2005 Individual Performance Programs.

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June 17·8 pm

Whittington-Pfohl Auditorium

Ricky Skaggs

and Kentucky Thunder

Tonight's program will be announced from the stage.

There will be one intermission.

A Brevard Music Center Variations Con

I nere Will be one intermission.

A Brevard Music Center Variations Con

Support for tonight's concert is provided by

Coye Consultants, Inc.



Ricky Skaggs

Sometimes in life, things come full circle . That's the story of Ricky S

By age 21, he was already considered a "recognized master" of

America 's most demanding art forms, but his career took him in

directions, catapulting him to popularity and success in the mainstre

country music. Now the road has brought him back to where it all

bluegrass music.

2001 marked Ricky's 30th year as a professional musician, and this

time Grammy Award winner continues to do his part to lead the recen

revival in music. Known affectionately today as bluegrass music 's

ambassador, Ricky has brought the genre to greater levels of popin the past few years than the father of bluegrass music-Jegenda

Monroe-could ever have imagined. With seven consecutive Gr

nominated classics behind him, all from his self-owned record com

(Bluegrass Rules l in 1998, Ancient Tones in 1999, both Soldier

Cross and Big Man: The Songs of Bill Monroe in 2000, History of he

in 2001, Live at the Charleston Music Hall in 2003 and Brand New S

in

2005) bluegrass musicis

undoubtedlyin

good hands, with the maRicky Skaggs at the helm.

Kentucky Thunder

Ricky Skaggs, vocals and mandolin • Andy Leftwich , fiddle • Cody Kilby, guPaul Brewster, guitar and vocals • Darrin Vincent, guitar and vocals

Jim Mills, banjo • Mark Fain, bass

Coye Consultants, Inc.

Like many of us, Art and June Coye fell in love with Brevard while vacationing in Western North Ca

retiring here in 1989. The retirement was short-lived as they quickly founded Coye Consultants, Incis now the distributor of homeowner and landscape contractor equipment for The Toro Company in

southeastern states, with sales exceeding $40 million.

This evening , Coye Consultants is pleased to welcome their newest dealers to the Brevard Music Cent

to the Toro family.

Additional support for tonight's concert is provided by the Susanne Marcus Collins Foundation .



June 23 & 25 • 7:30 pm


The Barber of Seville

Janiec Opera CompanyBrevard Music Center Orchestra

David Effron, conductor • Vincent Liotta, director

Gioacchino Rossini

Libretto by Cesare Sterbini

Translation by George Meade

The Barber of Seville

Act I

INTERMISSION

Act II

John Greer, general manager

Jill Hermes, production manager

April Anderson, prop masterAndrea B()r.r.ilnfi IS r linhlino r1AsionAr

I Act II



April Anderson , prop master

Andrea Boccanfuso, lighting designer

Ken East, technical director

Ashley Gregg and Cheryl Hart, costume coordinators

Leah McVeigh, stage manager

Lora Napier, set designer

Jillian Rivers, wig and make-up designer

Greg Smith, house manager

Chad Stewart, sound designer

Support for these performances is provided by



Mark Craig

Tyrone Hayes

David Young

Sean Damm

Andrew Hill

Megan Roth

Dana Schnitzer

Kathleen Lee Taylor

David Effron, conductor

Artistic Director of the Brevard Music Ce nt er

For Maestro Effron's biography, please see

brevardmusic.org.

Mark Craig, tenor

Hometown: Muskegon, MI

School: University of Michigan and New England

Conservatory

Notable ro les: Gherardo in Gianm Schlcchi.

Spaletta in TascB , Nemorino in The Elixir of Love

Thord year at BMC

David Young, bass

Home town: Florence, SC

School: Un iversi ty of South Caro linaNotab le roles : Saraslo in The MagIc Flute, Don

Alfonso in Cosllan lulte, Joe in Most Happy Fella

First year at BMC

Andrew Hill, baritone

Hometown: Midland, MI

School. University of Michigan

Nolable roles: Giuse ppe Palmieri in The

GondolIers

Fl lst year at BMC

Dana Schnitzer, soprano

Hometown ' Yorktown Heights. NY

School. University of Massachusetts Amherst,

New England Conservatory

Notable roles: M i ~ e J a in Carmen. Rosalinda in

Die Fledermaus , Noemie in CSlldnllon

First year at BMC

CAST

Count Alamaviva

Dr. Bartolo

Don Basilio

Figaro

Fiorello

Rosina

Berta

Rosina (understudy)

Vincent Liotta, director

Profe sso r of MUSJC at Indiana Univer

For Mr. Liolta's biography, please se

bre va rdmusic.org.

Tyrone Hayes, baritone

Hometown: New O rleans, LA

School: Univers ity of New Orleans

Notable roles : Gianni Sc hicchi in Gia

Porgy in Porgy and Bess

First ye ar at BMC

Sean Damm, baritone

Hometown: South Huntington, NY

School: Ha rv ard University and NewConservatory

Notab le role s: Pandolfe in Cendrilion

in Little Women, Starveling in A Mids

Night's Dream

First year at BMC

Megan Roth, mezzo-so

Hometown: Cinci nna ti, OH

School: Florida State University and

University

Notab le roles: Nancy in Albert Hemn

OpinIon in Orpheus in the Underwor

Second year at BMC

Kathleen Lee Taylor, so

Hometown: Cleveland . OH

School: Tufts Un iversity. New Englan

Conservatory of Music, Florida State

Notable rOes: Susanna in The Marri

Second year at BMC



The Janiec Opera Company

Welcome to the 2005 season of the Brevard Music Center's Janiec Opera Company . Varie

always been the key to our success, for both performers and audience. Once again , the Com

presents four main stage productions - works ranging from high comedy to profound tragedy

The Barber ofSeville

Quick Facts

• Composer: Gioacchino Rossini (1792-1868)

• Librettist: Cesare Sterbini (1784-1831)

• Premiere: February 5,1816 , at the Teatro di

Torre Argentina, Rome

• American premiere: 1822, Henry Phillips

Company, Philadelphia

• Source material: comic play Le Barbier deSeville (1775) by Pierre-Augustin Caron de

Beaumarchais (1732-1799)

the most traditional repertoire to the most innovativ

enhance the concert experience, all productions f

supertitles projected above the stage . I will host fre

performance lectures, providing historical backgrouncontext for each of the four operas.

The Janiec Opera Company is comprised of 40 ta

young vocalists from aroud the country, chosen

hundreds of applicants each year. For many this m

their first opportunity to perform a solo role in a full

production. Singers soon grow accustomed to th

professional pace of rehearsing and within the firs

days of the season evolve into an efficient and supp

ensemble.

Helping at every turn is a professional resident staff of conductors, stage directors, voice tea

vocal coaches and movement specialists. A full production staff of set and costume desi

make-up specialists, stage managers and crew assures the singers look their best in produ

that run smoothly and efficiently. We conceive, design and build on site each of our produc

Although a labor-intensive process, the result is well worth the effort.

I look forward to the season and hope you'll enjoy it as well.

John Greer

General Manager

Upcoming Operas

H.M.S. Pinafore, July 7 and 9 at 7:30 pm: H.M. S. Pinafore captivates audiences with its infectious tunes, gener

an d overall silliness. Th is gentle satire on the social classes was a huge success after its London debut, making

the most popular and frequently performed comic operas by Gilbert and Sullivan.

Sweeney Todd, July 21 and 23 at 7:30 pm: One of the true masterworks of American musical theater, Sweeney Tod

up a murderously funny scheme full of dark humor on the cutting edge of revenge . This Tony Award-winning musical

on the infamous tale of a barber gone mad, with Sweeney Todd's thirst for blood matched only by his lyrical eloque

Rigo/eNo, August 4 and 6 at 7:30 pm: The hunchback court jester of the Duke of Mantua , Rigoletto, is often dra

the handsome Duke's numerous amorous adventures . Fully aware of his master's complete lack of morals, Rigol

hidden his beautiful daughter, Gilda , from the coul1's eye. Vengeance, secret intrigue and heartbreaking love make

of the most endearing yet tragic tales in opera history.



Janiec Opera Company Production Staff

General Manager

Conductors

Stage Directors

Chorus MasterCollaborative Piano Coordinator

Coaches

Chorus Rehearsal Pianist

Production Manager

Set Designer

Lighting Designer

Assistant Lighting Designer

Costume Designer

Technical Director

Assistant Technical Director

Master Carpenter

Carpenters

Scenic Charge

Scenic Artist

Prop Master

Prop Intern

Wig and Make-Up DesignerWig and Costume Intern

Master Electrician

Electrician Interns

Stage Manager

Stage Manager Intern

Sound Designer/Engineer

Sound and Stage Intern

Stage Crew Supervisor

Stage Crew Assistant SupervisorStage Crew Interns

Production Assistant Interns

House Manager

Orchestra Liaison

Supertitles

Supertitle Operator

John Greer

David Effron

John Greer

David Gately

Vincent Liotta

Martha Collins

Gerard FlorianoAndrew Campbell

James Lesniak

Charles Prestinari

S'ngah Seo

Jill Hermes

Lora Napier

Robin Vest

Andrea Boccanfuso

Jessica Burgess

Ashley Gregg

Cheryl Hart

Ken East

Alex Postpishil

Wayne Parmely

Nicholas Bobbitt

Trista Hover

Nick Miller

Erin LaVallee

Emily Taylor

April Anderson

Danielle Heise

Kristen Menichelli

Jillian RiversJori Malan

Amber Parker

Laura Krouch

Theresa Russo

Margaret Kellner

Leah McVeigh

Tanya Schurr

Chad Stewart

Nicholas McCarthy

Lee Helms

Janette KrolczykSandra Knight

Michael Rivera

Melissa Adler

Rachel Stuart

Greg Smith

Ahmad Mayes

John Greer

Jennifer Moore

Adam Cioffari



Brevard Music Center Orchestra


Violin I

Katie Mclin, concertmaster*

Sarah Schreffler

William Terwilliger*

Austin Wulliman

Annagret Klaua*

Christian Jackson

Ellen Cockerham

Barbara Careaga

Fiona Hughes

Sara Guerriero

Violin II

Julian Ross, principal*

Alex MartinMargaret Baldridge*

Andrew Tholl

Kristine McCreery*

Essena Setaro

Chris Sanchez

Lemuel de la Cruz

Viola

Scott Rawls , principal*

Tom Rosenthal*Eric Koontz*

John Concklin

Louise Zeitlin*

Jonathan Epstein

Cello

Carlton McCreery, principal*

Ariana Arcu

Aron Zelkowicz*

Sara Wolfe

Double Bass

Craig Brown, principal*

Kevin Casseday*

Flute

Richard Sherman, principal*

Angela Rich

Oboe

Eric Ohlsson, principal*

Paige Morgan*

Clarinet

Steven Cohen, principal*

Antonio Tanase

Bassoon

William Ludwig, principal*

Gili Sharett*

Horn

John Q. Ericson, principal*

Jean Martin-Williams*

Trumpet

Mark Schubert, principal*

Jordan Olive

TromboneWilliam Zehfuss, principal*

Timpani

Conrad Alexander, principal*

Percussion

Nicholas Galante

Lee Hinkle

Valerie Vassar

Continuo

David Effron, principal*

• Brevard Music Center Faculty



June 24 • 7:30 pm


Opening NightBrevard Music Center Orchestra

David Effron, conductor • William Campbell, trump

Steve Cohen, clarinet • Jonathan Cohen, clarine

Members of the Janiec Opera Company

Reinhold Gliere

Giuseppe Tartini

Georges Bizet

Amilcare Ponchielli

(arranged by F. Ormond)

"Sailors Dance" from The Red Popp

Concerto in D for Trumpet

Allegro

Andante

Allegro

William Campbell, trumpet

"Au Fond du Temple Saint" from The

Fishers

Jack Beetle, tenor

Ryan Goessl, baritone

II Convegno

Steve Cohen, clarinet

Jonathan Cohen, clarinet

INTERMISSION

Amilcare Ponchielli

(arranged by F. Ormond)

Jack Beetle, tenor


II Convegno



INTERMISSION

Camille Saint-Saens

Wolfgang Amadeus Mozart

Leonard Bernstein

Leroy Anderson

"The Swan" from The Carnival of the

BMCO Cello Section

"La Ci darem la Mano" from Don Gio

Heather Phillips, soprano

Adam Lau, baritone

"Gee Officer Krupke" from West Sid

Matthew Young, baritone

Jonathan Zeng, tenor


Nathan Oakes, tenor

Fiddle Faddle

BMCO Violin Section



Frank Loesser

Johannes Brahms

"Sit Down You're Rocking The Boat" from

Guys and Dolls

Daniel O'Dea, tenor

The Janiec Opera Company Chorus

Hungarian Dance No.1 in G minor

Janiec Opera Company ChorusJennifer Frazee

Megan Brand

Matthew Young

Jennifer Rosetti

Catherine Martin

Kevin Murphy


Newly appointed clarinet

professor and head of the

clarinet program at theNorthwestern University

School of Music, Steve

Cohen held the same

position this past year at

the Cincinnati College

Conservatory of Music. He

was previously principal

clarinet with the Louisiana

Philharmonic and Professor of Clarinet at

Louisiana State University. In August, 2001

and August 2004, Cohen performed at the

Bay Chamber Concerts "First Chair All-Stars"

with principal wind players from the principal

orchestras of Chicago, Philadelphia, Montreal,

New York, Washington, Minnesota and Dallas .

