2017), pursuing MM Boston Conservatory

Education: BS Boston Conservatory at Berklee, MM Boston Conservatory at Berklee, currently pursuing GPD Boston Conservatory at Berklee

KYLE BEJNEROWICZ baritone

LIZ CULPEPPER mezzo-soprano

Hometown: Guilford, Connecticut

Hometown: Austin, Texas

Education: BM New England Conservatory (2013), currently pursuing MM New England Conservatory and M.Ed Northeastern University

Education: BA University of Texas (2015), MM Voice Indiana University (2017), currently pursuing DM Voice Indiana University

CHRISTINE BODDICKER soprano

SAMUEL DESOTO tenor

Hometown: Hinsdale, IL

Hometown: Shirley, Long Island, New York

Education: Currently pursuing BM Michigan State University

Education: Currently pursuing BM and MMEd, Boston University

JEREMY AYRES FISHER tenor

“The mentorship at BMC has transformed the way I move, the way I practice, the way I perform, and the way I view myself as an artist.”

Hometown: Chicago, IL

–CHELSEA, OPERA, WALLED LAKE (MI), BMC ALUMNA

Education: BMEd Brevard College (2017), currently pursuing MM University of Tennessee

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Education: B.M. University of Illinois at Urbana-Champaign 2010, M.M. Northwestern University (2012)

TORI FRANKLIN mezzo-soprano Hometown: Knoxville, TN

OPERA CAST ROBERT FRIDLENDER baritone Hometown: Woodstock, Georgia Education: Currently pursuing BM University of Georgia

CAROLINE HEWITT mezzo-soprano Hometown: San Francisco, CA Education: BM Vanderbilt University (2013), MM University of Houston (2017)

HANNAH FRIESEN soprano

MATTHEW HUCKABA baritone

Hometown: Storm Lake, IA

Hometown: Knoxville, TN

Education: BMEd Simpson College (2017), currently pursuing MM Manhattan School of Music

Education: Currently pursuing BMEd CarsonNewman University

EMILY GALLAGHER soprano

MILES JENKINS tenor

Hometown: Cold Spring Harbor, NY

Hometown: Morris, AL

Education: Currently pursuing BFA at Carnegie Mellon University

Education: BM University of Montevallo (2018), pursuing MM University of Tennessee

CODY GALYON tenor

LUKE MACMILLAN baritone

Hometown: Seymour, Tennessee

Hometown: Hood River, Oregon

Education: BM University of Tennessee (2014), MM Georgia State University (2018)

Education: BM Lawrence University (2014), MM Bard College Conservatory Graduate Vocal Arts Program (2018)

DAVID GINDRA baritone

MYAH PADEN mezzo-soprano

Hometown: Charlotte, North Carolina

Hometown: Columbus, GA

Education: BM St. Olaf College (2018)

Education: Currently pursuing BM University of Georgia

MEGAN GRAVES mezzo-soprano

AVERY PETERMAN soprano

Hometown: Haslet, Texas

Hometown: Acton, Massachusetts

Education: Currently pursuing BM Eastman School of Music

Education: BM Gordon College (2015), MM Westminster Choir College (2017)

LUCIA HELGREN soprano

SAMUEL RACHMUTH bass-baritone

Hometown: Homer, NY Education: BM SUNY Fredonia (2017), BA SUNY Fredonia (2017)

Hometown: Rockville Centre, New York (Long Island) Education: Currently pursuing BM Mannes College of Music

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BREVARD MUSIC CENTER VIRGINIA REED mezzo-soprano

ANDREA TULIPANA soprano

Hometown: Albany, NY

Hometown: Liberty, Missouri

Education: BM Manhattan School of Music (2018)

Education: BM Butler University (2017)

ANDREW RENÉ baritone

ZIZHAO WANG bass-baritone

Hometown: Columbus, Ohio Education: BM Capital University (2015), currently pursuing MM A. J. Fletcher Opera Institute UNCSA

Hometown: Tsingtao, China Education: BM New England Conservatory (2018), pursuing MM New England Conservatory

HANNAH SHEA mezzo-soprano Hometown: Harrisburg, PA Education: BFA Carnegie Mellon University (2018)

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OPERA DESIGNERS

BREVARD MUSIC CENTER ROBIN VEST (SCENIC DESIGNER) This Season at BMC: La Cenerentola

Robin Vest moved her family to Greensboro, NC in 2012 to become a Theatre Studies Professor of Design at Guilford College. After living and designing in New York for over a decade, it was a big change but she is enjoying the access to nature and working closely with some of her favorite collaborators, David Hammond and Preston Lane. Robin's work has been seen at The Goodman, The Old Globe, Utah Opera, Vancouver Opera, Fort Worth Opera, Cleveland Playhouse, Merrimack Rep, Triad Stage, Playmaker's Rep, Barrington Stage, and Williamstown Theater Festival. In New York, she has worked with Manhattan Theater Club, Lincoln Center's LCT3 projects, Manhattan Class Company, Playwright's Horizons, Second Stage Uptown, The Cherry Lane and many others. Robin spent seven years on the faculty at Mason Gross school of the Arts at Rutgers University, prior to that she had the pleasure of assisting Alexander Dodge and Walt Spangler. She received her MFA from Yale School of Drama and BFA from the University of Oklahoma.

LINDSEY PURVIS (SCENIC DESIGNER) This Season at BMC: Sondheim on Sondheim

Lindsey is a scenic designer and scenic artist, currently based out of Cincinnati and pursuing her MFA in Stage Design at the University of Cincinnati - College-Conservatory of Music (CCM). She's very excited to be joining BMC for the first time this summer as both a designer and charge artist. Lindsey spent last summer acting as the Scenic Design Fellow at the Hangar Theatre in Ithaca, New York, where she designed 4 productions and assisted on 3 more. Her previous designs include Ariodante, Trouble in Tahiti, The Room, and Women in Arms. She also has a number of upcoming designs, including The Government Inspector and The Hunchback of Notre Dame at CCM and a yet undetermined main stage production at the Rose Theater in Omaha, Nebraska.

BOBBY BRADLEY (SCENIC AND LIGHTING DESIGNER) This Season at BMC: Candide

Bobby is a Brevard based lighting, scenic, and projection designer and is thrilled to be working with BMC and the Janiec Opera Company for a fifth season. Previous designs at BMC include Falling Angel (Production Design) and Don Pasquale (Lighting Design). He is also a co-owner of Brevard based Iris Design LLC providing design and production services for live events in Western North Carolina and has designed and managed events for Theatre, Opera, TV, Film and Live Music for various clients in the US and internationally over a 10+ year career. He holds a BFA in Theatrical Design from Baylor University and is a member of United Scenic Artists Local 829.

TLÁLOC LÓPEZ-WATERMANN (LIGHTING DESIGNER)

This Season at BMC: Madama Butterfly, La Cenerentola, and Sondheim on Sondheim Tláloc is so happy to be working with BMC again. Tláloc’s lighting, scenic, and projection designs have been seen at Pittsburgh Opera, Opera on the James, TheatreZone, Opera Naples, Castleton Festival, Brevard Music Center, Toledo Opera, Utah Festival Opera, Todi Music Fest (Portsmouth, VA), Opera Roanoke, Shreveport Opera, Guerilla Opera (Boston, MA),

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Crested Butte Music Festival, and DiCapo Opera (NYC). Some of these include: The Long Walk, Glory Denied, Hydrogen Jukebox, Baby Doe, Sondheim on Sondheim, Cenerentola, Carmen, Street Scene, Zauberflöte, Amadeus, 9 to 5, Midsummer Night’s Dream, Sweeney Todd, South Pacific, Romeo et Juliet, Scalia/Ginsburg (world premier) Ulysses, Pirates of Penzance, Così fan Tutte, Gallo (world premier), Giver of Light (world premier), Bovinus Rex (world premier), Heart Of a Dog, Man of La Mancha, Salome, La Bohème, The Marriage of Figaro, Madame Butterfly, The Crucible, Eugene Onegin, The Daughter of the Regiment, Il Trovatore, La traviata, Falstaff, The Magic Flute, Tosca, Don Giovanni, Footloose, and Hairspray, among many others. He has a BFA in Performance Production from Cornish College of the Arts, and an MFA in Design from NYU/Tisch. He was the 2002 Allen Lee Hughes Lighting Fellow at Arena Stage in Washington, DC.

BETHANIE WAMPOL WATSON (SCENIC DESIGNER)

This Season at BMC: Madama Butterfly Recent design credits include Red Velvet (Shakespeare Theatre New Jersey), My Lord What a Night (Premiere Stages), Paradise (Luna Stage Company and Passages Theatre Company), Macbeth, Twelfth Night and A Midsummer Night's Dream (Philadelphia Shakespeare Theatre), The Way We Get By, Tick, Tick Boom! and Marry Harry (American Theatre Group), Grease! Damn Yankees, and the Sound of Music (Phoenix Productions), Hounds of War (Wee Man Productions), and A Year with Frog and Toad (Mile Square Theatre). Also designed for Williamstown Theatre Festival (Massachusetts), Brevard Music Center (North Carolina), and Stagedoor Manor (New York). She teaches art and theatre in West Orange, NJ. MFA from Rutgers University and BA from Troy University.

GLENN AVERY BREED (COSTUME DESIGNER) This Season at BMC: Madama Butterfly, La Cenerentola, Candide, and Sondheim on Sondheim

Glenn has served as the resident costume designer for the last 10 years, this starts his 11th Season working for BMC. Glenn holds a MFA in Costume Design/Technology from the University of Cincinnati College-Conservatory of Music and BA in Theatrical Design from St. Edwards University in Austin, Texas. Glenn is currently a Full Professor of Costume Design and Technology at the University of West Florida. Glenn also owns and operates Wardrobe Witchery Opera and Theatrical Costume Rentals based out of Pensacola, FL. Wardrobe Witchery costumes companies from coast to coast.

BRITTANY RAPPISE (WIG & MAKEUP DESIGNER) This Season at BMC: Madama Butterfly, La Cenerentola, Candide, and Sondheim on Sondheim

Brittany Rappise is a freelance wig and makeup designer based out of Pensacola Florida. She is excited to be back in the mountains for her 6th season at BMC. Her last work on the Brevard stage includes Don Pasquale, Street Scene, and Le Nozze Di Figaro. She has spent the last few months traveling with her wigs and has designed this season at Sarasota Opera, Amarillo Opera, Opera Delaware, and Tulane Summer Lyric. Brittany holds an MFA in Wig and Makeup Design from the University of North Carolina school of the arts, and a BA in Theater from The University of West Florida. Her company, The Makeup Wigstress, based out of Pensacola offers full service Wig & Makeup Design and Rental for opera, theater, film and events.

OPERA ARTISTIC STAFF

Dean Anthony, Director of Opera

PRODUCTION STAFF

OPERA DESIGNERS AND STAFF

Andrea Boccanfuso, Director of Production

Elana Deutch, Lead Assistant Stage Manager

Matthew Queen, Assistant Production Manager

Jackie Mercer, Lead Assistant Stage Manager

Justin Mosher, Assistant Production Manager

Meghan Crawford, Assistant Stage Management Apprentice

Bethanie Wampol Watson, Scenic Designer: Madama Butterfly

Noelle Hordlt, Assistant Stage Management Apprentice

Robin Vest, Scenic Designer: La Cenerentola

Jason Estala, Costume Shop Manager

Bobby Bradley, Scenic and Lighting Designer: Candide

Lauren Woods, Costume First Hand

Lindsey Purvis, Scenic Designer: Sondheim on Sondheim, Opera’s Greatest Hits, Scenic Charge

Kelsea Andrade, Wardrobe Supervisor

Glenn Avery Breed, Costume Designer

Jonathan Amaro, Wig and Makeup Shop Manager

Brittany Rappise, Wig & Makeup Designer

Elyse Horner Messick, Wigs and Makeup Consultant/ Artisan

Tláloc López-Watermann, Lighting Designer: Madama Butterfly, La Cenerentola and Sondheim on Sondheim

Natalie Garcia, Wig and Makeup Apprentice

Teila Vochatzer, Company Manager, Paints and Props Manager, Scenic Designer: Prelude

Thomas Ford Cox Jr., Staff Carpenter

Caitlin Bolden, Janiec Opera Company Administrator Eileen Downey, Music Director / Chorus Master / Vocal Coach Andrew Wentzel, Voice Instructor Arnold Rawls, Voice Instructor Caroline Worra, Voice Instructor Susanne Marsee, Guest Lecturer Craig Kier, Conductor Michael Sakir, Conductor Crystal Manich, Stage Director Ian Silverman, Assistant Director Neill Campbell, Staff Pianist Josh Quinn, Staff Pianist Lindsay Woodward, Staff Pianist

Juliet Jewett, Purchasing Agent Garrett Rhodes, Technical Director Tori Carbone, Assistant Technical Director Therrin Eber, Festival Lighting Designer and Master Electrician Logan Taylor, Assistant Company Manager James Cantrell, Production Assistant Apprentice Sydney Windham, Production Assistant Apprentice Joshua Goldstein, House Manager Allison Millwee, House Management Apprentice Nathaniel Geiger, Orchestra Operations Manager Anna Naderer, Orchestra Operations Assistant Manager Gabriel Gonzalez, Assistant Stage Manager of Orchestra Gitana Havner, Assistant Stage Manager of Orchestra Claudia Dahlman, Stage Crew Apprentice Dal Davis, Stage Crew Apprentice Raleigh Durham, Stage Crew Apprentice Kendel James, Stage Crew Apprentice

Gavin Dietz, Costume Apprentice

Jeremy McCord, Master Carpenter Katelyn DiDio, Carpentry Apprentice Elena Martin, Carpentry Apprentice Georgia Milton, Carpentry Apprentice Lisa Arrona, Props Apprentice Thomas Kay, Props Apprentice Rachael Knoblauch, Props Apprentice Jacquelyn Reis, Scenic Artist Caroline Vargas, Scenic Apprentice Benjamin Bosch, Assistant Master Electrician Ashley Brassell, Lighting Apprentice Elizabeth Clevenger, Lighting Apprentice Mason Clough, Lighting Apprentice Jacklyn Henley, Lighting Apprentice Casey Lessinger, Lighting Apprentice Jeremiah Kearns, Head of Sound and Video, A-1/ V-1 Daniel Ethridge, Sound and Video A-2/ V-2 Justyn Ferguson, Sound and Video Apprentice