Cohen is an artisUciinician for Buffet clarinets

and a Legere Reed artist. Among his students is

his son, Jonathan Cohen, who is a second-year

student at BMC and is also performing tonight.

Amanda Kingston

Nathan Oakes

Adam Cioffari

Ashley Ke

Shane McDon

Jonathan Z


William Campbell

the faculty of the Un

of Michigan as Proof Trumpet in 2000

serving on the facu

the Ohio State Un

and University of K

At the Ohio State Uni

Professor Campbel

awarded the Outst

Professor Award b

Sphinx\Mortar Board. Campbell per

for seven years as principal trumpet w

Orchestra del Maggio Musicale FiorenFlorence Italy, led by Zubin Mehta. Cahas performed as principal trumpet w

Chicago Symphony, Saint Louis Sympho

Columbus Symphony Orchestra . Camp

Bach Artist, has appeared as guest arti

clinician throughout the world.

PSNC Energy

PSNC Energy is the executive producer of this evening's concert . PSNC Energy distributes clean, efficient natu

service to cities and communities in the north central, Piedmont and western areas of North Carolina. In add

supporting Brevard Music Center's education and performance programs, PSNC Energy is committed to helping

the academic and personal success of all North Carolina students. From teaching children good study habits at hocenters, to sponsoring career fairs, job shadowing programs , and Junior Achievement, PSNC Energy is working

children reach their full potential.



Violin I

Thomas Joiner

concertmaster'

Alice Ju

William Terwilliger'

Eliza Hesse

Annagret Klaua'Shana Bey

Christine Short

Brandon Ironside

Aaron Neumann

Lindsey Baggett

Andrew Lynn

Gerome Stewart

Violin II

Margaret Baldridge, principal'

Diane Cline

Kristine McCreery'

Lauren TrolleyJohn Deliman'

El izabeth Magnotta

Adam SI. John

James Farley

Kerstin Tenney

ViolaScott Rawls, principal'

Kirsti Petra borg

Anna Joiner'

Lindsey Parsons

Eric Koontz'

Chris Lanier

Tom Rosenthal'

Audrey Selph

Cello

Carlton McCreery, principal'

Jeremy Crosmer

Elaine Anderson'

Franklin Keel



Marty Sproul'

Sarah Schmitz

Leslie Lyons

Leah Branstetter

Double Bass

Craig Brown, principal'Cory Palmer

Paul Quast

Nery Rodriguez

Joshua Lebar

Jonathan Perry

Flute

Richard Sherman, principal'

Elizabeth Buck'

Piccolo

Elany Mejia

Oboe

Eric Ohlsson, principal'Paige Morgan'

Tessa Gross

English Horn

Paige Morgan, principal'

Clarinet

Steven Cohen, principal'

Antonio Tanase

Kristin King

Bass Clarinet

Kristin King

Bassoon

William Ludwig, principal'

Gili Sharett*

Andrew West

, Brevard Music Center Faculty

SaxophoneGriffin Campbell, principal'

Horn

John Ericson, principal'

Jean Martin-Williams'

Gustavo CamachoElizabeth Fleming

Trumpet

William Campbell, principa

Mark Schubert'

Jordan Olive

Trombone

William Zehfuss, principal'

Andrew Peoples

Bass Trombone

Dan Satterwhite, principal'

Tuba

Charles Schuchat, principa

Harp

Katie Buckley, principal'

Piano

Andrew Campbell, principa

Matthew Gemmill

Timpani

Conrad Alexander, principa

Percussion

Nicholas Galante

Lee Hinkle

Valerie Vassar

Please Note: Latecomers will be seated at the House Manager's discretion. No cameras, tape recorders, smoking or foo

the auditorium. Please switch off all cell phones, pagers and watch alarms prior to this performance. Restrooms are loc

at the rear of Whittington-Pfohl Auditorium in the Box Office Lobby, next to the refreshment stand and also in Thomas

The Brevard Music Center is grateful for the support received from the North Carolina General Assembly, the North Car

Department of Cultural Resources and the North Carolina Arts Council.



June 26 • 3:00 pm


All Beethoven


David Effron, conductor • Marjorie Bagley, violin

Andres Diaz, cello· Douglas Weeks, piano

Ludwig van Beethoven


Overture to Egmont, Opus 84

Concerto for Violin, Cello, and Pi

in C Major, Opus 56

Allegro

Largo

Rondo alia polacca

Marjorie Bagley, violin

Andres Diaz, cello

Douglas Weeks, piano

INTERMISSION

I I l r lwin V::ln Rppthr\ \ lpn C : " " 1 ~ \ > , \ ) C \ , , , ~ I D a § , ~ ; v r O i l i ' r ' ( " \ ~ .Andres Diaz, cello


INTERMISSION

Ludwig van Beethoven Symphony NO . 5 in C minor, Opu

Allegro con brio

Andante con moto

Allegro

Allegro

Support for this afternoon's program is provided in part by the Audrey Love Charitable Fo



About the Performers


David Effon is the Artistic Director of the Brevard Music Center and Professor of Music

at Indiana University. For his full biography, please see page 7 of Overture 2005 or visit

brevardmusic.org.


A faculty member at Ohio University, Marjorie Bagley has given masterclasses at the

University of Michigan, Carnegie Mellon, the University of Massachusetts at Amherst

and the State University of New York at Buffalo. Other teaching positions include the

Manhattan School of Music Preparatory Division, the Perlman Music Program and the

Kinhaven Music School. As first violinist of the Arcata String Quartet, she performed at

Carnegie's Weill Recital Hall, London's Wigmore Hall and throughout Western Europe

and the United States. The quartet served as artists-in-residence at Utah State Universityfor four years. Bagley can be heard on the VOX and New World Records label. An active

recitalist, she is a member of the ProMusica Chamber Orchestra in Columbus, Ohio.She holds degrees from the University of Michigan and Manhattan School of Music. Visit

ohiou.edu/strings for more information.

Andres Diaz, cello

Born in Santiago, Chile, in 1964, Andres Diaz launched his career after winning first

prize in the 1986 Naumburg International Cello Competition . He received an Avery Fisher

Career Grant two years later. In recital, Diaz has toured Taiwan, Hong Kong, Korea,

Japan, Hawaii and Canada, as well as performed a series of concerts in the SovietUnion as soloist with the Saratov Symphony. In 2001, Diaz gave the world premiere of

Gunther Schuller's Cello Concerto at the Brevard Music Center. Other highlights include

the premiere of Thomas Oboe Lee's Cello Concerto and the American premiere of Frank

Bridge's Oration for cello and orchestra. An active member of the Diaz Trio, featuring

violinist Andres Cardenes and violist Roberto Diaz, the ensemble can be heard at the

Brevard Music Center July 11 and 13. Andres Diaz plays a 1698 Matteo Goffriller cello and

a bow made by his father, Manuel Diaz . For more information, visit herbertbarrett.com.


Douglas Weeks has performed throughout the Southeast United States both as soloistand pianist with the Converse Trio. Under the sponsorship of the US Information Agency,

he performed duo recitals with violinist Thomas Joiner in Africa and the Middle East, as

well as solo recitals in India, Pakistan, Sri Lanka, Nepal and Bangladesh. In the spring

of 1999, Weeks taught for four months at the Conservatory of Music in Cairo, Egypt,

as a Fulbright Senior Scholar. Honors include Converse College's Kathryne Amelia

Brown Award for excellence in teaching and a South Carolina Commission on Higher

Education's Distinguished Professor Award. Weeks holds degrees from Illinois State,

Florida State and Indiana universities and a licence de concert from Ecole Normale de

Musique in Paris. For more information, visit converse.edu/petrielenter/asp.

. .. .• .

,

'""

]•



Notes on the Program

All three works on today's program are products of Beethoven's "middle" period (about 18

about 1815), a time in which he composed much of his best-known music.

Beethoven jumped at the opportunity to write incidental music for

Goethe's play Egmont, which recounts the sixteenth-century

Flemish Count Egmont's opposition to an oppressive Spanish

regime in his own country. The story was based on historicalevents. Likely it appealed to Goethe because of its resemblance to

liberal movements of his own day.

"Beethoven

restored to Melod

its everlastir.lg type

Music her immortal. s-Richard Wagn

In history, Egmont was Roman Catholic, like the Spaniards, and he generally supported the

King Philip II. However, he opposed certain aspects of Philip's policies towards the Flemish

notably the Inquisition. This piecemeal opposition was enough to seal an unhappy fate. In G

play, Count Egmont speaks movingly just before being beheaded for treason, and his words

a successful rebellion against the Spanish, effectively liberating Flanders.

Two circumstances may have accounted for Beethoven's enthusiasm for Goethe's Egmo

first was his admiration for the author, whose Faust had become Beethoven's favorite writte

The second was Napoleon's rule over much of Europe, a situation that angered Beethov

before his work on Egmont, the composer had come to see Napoleon as an oppressive for

to Philip II) rather than as a democratic liberator.

The Overture to Egmont is the only segment of Beethoven's incidental music performed fre

today. (Other segments are to be performed simultaneously with parts of G

play.) The Overture's three sections convey much of the effect of the pl

despair, which the Flemish people experienced under Spanish rule;

unrest, the segment of the play that ends with Egmont's decapitat

"Music is the oneincorj:)oreal entrance

into the higher world

of knowledge which

comprehends mankinEi butwhich mankind cannot

last, triumph over Spanish oppression. The final, exultant sectiooverture antiCipates, startlingly, the last piece of the incidenta

which Beethoven named the Siegessymphonie-the "Symp

Victory."

comprehend. "

-Ludwig van Beethoven

The Triple Concerto was an anachronism when it was co

in 1804. The era of the concerto grosso, in which a small g

instruments are pitted against a larger group, had long pass

the concerto for a single solo instrument and orchestra held swa

Mozart and Haydn had recently popularized the piano trio, and Be

himself had already written several trios, but Beethoven's use of the pas soloists in a concerto was audacious.

Beethoven likely composed the Triple Concerto directly after the Eroica Symphony, but it

only a few of the innovations of the earlier piece. Some commentators have alleged a "reg

in the Triple Concerto and have been highly critical of the piece. Others regard it as a tran

effort, from which Beethoven gained invaluable experience that would serve him later in h

Concerto, among other works. Even this characterization of the Triple may be unfair. To

accurate impression one must examine the work itself, considering its own merits.



Chief among the merits is the solo cello part; the first entrance is particularly stunning.