Trinton Prater, Stage Crew Apprentice Danielle Ranno, Production Stage Manager

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BREVARD MUSIC CENTER VIOLIN

Sommer Altier - Sarasota, FL Alexander Apicella-Adams Fairbanks, AK William Arnold - Lexington, KY Alaina Barnett - Asheville, NC Yasha Borodetsky Winston-Salem, NC Rebecca Bowers - Durango, CO Camilla Caldwell Melbourne, Australia Jenny Choi - Marietta, GA Mitchell Cloutier - Oliver Springs, TN Mila Coleman - Powder Springs, GA Mariko De Napoli - Pasadena, CA Sydney Ebersohl - Vienna, VA Michael Eller - Ypsilanti, MI Naomi Fan - Marietta, GA Jessica Folson - Grand Forks, ND Amanda Frampton - New Freeport, PA Moe Gray - Tokorozawa, Japan Michael Hahn - Cicero, NY Paul Halberstadt - Framingham, MA Morielle Haller - El Paso, TX Ingang Han - Lexington, KY Laura Harrington - St Augustine, FL Brittany Hausman - Cincinnati, OH Krystal Hsieh - Parsippany, NJ Makena James - Asheville, NC Xinyi Jiang - Shanghai, China Emma Joyce - Charleston, SC Jes Kachanes - Great Bend, KS Julia Kebuladze - Somerset, NJ Lindsay Keck - Warrenton, VA Madeleine Klee - St. Petersburg, FL Claudia Kubarycz-Hoszowska - Champaign, IL Grace Lee - Nashville, TN Matthew Lee - Madison, WI Tong Li - Oberlin, OH Zhiyou Low - La Canada Flintridge, CA Anna Luebke - River Falls, WI Emmeline MacMillan - Seminole, FL Myles McKnight - Fletcher, NC Gordon Meeks - Kennesaw, GA Christina Minton - Manhattan, KS Tracy Morgan - Tallahassee, FL Danielle Najarian - Milton, GA Mackenzie Nies - Amarillo, TX Deborah Olivier - Winston-Salem, NC Mae Leigh Patchin - Verona, WI Ella Rawls - Greensboro, NC Thomas Sarsfield - Lawrenceville, NJ Brian Schmidt - Fredericksburg, VA Juliet Schreiber - Lake Worth, FL Elizaveta Shaikhulina - Draper, UT Fuyuto Shigihara - Belmont, CA Euimin Shin - Seoul, Republic of Korea Eva Shvartcer - Montevallo, AL Harriet Skowronek - Decatur, GA Natalie Smith - Lubbock, TX Kathryn Sokol - Arlington, VA Nathan Sonnenfeld - Scarsdale, NY Ryan Staub - Des Moines, IA Fangye Sun - Baoding, China Joseph Tornquist - Maplewood, NJ Christine Tran - Cypress, CA Nishad Vaidya - Oviedo, FL Thea Camille Valmadrid Fitchburg, WI Stella Vujic - Nashville, TN Yen-Chun Wang - Hsinchu, Taiwan Olivia Ward - Beaufort, SC Alayne Wegner - Grand Rapids, MI Zoe Willingham - Stockbridge, GA Ise Yoshimoto - Sunnyvale, CA Aleksi Zaretsky - Valley Cottage, NY Amy Zhang - Johns Creek, GA

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VIOLA

Michael Anderson - Grand Forks, ND Jacob Anderson - Tempe, AZ Gia Angelo - Philadelphia, PA Damaris Billups - Augusta, GA Ariana Blevins - Charleston, SC Teresa Bloemer - Sterling, MA Adam Brotnitsky - Philadelphia, PA Mallory Carnes - Fletcher, NC Kuan-Hua Chen - Athens, GA Margot Cunningham Greensboro, NC Noah Eagle - Edwardsville, IL Rebecca Flank - Spencer, TN Sara Frankel - Westfield, NJ Aidan Garrison - La Jolla, CA Swaycha Goli - Cary, NC Nathan Groot - Oxford, OH Sarah Hamrin - Bemidji, MN Brittany Hoff - Lubbock, TX Joy Hsieh - Doraville, GA Hannah Langenbach Satellite Beach, FL Shek Wan Li - Boston, MA Charlotte Lohmann - Eau Claire, WI Katherine MacKenzie Greensboro, NC Emily McCabe - West Bend, WI Jenna McGeoch - New Gretna, NJ Phoebe Propst - Asheville, NC Kelly Ralston - Fredericksburg, VA Hunter Sanchez - Wichita Falls, TX Joshua Singletary - Tallahassee, FL Morgan Spevak - Fort Wayne, IN Andrew Sprinkle - University Park, MD Rachel Stokol - Walnut Creek, CA Michaela Stones - Houston, TX Cora Tenenbaum - Boulder, CO

CELLO

Joshua Bermudez - Lexington, KY Geng Chen - Kenosha, WI Alyssa Fetters - Brentwood, TN Jack Flores - Tallahassee, FL Benjamin Fryxell - Cincinnati, OH Natalie Galster-Manz - Wautoma, WI Sarah Garretson - Charlottesville, VA Andrew Gillett - Winston-Salem, NC David Graf - Austin, TX Lucy Grossman - Hatfield, MA Simone Hsu - San Mateo, CA Todd Humphrey - Grayson, GA Casey Johnson - Cordova, TN Anna Jurling - Taipei, Taiwan Olivia Katz - Minneapolis, MN Samuel Lam - Marriottsville, MD Aurora Lawrie - Phoenix, AZ Matthew Lei - Thornton, CO Chun Pei Li - Tainan, Taiwan Lacee Link - Peachtree City, GA Cameron MacMillan - Seminole, FL Sydney Maeker - Cleveland, OH Harrison Marable - Marietta, GA Andrew McFarland - Louisville, KY Lindsay McKenna Lakewood Ranch, FL Ariel Najarian - Milton, GA Anthony Schnell - Sylmar, CA Caleb Slate - Marietta, GA Amelia Smerz - Downers Grove, IL Sophie Stubbs - Baxter, MN Jacob Surak - Denton, TX Michael Tynes - Rogers, AR Eliott Wells - Lake Oswego, OR

DOUBLE BASS

Katelynn Baker - Cincinnati, OH Xavier Baker - Columbia, SC Bailey Bennett - Powder Springs, GA Sarah Bryant - Lexington, NC Nicholas Burton - Salem, OR Eleanor Dunlap - Lawrence, KS Benjamin Friedland - Glenview, IL Nathan Graham - Fairfax, VA Hollie Greenwood - Roswell, GA Ian Grems - Corinth, TX Jacob Hoch - North Charleston, SC Peter Kim - Wagram, NC Jesse Lear - Ridgewood, NJ Leonard Ligon - Anderson, SC Alexander Loeb - Lawrence, KS Lydia Nusbaum - Mooresville, NC Jonathon Piccolo - Lewisville, TX Luke Rogers - McKinney, TX Alexander Wallack - Ambler, PA Hanna Wilson-Smith - Raleigh, NC

FLUTE

Kari Boyer - Blanchester, OH Sophia Brinkman - Dallas, TX Alison Dettmer - Centreville, VA Maximilian Goolsbey - Apex, NC Rosa Kleinman - Wayne, NJ Ryan Norville - Fort Myers, FL Joseph O'Neill - Larkspur, CA Deanna Pyeon - Fullerton, CA Aaron Rib - Clearwater, FL Joeli Schilling - Dallas, TX Joy Tan - Livingston, NJ Chi Ting - Taipei, Taiwan

OBOE

Bryn Carrier - Greer, SC Michał Cieślik - South Miami, FL Lauren Derflinger - Mount Jackson, VA Jacob Duff - Loganville, GA Adrian Gonzalez - Tallahassee, FL William Jones - Davenport, IA Michael Lazzaro - Millstone, NJ Trevor Mansell - Calgary, AB Canada Matthew Maroon - Seattle, WA Kelley Tracz - Manhattan, KS Antonio Urrutia - Miami, FL Gennavieve Wrobel Pleasant Hill, MO

CLARINET

Torin Bakke - Buffalo Grove, IL Eric Butler - Mundelein, IL Jacob Byers - Newberg, OR Alexander Cha - Westfield, NJ Irina Chang - Fairfax, VA Jason Chen - Belmont, MA Angelo Ciriello - Miami, FL Aaron Lipsky - Arden, NC Emily Manheimer - New Rochelle, NY Kenton Venskus - Falls Church, VA Katia Waxman - Chicago, IL Claire Werling - Chicago, IL

BASSOON

Leah Cocco - Blasdell, NY Emma Eisenberg - Beaverton, OR Andrew Flurer - Mason, OH Rachel Frederiksen - New Braunfels, TX Thomas Klink - Austin, TX Ian Morin - Deltona, FL Nathan Morris - Watkinsville, GA Bridget Piccirilli - Charlotte, NC Chloe Robbins - Elgin, IL Beck Rusley - St Louis Park, MN Marissa Takaki - Glenview, IL Zachary VonCannon - Charlotte, NC

SAXOPHONE

Margaret Camp - Belmont, MI Megan Elks - Lumberton, NC Michael Ethier - Harrisville, RI Christopher Forbes North Smithfield, RI Michael Matthews - Greer, SC Nathan Salazar - McKinney, TX

FRENCH HORN

Isaiah Adderholdt - Inman, SC Valerie Ankeney - Dayton, OH Elizabeth Antici - Corona Del Mar, CA Gretchen Berendt - Wampum, PA Brennan Bower - Cumming, GA Nathan Goldin - Libertyville, IL Torrin Hallett - Oconomowoc, WI Emily Howell - Plainview, NY Rachelle Huffman - Dallas, TX Cooper Johnson - San Clemente, CA Grace Kim - Honolulu, HI Vincent Kiray - East Hanover, NJ Keegan McCardell - Ellicott City, MD Maxwell Paulus - Fresno, CA James Picarello - Brooklyn, NY Paige Quillen - Marlboro, NY André Richter - Greenville, NC William Sands - Sewickley, PA Thomas Vienna - Dyer, IN Helen Wargelin - Concord, MA

TRUMPET

Paul Armitage - Sharpsburg, GA Gabriel Chalick - Naples, FL David Green - Santa Rosa, CA Shea Kelsay - Seattle, WA Nathan Little - Waco, TX James Martin - Lexington, KY David Nakazono - Chicago, IL Shannon Niland - Mocksville, NC Hyojoon Park Mississauga, ON Canada Carlos Richter - Greenville, NC Richard Stinson - Marietta, GA Sean Whitworth - Myrtle Beach, SC

TROMBONE

Gavin Kelley - Charlotte, NC Timothy Maines - Wellesley, MA Patrick McGihon - Palm Desert, CA Ryan Murray - Cedar Park, TX John Roselli - Charlotte, NC Philip Williams - Fairburn, GA

BASS TROMBONE

Richard Fox - Jupiter, FL Simon Lohmann - Eau Claire, WI

TUBA

Joel Horton - Lorena, TX Kenneth Ryerson - Catawba, SC Evan Zegiel - Boca Raton, FL

PERCUSSION

William Brown - Lake Butler, FL Zachary Courtney - Saint Joseph, MO Michael Giunta - Land O' Lakes, FL Nathan Holzberg - Ossining, NY Noah Mallett - Big Rapids, MI Daniel Moell - Centerville, OH Alyssa Prichard – Tuscon, AZ Jackson Riffle - Pleasant Hill, OH Hannah Robins - Winston Salem, NC Yonatan Rozin - New York, NY Julian Saint Denis - Germantown, MD Eric Whitmer - Palo Cedro, CA

STUDENT ROSTER HARP

Ginevra Bridges - Henrico, VA Isabella Coty - Grand Rapids, MI Sara Kawai - Weston, MA Sophie Thorpe - Columbia, MO Mia Venezia - Jeffersonville, PA

PIANO

Emiko Abe - Durham, NC Everett Adkins - Pearland, TX Courtney Atkinson - Lakeland, FL Luke Auchter - Oxford, MI Caroline Beazley - Olathe, KS Garrett Bone - Whitmore Lake, MI Ritchie Bui - Yorktown VA, VA Robert Carlson - Rustburg, VA Yi-Yang Chen - Johnson City, TN Maria Clapp - Phoenix, AZ Gareth Cordery - Ames, IA Carson Crovo - Lexington, KY Mary Ellerbee - Zachary, LA Robert Errico - Weddington, NC Carl Feaster - Waco, TX Skyler Feng - Duluth, GA Ethan Ford - Cutler Bay, FL Julian Fox - Short Hills, NJ Caroline Freeman - Lynchburg, VA Rachel Garrison - Winston Salem, NC Shenwei Geng - Wuhan, China Laura Georgiev - Sunnyvale, CA Edgar Gomez San Pedro Cholula, Mexico Ryan Hale - Harvest, AL Joseph Hart - Salem, VA Rachel Hernandez Abrego Wausau, WI Christine Hilbert - Alexandria, VA Claudia Hu - Raritan, NJ Wenqian Hu - Oak Brook, IL Qishan Huang - Macon, GA Xinrong Huang - Yokohama, Japan Fanya Imholz - Oakland, CA Catharine Jackson - Charlotte, NC Benjamin Kellogg - Myrtle Beach, SC Marissa Kerbel - Schwenksville, PA Evan Krieger - Bowie, MD Yu Kureyama - Friendswood, TX David Lai - Beijing, China Imsun Lee - Newnan, GA Lien Hsin Lee - Columbia, MO Charles Li - Martinez, GA Brandon Luccitti - Goodyear, AZ David Mach - Hartselle, AL Niav Maher - Norwell, MA Marissa Mathia - Omaha, NE Gianna Milan - Boca Raton, FL Skyler Miller - Jacksonville, FL Chandler Mitchell Winston Salem, NC James Morris - Elizabeth, NJ Immanuel Mykyta-Chomsky McAllen, TX Joanna Norwood - Camden, SC Greta Pasztor - Brooklyn, OH Joseph Petchauer - Jacksonville, FL Danielle Pfeiffer - Easton, PA Hannah Powell - Laurens, SC Charis Qi - Niantic, CT Wenrui Qu - Denton, TX Olivier Rabu - Toronto, ON Canada Kate Ragan - Greenwood Village, CO Stephanie Rifkin - Albuquerque, NM Charles Roberts - Winchester, VA Emma Saba - Charlotte, NC Molly Sanford - South Lyon, MI Megan Slay - Richmond, VA William Smith - Augusta, GA

Conor Smyth-Small Belfast, United Kingdom Joseph Snipes - Carrollton, GA Rebecah Storms - Wytheville, VA Christopher Tavernier Hendersonville, NC Emily Taylor - Jacksonville, FL Simon Thomas - Cedartown, GA Andrea Tinajero San Andres Cholula, Mexico Lela Udry - Dubuque, IA Boris Uzunov - Sofia, Bulgaria Faith Van Ryckeghem - Franklin, TN Nita Vemuri - Conroe, TX Eben Wagenstroom Elsies River, South Africa Daniel Wang Palm Beach Gardens, FL Liuxi Wang - Beijing, China Moqi Wang - Beijing, China Kelsey Watts - Lenoir, NC Ariel Workeneh - Houston, TX Christopher Wright - Conway, SC Yifei Xu - Tianjin, China Seung Hyun Yoo Gumi, Republic of Korea Yiran Zhao - Beijing, China Qiwen Zheng - Terre Haute, IN Melody Zhuo - Chapel Hill, NC

COLLABORATIVE PIANO

Hannah Bossner - Sterling Heights, MI Gongming Jiang - Shanghai, China Thomas Ryskamp - Byron Center, MI Gabriel Schirn - Tuscon, AZ Grace Spicuzza - Malden, MA

CLASSICAL GUITAR

Chandler Bergen - Cypress, TX Angelica Campbell - Austin, TX Thomas Clippinger - Leesburg, VA Isabella Fincher Colorado Springs, CO Sarah Francis - South Riding, VA Matthew Gillen - Austin, TX Aaron Haas - Los Angeles, CA Mary Kelley - Myrtle Beach, SC Alexander Lew - Austin, TX Catarina Miranda - Edinburg, TX Gema Ornelas - Bay City, TX Rebecca Savage Wood River Junction, RI Riley Smith - Mount Pleasant, MI Arrany Spence - Birmingham, AL Henry Spencer â&#x20AC;&#x201C; Kensington, CA Ciyadh Wells - Murfreesboro, TN

COMPOSITION

Maximus Chan - San Diego, CA Corey Chang - Woodbridge, CT Zachary Gulaboff Davis - Salem, OR Javier Hernandez - San Antonio, TX Sophie Kastner - Rochester, NY Andrew Kosinski - Wall Township, NJ Kyle Lewis - Gainesville, GA Yuyang Li - Shanghai, China Zev Malina - Harrisburg, PA Quinn Mason - Dallas, TX Benjamin Osterhouse - Saint Paul, MN Jeffrey Sabol - New York, NY Hao Shi - Jersey City, NJ Patrick Thompson - Baltimore, MD SiHyun Uhm Seoul, Republic of Korea

OPERA

Esther Atkinson - Rogers, AR Jeremy Ayres Fisher - Malden, MA Scott Ballantine - Brookline, MA Danielle Bavli - New York, NY Kyle Bejnerowicz - Boston, MA Christine Boddicker - Hinsdale, IL Ian Bolden - Knoxville, TN Victor Cardamone - Apollo, PA Bizhou Chang - Brighton, MA Lauren Culpepper - Leander, TX Samuel DeSoto - Shirley, NY Tori Franklin - Knoxville, TN Robert Fridlender - Athens, GA Hannah Friesen - New York, NY Emily Gallagher Cold Spring Harbor, NY Cody Galyon - Atlanta, GA David Gindra - Charlotte, NC Megan Graves - Rochester, NY Lucia Helgren - Homer, NY Caroline Hewitt - Silver Spring, MD Matt Huckaba - Knoxville, TN Miles Jenkins - Morris, AL Luke MacMillan - Tivoli, NY Myah Paden - Columbus, GA Avery Peterman - Acton, MA Samuel Rachmuth Rockville Centre, NY Virginia Reed - New York, NY Andrew Rene - Winston-Salem, NC Hannah Shea - Harrisburg, PA Andrea Tulipana - Greensboro, NC Zizhao Wang - Qingdao, China

HIGH SCHOOL VOICE

Hayley Allen - Greenville, NC Emily Bell - Camden, SC Robert Brown - Vienna, VA Lauren Case - Brentwood, TN Caitlin Chisham - Holts Summit, MO Hope Cruse - St Augustine, FL Abigail Cunningham - Lexington, KY Anna Duong - Madison, MS Sofia Farrell - Harleysville, PA Rachel Fredette - Cary, NC Lena Goldstein - Arnold, MD Abigail Gould - Chappaqua, NY Claire Griffin - Brevard, NC Mirah Johnston - Nottingham, NH Turner Jones - Orangeburg, SC Daniela Landa-Gonzalez San Antonio, TX Christopher Michalak Simpsonville, SC Valarie Miles - Amarillo, TX Elliott Moore - Pasadena, CA Claire O'Shaughnessy Columbus, OH Aileen Park - Syosset, NY Elyse Pilcher - Columbus, OH Sofia Ricciarini - Bronxville, NY Grace Riley - Harrisonville, MO Laura Santamaria West Palm Beach, FL Morgan Small - Highland Park, IL Arwen Taylor - Banner Elk, NC Gwyneth Troyer - Coronado, CA Riley Vagis - Conroe, TX Emilio Vasquez - Manvel, TX Maya Viikinsalo - Trussville, AL Mckayla Williams - Delray Beach, FL

JAZZ INSTITUTE

Joshua Achiron - Sandy Springs, GA Joel Ballard - Savannah, GA Alvin Bao - Cary, NC Emerson Borg - Raleigh, NC Nathan Borton - Lansing, MI Roland Burnot - Mebane, NC Sam Butler - Fairhope, AL Evan Byrd - Raleigh, NC Ian Calhoun - Denton, TX Benjamin Carroll - Jupiter, FL Gabriel Chalick - Naples, FL Benjamin Chase - Henrico, VA Andre Crawford - Fort Lauderdale, FL Joseph Dowdy - Winston-Salem, NC Andrew Duncan - Parker, CO Andrew Esch - Hillsborough, NC Margherita Fava - Lansing, MI Jacob Fleenor - Efland, NC Wyatt Forhan - St. Charles, MO David Galli - Jupiter, FL Ramon Garcia-Martinez Greensboro, NC Erika Hallenbeck - Red Bank, NJ Kathrine Hamann - Interlochen, MI Jay Hammond - Atlanta, GA Leighton Harrell - Raleigh, NC Taylor Hubbard - Raleigh, NC Frantz Innocent - Pompano Beach, FL Malcolm Jackson - Nacogdoches, TX Ahmad Johnson Palm Beach Gardens, FL Charles Jordan - Grand Rapids, MI Neil Krzeski - Arlington Heights, IL Benjamin Lafo - North Port, FL Eric Law - Chapel Hill, NC Andrew Long - Wake Forest, NC Adam Lord - Jupiter, FL Leo Markel - Jupiter, FL Trevor Mather - Muncie, IN Liany Mateo - Jersey City, NJ Grayson Mayne - Ocean Springs, MS Zachary McRary - Boone, NC Clifton Metcalf - Alma, MI Jacob Metcalf - Alma, MI Simon Metzger - Wayne, OH Jonathan Muir-Cotton - Ypsilanti, MI Pablo Muller - Cary, NC John O'Keefe - Kansas City, MO Kevin Oliver - Fairburn, GA Anthony Oro - Palm Springs, FL John Pfeiffer - Raleigh, NC Tyler Quick - Powder Springs, GA Sam Rosselot - Brecksville, OH Altin Sencalar - Lansing, MI Matthew Sietsema - Houghton, MI Jackson Spellman Royal Palm Beach, FL Romel Sims - Cincinnati, OH Adithya Sriram - Cary, NC Mary Steinbrecher North Stonington, CT Jordan Strominger - Jupiter, FL Jonah Sutinen - Jupiter, FL Aidan Taylor - West Palm Beach, FL Jack Trathen - Raleigh, NC Liam Trawick - Raleigh, NC Jonah Trudeau - Austin, TX Scott Wente - Lansing, MI Charles Wesselkamper - Houston, TX Jermaine White - Snellville, GA Miles White - Columbus, OH Joshua Williams - College Park, GA Aaron Wollfolk - Atlanta, GA Kathleen Yedor - Seattle, WA Will Younts - Asheville, NC Jason Zhu - Nashville, TN

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Peaceful. Pampered. Perfect.

Enjoy a luxurious stay near the heart of downtown Brevard. 828-577-0916 â&#x20AC;¢ www.thebromfieldinn.com

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When talent meets inspiration, the results are extraordinary.

Lynn Philharmonia

Offering Bachelor of Music, Master of Music and Professional Performance Certificate programs of study.

Talented students choose Lynn University Conservatory of Music for:

Dean

Jon Robertson

• Our distinguished faculty

Artist Faculty Woodwinds Jeffrey Khaner, flute Joseph Robinson, oboe Jon Manasse, clarinet Eric Van der Veer Varner, bassoon Brass Marc Reese, trumpet Gregory Miller, French horn Dan Satterwhite, trombone Kenneth Amis, tuba Percussion Edward Atkatz Piano Roberta Rust Instrumental Collaborative Piano Lisa Leonard

Strings Elmar Oliveira, violin Carol Cole, violin Guillermo Figueroa, violin Ralph Fielding, viola David Cole, cello Timothy Cobb, double bass

• Specialized and extensive Chamber Music program

Composition Thomas McKinley

• Free-tuition scholarships* for all enrolled students

Lynn Philharmonia Guillermo Figueroa, music director and conductor

Harp Deborah Fleisher

Wind Ensemble Kenneth Amis, music director and conductor

+1 561-237-9001 | lynn.edu/music *Room and board scholarships available Lynn University does not discriminate on the basis of race, color, gender, religion, sexual orientation, national origin, disability, genetic information, age, pregnancy or parenting status, veteran status or retirement status in its activities and programs. In accordance with Title IX of the Education Amendments of 1972, Lynn University does not discriminate on the basis of sex. Inquiries concerning the application of the non-discrimination policy may be directed to the University Compliance Officer/Title IX Coordinator at 3601 N. Military Trail, Boca Raton, FL 33431; via email at titleixcoordinator@lynn.edu; by phone at +1 561-237-7727 or to the U.S. Dept. of Education OCR. Lynn University is accredited by the Southern Association of Colleges and Schools Commission on Colleges to award baccalaureate, master’s and doctoral degrees. Contact the Commission on Colleges at 1866 Southern Lane, Decatur, Georgia 30033-4097 or call +1 404-679-4500 for questions about the accreditation of Lynn University. © 2018 Lynn University

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Bed & Breakfast on Tiffany Hill is the official B&B of Brevard Music Center Tiffany-Hill.com | 828-290-6080 | Vacation@Tiffany-Hill.com

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BMC AWARDS

BREVARD MUSIC CENTER

BMC AWARDS

DISTINGUISHED SERVICE AWARD Betsy and Bill White

Betsy and Bill White’s involvement with Brevard Music Center dates back decades: first as audience members, then as supporters, and ultimately through Bill’s proud service as a member of the Board of Trustees from 2002 until 2012.The Music Center was a key reason the White’s made Brevard their summer home. The White’s interests at home in Charlotte, North Carolina included Myers Park Presbyterian Church, Davidson College, The Salvation Army, The Charlotte Housing Authority, The Good Fellows Club, and Union Presbyterian Seminary, among many others. While Bill brought profound integrity and vibrant leadership to his work on the Board of Brevard Music Center, Betsy’s passion and love for what BMC does for young people, fueled their support. The White’s believed fervently in many facets of BMC’s daily life, lending their support to student scholarship and other key areas. Bill and Betsy were the first to commit to Brevard Music Center's A Challenge Among Friends campaign, kicking off an initiative that now totals $5.4 million to make possible vital campus and building upgrades. With Bill’s passing in January of this year, Betsy continues their legacy of participation and support, visible throughout our 181-acre campus and strongly felt, still, by the thousands of students–past, present, and future–touched by the Whites.

BMC ALUMNI AWARD

Jayce Ogren, BMC Alumnus, 2002-2003 Brevard Music Center honors an exceptional, emerging young conductor as the recipient of the 2018 BMC Alumni Award. With mounting success in both symphonic and operatic repertoire, Jayce Ogren is building a reputation as one of the finest young conductors to emerge from the United States in recent seasons. Artistic Director of the groundbreaking Orchestra 2001 in Philadelphia, Jayce's extensive repertoire ranges from Mozart, Beethoven, Schubert, Mendelssohn, Sibelius, and de Falla, to American masters including Aaron Copland, John Adams, and Frank Zappa, to numerous operas and film scores. Recent career highlights include return engagements at the Colorado Symphony, the National Arts Centre Orchestra in Ottawa, and concerts at the Breckenridge Festival, as well as the Dallas, Indianapolis, and Edmonton Symphonies. Significant 2017/2018 season debuts occurred with the Nashville, Columbus, and Asheville Symphonies, the Louisville Orchestra, the Melbourne Symphony Orchestra and Chorus for Terence Malick’s The Voyage of Time at the Melbourne Festival (Wordless Music project), and the Hong Kong Philharmonic, leading the orchestra with film in Bernstein’s West Side Story. Jayce has also established a notable reputation in contemporary music, having led The Ensemble Intercontemporain in Paris, projects with ICE (International Contemporary Ensemble) at Lincoln Center, at the Wien Modern Festival, and at Columbia University’s Miller Theater; and concerts with the New York Philharmonic’s CONTACT! and BIENNIAL series. He has led all-Stravinsky performances with the New York City Ballet and Basil Twist’s production of The Rite of Spring at Lincoln Center’s White Light Festival. Abroad he has led Robert Carsen's production of My Fair Lady at the Chatelet, and appeared with the BBC Symphony at the Barbican, Deutsches Symphonie Orchester Berlin, the Copenhagen Philharmonic, the RTE Symphony Orchestra in Ireland, the Asturias Symphony, the KwaZulu-Natal Philharmonic in South Africa, and led Le Nozze di Figaro at the Verbier Festival Academy. A native of Washington state, Ogren received his Bachelor's Degree in Composition from St. Olaf College and a Master's Degree in Conducting from the New England Conservatory. With a Fulbright Grant, he completed a postgraduate diploma in orchestral conducting at the Royal College of Music in Stockholm where he studied with the legendary Jorma Panula and spent two summers at the American Academy of Conducting at Aspen. He was appointed by Franz Welser-Möst as Assistant Conductor of the Cleveland Orchestra and Music Director of the Cleveland Youth Orchestra and has led the Cleveland Orchestra in regular season subscription concerts and at The Blossom Festival.

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Western North Carolina MILITARY HISTORY MUSEUM 21 E. Main Street in Brevard (beside the courthouse) Admission is Free

Visit a unique history museum which honors the service and sacrifices of our service men and women. Experience our military history through priceless artifacts, photos, uniforms and personal histories. Tour exhibit rooms dedicated to WWI, WWII, Korean War, Vietnam War and the War on Terror. Open Wednesday through Saturday, 10 AM to 4 PM and Sunday , 1 PM to 4 PM

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At Ardenwoods, retirement living exceeds your expectations by securing your future with financial protection, access to long-term care, endless activities and the opportunity to live happier and healthier, for longer. Visit our welcoming community and you’ll see your bright future here. 2400 Appalachian Blvd. Arden, NC 28704 828-684-7330 ArdenwoodsRetire.com

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Join us for lunch, an early dinner, a late night snack, and a pint! Close regular Dinner Menu at 10pm. Late night menu until closing! Sunday Brunch!

DINE IN OR TAKE OUT

“Let the Music PLay On” great food ~ warm people ~ good times

Renowned oboist Joseph Robinson incubated his love of music and mountains here in Brevard! From camper to faculty member to NY Philharmonic Principal, Joseph Robinson has led a storied life.