Beethoven never wrote a cello concerto , cellists find some solace in their instrument's pro

in the Triple Concerto. Nonetheless, Beethoven achieves an exquisite balance among t

soloists . He features their respective individual powers and, at times, compels them to pla

soloists but as chamber players.

The first movement, the Triple's longest, is the most Beethovenian of the three, characte

one of the composer's trademark devices: the pianissimo climax . The second movemen

like and relatively short, features the cello as the soprano voice of the ensemble, which

prodigious high-wire control from the soloist. The final movement, a Polonaise, relieves the

of the slow movement with a surprising brilliance and clarity .

Beethoven's Symphony No. 5, which he began around the time he was completing th

Concerto , is his iconic work. It is the iconic work, in fact, for all of the music we term "C

Many aspects of the symphony were thoroughly original.

It's not difficult to isolate those features of Beethoven's work that render it so memora

four-note motif of the first movement may be the most famous in Western music. The

not remarkable per se, but the way in which Beethoven develops it is original and extraHis orchestration in this movement, which employs figures exchanged between the str

woodwinds, is impeccable, and it influenced a couple of generations of Romantic compos

One would be mistaken , however, in thinking that the first movement eclipses the oth

The second movement, again forgoing complex melodies in favor of elemental motifs, co

sense of struggle just as powerfully as the first movement does . The third and fourth mo

performed without an intervening pause, might be seen as a single movement, the,fourth

resolution of the third. The transition between them, climaxing at the start of the fourth, is o

great moments in Western music, signaling the final triumph already foreshadowed in the

movement.

To call the final-movement coda "emphatic" is absurd understatement. That scores

composers tried (vainly) to create similar codas testifies to the effectiveness of the dev

perhaps even more, the greatness of Beethoven's achievement.

-Jonathan Murray

Notes copyright © 2005 Brevard Music Center



Beethoven: A Historical Timeline

Boston Massacre

French Revolution begins

Mozart writes The Magic Flute

Haydn composes his "Surprise" Symphony

1770 Born December 16 in Bonn, Germany

1778 First public recital

1787 Visits Vienna and takes lesson with Moza

1789

1791

1792 Leaves home to study with Haydn in Vien

Edward Jenner introduces smallpox vaccination 1796 First symptoms of deafness become app

Napoleonic Wars begin

Volta builds first battery of zinc and copper plates 1800 Premieres his first symphony; compos

String Quartets

Purchase of French Louisiana by United States 1803

Goya paints "Execution of the Citizens of Madrid" 1808 Premiere of Choral Fantasy and Fifth

symphonies

Wellington defeats Napoleon at Waterloo

Lord Byron writes Don Juan

First steam ship crosses the Atlantic

Monroe Doctrine closes American continent to

European powers

G.S. Ohm formulates his law defining electrical

resistance

1815 Claims guardianship of nephew Karl aftedeath

1818 Deafness forces him to use conversatio

communicate

1823 First performance of Ninth Symphony a

Missa Solemnis

1827 Dies after prolonged illness on March 26

Upcoming Events

Joshua Bell makes his Brevard Music Center debut performing Tchaikovsky's Violin Concerto with

Effron and the BMC Orchestra on July 3. Bell came to national attention at age fourteen with his

acclaimed orchestral debut under Ricardo Muti and the Philadelphia Orchestra. Now in his thir

performs the world over, and his participation in events foreign to most classical artists has earned

rare title of classical music superstar. For more information, visit joshuabell.com.

Frederica von Stade, a long-time friend of the Brevard Music Center, makes her return on July 2

special evening concert with the Brevard Music Center Orchestra led by David Effron. Known affection

her friends and family as "Flicka," she has appeared on the most prestigious opera and concert stage

world. Visit fredericavonstade.com for more information.

Boston Pops Conductor and Brevard favorite Keith Lockhart returns for a symphonic evening w

Transylvania Symphony Orchestra on August 5. Lockhart attended the Music Center twice as a teena

currently serves on the board of trustees. His program features Beethoven's Fourth Symphony.




Violin I

Thomas Joiner, concertmaster*

Alice Ju

Marjorie Bagley*

Sarah SchrefflerWilliam Terwilliger*

Austin Wulliman

Katie McLin*

Christian Jackson

Annagret Klaua*

Ellen Cockerham

Barbara Careaga

Fiona Hughes

Sara Guerriero

Alex MartinEliza Hesse

Jessica Robinson

Andrew Tholl

Serban Petrescu

Violin IIJulian Ross, principal*

Diane Cline

Margaret Baldridge*

Emanuela LacraruKristine McCreery*

Essena Setaro

Chris Sanchez

Shan a Bey

Brandon Ironside

Aaron Neumann

Lindsey Baggett

Lemuel de la Cruz

Andrew Lynn

Gerome Stewart

Lauren Trolley

Viola

Scott Rawls, principal*

Jonathan Epstein


Anna Joiner*

Matthew Hofstadt

Eric Koontz*

Melinda Hirsch

Tom Rosenthal*Susannah Plaster

Tanritai Wyllie

Jim Lichtenberger

Kirsti Petra borg

Simina Renea

Cello


Ruth Boden

Pablo Mahave-Veglia*Ariana Arcu

Aron Zelkowicz*

Jeremy Crosmer

Elaine Anderson*

Franklin Keel

Ian Jones

Daniel Holloway

Katie Andrzejewski

Leslie Lyons

Double Bass


Cory Palmer

Kevin Casseday*

Travis Miller

Paul Quast

Salima Barday

Nery Rodriguez

Patrick Byrd

Joshua Lebar

Flute

Richard Sherman, principal*

Elizabeth Buck*

* Brevard Music Center Faculty

Piccolo

Elany Mejia

Oboe


Paige Morgan*

Clarinet

Steven Cohen, principa

Kristin King

Bassoon

William Ludwig, princip

Gili Sharett*

Contrabassoon

Amy Marinello

Horn

John Ericson, principal


Gustavo Camacho

Elizabeth Fleming

TrumpetWilliam Campbell, princ

Mark Schubert*

Trombone

William Zehfuss, princi

Andrew Peoples

Bass Trombone

Dan Satterwhite, princi

Timpani

Timothy K. Adams, Jr,



June 27 ·7 :30 pm

Porter Center, Brevard College

Adams in Recital

Timothy Adams, percussion • Dwayne Dolphin, ba

Jil Stifel, dance • Kristina Lanuza, voice

Tonight's program will be announced from the stage .

Timothy Adams, percussion

This fall marks Timothy Adams' eleventh season

as principal timpanist with the Pittsburgh

Symphony. Born in Covington, Georgia, he

began his professional career as a s u ~ s t i t u t e percussionist with the Atlanta Symphony while

still in high school. He later earned bachelor's

This fall marks Timothy Adams' eleventh season

as principal timpanist with the PittsburghSymphony. Born in Covington, Georgia, he

began his professional career as a s u ~ s t i t u t e percussionist with the Atlanta Symphony while

still in high school. He later earned bachelor's

and master's degrees from the Cleveland

Institute of Music. After graduation, Adams

played in the rock band Exotic Birds, recording

two albums and a music video for MTV. He is

an active educator, serving as coach and mentor to aspiring percussion

throughout the country. Adams has been a featured guest on Mister RogNeighborhood, and his compositions appear on the soundtrack of

Caveman 's Valentine, starring Samuel L. Jackson. He currently serves

the faculty of Carnegie Mellon University as associate professor of mu

and head of their percussion program. Adams joined the Brevard Mu

Center faculty in 1998. He enjoys skateboarding and collecting watch

He endorses Zildjan Cymbals, Evans Drum Heads (product des

consultant), Mike Balter Mallets, Pearl/Adams Percussion and ProM

Drumsticks . For more information, visit promark .com.



Dwayne Dolphin, bass

Pittsburgh native Dwayne Dolphin began working the jazz scene by age fifteen. After high s

he established himself in the New York circuit, playing with such jazz greats as Wynton Ma

with whom he toured throughout the United States. With the Hank Crawford Group, Dolphin le

the true meaning of the blues, before moving on to modern jazz. Dolphin eventually return

his roots to work with Stanley Turrentine, recording T-Time. A versatile performer, he app

with the Pittsburgh Ballet's production of Indigo in Motion and serves as adjunct professor o

at Duquesne University. In his latest recording, 4 Robin, Dolphin is featured with a self-desinstrument, his innovative piccolo bass. Visit dwaynedolphin .com for more information.

Jil Stifel, dance

Jil Stifel is a member of Attack Theatre. She has performed with the ensemble in Pittsb

Japan, Monaco and throughout the United States. She is a formidable presence on the Pitts

independent dance scene, working with Dance Alloy, Junction Dance Theatre, LabCo D

XCDC, Sahara Middle Eastern Dance and Pennsylvania Dance Theatre . Stifel has also worke

various independent choreographers including Kevin Wynn, Sean Curran and Andre KosloShe was delighted to perform in the Pittsburgh Opera's productions of Carmen and Faust, a

as with the Pittsburgh Symphony as the princess in I'Histoire du Soldat. Her choreograph

multi-media projects have been presented in Pittsburgh, New Jersey, Jacksonville and Japan

Kristina Lanuza, voice

A well-respected yoga instructor in the New York area, Kristina is also passionate about sin

She is featured on a recording with pianist Evan Gray titled First Breath, inspired by the womotivational speaker Karim Hajee. Her most recent recording of yoga-inspired breathing c

includes percussionist Timothy Adams and drummer Andy Kabiszewski. As a yoga instr

Lanuza maintains her own studio, Yogafly, in New York. She believes teaching should be fille

creativity, music and humor.

Percussion: noun; per-cus-sion . Generic name for instruments that are sounded by shaking or by striki

object with another. In the general classification of instruments they are divided into two categories, membrano

(instruments in which a stretched skin is the sound-producing agent) and idiophones (instruments made up of a s

material capable of sound production). Membranophones are by far the oldest of all instruments and exist in en

variety all over the world. The percussion instruments of the orchestra can be divided into two groups: those that p

a sound of definite pitch and those that do not.

-Harvard Concise Dictionary of Music



Tuesday, June 28 • 7:30 pm

Straus Auditorium

Art Song Recital

Members of the Janiec Opera Company

and the Collaborative Piano Studio

Gabriel Faure

Gabriel Faure

Henri Duparc

Claude Debussy _

Henri Duparc

Reynaldo Hahn

Henri Duparc

Claude Debussy -

Henri Duparc

Reynaldo Hahn

Josef Szulc

Leo Delibes

Claude Debussy

Clair de lune

Heather Phillips, sopran

Matthew Gemmill, piano

Poeme d'un Jour

RencontreToujours

Adieu



Chanson lrisle

Clair de lune

L'lnvilation au voyage

A ChlorisAdieu



Chanson lrisle

Clair de lune

L'lnvilation au voyage

A Chloris

Clair de lune

Les filles de Cadix

Jennifer Rossetti, sopran

Ashley Kerr, mezzo-sop

Elyse Weakley, piano

Feles Galanles (I)En sourdine

Fantoches

Clair de lune

Joanna Gates, soprano

Naoko Suga, piano

INTERMISSION




Leonard Bernstein

Alberto Ginastera

An Chloe

Ais Luise die Briefe ihres ungetreuen

Liebhabers

Ambenemfindung

Oas Veilchen

Kristina Riegle, soprano

Ashley Anderson, piano

I Hate Music! A Cycle of Five Kid Songs

Janel Frazee, sopranoJacob Kidder, piano

Cinco Canciones Populares Argentinas

Chacarera

Triste

ZambaArrorr6

Gato

Sarah Nelson Craft , mezzo-soprano

S'ngah Seo, piano

Selected Translations

Poeme d'un Jour

Gabriel Faure

Text by Charles Grandmougin

Recontre (Meeting)

I was sad and pensive when I met you,

I sense less to-day my persistent

torment;

Tell me, were you the girl I met by

chance

the ideal dream I have vainly sought?

A passer-by with gentle eyes, were you

the friend

who brought happiness to a lonely

poet,

And did you shine upon my vacant

heart

like the native sky on an exiled spirit?

Your shy sadness, so like my own,

loves to watch the sun set over th

Your delight is awakened before

immensity,and the evenings spent with you

soul are dear to me .

A mysterious and gentle sympa

already binds me to you like a liv

bond;

My soul trembles with overpowe

love,

And my heart cherishes you, kno

you hardly at all!

Toujours (Forever)

You ask me to be quiet,

to flee from you forever to a dist

place,

and to depart alone

without thinking of the one whom



You might more easily ask the stars

to fall from the sky,

or the night to lift its veils,

or the day to rid itself of its brightness!

Ask the immense ocean

to dry up its vast waters,

and, when the winds are raging

dementedly,

ask them to calm their dismal sobbing!

But do not hope that my soul

can uproot its sorrow

and douse its flame

as the springtime can shed its flowers!

Adieu (Farewell)

Like everything that dies quickly,

the blown rose,

and the mottled cloaks of

the passers-by

Long sighs, girl friends,

smoke.

One sees in this frivolous world,

Change.Quicker than the waves on the beach,

Our dreams,

Quicker than frost on the flowers,

Our hearts.

One believes oneself faithful to you,

Cruel,

But alas! the longest of love affairs,

Are short!And I say on quitting your charms,

Without tears,

Close to the moment of my avowal,

Adieu!

Chanson triste (Sorrowful Song)

Henri Duparc

Text by Jean Lahor

Moonlight slumbers in your heart,

A gentle summer moonlight,

And to escape the cares of life

I shall drown myself in your light.

I shall forget past sorrows,

My sweet, when you cradle

My sad heart and my thoughts

In the loving calm of your arms.

You will rest my poor head ,

Ah! sometimes on your lap,

And recite to it a ballad

That will seem to speak of us;

And from your eyes full of sorrow,

From your eyes I shall then drink

So many kisses and so much loveThat perhaps I shall be healed.

L'lnvitation au voyage (Invitation

a Journey)

Henri Duparc

Text by Charles Baudelaire

My child, my sister,

think of the sweetnessof going there to live together!

To love at leisure,

to love and to die

in a country that is the image of yo

The misty suns

of those changeable skies

have for me the same

mysterious charmas your fickle eyes

shining through their tears.

There, all is harmony and beauty,

luxury, calm and delight.

See how those ships,

nomads by nature,

are slumbering in the canals.



To gratify

your every desire

they have come from the ends of the

earth.

The westering suns

clothe the fields,

the canals, and the townwith reddish-orange and gold.

The world falls asleep

bathed in warmth and light.

There, all is harmony and beauty,

luxury, calm and delight.

A Chloris (To Chloris)

Reynaldo Hahn

Text by Theophile de Viau

If it can be true, Chloris, that thou lovst

me,

And I understand that thou dost love

me well,

I do not believe that even kings

Could know such happiness as mine.

How unwelcome death would be

If it came to exchange my fortuneWith the joy of heaven!

All that they say of ambrosia

does not fire my imagination

like the favor of thine eyes.

Les filles de Cadix (The Girls of

Cadix)

Leo Delibes

Text by Alfred de Musset

We were coming from seeing the bull ,

Three boys, three girls,

On the grass the weather was fair,

And we were dancing a bolero

To the sound of castanets;

Tell me, neighbor,

If I look well

And if my skirt

Looks good on me, this morning,

Do you find my waist slender?

Ah!Ah!

The girls of Cadiz rather like that.

And we were dancing a bolero

One evening--it was Sunday,Toward us came a hidalgo

Covered with gold, a feather in his

And his fist on his hip:

If you want me,

Brunette with the sweet smile,

You have only to say so,

This gold is yours.

Go on your way, good sir,

Ah!Ah!

The girls of Cadiz don't understandthat.

And we were dancing a bolero,

At the foot of the hill.

On the road passed by Diego,

Who for worldly goods has only a

And a mandolin:

Beautiful one with sweet eyes,

Do you want to the church

Tomorrow to be conductedBy a jealous lover?

Jealous! Jealous! what stupidity!

Ah!Ah!

The girls of Cadiz fear that fault!

Fetes Galantes (I)

Claude Debussy

Text by Paul Verlaine

En sourdine (Muted)

Calm in the half-day

That the high branches make,

Let us soak well our love

In this profound silence.

Let us mingle our souls, our hearts



And our ecstatic senses

Among the vague langours

Of the pines and the bushes.

Close your eyes halfway,

Cross your arms on your breast,

And from your sleeping heart

Chase away forever all plans.

Let us abandon ourselves

To the breeze, rocking and soft,

Which comes to your feet to wrinkle

The waves of auburn lawns.

And when, solemnly, the evening

From the black oaks falls,

The voice of our despair,

The nightingale, will sing.

Fantoches (Marionettes)

Scaramouche and Pulchinella,

whom a nefarious plot brought together,

gesticulate, black beneath the moon.

Meanwhile, the excellent doctor

from Bologna leisurely gathersmedicinal herbs in the dark grass.

Then his daughter, prettily piquant,

beneath the hedge stealthily glides

half-naked, in quest

of her handsome Spanish pirate,

of whom an amorous nightingale

proclaims the distress at the top of itsvoice.

Clair de lune (Moonlight)

Your soul is a chosen landscape

charmed by masquers and revellers

playing the lute and dancing and almost

sad beneath their fanciful disguises!

Even while singing, in a minor ke

of victorious love and fortunate liv

they do not seem to believe in th

happiness,

and their song mingles with the

moonlight,

the calm moonlight, sad and bea

which sets the birds in the trees

dreaming,

and makes the fountains sob with

ecstasy,

the tall slender fountains among

marble statues!

An Chloe (To Chloe)


Text by Johann Georg Jacobi

When love shines from your blue

bright, open eyes,

and with the pleasure of gazing inthem .

my heart pounds and glows;

and I hold you and kissyour rosy, warm cheeks,

lovely maiden, and I clasp

you trembling in my arms,

maiden, maiden, and I press

you firmly to my breast,

which at the last moment,

only at death, will let you go;

then my intoxicated gaze is shad

by a gloomy cloud,

and I sit then, exhausted,

but blissful, next to you.



Als Luise die Briefe ihres ungetreuen

Liebhabers(When Luise Burned

the Letters ofher Faithless Lover)Wolfgang Amadeus Mozart

Text by Gabriele von Baumberg

Generated by ardent fantasy;

ina rapturous hourbrought into this world - Perish,

you children of melancholy!

You owe the flames your existence,

so I restore you now to the fire,

with all your rapturous songs.

For alas! he sang them not to me

alone.

I burn you now, and soon, your loveletters,

there will be no trace of you here.

Yet alas! the man himself, who wrote

you,

may still perhaps burn long in me.

Ambenemfindung (Evening Feelings

for Laura)

Wolfgang Amadeus MozartText by Joachim Heinrich Campe

Evening it is; the sun has vanished,

And the moon streams with silver rays;

Thus flee Life's fairest hours,

Flying away as if in a dance.

Soon away will fly Life's colorful scenes,

Andthe curtain will come rolling down;Done is our play, the tears of a friend

Flow already over our grave.

Soon, perhaps (the thought gently

arrives like the west wind -

A quiet foreboding)

I will part from life's pilgrimage,

And fly to the land of rest.

If you will then weep over my grave,

Gaze mournfully upon my ashes,

Then, 0 Friends, I will appear

And waft you all heavenward.

And you, bestow also a little tear on m

And pluck me a violet for my grave,And with your soulful gaze,

Look then gently down on me.

Consecrate a tear for me, and ah!

Do not be ashamed to cry;

Those tears will be in my diadem

then: the fairest pearls!

Das Veilchen (The Violet)

Wolfgang Amadeus MozartText by Johan Wolfgang von Goet

A violet stood upon the lea,

Hunched o'er in anonymity;

So amiable a violet!

Along there came a young shepherde

Light paced, full of contentedness

Along, along,

The lea, and sang her song."Ah!" thinks the violet, "were I just

The fairest flower in the dust

For just a little while yet,

Until that darling seizes me

And to her bosom squeezes me!

For just, for just

A quarter hour long!"

Ah! And alas! There came the maid

And no heed to the violet paid,Crushed the poor little violet.

It sank and died, yet filled with pride :

And though I die, I shall have died

Through her, through her,

And at her feet have died ."

Poor little violet!

So amiable a violet!



Janiec Opera Company

Welcome to the 2005 season of the Brevard Music

Center's Janiec Opera Company. Variety has always

been the key to our success, for both performers

and audience. Once again, the Company presents

four main stage productions - works ranging from

high comedy to profound tragedy, from the most

traditional repertoire to the most innovative. To

enhance the concert experience, all productions

feature supertitles projected above the stage. I will

host free pre-performance lectures, providing historical background and con

for each of the four operas.

The Janiec Opera Company is comprised of 40 talented young vocal ists

around the country, chosen from hundreds of applicants each year. For mthis may be their first opportunity to perform a solo role in a full opera produc

Singers soon grow accustomed to the fast professional pace of rehearsing

within the first few days of the season evolve into an efficient and suppo

ensemble .

Helping at every turn is a professional resident staff of conductors, stage direc

voice teachers, vocal coaches and movement specialists. A full production

of set and costume designers, make-up specialists , stage managers and

assures the singers look their best in productions that run smoothly and efficie

We conceive, design and build on site each of our productions. Although a la

intensive process, the result is well worth the effort.

I look forward to the season and hope you 'll enjoy it as well.

John Greer

General Manager



Wednesday, June 29 ·4 :30 pm

Straus Auditorium

Faculty Piano Recital

Piano Faculty of the Brevard Music Center

Franz Schubert

Frederic Chopin

Maurice Ravel

Igor Stravinsky

Igor Stravinsky

Sonata in B-flat Major, D. 960

Molto moderato

Doug/as Weeks

Andante spianato and Grand

Polonaise, Opus 22

Marina Lamazav

Miroirs

Oiseaux tristes

Une Barque sur I'Ocean

Andrew Caaperstack

The Rite of Spring:

Part I - The Adoration of the

Introduction

Oiseaux tristes

Une Barque sur I'Ocean

Andrew Caaperstack

The Rite of Spring:

Part I - The Adoration of the

Introduction

Harbingers of Spring

Dances of the Adolescent

Ritual of Abductions

Spring Rounds

Games of the Rival Tribes

Procession of the SageAdoration of the Earth

Dance of the Earth

James Hawsman

Bruce Murray



June 29 • 7:30 pm

Porter Center

Faculty Chamber Recital

Sergei Prokofiev

Bela Bartok

Bela Bartok

Quintet, Op. 39Tema: Moderato-Variation I, I

Andante energico

Allegro sostenuto, ma con brio

Adagio pesante

Allegro precipitato, ma non trop

Andantino

Eric Ohlsson, oboe

Steven Cohen, clarinet

David Salness, violin

Scott Rawls, viola

Craig Brown, double bass

Selections from 44 Duets for Tw

Teasing Song

Summer Solstice Tune

Lullaby

Pillow Dance

Soldier's Song

New Year's Greeting

Selections from 44 Duets for Tw

Teasing Song

Summer Solstice Tune

Lullaby

Pi llow Dance

Soldier's Song

New Year's Greeting

Mosquito Dance

Ruthenian Kolomejka

Bagpipes

Pizziccato

Transylvanian Dance

Fairy Tale


Julian Ross, violin

INTERMISSION



Johannes Brahms String Quintet in G Major, Op. 111

Allegro non troppo, ma con brio

Adagio

Un poco Allegretto

Vivace, ma non trappo presto



Scott Rawls, viola

Eric Koontz, violaPablo Mahave-Veglia, cello


Eric Ohlsson, oboe

Eric Ohlsson is professor of music in oboe at Florida State University, previously serving as assistant p

of oboe and assistant director of the school of music at the University of South Carolina . He has perfo

principal positions with the Columbus Symphony, Naples Philharmonic, Palm Beach Opera and Talla

Symphony. Ohlsson joined the BMC faculty in 1994 and appears as soloist with the Transylvania SyOrchestra on July 15.