Buy his autographed memoir and CD today in the Harmony Gifts shop or at www.oboejoe.net 2018 Summer Institute & Festival

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BREVARD MUSIC CENTER ASSOCIATION

BREVARD MUSIC CENTER The Brevard Music Center Association (BMCA) is a volunteer organization devoted to supporting the Music Center through fundraising and supplemental staff services. Since 1979, BMCA volunteers have donated their time, talent and resources in support of the talented young musicians who attend the Music Center each summer. Working behind the scenes in a wide variety of responsibilities, as well as during concerts and at special events, BMCAâ&#x20AC;&#x2122;s 200+ volunteers support BMC wherever theyâ&#x20AC;&#x2122;re needed, applying themselves with energy and commitment to the Brevard Music Center. Volunteer activities are not limited to the summer music festival season. In fact, some of our committees are active year-round. To learn more about BMCA, or to volunteer, call (828) 862-2124. A friendly volunteer will be happy to help you! These generous volunteers provide countless hours to assist BMC with a multitude of important tasks. Sam Alden Janis Allen Betty Anderson Jill Anderson Ann Arnold Bill Arnold Betsey Baker Mary Baker Jack Baldrige Marilyn Baldrige Cade Baldwin Jennifer Baldwin Lynn Barnett Frank Barrett Dennis Bartt Frank Baumgartner Joy Baumgartner Jackson Benefield Dick Benson Tina Benson Beth Best Chuck Blunt Gail Blunt Rich Bonito Beryl Bradley Elda Brown Barbara Burkhart Carl Burkhart Carol Carrano Dan Carter Jane Carter Toni Casciato Jane Chandler Lucille Chaveas Peter Chaveas Ken Chepenik Leslie Chepenik Jack Christfield Mary Scott Christfield Jo Ann Clemmer Ron Clemmer Bob Cole Karen Cole Troy Collins Penny Colman-Crandal David Crandal Kate Daigle Debra Davis Carole Deddy Jane DeMartini

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Tom DeMartini Elaine Deppe Beth Dierauf Dorne Dietsch Maggie DiRocco Dick Dobrowski Kathy Dobrowski Bonnie Duffner Duff Duffner Sherry Dunlop Nancy Elliott Bill Ester Nancy Ester Anthony Fast Kris Fulmer Barbara Gannon John Gannon Kathy Garofalo Dana Garrett Michael Geremia Shirley Geremia Alice Gibson Mark Gibson Lois Grabowski Joyce Greame Wanda Gregory Allen Haas John Hadacek Kris Hadacek Roberta Hallinen Geri Hambley Joe Hamrick Alan Harms Janet Harms John Harrington Sandy Harrington Anne Harris John Harris Daryl Hausman Bob Hayward Karen Hayward Karen Henegar Patricia Herring Gillian Hillman Lani Houck Rick Houck Greg Hunter Jeanne Hunter Paula Hunter Evey Huntington

Donna Ingram Molly Jenkins Morris Jenkins Bill Johnson Laurie Johnson Kevin Jones Julia Kennerly Patrick Kennerly Bob Keyes Patricia Keyes Mary Douglass Kimble Doug Knapp Wendy Kotowski Leslie Lathrop Laura Ledford Hazel (Lew) Lewis Marilyn Lockhart Rita Lollar Bill Lovejoy Joan Manfre Penny Mann Ruth Marcus Sandy Marcus Buddy Marines Carol Marines Shirley Martin Mark Marvell Madeline Mayor DeLane McAlister Mike McCarthy Ysleta McDonald Jane McKeown Robert McKeown Mike McLain Lee McMinn Bill Medl Carol Miller Marie Miller Kathleen Milligan Robert Milligan Mary Kay Mills Bill Moore Marion Moore Tina Murphy Gordon Neale Fran Newby James Newman Jennifer Newman Jim Null Sue Null

Jim ONeal Sue ONeal Laura Oxman Scott Oxman Joni Pavlik Ray Pavlik Nancy Pellegrini Ronnie Peterman Linda Randall Erick Rasmussen Fran Rasmussen Bill Raspa Donna Raspa Manfred Rehm Kate Reinke Tom Reinke Katinka Remus Rod Remus Carole Repici Joe Resor Kay Reynolds Gypsy Richardson James Robards Bill Robertson Jane Robertson Michel Robertson Jim Robinson Patrice Robinson Michael Rosenthal Nancy Rosenthal Jim Roubion Penny Roubion Joy Ryder Bennie Santistevan Sayre Santonelli Betty Schenfield Christine Schmidt Bob Schmitt Gary Seacat Missy Seacat Michael Sebastian Dorothy Semans Marshall Seymour Lou Shelley Mike Shelley Donna Shreve Stan Shreve Murphy Smith Kay Smithson Martha Snow

Barb Steadman Carolyn Steele Ginny Steiger Ann Strother Michelle Stuckey Susan Sunflower Tom Sweeny Chet Terry Bob Tharpe Linda Thompson Ron Thompson Coral Thorsen Linda Threatte George Tibbetts Aleta Tisdale Judy Tjiattas Marty Tjiattas Keitha Todd Joan Toepfer Susan Toscani Georgiana Ungaro Twighla Voglesong Kay Walker Steve Walker Harriet Walls David Warinner Charlotte Weaver Carol Weinhofer Kim Whelan Tom Whelan Sandra Whitmore Chris Williamson Margo Williamson Marsha Wills Susan Wilson Joyse Witheridge Jude Wolf Herb Wolff Jo Wolff Jean Woods Bev Yeager David Yeager Jean Yount Paul Yount Debbie Yunker Don Ziegler

BMCA BOARD

BMCA Executive Committee President 1st Vice President 2nd Vice President Secretary Past President Board Advisor

Michel Robertson Ginny Steiger Susan Toscani Elaine Deppe Penny Roubion Linda Thompson

Committee Chairs Beautification Communications/ Newsletter Concessions Deliveries Facilities Harmony Gifts Hospitality Membership BMCA Office Ushers Welcome Center / Raffle

Doug Knapp & Sayre Santonelli Mark Marvell & Michel Robertson Susan Toscani & Kris Fulmer Wanda Gregory & Linda Thompson Bob Schmitt Ginny Steiger & Penny Mann Ginny Steiger & Penny Roubion Karen Cole Linda Thompson Mary Scott Christfield Mark Marvell & Linda Randall

BMC-Overture 18.indd 6

BMCA BOARD: Front - Susan Toscani, Linda Thompson, Wanda Gregory, Linda Randall, Penny Mann, Mary Scott Christfield, Michel Robertson, Mark Marvell, Back - Doug Knapp, Sayre Santonelli, Karen Cole, Elaine Deppe, Ginny Steiger Not pictured: Penny Roubion, Kris Fulmer

4/23/18 3:03 PM

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Earn more than a music degree in the foothills of the Rockies. Professional experiences, diverse opportunities for collaboration and dedicated instruction from renowned performers, composers and scholars await you at the University of Colorado Boulder College of Music. Work with leaders in the field to develop your talents and refine your passions as you experience The College of Music Advantage.

Discover whatâ&#x20AC;&#x2122;s here at colorado.edu/music

Brevard Ad-Full Page-2018.indd 168 Overture

Congratulations to CU Boulder faculty teaching at the Brevard Music Festival: Erika Eckert Associate Professor of Viola

4/17/18 9:53 AM

The University of Tennessee School of Musicâ&#x20AC;&#x2122;s tight-knit community fosters a nurturing and transformative environment for you to explore the depths of your potential. Pursue your aspirations with confidence by joining the Volunteer family.

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The show must go on.

Come discover the campus-wide improvements weâ&#x20AC;&#x2122;re making that are sure to make Tryon Estates the premier destination to retire in the Blue Ridge Mountains. Reimagine your future in the foothills. Call about our current offers today.

(888) 847-9149 VisitActs.com/Overture COLUMBUS, NC

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CMU & Brevard Music Center Faculty:

Neal Bernsten

Trumpet, Pittsburgh Symphony Orchestra

WHERE ARTISTRY + INNOVATION SHARE CENTER STAGE music.cmu.edu | Application Deadline: December 1 2018 Summer Institute & Festival

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GIVING OPPORTUNITIES

BREVARD MUSIC CENTER The Brevard Music Center is grateful for the continued financial support of individuals, foundations, and organizations that believe in inspiring and encouraging young people through music. Approximately one half of the revenue needed to operate a successful institute comes through charitable donations from patrons, alumni, and friends.

ANNUAL FUND

The Brevard Music Center Annual Fund is the financial heartbeat of the organization. This Annual Fund provides vital support to every aspect of the Music Center. These gifts address important daily expenses such as faculty salaries, music and instrument rental, facility enhancements, and other expenses associated with keeping BMC healthy both now and in the future.

SCHOLARSHIP PROGRAM

Scholarship support is BMC’s single-greatest need. Currently, approximately $1.3 million is awarded each year to students based on merit and/or demonstrated financial need. Gifts to BMC’s scholarship program help ensure that these young musicians have the opportunity for study at the highest levels of professional development.

THE MAESTRO SOCIETY

Members of the Music Center’s Maestro Society give a contribution of $2,500 or more annually to support our daily life, and make a significant investment in our student education programs. During the summer festival, benefits include invitations to special events, complimentary preferred auditorium level parking, season-long access to The Maestro Society Lounge for entertaining on performance days, and more.

PLANNED GIVING

When you include the Music Center in your estate plans you are investing in future generations of serious musicians. A planned gift can take many forms, including a bequest in a will, charitable gift annuity, charitable remainder trust, charitable lead trust, life insurance, and retirement/IRA gift. Each form of planned giving has unique benefits. As you explore your long-term charitable and financial goals, our Development staff is available to discuss a variety of planned giving options that might be beneficial for both you and the Music Center.

ENDOWMENT

Endowment funds are invested and only the earnings from these investments are expended towards scholarships and other important initiatives. Each year a portion of these earnings are reinvested, ensuring that the fund retains its buying power over time. Endowment gifts strengthen the long-term financial security that is required to ensure high quality educational programs and artistic performances year after year.

SPONSORSHIPS

Becoming a sponsor is one of many ways individuals and businesses can support the Brevard Music Center. The Brevard Music Center offers a wide variety of partnership opportunities. Sponsorships are available for performances, special events, products and services, new artistic initiatives, and more. Sponsors are included in BMC marketing collateral and other media, gain access to a highly desirable demographic group, gain opportunities to entertain clients in BMC’s casually elegant environment, and much more.

OPERATIONAL NEEDS Student Scholarships Room and Board Faculty Salaries Guest Artists and Master Teachers Artistic Leadership Opera Productions Deans and Resident Advisors Facilities and Maintenance

Student Recruitment Staff Salaries Health Services Piano and Large Instrument Rental Music Rental and Purchase Marketing and Advertising Publications and Program Book

(828) 862-2121 • DEVELOPMENT@BREVARDMUSIC.ORG • BREVARDMUSIC.ORG 172 Overture

Tickets, showtimes and more at

Ranked among the best programs in the country, the UNCSA School of Music combines highly personalized instruction from major studio teachers with numerous opportunities to perform in ensembles and productions of all sizes. Weâ&#x20AC;&#x2122;re instrumental in preparing students for the professional world of music.

Itâ&#x20AC;&#x2122;s purpose. Not a pipe dream. uncsa.edu 2018 Summer Institute & Festival

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Exceptional artwork just blocks from Brevard Music Center in the

BREVARD LUMBERYARD ARTS DISTRICT

The Haen Gallery

200 King Street BREVARD 828.883.3268 52 Biltmore Avenue ASHEVILLE 828.254.8577 thehaengallery.com

40+ ARTISTS, 2 LOCATIONS, EXCEPTIONAL ARTWORK

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Marco

Trattoria

STRINGS

University of Wisconsin-Madison MEAD WITTER SCHOOL OF MUSIC

Italian Mediterranean-style Restaurant

WOOD OVEN PIZZA PASTA NIGHTLY SPECIALS HEALTHY SALADS PANINI ESPRESSO EXTENSIVE WINE LIST SPIRITS & BEER OUTDOOR DINING COMMUNAL TABLE LOCAL ART Downtown Brevard • 204 West Main

828.883.4841

www.marcotrattoria.com Join us on Facebook.

Soh-Hyun Park Altino, violin David Perry, violin Suzanne Beia, violin Eugene Purdue, violin Sally Chisholm, viola Parry Karp, cello Uri Vardi, cello David Scholl, double bass The Pro Arte Quartet

music.wisc.edu

Healthy Living Starts Here Local Produce, Meats, Dairy & Specialty Items natural & organic Wide Selection of Organic Food & Products Fresh Cafe Menu Selections • Quality Supplements & Body Care Products 1 Market Street Brevard, NC 28712 foodmattersmarket.com 2018 Summer Institute & Festival

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WHAT YOU

LOVE ABOUT WESTERN NORTH CAROLINA {THE EDUCATION ISSUE}

MOUNTAIN LIVING IN WESTERN NORTH CAROLINA

the Great Amer ican Solar Eclipse m o n d a y, a u g u s t 2 1 2 0 1 7

W H E R E

W I L L

Y O U

Chart a path to total darkness with our ultimate guide to this once-in-a-lifetime celestial event — see page 69

JULY 2012 WNCMAGAZINE.COM

40+ Experiential Ed Programs // Tweetsie Turns 60 // Maestro Keith Lockhart // High Country Flavor Trail

B E ?

TIM ROBISON

DEREK DILUZIO

ILLUSTRATION BY JUDE SHIPLETT

MOUNTAIN LIVING IN WESTERN NORTH CAROLINA

MOUN TAIN LIVING IN WESTE RN NORT H CARO LINA

THE STYLE & DESIGN ISSUE MOUN TAIN LIVING IN WESTE RN NORT H CARO LINA

{ T H E T R AV E L & O U T D O O R S I S S U E }

BEST DRESSED

Meet 5 designers with a dynamic approach to fashion MOUNTAIN LIVING IN WESTERN NORTH CAROLINA MOUNTAIN LIVING IN WESTERN NORTH CAROLINA

Photo Contest! Details on

TREASURE TROVE

page 96

INTO THE DEEP

Discover sublime beauty and adventure in five mountain gorges JULY 2012 WNCMAGAZINE.COM

Plus! FAMILY FUN IN BLOWING ROCK, FREE SUMMER MUSIC FESTS, BILTMORE INDUSTRIES’ CENTENNIAL, THE NC GOLD TRAIL, A DIRTY DANCING REMAKE, AND LIQUIDLOGIC KAYAKS

ONE YEAR

DANNY C LINCH

DEREK DILUZIO

Riding high in the cycling mecca of the South

Plus!

One couple’s modern marvel home, WNC’s garage rock pioneers , Burnsville road-tripping, apple fests, and more

Pro downhill racer Neko Mulally on Flat Laurel Creek Trail near Brevard

DAVID DIETRICH

Spin Zone

Local jewelers share their latest and greatest creations

with Steve Martin and the Steep Canyon Rangers

JULY 2012 WNCMA GAZINE .COM

$19.95 $14.95

WNC magazine captures the best of the region in each issue. From interesting people, gorgeous homes, and arts and entertainment to history, backroad adventures, and delicious dining, WNC celebrates mountain living in Western North Carolina. SUBSCRIBE ONLINE AT WNCMAGAZINE.COM OR CALL (877) 333-4962 AND USE CODE BMC18

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Sushi & Thai Restaurant

Worship the Lord in the Beauty of His Holiness

I Chronicles 16:29b

d u l c e t Music d e l i c i o u s Food d e l i g h t f u l Life

Call 828.883.9808 For Reservation 91 Forest Gate Drive, Hwy280 (5 miles from Music Ctr. next to Wal-Mart)

W W W . S O R A S U S H I N C . C O M

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St. Patrickâ&#x20AC;&#x2122;s Anglican Church The Rev. Nicholas Henderson, Vicar

Sundays

Bible Study 9:30 Holy Communion 10:30 With Hymns BCP 1928

Wednesdays Said Eucharist 12:15-12:45

828-687-0115 Hollingsworth Bldg. Suite 102 www.stpatricksbrevard.org 147 E. Main Street

ANNUAL FUND CONTRIBUTORS

ANNUAL FUND CONTRIBUTORS Brevard Music Center is grateful to our generous supporters. The friends listed below have given contributions to our Annual Fund that provide a full third of the financial support needed to educate our students this season. We thank all of the individuals, foundations, businesses, and other organizations who help make the Brevard Music Center available to so many gifted and dedicated students. A list of commitments of $1,000 or more to our current A Challenge Among Friends initiative can be found on page 17. The following represents gifts received from May 1, 2017 through April 30, 2018. FOUNDER'S CIRCLE ($100,000+) Jacquelyn and Bruce Rogow Elisha and Jeffrey Zander