Newly appointed clarinet professor and head of the clarinet program at the Northwestern University S

Music, Steve Cohen held the same position this past year at the Cincinnati College-Conservatory o

He was previously principal clarinet with the Louisiana Philharmonic and Professor of Clarinet at Lo

State University. In 2001 and 2004, Cohen performed at the Bay Chamber Concerts "First Chair A

with principal wind players from the orchestras of Chicago, Philadelphia, Montreal, New York, Was

Minnesota and Dallas. Cohen is an artisUciinician for Buffet clarinets and a Legere Reed artist.


David Sal ness has toured internationally as a soloist and chamber musician for over twenty-five y

former member of the Audubon Quartet, he now performs with the Left Bank Quartet and the Smit

Chamber Players. As a member of Nisaika, he won the Deuxieme Grand Prix at the 1983 Evian Inter

String Quartet Competition. Formerly a faculty member of the Chautauqua Festival and the Meado

School of Music, he serves as head of chamber music activities at the University of Maryland.

Scott Rawls, viola

Violist Scott Rawls has appeared as soloist and chamber musician throughout the United States, C

Mexico, Japan, and Western Europe. Chamber collaborations include performances with Dmitry Sitko

Elmar Oliviera, Lynn Harrell, Diaz Trio, Kandinsky Trio and Ciompi Quartet, as well as with member

Cleveland, Audubon and Cassatt string quartets . His most recent recording, released in 2004 on the

label, features chamber music of Samuel Coleridge-Taylor. Rawls' recording of chamber works for v

clarinet was released on the same label. Additional chamber music recordings can be heard on t

Nonesuch, Capstone and Philips labels.



Craig Brown, double bass

Craig Brown is a member of the North Carolina Symphony. He is also on the faculty of the Unive

North Carolina at Greensboro. He has served as principal bass in both the Des Moines Metropolitan

Orchestra and the Chamber Orchestra of the Triangle. He has been a member of the Toledo Sym

and the Aspen Festival Orchestra. His chamber music activities have included performances with Ma

Chamber Players, the American Chamber Music Festival, the NC Symphony Chamber Music Series a

a long-time member of the Swannanoa Chamber Players. Brown has been a bass clinician for the Am

String Teachers Association and was a Clinician/Recitalist at the 1999 Florida Bass Bash.

Julian Ross, violin

Julian Ross is professor of violin, string department chair and member of the Elysian Trio at Baldwin-W

College. In great demand as a performer of new works, Ross' recent engagements have included num

appearances as soloist in concertos he commissioned and premiered. While on the faculty of Memphis

University, he performed as a member of the Memphis Piano Quartet and the Memphis Casio Quart

toured with the Musical Arts Consortium and the New Orchestra of Boston, and appeared regularl

founding member of the Arcadia Trio. Subsequently, Ross served on the faculty of Florida State Univ

performing as concertmaster of the Tallahassee Symphony.


A faculty member at Ohio University, Marjorie Bagley has given masterclasses at the University of

Carnegie Mellon, the University of Massachusetts at Amherst and the State University of New York

Other teaching positions include the Manhattan School of Music Preparatory Division, the Perlman Mus

and the Kinhaven Music School. As first violinist of the Arcata String Quartet, she performed at Carne

Recital Hall, London's Wigmore Hall and throughout Western Europe and the United States. The qua

as artists-in-residence at Utah State University for four years. Bagley can be heard on the VOX and

Records label. An active recitalist, she is a member of the ProMusica Chamber Orchestra in Columbus,

holds degrees from the University of Michigan and Manhattan School of Music.

Eric Koontz, viola

Eric Koontz has performed as soloist and chamber musician throughout the United States, Canada, E

and Israel. He can be heard on the RCA, EMI, Ars Harmonica Columna, Och and Decca labels. In 20

gave the Spanish premiere of Max Bruch's Double Concerto for Viola and Clarinet in Barcelona. He app

as principal viola with the Jerusalem Symphony on its European-American tour in 2003. Koontz co-fo

such chamber ensembles as the Reinecke Trio, Nayades Trio and Glinka String Quartet. Former as

principal viola of the Barcelona Symphony, Koontz teaches at Appalachian State University.

Pablo Mahave-Veglia, cello

Pablo Mahave-Veglia has appeared with orchestras in his native Chile, as well as others in Columbia, Ma

and the United States. Recent concerts include series in Santiago (Chile), Bogota (Colombia) and Sa

(Costa Rica). Upcoming appearances include the Renee Weiler Hall in New York, Quigley Chapel in C

and American Church in Paris. As a baroque cellist, he performs with Ars Antigua, L'Ensemble Portiqu

SI. Louis's Kingsbury Ensemble.



June 30 • 4:30 pm

Straus Auditorium

Student Piano Recital

Johann Sebastian Bach

Antonio Soler


Frederic Chopin

Claude Debussy

Maurice Ravel

George Gershwin

Maurice Ravel

George Gershwin

Robert Muczynski

Maurice Ravel

Sergei Rachmaninoff

Partita No. 1 in B-flat Major

Allemande

Hani Nakhoul

Sonata in B minor

Phoebe Bushman

Sonata in A-flat Major, Op. 110

Moderato cantabile molto espr

Eneida Larti

Fantasie-Impromptu, Op. 66

Anna Kathryn Smith

La Cathedral Engloutie

David Kiser

Sonatine

Anime

Jennifer Huang

Prelude No. 1-

David Kiser

SonatineAnime

Jennifer Huang

Prelude No. 1

Wilson Moss

Six Preludes

Colin Doherty

Jeux d'eau

Amy Yeh

Etude-Tableau in A minor, Op. 39,

Mary Chung



Thursday, June 30·12:15 pm

Thomas Hall

Bach's Lunch

Franz Josef Haydn


Franz Josef Haydn

Franz Josef Haydn


String Quartet in F Major, Op. 74, No

Allegro spirituosoAndante

Aubade Quartet

Jessica Robinson, violin

Aaron Neumann, violin

Tanritai Wyllie, viola

Franklin Keel, cello

String Quartet in C Major, KV465

Adagio; Allegro

Andante cantabile

Austin Wulliman, violinBarbara Careaga, violin

Melinda Hirsch, viola

Ian Jones, cello

String Quartet in D Major, Op. 76, NO

Allegretto

Largo ma non troppo, cantabile e

Uric Quartet


Ian Jones, cello

String Quartet in D Major, Op. 76, N

Allegretto

Largo ma non troppo, cantabile e

Uric Quartet

Serban Petrescu, violin

Ema Lacraru, violin

Simina Renea, viola

Ruth Boden, cello

String Quartet in E-flat Major, Op . 74

Poco Adagio; Allegro

Attacca

Alex Martin, violin

Christopher Sanchez, violin

Jonathan Epstein, viola

Daniel Holloway, cello



Thursday, June 30 • 7:30 pm


Winds and Brass

Transylvania Wind Ensemble • Sarah McKain, cond

Transylvania Symphonic Band • Kraig Williams, con

David Maslanka

Claude Debussy

Camille Saint-Saens

arr. Matthew Lake

Fanfare for Mother Earth

The Engulfed Cathedral

March Militaire

Transylvania Symphonic Band

INTERMISSION

Nikolai Rimsky-Korsakov l rocession of Nobles

M chae!. g . ~ , S J j l , ~ ~ m x . " , f Y . i ~ J J . ? ! ' L E f ' ! ~ s

INTERMISSION

Nikolai Rimsky-Korsakov

Michael Daugherty

Richard Wagner

arr. Bourgeuis

Peter lIyich Tchaikovsky

arr. Cramer

Procession of Nobles

Niagara Falls

Elsa's Procession

Dance of the Jesters

Transylvania Wind Ensemble



Transylvania Syrnphonic Band

Kraig Williams, conductor

Kraig Williams is director of bands and associate professor of conducting at the University of Memphis. His duties inclu

artistic guidance of the University Wind Ensemble and Faculty Chamber Ensemble, and the administration of all asp

a dynamic and comprehensive university band program. Other responsibilities include teaching undergraduate cond

and the mentoring of Masters and Doctoral students. Williams regularly conducts honor bands and is the conductor

Memphis Area Youth Wind Ensemble. Prior to Memphis, Williams was on the faculty at Duke University serving as con

of the Duke Wind Symphony and director of the Duke in Vienna program. He has led performances in Graz, Budapestand Prague and has made several appearances as guest conductor with the Dallas Wind Symphony.

Flute

Brian BurkettJacob Farnsworth

Nave Graham

Chelsea Knox

Christie Olsen

Elyse Roberts

OboeAlexandra Dawson-Beatty

Chris Connors

Jeff Taylor

Jennifer Moore

Connie Vogelmann

Clarinet

Jonathan Cohen

Natalie Parker

Peter Sabino

Lauren Huckaba

Emily TyndallTiffany Valvo

Maressa McCall

Megan Mcinnes

Bassoon

Ellen Martin

Jeff Nesrsta

Megan Schlie

Saxophone

Austin Arnett

Kimberly Goddard

Daniel Kempland

Jeff Loeffert

Horn

Mario Lopez

Allison YoungbloodEric Damashek

Andrew Fierova

Jason Ward

Almichael Taylor

Beth Smeltzer

Olivia Sedlack

Trumpet

Ben Campbell

Alex Fioto

Anna Garcia

Matthew MorrowJohn Roberts

Graham Watt

Trombone

James Pannell

Timothy Robinson

Bass Trombone

Nathan Lodge

"I never fail to be inspired

and impressed by the talent and passion

of our wonderful students . It's a privilege to

help nurture their musical development."

-Sarah McKoin

Euphonium

Greg Lutz

Daniel Chapa

Tuba

Alexander Hays-EkelaDrew Prichard

HarpElizabeth Munch

Percussion

Saul Green

Cameron Heard

Elliot Beck

Nicholas Galante

Lee Hinkle

Lauren Kosty

Robert Kratz

David Newcomb

Gabriel PlacidoChelsea Reeves

Chris RoodeBrandon Schantz

Thomas Schmidt

Valerie Vassar

Tihda Vongkoth




Sarah McKoin, conductor

Sarah McKoin is director of bands at the University of Missouri-Kansas City Conservatory of Music, where she con

the wind ensemble and teaches graduate and undergraduate conducting . She was formerly the director of bands at S

Buffalo and served on the faculty of Fredonia State College. She has performed world and regional premieres of wor

Lukas Foss, Dan Welcher, Donald Freund , David Maslanka and others. She is executive producer for a recording p

with the Israeli Chamber Orchestra on the Fleur De Son label, which features the Castellani-Andriacchio guitar duoLipsky conducting. McKoin has authored an analysis of Leslie Bassett's Colors and Contours. She co -founded the We

New York Youth Wind Ensemble and is music director and artistic advisor of the Kansas City Youth Wind Ensemble.

Flute Saxophone Euphonium

Julia Barnet! Austin Arnett Tara Davis

Anthea Kechley Kimberly Goddard Daniel Chapa

Elany Mejia Daniel Kempland

CaiUyn Perry Jeff Loeffert Tuba

Angela Rich Charlie Meldrum

Christina Sjoquist Horn Ed Vinson

Elizabeth Fleming

Oboe Julia Hencken HarpRebecca Marquardt Laura Carter Elizabeth Munch

Noelle Drewes Katie TaylorJohn Hammarback Marc Zyla Percussion

Sian Ricketts Elliot BeckTrumpet Nicholas Galante

Clarinet Tao Ge Lee Hinkle

Jason Denner David Harbuziuk Lauren Kosty

Daniel Frazelle Peter Kuan Robert Kratz

Giancarlo Garcia Jordan Olive David Newcomb

James Garcia Matthew Shefcik Gabriel Placido

Nicole Izzo Matthew Vangjel Chelsea Reeves

Kristin King Chris RoodeAntonio Tanase Trombone Brandon Schantz

Patrick Reynolds Thomas Schmidt

Bassoon Will Timmons Valerie Vassar

Kendrick Boyd Kensey Chellis Tihda Vongkoth

Sasha EnegrenAmy Marinello Bass Trombone

Andrew Walker

Please Note: Latecomers will be seated at the House Manager's discretion. No cameras, tape recorders , smoking or f

the auditorium. Please switch off all cell phones , pagers and watch alarms prior to this performance. Restrooms are lo

at the rear of Whittington-Pfohl Auditorium in the Box Office Lobby, next to the refreshment stand and also in Thomas

The Brevard Music Center is grateful for the support re ceived from the North Carolina General Assembly, the North Ca




Friday, July 1 • 7:30 pm


Repertory Symphony OrchestraSteven Smith, conductor

Transylvania Symphony Orchestra

Thomas Joiner, conductor

Paul Dukas

Peter Ilyich Tchaikovsky

Camille Saint-Saens

Fanfare from La Peri

Romeo and Juliet

Bacchanale from Samson an


INTERMISSION

Antonin Dvoi'i3k Symphony No.6

Allegro non tanto

Adagio

INTERMISSION

Antonin Dvorak Symphony NO.6

Allegro non tanto

Adagio

Scherzo (Furiant)

Allegro con spirito

Repertory Symphony Orchestra




Peter Ilyich Tchaikovsky began work on his Romeo and Juliet in 1869. The piece pu

to illustrate, in highly compressed fashion, the characters and progress of Shakesp

play. The premiere in 1870 was not wildly successful, so the composer made some rev

suggested by another Russian composer, Mily Balakirev. Ten years later Tchaikovsky re

the piece again and installed the now-familiar ending . Despite its inauspicious begi

Romeo and Juliet became, over time, one of the composers's signature works . Its

theme is heard frequently in film scores, television programs, cartoons, and comme(Balakirev, who saw the piece before it was ever played in public, liked the love theme

The work has all of the dramatic fire and peerless orchestration that we associate wi

greater Tchaikovsky, and it is destined to stay in the orchestra repertoire forever.

Doubtless some of the students at the Brevard Music Center are acquainted with m

versions of the ancient Roman bacchanalia, the wild , drunken festival that honored th

Bacchus. One of the modern analogues, obviously, is the frat party. Another is the

although a rave may be a better analogue for the addictive dance, the bacchanale

accompanies the various other activities-ahem-of the bacchanalia. Every opera pres

in nineteenth-century Paris had to have a ballet, and Saint-Saens's solution for his

Samson and Delilah was the Bacchanale . The piece, with its pseudo-Middle Easternism

frenzied cl imaxes, has become familiar as a freestanding orchestra work.

The Czech composer Antonin Dvorak (1841-1904) was only eight years younger

Johannes Brahms, but he viewed Brahms as very much an elder master, and as som

of a role model. Brahms's musical influence on Dvorak was such that many still view D

as a sort of lesser Brahms, with Czech seasoning. True, there are passages in Dvora

can pass for Brahms , including a few in the Sixth Symphony. (Rarely does Brahms pa

Dvorak.) Dvorak studied Brahms's music thoroughly, and Brahms is known to have thwell of his Czech disciple. But Dvorak, prodigious musician that he was, did not "get"

Brahms, just as Brahms did not "get" all of Beethoven. Knowing which parts of Brahm

Dvorak did get tells us a great deal about Dvorak.

Dvorak received from Brahms many ideas pertaining to the art of musical compos

controlling tonal areas, building something large from something small, organizing m

movements into coherent wholes, et cetera, et cetera . Dvorak, however, could not appro

Brahms's profound understanding of counterpoint , his ability to project motifs into differe

simultaneous time spans, or his unique response to Romantic literature and poetry. Pe

Dvorak was most beholden to Brahms for Brahms's introduction of ethnic or natiomusical elements into the most rarefied musical forms-symphony, quartet, sonata . D

considered Brahms the greatest living composer ; that Brahms brought Hungarian scale

chamber music meant that it was legitimate for Dvoark and all other composers to asse

ethnicity.

Dvorak composed his Sixth Symphony during the fali of 1880. It is an explicit gloss

homage to, Brahms's Second Symphony, which had appeared in 1877. The two works



the key of D major, a generally pastoral affect, and several technical details . The fir

last movements of Dvorak's work are clearly Brahmsian in some matters of orches

and development. The inner movements are less derivative. The scherzo is marked f

which is an energetic Bohemian dance marked by a characterist ic rhythm. The whole w

clear, clever, and optimistic. It would be performed more often were not Dvorak's thre

symphonies so amazingly successful.

-Bruce Murray


About the Perfornlers

Steven Smith, conductor

This fall marks Steven Smith's seventh season as music director of the Santa Fe Sym

Orchestra and Chorus. In 2003, he added the position of associate professor/music d

of the Oberlin College Conservatory Orchestras, where he also leads the Conserv

opera productions. Previous positions include assistant conductor of the Cleveland Orch

music director of the Cleveland Youth Orchestra and associate conductor of the Kansa

Symphony. Recent engagements include appearances with the Auckland Philharmonia

Zealand), Aspen Music Festival and National Repertory Orchestra . Also an active com

his Shake, Rattle and Roar, an interactive work for young audience and orchestra

featured on National Public Radio's Morning Edition and Performance Today. A na

Toledo, Ohio, Steven Smith holds degrees from the Eastman School of Music and ClevInstitute of Music.


Thomas Joiner serves as professor of violin and orchestral activities at Furman Universi

as music director of the Hendersonville (NC) Symphony. He has performed in Carneg

and the Kennedy Center as a principal player with the Indianapolis Symphony and as a v

with orchestras in Louisville , Aspen, Charleston and Savannah. As an artistic ambassad

the United States Information Agency, Joiner presented recitals with pianist and BMC member Douglas Weeks during a five-week tour of West Africa and the Middle Ea

served for ten years as professor of violin and director of orchestral activities at the Uni

of Georgia. Joiner and his wife , violist Anna Barbrey, perform as the Joiner Duo. Duri

summer, Joiner is co-concertmaster of the Brevard Music Center Orchestra and lead

Transylvania Symphony Orchestra.



Robert McDuffie Day

Today, violinist Robert McDuffie receives the Brevard Music Center's

2005 Distinguished Alumnus Award. He attended BMC as a student in

1970 and '71 and has since established an international performance

career.

"I fell in love with music at Brevard Music Center," says McDuffie . "Mytwo summers there as an adolescent were unforgettable. The Brevard

experience helped shape my musical personality. To be recognized with

the Distinguished Alumnus Award is truly an honor."

McDuffie can be heard on the Telarc label performing the violin concertos of Mendel

Bruch, Adams, Glass, Barber and Rozsa. In 2002, he served as a visiting artist at the Am

Academy in Rome and since returns each summer as co-founder and artistic direc

the Rome Chamber Music Festival at Villa Aurelia. McDuffie was appointed disting

university professor of music at Mercer University in his home town of Macon, Georg

currently resides in New York with his wife and two children.

From the Artistic Director

The tremendous musical talent inherent in the Brevard Music Center's faculty and stu

makes it possible to duplicate high artistic achievement season after season. Over the y

have seen the ability level of our participants skyrocket. Faculty members are among the

performers and pedagogues in the country, and their dedication to the Music Center resattracting a higher level of students.

Our students are an essential part of who we are, and their education and mentoring

first and foremost. The musical and personal growth they experience while at the B

Music Center prepares them for promising futures as artistic and contributing citizens.

past ten years, former students have gone on to pursue international solo careers, serv

major symphony orchestras throughout Europe and North America, as well as perform w

Metropolitan and New York City operas.

As you thrill to the sounds of orchestra, opera and chamber music this summer, be genin your applause for the incredible faculty and student artists who make all of what

possible.

David Effron

Artistic Director and Principal Conductor



Transylvania SYrTlphony Orchestra


Violin 1 Presti Hinson Clarinet

Heather MacArthur, Chelsea Godwin Lauren Huckaba

concertmaster Stephanie Etheridge Maressa McCallChristine Short Chris Kalter Natalie Parker

Steven Kim Christopher Lanier Tiffany Valvo

Kristen Kline Sarah Brown

Abigale Reisman Bass Clarinet

Emily Nebel Cello Emily Tyndall

Stephanie Hao Nick Gold

Sara Guerriero Leslie Lyons Bassoon

Jordan Wong Tina Kim Kian Anderson

Ashley Martin Jenna McCreery Angela Moretti

Anna Grace Strange Jenni Aldrich Megan Schlie

Bethany Moore Sarah Schmitz

Luke Rohde Zachary Mansell HornMadeleine Jensen Michael O'Boyle Eric Damashek

Julia Reeves Kaitlin Grady Andrew Fierova

Chandler Fugate-Laws Andrea Albertini Mario Lopez

Carter Tholl Emme Johnston Olivia Sedlack

Elizabeth Robinson Anna Owensby Beth Smeltzer

Haley Dreis Almichael Taylor

Deborah Johnson Double Bass Jason Ward

Jonathan Deans Allison Youngbloo

Violin 2 Patrick Byrd

Matthew DeBeal Stella Heine Trumpet

Gerome Stewart Mary Reed Ben CampbellMia Detweiler David Connor Alex Fioto

Steven Boyd Steven Metcalf Anna Garcia

Seth Gilliard Benjamin Harshbarger Matthew Morrow

Melanie Riordan Louis Heald John Roberts

Dianna Joiner Luis Catalan Graham Watt

Lauren Trolley

Juliana Lynch Flute Trombone

Madeline McCreery Brian Burkett Timothy Robinson

Louis McCracken Chelsea Knox Nathan Lodge

Svetlana Schneyderman Christie Olsen

Matthew Madonia Bass Trombone

Katherine Floriano Oboe James Pannell

Julia Alexander Connie Vogelmann

Kylen Moran Jeff Taylor Tuba

Raymond Harrison Jennifer Moore Alexander Hays-E

Brandis Godwin Alexandra Dawson-Beatty Drew Prichard

Viola English Horn Percussion

Leah Reiter Chris Connors Saul Green

John Concklin Jeff Taylor Cameron Heard

Erin Rafferty





Violin I Susannah Plaster Bassoon

Alice Ju , concertmaster Scott Clement Thomas Fleming

Sarah Schreffler Diana Maley Alex Applegate

Christian Jackson Allison Richards

Ellen Cockerham Audrey Selph HornArturo Rodriguez Jim Lichtenberger Andrea Geniuk

Fiona Hughes Andrew Braddock Elizabeth Fleming

Lauren Rausch Alan Elkins Rose French

Helen Morin Marc Zyla

Eliza Hesse Cello Almichael Taylor

Kathryn Jensen Ariana Arcu

Andrew Tholl Jeremy Crosmer Trumpet

Andrew D'Aliemand Katie Andrzejewski Matthew Shefcik

Diane Cline Sara Wolfe David Harbuziuk

Leif Petersen Andy Johnson

Sun Lee Michael Way Trombone

Erica Sanders Derek Stein Stephen Lowery

Regina Dyches Leah Branstetter Kensey Chellis

Essena Setaro Nick Gold William Timmons

Marty Sproul*

Violin II Tate Olsen Bass Trombone

Shana Bey Devin Roark

Brandon Ironside Double Bass

Rebecca Pernicano Travis Miller Tuba

Kaitlin Doyle Salima Barday Ed Vinson

Francis Auer Ian Berg

Kendra Osterhout Di Wang Harp

Lindsay Baggett Jennifer Coalson Ashley JacksonKathleen Andrews Joshua Lebar

Lemuel De La Cruz Gerald Torres Percussion

Andrew Lynn Jonathan Perry Elliot Beck

Allison Willet Jonathan Deans Nicholas Galante

Elizabeth Magnotta Lee Hinkle

Adam SI. John Flute Lauren Kosty

James Farley Caitlyn Perry Robert Kratz

Ann Letsinger Julia Barnett David Newcomb

Kerstin Tenney Gabriel Placido

Oboe Chelsea Reeves

Viola Evelyn Sedlack Chris RoodeKirsti Petraborg Jennifer Feldman Brandon Schantz