CHAIRMAN'S CIRCLE ($25,000+) Arison Arts Foundation Betsy and Thomas Bolton George Cecil Estate of Anne N. Collings Estate of Edith Howson Yvonne and Charles Goldsmith The Estate of Viva Lee and George S. Handler Dr. Falls L. Harris Mariam and Robert Hayes Charitable Trust Anne and Walter Hoeppner North Carolina Arts Council Mary and Charles D. Owen, Jr. Drs. Tom and Joanne Parker Dr. William J. Pendergrast Platt Architecture P.A. Emily and Bill Searcy Charitable Trust Bill • and Betsy White

ARTISTIC DIRECTOR'S CIRCLE ($15,000+) T. Kenneth Cribb Jr. Preston and Dennis M. Davitt Sandy and Bernie Fox Helen C. Gift Nancy Hicks Laurie and Douglas Ombres The Payne Fund Mary Stair and George Peery Perkins Charitable Foundation Suzanne and Michael Rose The Robinson-Hill Humanitarian Fund Carole and Arthur Schreiber Katie Loeb‑Schwab and Mark Schwab

PRESIDENT'S CIRCLE ($10,000+) Joan and Bruce Berryhill Moore-Blanchard Funerals & Cremations, and Cathleen Blanchard Kristine and John Candler George E. Coleman Jr. Foundation William R. Hackney III Carlene Jerome Patti and Phillip Jerome Linda and Warren Johnson Barbara and John Lawless Cheryl and Philip Leone Ruby Morgan and Douglas MacDonald Jack and Debera Millstein National Endowment for the Arts Inez and Bob Parsell

The Florence Mauboules Charitable Trust RBC Wealth Management Valeria and James Robertson Liz and Rusty Saylor Katie Loeb‑Schwab and Mark Schwab Skyland Automotive The Harold W. McGraw Family Foundation, Inc. Nancy Crow Trentini Joella Utley Harriet and Ken Walls Patricia R. Webb Wells Fargo Foundation Dr. Charles and Teena Ellen Weiss

COMPOSER'S CIRCLE ($5,000+) The AAM and JSS Charitable Fund Kristen and William T. Alpert Maurine Bagwell Sally and Doug Bailey Elizabeth and Bruce Baker Jane and Ed Bavaria The Beattie Foundation Bold Rock Hard Cider BP Solutions City of Brevard Broad Street Wines Malcolm and Patricia Brown CarePartners Foundation Laura St. Clair and George J. D’Angelo The Chattooga Club Claudia and Henry Colvin Conrad & Scherer, LLP Sally Cook Martha and Walter Coursey David J. Cooper Family Dermatology Associates, P.A. Eugenia and Robert Dowdeswell Mimi and Peter Elder Ruth Falck A.S. Fendler Family Foundation Dr. and Mrs. William J. Fogle III Julia Fosson and Sharon Ritchey Carl and Sally Gable Betsy O. Barefoot and John N. Gardner Ann and Gordon Getty Foundation Jo‑Ann M. Grimes Gail and William Hagler Susan Harrington Butts and Timothy Butts Sandy and John Harrington Kara and Mark Harrison Sandi and Peter Heckman Martha R. Ingram KillerBeesHoney.com Edward C. Mann Martha Washington Straus and Harry H. Straus Foundation E. T. McLean Anne A. Meyers Diane M.T. North, Ph.D.

James Northey Helen and Walt Peery SharonAnn and Robert Philip Donna Reyburn and Michael Griffith Linda and John Sarpy Conrad and Scherer Attorneys at Law Stephen Sosin and James Pegolotti Paulette Stewart‑Johnson Maggi and Rick Swanson Brenda S. Templeton and Dwight L. Guy Melba and Mike Tracy Transylvania County Government Tryon Estates Ann Wallace and Bill Nichols Cecily and Robert Wells Sybil and James Wells Jan and Beattie Wood Diana G. Wortham WTN Jill Zimerman

VIRTUOSO ($2,500+) 35 Degrees North Landscape Services Katharine and Blan Aldridge Donna and Dave Bailey Sandra and John W. Barnett, Jr. Audrey and Robert Bayer Mary and Terrell Bebout Bed and Breakfast on Tiffany Hill Claire and Joe Blake Annette Blum and James May Paula and David Bonner Peg and Dan Bresnahan Candy and Malcolm Burgess Mary and James Burt The Dan Cameron Family Foundation Dan and Jane Carter Gerri and Marshall Casse Jane and William Chandler Beth Ann and Chris Chiles Wesley and Gayle Colby The Perry N. Rudnick Endowment of the Community Foundation of Henderson County Stephen C. Cooper Binky Curwen Joan Davis Richard W. Dowdeswell Else Drusts Chuck and Edie Dunn Patsy and John Dupre Wes and Sandra Eastman Beverly L. Edgell Nate and Sugie Einstein Jane and Ed Eudy Margo Evans Dr. J. Murray and Jerusha Barnum Fadial Elke and George Fetterolf Food Matters Market and Cafe

Norma Fraser and R. Bradford Devine Dr. and Mrs. Ken Graff Irene and James Granger Meredith and B. Kelly Graves Sandra and Jack Halsey Elaine Harbilas Shirley Hallblade and Dave McClellan Mimi and Hugh Haston Sue and Doug Henderson Jean and Bill Holmes George W. Howell Lynn and Donald Hupe Susan and Doug Kish Ann Ives Whitfield Jack Randy Jackson Rosemary and Rick Johnston Paul Komar and Teri Goodall‑Komar Alice Keith Pfohl Knowles Danette and Patrick Lane Leslie A. Lathrop Robert S. Lawrence and Sue Rossman Elizabeth Lemon Judy and Jim Lipham Lynda and Ronald Lipham Emiley and Keith Lockhart Mr. and Mrs. G. William Lohr, Jr. Rebecca and Lawrence Lohr Marco Trattoria Dr. and Mrs. John Matheson Mary Ann and Robert McGarry Mary Lou and Mac McJunkin Jennifer H. Merrell Billie and Roy Messer Karen and Gerald Migliaccio Joseph Mihelick and Jerilyn Schaller Sally and James Morgens Sally and James Morgens/Morgens West Foundation Margaret and Augustus Napier Ladene and Russell Newton Julian J. Nussbaum, M.D. and Stephanie Goei, M.D. Oskar Blues Brewery Steve Owen and Associates Reed and Jack Parker Peace Center Bob and Martha Pierce Mr. and Mrs. Erwin Prietz Joel Reynolds in honor of Ken Lam Leah Rosenheck and Joe Labrador Michel and Bill Robertson Dianne and Charles Russ Michelle and Robby Russell Susan H. and David A. Schoenholz Marjorie D. Severance Phil and Lynne Seymour Marshall L. Seymour Alice A. Smyth

• Deceased

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ANNUAL FUND CONTRIBUTORS

BREVARD MUSIC CENTER The GE Foundation Linda and Ron Thompson Deborah and George Tibbetts Morrison Torrey and David Hirschman Anne and John Vance Rev. and Mrs. William H. Walker, Jr. Walnut Cove Members Association Anita and Harold Watsky Mark Weinstein and Susanne Marsee Jaynie and Stanley Whitcomb Bob and Elaine Wilkerson Rose Wimsatt and Peter Reilly Joan Yarbrough

PRINCIPAL ($1,000+) Susan and Robert J. Ableidinger Ione M. Allen Music Scholarship Luanne Allgood Catty and Michael Andry John and Linda Austin Elizabeth Bates and Roy Penchansky Susan and Michael Becker Ruth and Ron Billings Doris Anne Bradley Donna and Larry Bradner Judy and Gary Breissinger Alyce and Rusell Butner Bena and George Cates Lucille and Peter Chaveas Gloria Chord Christine and David Cofrin Control Technologies Gwin and Robert Dalton Control Technologies/Michael Day Floride Smith Dean Charitable Trust Mary and Jan Dryselius Connie and Chuck Edmands ExxonMobil Foundation Carver Farrar First Citizens Bank ‑ Brevard Kristine Fulmer Patty and Paul Gaeto Dr. Dianna Gaultney George and Elaine Goosmann Dr. Gary and Mrs. Betty Greer Janet and Richard Grey Debra and Allen Haas Bill and Geri Hambley Harris Ace Hardware HI Foundation Hillary and William Hickman Judith M. Hodge Gayle and Ronald Hoverson Dr. Evelyn Spache Huntington Shelley Hyde Joya Iannicelli Ann and Robert Irelan Barbara M. and Edward C. Jarosz Mr. William Johnson and Dr. Sally C. Johnson Dr. and Mrs. Malcolm E. Kendall Gail and Ken Kinard Shirley and Richard Knight Margareta and Al Koch Dr. Barbara Kolack Marietta and Walter Lacyk Lynn and Jeffrey Lang Betty and Felix Laughlin Carolyn R. Lawton Alison D. Lee Elizabeth Rivers Lewine Florentine Liegerot and Charles Gerard Irene and Richard Lindgren Retha and Ross Lynch Suzanne and Norman Macoy

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Anne Maliff Amy McCarter Judith and George McCleary Patricia and Noel McDevitt Roberta and Jeff McKeever Robert and Jane McKeown Craig Davis and Harriet McMaster Carol and Ronald Medinger Marcia Millar Richard D. Murphy National Federation of Music Clubs Southeastern Region Deborah Nethery Jewel and Shane Nichols Rachel and Bryan O’Neill Roman L. Patrick, MD Pisgah Forest Rotary Club Marilyn and Anton Plonner Karen and Ted Ramsaur Linda Randall and Lee McMinn Anna Rentz Vivian and Ron Rogers Richard Dale Murphy and Jean W. Ross Dorothy Semans Beverly and Walter Seinsheimer Nancy Senneff Lori C. Shook Holly Shulman and John Stagg Sigma Alpha Iota Philanthropies, Inc. Caroline E. Smith Elizabeth and Charles Smith Lowell Smith Lois D. Smith‑Capasso Susan and Herbert Spaugh Nancy and William• Stanback Willie M. and Rosa Stanfield Aleen Steinberg Martine C. Stolk Anne J. Stoutamire Daniel G. Stroud Jim and Caroline Sullivan Christine Tryba‑Cofrin Nenon M. Ujiki Georgiana and James Ungaro Sarah L. Van Gunten Andy and Diana Watson Carol and Harry Weinhofer Beverly and Keith Wells Dr. and Mrs. Stephen Wiener Williams Diversity & Community Relations Constance and Miller Williams Timothy Williams

ENSEMBLE MEMBER ($750+) Ruth Anderson Carol and Phillip Attridge Emily and Brian Beals Janice and Joseph Boyd Margaret E. Bridges Virginia Browning Barbara and Larry Catuzzi Leslie and Kenneth Chepenik Bob and Karen Cole Margaret and Russ Dancy Davidson College Robin and Jerry Fishman Elaine T. Freeman Nancy and Gary Gilchrist Rita and Edward Isbey Morris and Molly Jenkins Mr. and Mrs. Stewart H. Johnson Margaret MacCary and Syndey Swager Linda and William Mashburn Marie and Raymond Miller

Kathy and Dave Perrett Veronica and Eugene Peterman Nancy and Bascom Plummer Karole Springsteen and Thomas Prefore Karen Rosenbaum and Clay Edwards Enid and Louis Rogow Turner and Debbie Rouse Susan D. Toscani Richie Wilkinson and John Bologni

SOLOIST ($500+) Judith and Allain Andry Russell Arakaki Linda and Bill Bath Kathleen Bellizio Joan Berk Penny and Paul Betters Merritt S. Bond Mary Bostick and Loren Huber Susie and Mark Brody Leslie and Chip Brown Nancy and Donald Buebendorf Dr. and Mrs. John Caldemeyer Carolyn Foundation Carolyn and Bernard Caserta Edith Cecil Dr. James Chambliss and Dr. Elizabeth La Voo Jill B. and Daniel T. Ciporin Daniel E. Clouse Gay and David Cogburn Ann and Steven Cohen Terry and Max Dajnowicz Kathy and George E. Dambach Susan and Rick Dent Elaine Turner Deppe Thomas Eglinton Carol and Sid Elliott Stephanie English and Scotty Wood Valerie and Brian Fitzgerald Ardell M. and Craig W. Fox Nancy and Todd Fredin Peter Fricke Dennis Frisch Carol and Allan Gerson Patty Gomez and Lirio Angelosante Ann Grant Bernard Groseclose and Elizabeth Mason Roger and Marianna Habisreutinger Fern and Richard Hartnig Patricia Hawkins and Fred Petersen Simine and Arthur Heise Neill Hirst Janice and Brian Hitch Rena and Stephen Hoffman Hardy Holland and John Moody Philip Holtje Susan and Carter Hopkins Holly and Keith Housman Gayle and Ron Hoverson Nancy and Joe Hunter Kathy and Jesse Jones Kay and Alvin Keith Linda Kieffer Lynn and Larry Klein Dr. and Mrs. Richard N. Knowles Terri Kuczynski Rebecca and Arthur Lebowitz Sharon and Mark Lemelman Elaine and Jon Levine Judge and Mrs. Robert L. Lobrano Marilyn J. Lockhart Debbie and Albert Loeb

Gary and Janice Marine Paula and Fred Markert Patricia and James Martin Paula and Ron Mature Pat and Martin McConnell Susan and Chris Mehiel Ben Meyer Virginia and Henning Meyn National Federation of Music Clubs Mr. and Mrs. Jonathan Nelson, for Congregation Beth Jacob Jennifer and James Newman Lisa and Jeffery Owen Lynne and Tom Penn Patricia Hawkins and Fred Petersen Kirsten and John Peterson Jim and Pat Petillo Christina and Dung Phan Mary Ada and Gary Poole Brenda and Richard Raab Patrick Reily Rod and Katinka Remus Joseph T. Resor Eileen and Calvin Reynolds Judith H. Roberts Jane G. Robertson Elizabeth Rodney Colleen Rose Penny and Jim Roubion Susan and John Ruhl Gloria and James Sanders Janie and Robert Sargent Claire and Hal Schmidt G. Thomas Seeley Margaret Shanley Helena and David Shuford Theo V. Sitton Ann and Skip Skoglund Travis E. Smith Mary Ann and John Tiano Don and Barbara Turner Carolyn J. Van Ness Phyliss Ward Michael Weizman Diane and Howard Williams Richie Wilkinson and John Bologni Anne and Fred Woodworth Dennis Wrenn Marie and Dennis Wright Anne and Chad Zimmerman

ORCHESTRA MEMBER ($300+) Lynn and Ken Adams Ruth Alexander Ms. Yvonne Arbuckle Sherri and Glenn Austin Marilyn and Jack Baldrige Harriet and William Ball Kathryn A. Banks Ms. Nancy Beale Mr. and Mrs. Boyd C. Black Martha and Clarke Blackman Randolph Blake Margaret W. Boggs Carolyn and Edward Brann David Brooks Lisa Broward Arlene Brummer Ramona and James Bryan Anne and Nathan Burkhardt Barbara S. and Carl Burkhart Linda and Charles Butz Susan Byron • Deceased