Matt Hofstadt Thomas Schmidt

Jonathan Morgan Clarinet Valerie Vassar

Lindsey Parsons Kristin King Tihda Vongkoth

Rebecca Jones Daniel Frazelle



Saturday, July 2 • 7:30 pm


Pendergrast Family Patriotic P

Transylvania Wind Ensemble • Sarah McKoin, cond

Transylvania Symphonic Band • Kraig Williams, con

John Zdechlik

Peter Wilhousky, arranger

Camille Saint-Saens

Edward Cupero

Celebrations

Battle Hymn of the Republic

March Militaire

Honey Boys on Parade


INTERMISSION

Bob Lowden

Henry Fillmore

Henry Fillmore

Bob Lowden

Henry Fillmore

Henry Fillmore

E.E. Bagley


(arranged by Matthew Lake)

John Philip Sousa

Armed Forces Salute

His Honor

Rolling Thunder

Armed Forces Salute

His Honor

Rolling Thunder

National Emblem

1812 Overture

Stars and Stripes Forever




Flute

Brian Burkett

Jacob Farnsworth

Nave Graham

Chelsea Knox

Christie Olsen

Elyse Roberts

OboeAlexandra Dawson-Beatty

Chris Connors

Jeff TaylorJennirer Moore

Connie Vogel mann

Clarinet

Jonathan Cohen

Natalie Parker

Peter Sabino

Lauren HuckabaEmily Tyndall

Tiffany Valvo

Maressa McCall

Megan Mcinnes

Bassoon

Ell en Martin

Jeff Nesrsta

Megan Schlie

Flute

Julia BarnettAnthea Kechley

Elany Mejia

Caitlyn Perry

Angela Rich

Christina Sjoquist

OboeRebecca Marquardt

Noelle Drewes

John Hammarback

Sian Ricketts

Clarinet

Jason Denner

Daniel Frazelle

Giancarlo Garcia

James Garcia

Niccle IzzoKristin King

Anton io Tanase

Bassoon

Kendrick BoydSasha Enegren

Amy Marinello

Transylvania Symphonic BandKraig Williams, conductor

Saxophone

Austin Arnett

Kimberly Goddard

Daniel Kempland

Jeff Loeffert

Horn

Mario Lopez

Allison YoungbloodEric Damashek

Andrew Fierova

Jason Ward

Almichael Taylor

Beth Smeltzer

Olivia Sedlack

Trumpet

Ben Campbell

Alex Fioto

Anna Garcia

Matthew Morrow

John Roberts

Graham Watt

Trombone

James Pannell

Timothy Robinson

Bass Trombone

Nathan Lodge

Transylvania Wind EnsembleSarah McKoin, conductor

Saxophone

Austin ArnettKimberly Goddard

Daniel Kempland

Jeff Loeffert

Horn

Elizabeth Fleming

Julia Hencken

Laura Carter

Katie Taylor

Marc Zyla

Trumpet

Tao Ge

David Harbuziuk

Peter Kuan

Jordan Olive

Matthew Shercik

Matthew Vangjel

Trombone

Patrick Reynolds

Will Timmons

Kensey Chellis

Bass Trombone

Andrew Walker

Euphonium

Greg Lutz

Daniel Chapa

Tuba

Alexander Hays-Ekeland

Drew Prichard

HarpElizabeth Munch

Percussion

Saul Green

Cameron Heard

Elliot Beck

Nicholas GalanteLee Hinkle

Lauren Kosty

Robert Kratz

David Newccmb


Chris RoodeBrandon Schantz

Thomas Schmidt

Valerie Vassar

Tihda Vongkoth

Euphonium

Tara DavisDaniel Chapa

Tuba

Charlie Meldrum

Ed Vinson

HarpElizabeth Munch

Percussion

El liot Beck

Nicholas Galante

Lee Hinkle

Lauren Kosty

Robert Kratz

David Newcomb

Gabriel Placido

Chelsea Reeves

Chr is Roode

Brandon Schantz

Thomas Schmidt

Valerie Vassar

Tihda Vongkoth



The Pendergrast Family

One of BMC's most family-oriented, fun-filled concerts - Patriotic Pops - was na

after the Pendergrast family in honor of a magnanimous gift to the Center's endow

fund by Dr. William Pendergrast and his late wife Martha, and in recognition of

long-standing relationship with the Music Center.

Bill and Martha Pendergrast sent three of their four children to BMC, and two of

grandchildren have also been students . W. Jefferson Pendergrast was a percus

student for three years in the early 60s and is now a plastic surgeon in Atlanta. D

a pharmacist in Griffin, Georgia, studied percussion in 1967. The third son, Wa

came to Brevard Music Center in 1969 as a double bassist; he also played in

Spartanburg Symphony under Henry Janiec. Walter currently lives in Wilming

North Carolina, where he is an anesthetist and still actively plays the double b

Grandchildren Matt and Diana also attended BMC as a percussionist in 1993 a

flutist in 1996 respectively.

Bill and Martha Pendergrast established four chairs: The Dr. and Mrs. Wi

J. Pendergrast, Sr. Concertmaster Chair, The William Jefferson Pendergras

Percussion Chair, The Walter Linwood Pendergrast Double Bass Chair, and

Martha Pendergrast Coursey Flute Chair. The Pendergrasts also created a cha

honor of Henry Janiec.

The Pendergrasts' generous support of the Brevard Music Center highlights a cr

aspect of the Center's educational mission. Gifts to the endowment fund like tho

the Pendergrasts enable BMC to continue to obtain the highest quality faculty, tobring in guest artists and master teachers to work with students, and to expand

recruitment program to admit the highest caliber of music student. Please join BM

honoring a family who has made a tremendous difference to the Center's educat

and public performance programs.

Please Note: Latecomers will be seated at the House Manager's discretion . No cameras

recorders, smoking or food in the auditorium. Please switch off all cell phones, pagerswatch alarms prior to this performance. Restrooms are located at the rear of Whittington-

Auditorium in the Box Office Lobby, next to the refreshment stand and also in Thomas Ha

The Brevard Music Center is grateful for the support received from the North Carolina Ge

Assembly, the North Carolina Department of Cultural Resources and the North Carolina

Council.



Sunday, July 3 • 3:00 pm


Joshua Bell Debut


David Effron, conductor • Joshua Bell, violin

Jean Sibelius

Dmitri Shostakovich

The Swan of Tuonela

Paige Morgan, Englis

Symphony No. 12

Revolutionary Petrograd

Razliv

Aurora

The Dawn of Humanity

INTERMISSION

Kazllv

Aurora

The Dawn of Humanity

INTERMISSION

Peter lIyich Tcha ikovsky Violin Concerto in D Major,

Allegro moderato

Canzonetta (Andante)

Finale (Allegro vivacissiJoshua Bell, violin

Joshua Bell is the Ruggiero Ricci Chair artist for the 2005 Season.



Joshua Bell, violin

Joshua Bell came to national attention at age fourteen after

his highly acclaimed orchestral debut with Riccardo Muti and

the Philadelphia Orchestra. A native of Bloomington, Indiana,

Bell received his first violin at age four after his parents , both

psychologists by profession, noticed him plucking tunes

with rubber bands he had stretched around the handles of

dresser drawers. Growing up, he indulged in many passionsoutside of music and became an avid computer game player

and competitive athlete , placing fourth in a national tennis

tournament at age ten.

Bell signed his first recording contract at age eighteen and

has since released 27 albums. The Grammy Award-winning

artist was honored for his recordings of West Side Story Suite,

the Nicolas Maw Violin Concerto and for his collaboration with

Wynton Marsalis on a spoken word children's album. Now in

his thirties, Bell performs the world over, and his participation

in events foreign to most classical artists has earned him the rare title of classical music superstar.

Magazine voted him "One of the 50 Most Beautiful People in the World ," while the New York Times d"Mr. Bell doesn't stand in anyone's shadow."

He has appeared as himself in the film Music of the Heart starring Meryl Streep and is a frequent g

television. Bell has appeared on numerous specials, including the 2004 PBS "Memorial Day Concert, " T

Awards and The Indy 500 Victory Celebration. Bell was one of the first classical artists to have a mus

air on VH1. He plays the 1713 Gibson ex Huberman Stradivarius . For more information, visit joshuabe

,

... ~ - .

."- ~ . ' ; " " ' . ' " '.:. '. ;."


David Effron is the Brevard Music Center's third artistic director and principal con

He is an alumnus of BMC and spent his first summer here, studying piano, when

fourteen years old.

Effron earned a Bachelor of Music degree in piano from the University of Michiga

receiving his master 's degree in piano with Sidney Foster at Indiana University

received a Fulbright Scholarship and a Rockefeller Grant and worked as an as

to Wolfgang Sawallisch at the Cologne Opera. Upon returning to the United Sta

joined the New York City Opera, serving on the conducting staff for eighteen year

For seven seasons Effron was head of the opera department and conducted many symphony conc

a faculty member of The Curtis Institute in Philadelphia . Then he spent twenty-one years as head

orchestra program at the Eastman School of Music. He joined the faculty of the Indiana University Sc

Music in 1998.




Today we hear pieces by three masters of the orchestra encompassing enormous exp

range one of the most popular concertos of all, and orchestral works by two of the gi

twentieth-century music.

The Swan of Tuonela

Jean Sibelius (1865-1957)

One of the many intellectual currents that swept over Europe as a result of the widespre

unrest of 1848 was what is now called "nationalism," the growing feeling that creative artists

stripe could and should look to their own national heritages for inspiration , rather than to a

pan-European (read: German) view of what art "should" be. The Finnish composer Jean S

was therefore an enthusiastic student of Finland's vast cultural tradition, especially the epic

poem "Kalevala," whose tales of ancient gods and folk heroes comprised a veritable compe

of Finnish lore One hero in particular, Lemminkanen , inspired four tone poems for orchestra

Sibelius completed by 1895. They recount in musical terms Lemminkanen's various exploit

memorably his encounter with a mysterious and beautiful swan One should be wary of at

concrete visual ideas to music, but it is difficult not to do so here, so vividly pictori al are the

conjured by Sibelius. The role of the swan is given to the En glish horn , a larger cousin of the

and that instrument's dark, plaintive tone is ideal for depicting the noble gravity of the swa

glides over the mist-covered water.

Symphony No. 12, Op. 11 2 ("The Ye ar 191 7")

Dmi tri Shostakovich (1906-1975)

The well-behaved, politically correct composer in the former U.S .S.R. was expected to o

sign ificant dates in the history of the "Union" with works of art faithful to the cause, edify ing

people, and accessible to Josef Stalin (n o mean feat ). Dmitri Shostakovich tried dutifully at

points in his career to fulfill his patriotic ob ligations, and his Symphonies Nos. 2 and 3,

pertormed these days, are settings of obscure literary texts glorify in g now-forgotten Soviet h

When World War II ended in 1945 , Stalin made it known th at the artists of the Motherland w

observe the occasion with all the extravagant pageantry they could muster. Shostakovich resp

with the witty, tongue-in-cheek Symphony No. 9, not at all what Stalin had expected, esp

since Symphonies 7 and 8, both written during the war, had been long and serious works.

had wanted a trilogy of "War" symphonies and felt he had been given a trifle instead.) Shosta

did not compose another symphony until Stalin's death in 1953, and the savage second mo

of the magnificent Tenth is said to be his private portrait of Stalin. It is with no small amount o

then , that his next two symphonies were indeed in commemoration of important dates in Rhistory' Symphony No. 11 (1957) dealt with the abortive 1905 St. Petersburg uprising and it

suppression by the Czar's troops , and Symphony No. 12, heard this afternoon, had as its

the downfall of the Russian monarchy in 1917 and the establishment of the Bolshevik stat

Shostakovich did not view this event with unalloyed happiness or gratitude helps to expl

work's tone, at times bitter and ironic, at other times falsely triumphant.