ANNUAL FUND CONTRIBUTORS

ANNUAL FUND CONTRIBUTORS Dale Carter Janet and Randy Catlin Russell N. Chappell Jr. Chloe and William Coger Frederick Cohn John Cooledge Marianne Cote Betsy and Tom Darnall Judith Dewar F. D. Eckelmann Betty and Robert Edge Bettie and Van Edwards Angelina and Henri Eschauzier Mary Kathryn Fisher Carol Ann and John Forsythe Judith and George Frey Mr. James E. Gallagher, Jr. Kathleen and Lawrence Garofalo Nancy Gaskin Toby and Warren Gewant Charlotte and Charles Gilmore Laurence Glazener Laurence Goodman Caroline and Angus Graham Fred and Nancy Granros Kathleen and Burton Harris Jan and Doug Hart Valencia Hebert Vicki and John Held Carter Heyward Marie Hyder Rachel Ivie Jackie and Bill Kalbas William J. Kellam Constance Kent William C. Knochel Michael D. Kuhne Debra and David Lachter Mariano and June LaVia Ms. Laura A. Ledford Rebecca and Dudley Lehman Page and Mark Lemel Diana and Tom Lewis Jackie and Don Linn Bill Lovejoy Susan M. and Lloyd Maliner‑Colvin Ms. Pennny L. Mann Billi and Bernard Marcus Mary Alice and Jack McBrayer John McCarty Pat and Fred McGarrahan Tim and Sharon Mendelsohn Mr. Alan Mercaldo Catherine and Henry Mills Hanne and Glenn B. Miska Richard and Maureen Mitchell Diana Mondo Gary Morgan Mu Phi Epsilon Foundation Don and Sarah Lee Myracle Nannelle P. Burt Charitable Remainder Unitrust Joseph M. Narsavage Peggy and Robert Neal Julie Pangelinan Mr. Ira Pearce and Dr. Mary B. Pearce Nancy Averill and Dr. David N. Pfohl Teed and Sadler Poe Gratia and David Pratt Judith Reid Nancy Richards Isabel Richardson Deb Richter Lindsay Robertson Lucy and Bob Rodes

Author Anne Sanders Ronald Schleich Minor and Harold Shaw Jane and George Silver Claire and Richard Skerrett Boone M. Smith Brita M. Smith and William T. Harper Deborah Snyder Marian Spraque Lisa Springer Esther and Gordon Start Virginia Steiger Ann P. Strother Michael Svaldi Kathleen Toth Tucker Triolo Will and Dorothy Trotter Mr. and Mrs. R.A. Vanmeter Carol Walker The Walkers Don Weidemann Terry White and Stephen Dickens Monica and Bruce Williams Ed and Mary Lou Wilson Beverly and G. David Yeager Mary and Roy York Dr. Noel and Roxanne Zusmer

CURTAIN RAISER ($125+) Marie Adamcewicz Carolyn Adams Mary and Craig Adams Thomas Adams Charlotte Albright Linda Albright Ruth A. Allen and Elijah Alper Judith and Robert Andersen Mr. Daniel Angerstein AON Foundation Matching Gifts Program Dan and Eleanor Armstrong Wylie Babb Mr. and Mrs. W. D. Bain, Jr. Linda Bair Evan Baker Gerry and Jan Barbour Jenniann Barile Henry Barton Jane Bell Elizabeth C. Best Robert Bishop James H. Black and David Bloom Carl Blozan Laurie and Barry Bodie Ms. Barbara Bolt and Ms. Karen Clarke Phillip Bray Martha and Edwin Bridges Donna and Richard Brown Dr. and Mrs. Stephen Brown Tom and Donna Brumfield Leonard Bruno Ronald Bryson Elizabeth Buie Carole and Frederick Burgett June I. Burton Frank Byrd Jeanne and Thomas Byrne Elizabeth and Walter Cantrell Cantey and Bill Carpenter Carol and John Carrano Ruth and Philip Carson Alexander Cash Michael Cassidy Fred Childers Jo Ann and Ronald Clemmer

Susan Collins Sam Conviser Mr. and Mrs. Bernard Y. Conyers, Sr. Joanna and Robert R. Corradini Ms. Elinor Cotts Linda and Joseph Cowart Eleanor M. Cox Sam and Elizabeth Cozart Elizabeth and Frank Creech Henrietta and Alvin Cuttler Mary R. Davidson Josephine and Robert Davidson Frank Dennis Michael Dibbert Marilyn and Leland Dill Sandra and Lyman Dillon Magdalena and Michael DiRocco Lori Doerr Duke Energy Foundation Eaton Matching Gift Program Elizabeth and Robert Edgerton Mary Ellen Edmonds Michael Engel Robert Ennis Jeanette and George Erdman Hope and Hector Estepan Kelly and Steve Feinerman Barbara L. Felt and Henry Felt Mr. John H. Field Glenn A. Fleming Sharyn and Tad Fogel Robert Folger Elizabeth and John Gardner Katharine Gilliam Norman Glick Anita Goldschmidt Ms. Laura Gossage and Mr. Keith Dragt George Goyette Robert Green Wanda and Jack Gregory Barbara and Rudy Griffin Joseph Hagerty Rosa Lee Harden Lynn S. Harding Nasera Hassan Linda and Jim Hawkins Karen and Robert Hayward Gretchen and Jonathan Heinrich Carol and John Helbling Jennifer Henley Laura Herring Thomas and Susan Higerd Robert O. High Charlotte Hisey Sally and William Hoffmann Jane Hollen Robin Hoofnagle

Katherine and Carey Horne Nancy Houha David Hunter Stanley Ingber Paula and Warren Jackson Lucia and Edgar Jaycocks Kenneth M. Jenson Mary Johnson Roger Johnson Donna Johnston and Charles Stohr Susan Johnston John and Tracee Johnson Libby and Roger Jones Jerry Jones Michelle W. Jones Suzanne and Henry Judy Mrs. Willa Kalman Joe Karpicus Rachel and Christopher Keeney Leslie and Jerome Keir Ken Kinard Carrie and Michael Kirby Kathryn and Luke Kitahata Richard Kleinmann and Nancy Foltz Deborah Kloos Dorothy L. Knowles Mr. and Mrs. E. William Kobernusz Ken and Lin Kolb Janet Kovach Michaela and Peter Krieger Carol B. Krusch Eugene P. Kueny Dr. Albert Kunze Rita E. Landrum Sheila Langdon Marguerite Lasater Sadie R. Laufer John R. Lauritsen Khoi M. Le Jennifer Leopold Steven Lerner Howard Levine Arina Lim Joanne Lincoln Jeanie Linders Rita and Alan Lollar Cathie and Walter Long Linda and Timothy Looney Richard Lorenz Ruthanne M. Lucius Elsa M. Ludewig‑Verderber Mr. John C. Luzena Joan and Allen Manfre Elena Mansour Bonnie Marshall Alan J. Martin • Deceased

"BMC brings together incredible teachers, performers, and composers from all over the world; the opportunities for growth and collaboration are unparalleled!" –PATRICK, COMPOSITION, EASTMAN (WI), BMC ALUMNUS

2018 Summer Institute & Festival

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THE PETRIE SCHOOL OF MUSIC

Creativity That Works More than 100 years of making great careers in music! Bachelor of Music Degrees • Music Education • Music Performance • Music Therapy • Composition Bachelor of Musical Arts • Contemporary Music (Media Applications) Bachelor of Arts in Music • Accomodates double majors Certificate Programs • Performance • Music Business • Arts Cognition CO-ED Master of Music Degrees: • Music Education

Learn more! converse.edu/PetrieSchool 182 Overture

LIFETIME GIVING SOCIETY

ANNUAL FUND CONTRIBUTORS

ANNUAL FUND CONTRIBUTORS AND LIFETIME GIVING SOCIETY Hal and Nancy Martin Nancy and George Martin Jane and Bill Mason Tony Mazurkiewicz Susan and Roger McCann John McCloskey Carol and Hugh McCollum Lauren McCullough John F. McGoldrick J. Samuel McKnight Carol Meador Eleanor Mercer Vernon and Edna Ruth Miller Kathleen and Robert Milligan Harry M. Mims William S. Mitchell Mr. and Mrs. Jerome Mittelberg Charles Moore Sara Helen Moore Rosalie and Neil Morris Phyllis Nesbitt Virginia and Carl Newman Dorothy Newton Paul Kueny and Don Niehus Jerome Norton Nancy and William Norton Suzanne and James Null Susan O’Neal Tom and Carole Oosting Dr. John O'Shea and Ms. Clara Mont‑Claire O'Shea Robert Overstreet

Marie G. Park Ann and Jackson Parkhurst Jeff Parks Donald Patrick Brian Payne Mary Ellen and Jeff Pendergrast Enrique Pineda Grace and Cecil Pless Ginger Plexico Bonnie Plyler Dilshad and Jason Posnock Gratia and David Pratt Katherine Price Barbara and Stanley Price Kate and Tom Reinke Kerry Richards Robert Richardson Halina Rivais Laura Robbins Don M. Roberts Alan and Patty Roman Arlene Roman Lorraine Rourke Virginia and H. L. Rush Suzanne Sanger Bennie M. Santistevan Robert A. and Louise Schmidt Barbara and William Schmitt Jeannette and Robert Schmitt Lorraine and John Rourke Paula Schubert Gerald Schultz

Carol M. Sedgwick Rabbi Howard and Eileen Shapiro Melinda J. Sharrit Jane and Walter Sheffield Shell Oil Company Foundation Lou and Michael Shelley Dr. Arthur F. and Madlynn S. Shinn Mary Lou Shoemaker Neal Sigmon Robert Sihler Julie Sincore Mary and Stanley Smits Amy Snively George Speed Bob and Jeanne Speight Judy and Paul Spencer Ms. Carolyn Steele Linda J. and Lowell Steinfeld Suzanne Stevens Michael Stewart Irene and Michael Stoll Marcia and Robert Stoner Steven Stroud Zee and Marshall Stuart Sylvan Sport Phil and Joan Szczepanski Carole and Frank Taylor J. Tempelaar Nancy and Jim Thompson Mr. Waddy Thompson and Mr. Charles Cosler Tom Tiller

Roger Hill Timpson Ed Tipton Mary Nell Todd Susan and James Toms John Tracy Susan and Peter Trapp Leon Vancini Harriett and John Vanderschaaf Walter Verderber Helen and Harold Voris George Wagner and George Hellyer Christine and Stephen Walker James McKendree Wall Mary Claire and Dan Wall Mary Eleanor Wall Susan R. Walley Joy and Benjamin Warren Ms. Ruth Anne Weisenauer Terrell Weitman Patrick Whaley Helen Whitley Ron and Kathie Whittemore Roy Williams Sandra R. Winecoff Leslie and Ronald Wingard James Wirths Debby and Bill Wolcott Diane and Aubrey Woodard C. Roy Woodruff Mr. Bobby Yount • Deceased

The Lifetime Giving Society honors the following individuals and organizations making cumulative contributions of $100,000 * or more to further the educational and cultural programs of the Brevard Music Center.

$1,000,000 +

Brevard Music Center Association North Carolina Arts Council Dr. William J. Pendergrast, Sr. Jacquelyn and Bruce Rogow The Estate of Elwood P. Safron Betty A. Scott • Mrs. J. Douglas Sykes, Jr. • J. Mason Wallace, Jr. Irrevocable Trust

$750,000 +

John S. Candler Josie Renzulli • Joella Utley Jan and Beattie Wood

$500,000 +

The Estate of William G. Boggs Emily and Doug Booth The Estate of William and Nannelle Burt Mrs. William I. Burt • Nannelle P. Burt Charitable Remainder Trust The Cannon Foundation The Champion Hills Community Frederick B. Dent Mariam and Robert Hayes Charitable Trust Ruby Morgan and Douglas MacDonald Barbara • and Elwood • Safron Mrs. Emily Searcy •

Emily and Bill Searcy Charitable Trust Surdna Foundation Nelly and Kurt Zimmerli

$250,000 +

Citizens Telephone Company T. Kenneth Cribb, Jr. Estate of Richard H. Cushman Mary Helen • and James Dalton Gwin and Robert Dalton Esther H. Dobbins • Dr. J. Murray and Jerusha Barnum Fadial The Estate of Mrs. Billie W. Gontrum William R. Hackney III Gail and William Hagler Falls L. Harris Robert N. Hill III • Vivian S. Hoeppner • The Janirve Foundation Barbara and John Lawless Frances J. Munk • SharonAnn and Robert Philip The Rauch Foundation Charles E. Schooley • Nancy Crow Trentini Bill • and Betsy White Lynn P. Williams Elisha and Jeffrey Zander

$100,000 +

Ione M. Allen Music Scholarship Martha Andrews •

Sally and Doug Bailey Mr. and Mrs. W.D. Bain, Jr. The Barnet Foundation Trust Margery • and Charles • Barnum Nancy Glass and John Belmont Joan and Bruce Berryhill George S. Betsill • Joseph Blake • The Estate of William G. Boggs, Jr. Patricia and Malcolm Brown The Chattooga Club The Estate of Anne N. Collings Mary C. Conner Revocable Trust Eugenia and Robert Dowdeswell Duke Energy Foundation Mimi and Peter Elder The Estate of Lois Maxine Gibbs The Estate of Patricia K. Gibson First Citizens Bank - Brevard AJ Fletcher Foundation Marilyn and Larry Fogdall Betsy O. Barefoot and John N. Gardner The Ann and Gordon Getty Foundation Helen C. Gift Yvonne and Charles Goldsmith The Estate of Helen C. Hanes Tracy and Tom Hannah Mary Adelaide Hester Nancy Hicks Intercollegiate Studies Institute Anne Irwin Don M. Jenkins • Carlene Jerome Ewing M. Kauffman Foundation

Mr. and Mrs. William G. Lohr, Jr. Audrey Love Charitable Foundation The Estate of Ruth H. Meinecke Ladene and Russell Newton Laureen and Douglas Ombres The Payne Fund Platt Architecture, PA Valeria and James Robertson John and Linda Sarpy Fund Carole and Arthur Schreiber The Estate of Mary K. Scott Eleanor and Bert Schweigaard-Olsen The Estate of Marjorie Smiley Mrs. A. Robert Soehner • South Carolina Federation of Music Clubs Spartanburg County Foundation Dorothy Richard Starling Foundation Martha Washington Straus and Harry H. Straus Foundation Lynda and Carl Sykes Loretha and Paul • Thiele Harriet and Ken Walls Kate and Mitchell Watson Patricia R. Webb Sue Williams The Zimmerli Foundation, Inc *as of April 30, 2018 • Deceased

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outoftheshadowsgalleries.com

info@outoftheshadowsgalleries.com

At the PEABODY CONSERVATORY, we are a community of artists â&#x20AC;&#x201D; cultivating excellence, embracing new ideas, and committed to the future of music in our world.

peabody.jhu.edu/brevard 667-208-6600

Ken Lam was the winner of the Johns Hopkins University Alumni Associationâ&#x20AC;&#x2122;s Global Achievement award.

Peabody alumni and faculty at Brevard this summer include: Tim Green, jazz saxophonist Donna Lee, piano Ken Lam, conducting Maggie Snyder, viola

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ENCORE SOCIETY

YOUR LEGACY...OUR FUTURE: JOIN THE ENCORE SOCIETY TODAY! Now more than 80 years since our founding, Brevard Music Center is stronger because of the thousands of patrons, parents, faculty, contributors, volunteers, alumni, and others–just like you–who support our students each year with charitable gifts to our Annual Fund. Annual Fund giving allows us to preserve the excellence of the Music Center's programs; help maintain, restore, and construct facilities; provide necessary scholarship to students; and establish a financial safety net for our long term security. In addition to that ongoing partnership is the forethought of those who also choose to ensure BMC's future by remembering us in their estate plans. By establishing a planned gift today, the students who benefit from your generosity can personally give you thanks every day. There are many ways to give a planned gift. They come in all sizes and many different forms. We are happy to work with you and your financial advisors to explore the possibilities that exist to suit your specific interests and charitable objectives. The result can have tremendous tax benefits to you and your family, while helping the students at the Music Center in a very meaningful way. To learn more, call us at (828) 862-2121 and speak with Dave Perrett, Director of Development.

ENCORE SOCIETY

If you have already included the Music Center in your plans, please let us know so that we may thank you and invite you to join our friends below in our Encore Society.

The Encore Society proudly recognizes and thanks these individuals who have expressed their commitment to helping ensure our future by remembering the Brevard Music Center in their estate plans. Ann Anderson Consuelo and Joseph• Arbena Harriet and William Ball Kathleen Bellizio Judy and Dennis Berman George S. Betsill• Mildred Blaha• Dr. B. Barbara Boerner William G. Boggs, Jr.• Emily and Doug Booth John S. Candler Pat and Charlie Clogston Wesley and Gayle Colby Mrs. Gilbert H. Collings, Jr.• Mrs. Edwin P. Collins Elizabeth Conger• Mary C. Conner• Mrs. Dicksie Cribb• T. Kenneth Cribb, Jr. Richard Cushman• Gwin and Robert Dalton Marjorie Darken• Sara Rebecca Davenport Frederick B. Dent Robert Didiego

Eugenia and Robert Dowdeswell Selena Einwechter Jerusha and Murray Fadial Marilyn and Larry Fogdall John N. Gardner Laurence Glazener Hildegard H. Greitzke Gail and William Hagler Viva• and George• Handler Copey Hanes• Sandy Glock Harrington Mary Adelaide Hester• Vivian S. Hoeppner• Jean and William• Hough Edith Howson• Ann Ives Debbie Klingender and John Allen Dorothy King• Alice Keith Pfohl Knowles Marietta and Walter Lacyk Mrs. John G. Landrum, Jr.• Rita E. Landrum Bette and Clifford• Lathrop Barbara and John Lawless Ann and Morton Lazarus

Marilyn and Newton• Lockhart Donna Lohr Carolin and Gabriel• Lowy Robin and Robert Margeson Marcia Millar The Rev. Dr. Joe D. Mills• Sara Helen Moore Ruby Morgan and Douglas MacDonald Frances J. Munk• Phyllis and Douglas• Nesbitt Ladene and Russell Newton Dr. William J. Pendergrast SharonAnn and Robert Philip Anca Pop, M.D. Donna Reyburn and Michael Griffith Lindsay Robertson Valeria and James Robertson Janie and Robert Sargent Mary Sauerteig• Jeannette and Robert Schmitt Carole and Arthur Schreiber

Eleanor and Bert Schweigaard-Olsen Doris and James Scoville Nancy and Richard• Senneff Marshall L. Seymour Kirk J. Smith Isabel L. Studley Mr. and Mrs. Carl Sykes Mr. and Mrs. Robert Tharpe Nancy Trentini Joella Utley Irene and Tonny Van Der Leeden Stephanie Eller Vaughn J. Mason Wallace, Jr.• Kate and Mitchell Watson Patricia R. Webb Mark Weinstein and Susanne Marsee Bill• and Betsy White Delmar Williams Lynn P. Williams Jan and Beattie Wood Joan Yarbrough Nelly and Kurt Zimmerli • Deceased

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The Bienen School of Music offers · A 152,000-square-foot stateof-the-art facility overlooking Lake Michigan · Conservatory-level training combined with the academic flexibility of an elite research institution · Traditional BM, BA, MM, PhD, and DMA degrees as well as innovative dual-degree, self-designed, and double-major programs · Close proximity to downtown Chicago’s vibrant cultural landscape

Woodwind Faculty Flute John Thorne Richard Graef Oboe Michael Henoch Scott Hostetler Robert Morgan Clarinet Steven Cohen J. Lawrie Bloom Leslie Grimm Saxophone Taimur Sullivan Bassoon David McGill

www.music.northwestern.edu

186 Overture

BECOME THE MUSICIAN

THE WORLD NEEDS YOU TO BE.

Longy is unlike any other conservatory in the world. Pursue a meaningful life in music through our undergraduate and graduate programs which will prepare you for a successful career as a 21st century musician. Discover your path to make a life in music and make your music matter. To learn more and apply, visit:

Longy.edu/apply

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188 Overture

the latest issue is here!

COME JOIN US

Hugh A. Glauser School of Music

Donna Lee

Professor, Steinway Artist

Degrees: Bachelor of Arts, Bachelor of Music, Bachelor of Science*, Master of Arts, Master of Music, Doctor of Philosophy Programs: Chamber Music, Collaborative Piano, Composition, Conducting, Contemporary Popular Music*, Ethnomusicology, Jazz Studies, Performance, Music, Music Technology*, Music Composition, Music Education, Music Theory *Stark Campus only

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WWW.KENT.EDU/MUSIC 2018 Summer Institute & Festival

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Music Programs The Jacksonville University Music Division provides an array of opportunities and collaborative experiences for students both onstage and off through concerts, recording sessions, chamber music and individual interaction with accomplished, award-winning faculty. Upcoming audition dates are on January 26, February 22, March 22, 2019. Degree programs: • Bachelor of Arts in Music • Bachelor of Music (emphasis in instrumental, vocal, piano, jazz/commercial music, composition) • Bachelor of Music Education • Bachelor of Fine Arts in Musical Theatre • Bachelor of Science in Music Business

Visit www.ju.edu/cfa for more information.

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BOLD, INVENTIVE, CONNECTED explore limitless possibilities and discover the world of music. experience a welcoming and motivating environment designed to give you the freedom to grow and the inspiration to help realize your unique potential.

MUSIC.MSU.EDU/EXPLORE close, personal attention with all the opportunities of a bigten university merit-based scholarships and assistantships available real-world opportunities locally, nationally, and internationally entrepreneurial focus equips musicians for the careers of today 2019 Audition dates: January 18–19 | february 1–2, 8–9, 22–23 Admissions office: (517) 355-2140, admissions@music.msu.edu ConneCt with us: music.msu.edu | youtube.com/musicmsu | facebook.com/musicmsu twitter.com/musicmsu | livestream.com/musicmsu

190 Overture

GIFTS IN HONOR AND MEMORY

GIFTS IN HONOR AND MEMORY Gifts were made in honor or memory of the following individuals from May 1, 2017 through April 30, 2018.

GIFTS IN HONOR In Honor of Joan and Bruce Berryhill Bena and George Cates Robbie and Warren Lightfoot In Honor of Bill Boggs Mary Ada and Gary Poole In Honor of Peter and Lucille Chaveas Larry Yellen In Honor of Martha Collins Susan Burchill In Honor of Martha Coursey Mary Ellen and Jeff Pendergrast In Honor of T. Kenneth Cribb, Jr. Sarah Jackson In Honor of Dennis and Preston Davitt Susan D. Nilsson In Honor of Frederick Dent, Sr. Susan and Rick Dent In Honor of Connie Edmands Barbara S. and Carl Burkhart In Honor of Nathan and Sugie Einstein Vicki and Rusty French In Honor of Jamie Hafner Mary Ada and Gary Poole In Honor of Gail and Billy Hagler Julian J. Nussbaum, M.D. and Stephanie Goei, M.D. In Honor of Dr. Falls L. Harris Dermatology Associates, P.A. Nate and Sugie Einstein In Honor of Jean and Peter Huber Pamela Fuhrer In Honor of Shirley and Richard Knight Mr. and Mrs. Patrick Osborne In Honor of Ken Lam Joel Reynolds In Honor of Frank McConnell Mary Ada and Gary Poole

In Honor of Diane M.T. North, Ph.D. Martha and Walter Coursey In Honor of Inez and Bob Parsell Virginia and H.L. Rush In Honor of Alyna Rogow and Elliot Sanders Dilshad and Jason Posnock

In Memory of Joseph Hara Carolyn and Edward Brann

In Memory of Irene Reichwald Don Wildman

In Memory of Vivian S. Hoeppner Dr. J. Murray and Jerusha Barnum Fadial Anne and Walter Hoeppner

In Memory of James E. Reynolds and Emmy Reynolds Sokoloff Joel Reynolds

In Memory of Janice Janiec Dr. J. Murray and Jerusha Barnum Fadial

In Honor of Jacquelyn and Bruce Rogow Cindy and James Cast Lucia and Edgar Jaycocks

In Memory of Roger Japinga Susan Japinga

In Honor of Robert Roth Barbara Fricker

In Memory of Mrs. John G. Landrum, Jr. Kristine and John Candler Fred Childers

In Honor of Carole and Arthur Schreiber Shirley and Richard Knight

In Memory of Lauren Mann Shelley Hyde

In Honor of Nancy Crow Trentini Dorothy Newton

In Memory of Douglas Nesbitt Phyllis Nesbitt

In Honor of Judith and Paul Welch Mara Mayer

In Memory of Evan Armstrong North June I. Burton

In Honor of Ann Wilkinson Mary Ada and Gary Poole

In Memory of Karen Northey James Northey

GIFTS IN MEMORY

In Memory of Ruth (Penny) Pamplin Reeves Elizabeth McColl

In Memory of Sadie M. Carlson David M. Knowles Fran Masell, Jr. Doris and Wade Reeves Well Spring Retirement Community In Memory of Ronald H. Coleman Lynn L. Clayton Scott Howson Tammy Irby Maureen Moffet Betty Price Harold Roberts Dennis D. Wixted Dennis Wrenn In Memory of Mrs. Dicksie B. Cribb Dr. Ernest Camp III T. Kenneth Cribb, Jr. George E. Coleman, Jr. Foundation Steve Matthews Harry M. Mims, Jr. Sylvia T. Patterson George C. Todd

In Memory of Jane Rhodes Shirley Evans Dick Eyestone Clyde Munz Carol K. Raney In Memory of Benjamin S. Rucker Eleanor V. Silman In Memory of Richard J. Senneff Nancy Senneff In Memory of Dick (Dickson) Stowe Dr. J. Murray and Jerusha Barnum Fadial In Memory of Douglas Ward Mr. and Mrs. Roger Ward In Memory of William A. White, Jr. Kristine and John Candler Dr. J. Murray and Jerusha Barnum Fadial Dr. Falls L. Harris Helen and Walt Peery

Brevard Music Center was the equivalent to life in a dream. To practice, rehearse, and play amongst so many gifted musicians who are now lifelong friends…this was the dream that I got to live for seven weeks of my summer." — JOSHUA, DOUBLE BASS, AKRON (OH), BMC ALUMNUS

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MAKE GREAT MUSIC

PURSUE YOUR PASSION

CHART YOUR FUTURE

COLLEGE OF MUSIC FLORIDA STATE UNIVERSITY

Just minutes from downtown Black Mountain, NC, and a short drive to Asheville, NC., you will find our vibrant and welcoming community. From the arts and music to the great outdoors, our residents are surrounded by beauty and opportunity. Call us to schedule a visit and make plans to reserve your beautiful new home today.

(828) 357-3611 givenshighlandfarms.org

192 Overture

APPLY TODAY

at music.indiana.edu.

Chris Albanese

Joanna Blendulf

Carolann Buff

Vincent Carr

Katherine Jolly

Carla Kรถrbes

Jason Nam

Kyra Nichols

Denson Paul Pollard

John Raymond

For a complete listing of Jacobs School of Music faculty and staff, visit

music.indiana.edu.

Florence Sitruk

Michael Stucker

Peter Volpe

Thomas Wilkins

STUDY WITH WORLD-CLASS FACULTY More than 180 artist-teachers and scholars

FALL 2019 ADMISSIONS

comprise an outstanding faculty at a world-class conservatory with the academic resources of a major research university.

Applications Deadlines Nov. 1, 2018 - Undergraduate Dec. 1, 2018 - Graduate

Competitive scholarships and fellowships available.

2019 Audition Dates Jan. 11 & 12 | Feb. 1 & 2 | Mar. 1 & 2

More than 75% of Jacobs School students receive scholarships.

2017-18 TENURED AND TENURE-TRACK APPOINTMENTS AUDIO ENGINEERING AND SOUND PRODUCTION Michael Stucker, Assistant Professor

HARP Florence Sitruk, Professor

BALLET Carla Kรถrbes, Associate Professor Kyra Nichols, Professor, Violette Verdy and Kathy Ziliak Anderson Chair

JAZZ STUDIES John Raymond, Assistant Professor (Trumpet)

BAND Jason Nam, Assistant Professor BRASS Denson Paul Pollard, Professor (Trombone) CHORAL CONDUCTING Chris Albanese, Assistant Professor Carolann Buff, Assistant Professor

ORCHESTRAL CONDUCTING Thomas Wilkins, Professor, Henry A. Upper Chair ORGAN Vincent Carr, Associate Professor VOICE Katherine Jolly, Assistant Professor (Voice) Peter Volpe, Associate Professor (Voice)

EARLY MUSIC/HISTORICAL PERFORMANCE INSTITUTE Joanna Blendulf, Associate Professor (Baroque Cello/Viola da gamba)

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E A S T M A N

S C H O O L

O F

M U S I C

YOUR PASSION. YOUR PATH. YOUR FUTURE.

For application information visit esm.rochester.edu/admissions

194 Overture

Supporting The Arts For 40 Years

For Proven Professional Service, Call the Fisher Realty Team Brevard Office: 10 Park Place West | Straus Park Brevard, NC 28712 (828) 883-9895 | 800-634-5196 FisherRealtyNC.com Info@FisherRealtyNC.com

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BREVARD MUSIC CENTER ENDOWMENT

BREVARD MUSIC CENTER The Brevard Music Center gratefully acknowledges these friends who have established endowment funds that help ensure the long term financial security of our mission, and student education and scholarship programs. A named endowment fund can be established with a commitment of $25,000, and additional contributions can be made at any time and in any amount. The Music Center can assist you to find the area of need that best fits your philanthropic interests. To learn more about how you can establish a legacy of support to benefit future generations of students, please contact Dave Perrett, Director of Development at (828) 862-2121 or development@brevardmusic.org. William H. Alexander Scholarship Fund Mary Stewart Allan Memorial Scholarship Fund Hoyt and Susan Andres Scholarship Fund Martha West Andrews Memorial Scholarship Fund Arbena Family Scholarship Fund Gina Bachauer Artist Fund Valerie Barnet Scholarship Fund Capt. Charles N. and Mrs. Marguerite G. Barnum Scholarship Fund Robert Barr Memorial Scholarship Fund Martha G. Wooten and Phoebe N. Barstow Memorial Scholarship Fund George W. Blaha Memorial Scholarship Fund Ted Blanchard Memorial Scholarship Fund William G. Boggs, Jr. Landscape Fund Mr. and Mrs. Thomas C. Bolton Scholarship Fund Emily D. Booth Scholarship Fund Bill and Rebecca Boswell Scholarship Fund Dr. and Mrs. J. Kirven Brantley Scholarship Fund Brevard Music Center Alumni Association Scholarship Fund Brevard Music Center General Operations Endowment Fund Brevard Music Center Memorial Scholarship Fund Brevard Music Center Staff Scholarship Fund Brevard Music Center Association Scholarship Fund Brown-Dilworth Scholarship Fund Johnsie Burnham Memorial Scholarship Fund Burt Alumni House Maintenance Fund William I. Burt Memorial Scholarship Fund Candler Era Recognition Fund John and Linda Candler Scholarship Fund James and Stuart Cannon Scholarship Fund Carrier Memorial Scholarship Fund Regina Compton Fund Marie B. Connell Memorial Scholarship Fund Mary Conner Memorial Scholarship Fund Martha Pendergrast Coursey Flute Chair Janet E. Cushman Memorial Scholarship Fund

196 Overture

Richard and Hope Cushman Scholarship Fund Mary Helen and James Dalton Fund Gwin and Robert Dalton Fund Jane Darnall Memorial Scholarship Fund Sarah Darnall Memorial Scholarship Fund Lee G. Davy Living Trust Floride Smith Dean Scholarship Fund Deickman-Handler Memorial Scholarship Fund Dent Operating Fund Mildred H. Dent Memorial Scholarship Fund Glenn Dicterow Visting Concertmaster Chair Michael DiGirolamo Scholarship Fund Robert W. and Esther H. Dobbins Scholarship Fund Temple Wood Dowdeswell Memorial Scholarship Fund Frances M. Drummond Memorial Scholarship Fund David Effron Principal Conductor Chair Frances Falvey Music Fund Marcus Francke Memorial Scholarship Fund General Operations Endowment Fund Winifred Bush Gibson Memorial Scholarship Fund The Thomas and Billie W. Gontrum Scholarship Fund Henry F. and Bailey R. Gould Memorial Scholarship Fund Helen C. Hanes Scholarship Fund Tom and Tracy Hannah Operating Fund Tom and Tracy Hannah Scholarship Fund James M. Harris Memorial Scholarship Fund Adelaide Canfield Hester Memorial Scholarship Fund Margy Hicks Opera Scholarship Fund Adelaide Van Wey Hill Memorial Scholarship Fund Cecil and Elizabeth Hill Scholarship Fund Dorothy Everett Hill Memorial Scholarship Fund Robert N. Hill Scholarship Fund Walter and Vivian Hoeppner Scholarship Fund Hoeppner-Scott Studio Maintenance Fund Hinda and Maurice Honigman Memorial Scholarship Fund

Hinda Honigman NFMC Young Artists Fund Howse-Diemer Choreographer's Fund Gilbert and Frances Hunter Scholarship Fund Mark R. Hunting Memorial Scholarship Fund Roger Hyde Memorial Scholarship Fund Janiec Family Fund Henry Janiec Chair Frithjoff Jensen Memorial Scholarship Fund Jerry Hart Jerome Memorial Scholarship Fund Louise Hughes Alexander Kane Memorial Scholarship Fund Keil/Willis Scholarship Fund The John Allen and Deb Klingender Professional Development Endowment Fund for Students Willis and Jacquelyn Kuhn Memorial Scholarship Fund Walter and Marietta Lacyk Scholarship Fund The John and Elizabeth Landrum Memorial Scholarship Fund Jennie Aiken Laurens Memorial Scholarship Fund Elizabeth Crudup Lee Memorial Scholarship Fund Keith and Emiley Lockhart Scholarship Fund Lowy High School Flute Scholarship Fund John Richards McCrae Opera Fund John Richards McCrae Memorial Scholarship Fund Sadie R. McCrae Memorial Scholarship Fund Duane and Peggy McKibbin Scholarship Fund Ruth H. Meinecke Operating Fund Eleanora W. Meloun Operating Fund David Meyers Brass Studio Fund David W. Meyers Memorial Scholarship Fund Vera S. Milner Memorial Scholarship Fund Anne Griffin Moore Memorial Scholarship Fund Mu Phi Epsilon Composer-in-Residence Fund Frances and Alfred Munk Building Maitenance Fund North Carolina Scholarship Fund Dr. Charles and Nell Aiken Newland Fund Ladene Herring and Russell Emrich Newton, Jr. Scholarship Fund

ENDOWMENT

Betty Ann Page Memorial Scholarship Fund Harry Palmer Scholarship Fund Pendergrast Concertmaster's Chair Pendergrast Family Fund Pendergrast Horn Chair Martha Aiken Pendergrast Scholarship Endowment W. Jefferson Pendergrast, Jr. Percussion Chair Walter Linwood Pendergrast Double Bass Chair James Christian Pfohl Memorial Scholarship Fund Mary Ada Poole Student Activities Fund Lewis and Marion Powell Memorial Scholarship Fund Rabinoff Memorial Scholarship Fund Elizabeth M. Randolph Scholarship Fund Ruggiero Ricci Artist Chair Sylvia Richter Scholarship Fund Dr. Julius and Barbara M. Sader Scholarship Fund Elwood and Barbara Safron Scholarship Fund John and Mary Sauerteig Scholarship Fund Mary Nell Saunders Memorial Scholarship Fund

Frederic A. and Stine J. Schaffmeyer Scholarship Fund Scott Musical Theatre Fund Mary K. Scott Memorial Fund Richard and Betty Scott Scholarship Fund Searcy Pavilion Maintenance Fund Emily B. Searcy Operations Support Fund Emily B. Searcy Scholarship Fund Francis and Marjorie Smiley Scholarship Fund Rose Thomas Smith Scholarship Fund Robert and Louise Soehner Scholarship Fund James Pegolotti and Stephen Sosin Scholarship Fund Marta Spoel Memorial Scholarship Fund Sykes Faculty Residence Fund Sykes Family Preservation Fund J.D. and Naomi Sykes Memorial Scholarship Fund Paul C. Thomas Memorial Scholarship Fund Elaine C. and Robert T. Thompson Scholarship Fund Eva McDonald Timmons Memorial Scholarship Fund Elizabeth Clarke Tindal Scholarship Fund Nancy Crow Trentini Scholarship Fund

I am excited to receive scholarship support from CarePartners Foundation allowing me to pursue my dream of attending college and obtain a degree in healthcare.

CAREPARTNERSFOUNDATION.ORG

CarePartners FOUNDATION It is a relief to know that CarePartners Adult Care is able to take care of my aging father while I am at work.

With the help of CarePartners, I can live at home and be independent.

Joe R. Utley Trumpet Chair Joe and Joella Utley Scholarship Fund Therese van der Heyden Memorial Scholarship Fund Ruth Treiber Rauch Voice Study Program Fiori Vollrath-Smith Fund J. Mason Wallace General Operations Fund Harriet Hutchinson and Kenneth Wallace Walls Fund Lucille Parish Ward Opera Chair Caroline M. Warnell Memorial Scholarship Fund Nat F. White Music Scholarship Fund Wilkinson Family Faculty Fund L. Neil and Sue S. Williams Scholarship Fund Wood Family Concerto Competition Fund Wood Memorial Fund M. Beattie and Jan Wood Fund Eileen Wylie Memorial Scholarship Fund Joan Yarbrough Master Teacher Fund Catherine Abbott Yon Memorial Scholarship Fund Zimmerli Family Opera Presentation Fund Zimmerli Piano Competition Fund Zimmerli Scholarship Endowment

I feel safe knowing CarePartners Hospice staff are all specially trained and caring individuals who are available 24/7 to provide support for me and my family.

SUPPORTING RESIDENTS OF TRANSYLVANIA COUNTY In fiscal year 2017, over 1,100 Transylvania residents received care from CarePartners Health Services through Adult Care, Home Health, and Hospice. CarePartners Foundation raised $40,000+ in private donations to support Transylvania County during the same time period.

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198 Overture

MUS 17-18 3

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Proud Supporter of the Arts in Transylvania County & the Brevard Music Center Stop by our office outside the Main Gate of Connestee Falls (6 miles S of Brevard)

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PROUD SUPPORTERS OF THE BREVARD MUSIC CENTER

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Business leaders go further faster with the deep resources of DHG, a top 20 U.S. accounting and advisory firm, whose experienced professionals pull together and help clients feel like one-of-a-kind. 500 Ridgefield Court | Asheville, NC 28806 | 828.254.2254 Assurance | Tax | Advisory | dhgllp.com

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Elevate Your Perspective

WCQS is now BPR Classic. It’s the same station offering the same classical music, NPR news and entertainment, just with a new “CLASSIC” name. And its sister station, BPR News, offers even more NPR news coverage, local news and perspectives. Combined, they deliver everything you love about public radio.

Learn more at BPR.org. Listen live with the BPR app.

200 Overture

“White Squirrel Radio” Listen Live anytime to the greatest hits of the ‘60s, ‘70s and ‘80s. Q102 is your source for all things happening in Transylvania County! 102.1FM 1240AM or online at www.wsqlradio.com

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cashiers

Annual

Antiques Benefit show friday, July 20th, 9 a.m. - 5 p.m. saturday, July 21st, 9 a.m. - 5 p.m. sunday, July 22nd, 11 a.m. - 4 p.m. to Benefit the Blue ridge school 95 Bobcat drive • highway 107 north • cashiers, nc for more information call hazel giles 828-743-9270

Visit with 60 outstanding exhibitors grand Prize drawing • glass & crystal repair garden dining with delicious lunches & refreshments catered by flip and whip comfort foods donation $10.00 or $9.00 with the presentation of this ad, one person only like us on facebook cashiersBenefitAntiqueshow.com

YO U R D O N AT I O N provides much needed scholarships to Transylvania County students, funding for endowed chairs and new program development.

JOIN US IN

MAKING A N I M PACT

I N O U R C O M M U N I T Y. G I V E T O D AY:

blueridge.edu/foundation $2 million campaign to benefit Blue Ridge Community College

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BILTMORE.COM/JOIN

SETTING THE STAGE FOR BEAUTIFUL MEMORIES A love of the arts and a sense of hospitality inspired George Vanderbiltâ&#x20AC;&#x2122;s masterpiece: Biltmore. Share in that legacy today by joining our passholder family and Vanderbilt Wine Club.

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ArnaudinArchitect.com Brevard, North Carolina

ADVERTISERS INDEX

ADVERTISERS INDEX 35 Degrees North Landscape Services....................152 Ardenwoods.....................................................................165 Asheville Citizen-Times..................................................155 Asheville School...................................................................2 Bed & Breakfast on Tiffany Hill....................................160 Bienen School of Music, Northwestern.....................186 Biltmore.............................................................................203 Biltmore Beacon.............................................................156 Blue Ridge Community College..................................202 Blue Ridge Public Radio...............................................200 Bold Life............................................................................156 Bold Rock Hard Cider .................................................. 174 Brevard College...................................................................7 Brevard Raquet Club.....................................................202 Brevard Yoga....................................................................146 Broad Street Wines........................................................139 Comporium.......................................................................146 Cantrell Construction.....................................................156 Capital at Play..................................................................128 CarePartners Foundation..............................................197 Carnegie Mellon University...........................................171 Case Brothers of Spartanburg....................................159 Cashiers Antique Show.................................................202 Cashiers Historical Society..........................................137 Charlotte Street Computers .........................................BC City of Brevard ...............................................................204 College Walk Retirement Community .......................207 Connestee Falls Realty..................................................199 Deerfield ...........................................................................199 Dixon Hughes Goodman LLP .....................................199 Domokur Architects........................................................198 Dugan's Pub.....................................................................165 Dungan Law.....................................................................147 Eastman School of Music ............................................194 Edward Jones ................................................................198 Fisher Realty.....................................................................195 Flat Rock Playhouse ......................................................133 Florida State University..................................................192 Food Matters Market......................................................175 Furman University............................................................198

Givens Highland Farms.................................................192 Greystone Inn.................................................................... 14 Hampton Inn.....................................................................164 Hawg Wild BBQ.............................................................205 Heart of Brevard..............................................................132 Hendersonville Symphony............................................133 Hendersonville Times-News.........................................163 Highlands-Cashiers Chamber Music......................... 173 Indiana University Jacobs School of Music...............193 Jacksonville University....................................................190 Jennings Building Supply..............................................190 Jerome and Summey Insurance Agency..................... 27 Joseph Robinson.............................................................165 Kent State University .....................................................189 Key Falls Inn.....................................................................189 Lake Toxaway Company................................................189 Landmark Realty..............................................................188 Longy School of Music of Bard College...................187 Lynn University Conservatory of Music......................157 Main Street Ltd................................................................187 Marco Trattoria.................................................................175 Mars Hill University.........................................................137 Mead Witter School of Music......................................175 Michigan State University.............................................190 Moore-Blanchard Funerals & Cremations.................192 Mountain Xpress.............................................................163 New Leaf Garden Market................................................ 18 Next Venture Outdoors..................................................136 North Carolina Arboretum.............................................136 Oskar Blues Brewery.....................................................187 Our State Magazine.......................................................154 Out of the Shadows.......................................................184 Pad Thai............................................................................184 Peabody Conservatory of The Johns Hopkins University..........................................................184 Perfect Balance Physical Therapy .............................182 Petrie School of Music, Converse College ..............182 Pisgah Fish Camp............................................................. 29 Platt Architecture, PA.....................................................162 Professional Videography by Henry Felt....................204

RBC Wealth Management............................................. 22 Residential Property Management..............................182 Rocky's Soda Shop/ DD Bullwinkel's........................143 Roosevelt University......................................................... 29 Rutgers University...........................................................136 Skyland Automotive.......................................................... 12 Skyterra.............................................................................142 Sora Japanese Restaurant & Sushi Bar.................... 178 Southern Alarm................................................................206 St. Patrick's Anglican Church...................................... 178 Steinway & Sons.............................................................158 Steve Arnaudin Architect..............................................204 The Boston Conservatory............................................... 28 The Bromfield Inn............................................................156 The Cliffs............................................................................. 15 The Haen Gallery............................................................ 174 The Laurel Magazine of Highlands..............................200 The Laurel of Asheville...................................................137 The Pines Country Club................................................133 The Square Root Restaurant........................................ 178 The Sunset Motel............................................................ 174 The University of Georgia, Hodgson School of Music.............................................................. 173 theophilus........................................................................... 26 Transylvania County TDA................................................ 19 Transylvania County TDA..............................................153 Transylvania Times .........................................................129 Tryon Estates .................................................................. 170 University of Colorado, Boulder .................................168 University of North Carolina, Greensboro.................167 University of North Carolina School of the Arts ...... 173 University of Tennessee School of Music..................169 WDAV................................................................................ 177 Wells Fargo........................................................................ 29 WHKP...............................................................................201 WNC Magazine .............................................................. 176 WNC Military History Museum....................................163 WSQL...............................................................................201 WTZQ...............................................................................201

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Hope you are enjoying the performance!

Who’s watching your home? YOU CAN’T BE HOME ALL THE TIME. OUR SECURITY SYSTEMS WILL GIVE YOU PEACE OF MIND SO YOU CAN SIT BACK, RELAX AND ENJOY THE SHOW! SYSTEMS FOR: Burglary • Fire • Carbon Monoxide Video Surveillannce • Keyless Entry 24 Hr Monitoring (Cellular/Internet) FOR A COMPLETE ARRAY OF SERVICES VISIT:

ASHEVILLE • HENDERSONVILLE • BREVARD 828.253.1235 • 828.693.7136 • 828.883.9001 EMAIL: INFO@SOUTHERNALARM.COM

Securing Homes and Businesses in WNC since 1936 206 Overture

The Art of Living Well

College Walk has four lifestyles to choose from, unrivaled amenities and superior service. Adjacent to Brevard College and a short walk to downtown, Brevard is at your fingertips.

Join us for dinner, or stop by to share a cup of coffee.

(828) 884-5800 100 North College Row Brevard, NC 28712

www.collegewalkretirement.com

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