The four movements, played without break, run about 45 minutes in performance. The



each reveal clear programmatic intent: the first movement, "Revolutionary Petrograd," d

fierce combat, and Shostakovich spares no orchestral effort to convey its fury. "Razliv," the s

movement, was the place near which Vladimir Lenin stayed in hiding as the revolution began

the "Aurora" (third movement) was the naval vessel that fired the opening salvo in the fight

October 25, 1917. "The Dawn of Humanity" ends the piece with irresistible celebration, alt

more than one commentator has detected signs of the composer's biting and acerbic wit

beneath the surface.

Shostakovich completed his Symphony No.12 in

1961. Today marks its first performance Brevard Music Center.

Violin Concerto in D, Op. 35

Peter Ilyich Tchaikovsky (1840-1893)

Tchaikovsky's celebrated concerto for violin and orchestra was written in two bursts of act

early and mid-1878, a time when he was also working on the rarely-played piano sonata, O

He had achieved notoriety with the first piano concerto (1875) and was trying to come to

with some of the criticism which had been leveled against that work. He was also feeling th

stirrings of a major orchestral work, and only a few months later the Fourth Symphony wou

substantially complete. Despite his efforts, the concerto met with dismay and open derision

premiere in 1880. The violin part was declared unplayable, and the first movement was singl

for special scorn . As is so often the case, history's verdict has been somewhat different; toda

concertos are played more often .

"When women

hear me play, they come

crawling to my feet. "

-Nicolo Paganini

This familiar and beloved piece opens with a thematic idea in the violi

to be heard again in the entire movement. (The first piano concer

done the same thing on a more extended scale, something to

the academics took umbrage. Their opinion of the Violin Co

was no different.) The long and elaborate first movement make

of Tchaikovsky's customary blend of virtuosic writing for the soloivery skillful handling of the orchestra. His prodigious melodic gift is a

apparent; is there another composer with so many famous tunes to his credit?

extended cadenza is a catalog of technical and expressive devices. An inconspicuous disp

compositional craft begins the beautiful second movement: the woodwind chorale functio

a harmonic bridge between the D major of the first movement and the G minor of the seco

deft touch, especially as the same trick is repeated in reverse to prepare for the finale . The m

Tchaikovsky composed for the second movement is a marvel of lyricism and melancholy,

vocal quality suggesting a folk song . The finale is a whirlwind of brilliant passage work in the

syncopations in the orchestra, and a twice-occurring episode in a slower tempo that see

evoke a peasant dance, only to turn toward the mood of the second movement. The reminisis short-lived, however, as the concerto ends in a blaze of virtuosity.

-James Howsmon




Violin I

Thomas Joiner, concerlmaster'

Sarah Schreffler

Marjorie Bagley'

Christian Jackson


Ellen Cockerham

Katie McLin'

Sara Guerriero

Annagret Klaua'

Lauren Rausch

Helen Morin

Jessica Robinson

Andrew Tholl

Serban Petrescu

Leif Petersen

Erica Sanders

Violin II

Julian Ross, principal'

Essena Setaro

Margaret Baldridge'

Emanuela Lacraru

Kristine McCreery'

Brandon Ironside

Aaron Neumann

Kaillin Doyle

Kendra Osterhout

Kathleen Andrews

Lemuel de la Cruz

Allison Willet

Adam SI. John

James Farley

Ann Letsinger

Viola

Scott Rawls, principal'John Concklin

Anna Joiner'

Tan Wyllie

Louise Zeitli n'

Matt Hofstadt

Eric Koontz'

Jim Lichtenberger

Tom Rosenthal'

Jonathan Morgan

Andrew Braddock



Scott Clement

Diana Maley

Cello

Cariton McCreery, Principal'

Ariana Arcu

Pablo Mahave-Veglia'

Franklin KeelAron Zelkowicz'

Leslie Lyons

Elaine Anderson'

Katie Andrzejewski

Sara Wolfe

Andy Johnson

Micheal Way

Leah Branstetter

Double Bass

Craig Brown, principal'

Cory Palmer

Kevin Casseday'

Paul Quast

Nery Rodriguez

Di Wang

Patrick Byrd

Jennifer Coalson

Jonathan Perry

Flute

Elizabeth Buck, principal'

Mihoko Watanabe'

Christina Sjoquist

Piccolo

Christina Sjoquist

OboeEric Ohlsson , principal'

Paige Morgan'

Tessa Gross

English Horn

Paige Morgan , principal'

Clarinet


Eric Ginsberg'


Bass Clarinet

Kristin King

Bassoon

Barrick Stees, principal'

Gili Shareit'

Andrew West

Contrabassoon

Andrew West

Horn

John Ericson, principal'

Gustavo Camacho

Jean Martin-Williams'

Laura Carter

Andrea Geniuk

Trumpet

William Campbell , principal'

Mark Schubert'

Matthew Shefcik

Matthew Vangjel

Trombone


Andrew Peoples

Bass Trombone


Tuba

Charles Schuchat . principal'

Harp

Katie Buckley, principa l '

Timpani

Timothy K. Adams, Jr, principal'

Percussion

Conrad Alexander, principal'

Lee Hinkle

Gabriel Placido

Tihda Vongkoth

Please Note: Latecomers will be seated at the House Manager's discretion . No cameras. tape recorders, smoking or food in the a

Please switch off all cell phones, pagers and watch alarms prior to this performance. Restrooms are located at the rear of Whittin

Auditorium in the box office lobby, next to the refreshment stand and also in Thomas Hall.

The Brevard Music Center is grateful for the support received from the North Carolina General Assembly, the North Carolina Dep

Cultural Resources and the North Carolina Arts Council.



July 5 • 12 :30 pm


Chamber Music Recital

Scheidt-De Jong

Gustav Mahler

Robert Schumann

Robert Schumann

Claude Debussy

Canzona Bergamasca

Wo die sch6nen Trompeten blas

Jordan Olive, trumpet

Matt Shefcik, trumpet

Gustavo Camacho, horn

Andrew Peoples, trombon

Ed Vinson, tuba

Marchenbilder, Op. 113

Nicht Schnell

Lebhaft

Rasch

Langsam, Mit Melancholischem

Tom Rosenthal, viola

Bruce Murray, piano

Marchenbilder, Op. 113

Nicht Schnell

Lebhaft

Rasch

Langsam, Mit Melancholischem

Tom Rosenthal, viola

Bruce Murray, piano

Sonata

Allegro vivo

Intermede: Fantasque et lege

Finale: Tres anime


Bruce Murray, piano



Tuesday, July 5 • 7:30 pm

Straus Auditorium

Student Chamber Music Recita


Franz Josef Haydn



Franz Josef Haydn

String Quartet in C Major, KV465

Adagio; AllegroAndante cantabile

Menuet!o: Allegro

Allegro

Appian String Quartet

Austin Wulliman, violin

Barbara Careaga, violin


Ian Jones, cello

String Quartet in D Major, Op. 76, NO.5

Menuetlo: Allegro

Finale: Presto

Uric Quartet


Ema Lacraru, violin

Simina Renea, viola

Ruth Boden, cello

String Quartet in E-fiat Major, Op. 74

Adagio, ma non troppo

S c h [ : R l 8 : ~ ~ ~ y t ~ ( Serban Petrescu, violin

Ema Lacraru, violin

Simina Renea, viola

Ruth Boden, cello

String Quartet in E-fiat Major, Op. 74

Adagio, ma non troppo

Scherzo: Presto

Attacca

Alex Martin, violin




String Quartet in F Major, Op. 74, No.2

Menuet!o: Allegro

Finale: Presto

Aubade Quartet







Wednesday, July 6 • 7:30 pm


William Preucil & Arthur Row

William Preucil, violin • Arthur Rowe, piano

George Frederic Handel

Felix Mendelssohn

Felix Mendelssohn

Sonata No. 4 in 0 Major

AdagioAllegro

Larghetto

Allegro

Sonata in F Major

Allegro vivace

Adagio

Allegro vivaceLarghetto

Allegro

Sonata in F Major

Allegro vivace

Adagio

Allegro vivace

INTERMISSION

Richard Strauss Sonata in E flat Major, Op. 18

Allegro ma non troppo

Improvisation: Andante canta

Finale: Andante - Allegro



William Preucil, violin

Prior to joining the Cleveland Orchestra as concertmaster in

William Preucil performed for seven seasons as first violinist

Grammy Award-winning Cleveland Quartet. As a member

ensemble, Preucil played more than 100 concerts each y

the world's major music capitals. The Quartet recorded for

International the complete Beethoven quartet cycle, as w

chamber works by Haydn, Mozart, Schubert and Brahms. H

served as concertmaster of the Atlanta Symphony, premierin

the orchestra Stephen Paulus's Violin Concerto. Actively in

as an educator, Preucil is distinguished professor of violin

Cleveland Institute of lVIusic and artist in residence at the University of Maryland. H

serves as a member of the artistic advisory board of the Interlochen Center for th

Preucil is a Global Music Network Artist. For more information, visit gmn.com.

Arthur Rowe, pianoA native of Alberta , Canada, pianist Arthur Rowe holds degrees from

the University of Western Ontario and Indiana University. While at

Indiana, he began a long association with violinist William Preucil,

with whom he has performed annually for nearly three decades.

An accomplished chamber musician , Rowe has appeared with the

Cleveland, Brentano, Miami, Harrington, Lafayette and New Zealand

quartets. He has also appeared at such summer festivals as Blossom,

Interlochen, Niagara, Santa Fe and Seattle. His discography can

be found on the Crystal, ebs, Innova, GM and Fanfare labels.Rowe currently serves on the faculty of the University of Victoria in

Canada.

Chamber Music at Brevard

For most musicians, chamber music may be the most challenging and the most rew

medium. An expert chamber player must be a fine soloist, able to take commanmusical passage and perform it in a convincing way. But convincing is not enoug

passage must also be rendered so to be compatible (harmonious!) with what ev

else is doing. Then there is the "democratic" nature of chamber music. Everyone

say, every voice is equal. Theoretically, anyway. What happens in a quartet wh

persons want the passage one way and two want it another way? Should the two

split the difference somehow, or would compromise lead to an uncertain , amo

performance? Playing chamber music, then, can be a chess game of dizzying com



This is why a professional string quartet may rehearse four hours a day.

For composers of chamber music, the challenge is how to do a lot with a little. M

the great composers have taken up the challenge and have created some of the

significant artworks of our civilization. The astonishing power of pieces like Moza

minor Quintet or Schubert's Death and the Maiden Quartet, pieces requiring only

players, remains almost incomprehensible. Beethoven's late quartets still repres

sort of Mount Everest of musical thought to all musicians who know the works (a

should). The various aspects of chamber music-musical, social, political, philosopacoustical, et ai-make for a timeless, virtually inexhaustible endeavor.

-Bruce Murray

Artistic Administrator and Dean

2005 Chamber Music Series

July 11 & 13

July 18

July 20

July 25 & 27

August 1

August 3

Diaz Trio

The Diaz Trio is one of the most celebrated string trio

ensembles performing today. They return to BMC for

evenings of chamber music.

Brickman in Recital

David Brickman is principal second violin with the Ro

Philharmonic. He is joined by pianist Jon Nakamatsu

evening of chamber music.


Miami String Quartet

The Miami String Quartet served as resident ensemb

Chamber Music Society of Lincoln Center's Chamber

Society Two Professional Residency Program from 1

2001. They return to Brevard for two evening concert

An Evening with Miles Hoffman

Known to millions of listeners as a music commentaloNational Public Radio's Morning Edition and Perform

Today. Hoffman is also a highly regarded violist.

I Solisti di Brevard

BMC's chamber orchestra. comprised of handpickedstudents from the Young Artists' Division. concludes t

Chamber Music Series with an evening of Baroque m

2005 Chamber Series concerts begin at 7:30 pm at the Porter Center.



Thursday, July 7 • 4:30 pm

Straus Auditorium


Franz Joseph Haydn

Felix Mendelssohn

Robert Schumann

Samuel Barber

Dominico Scarlatti


transcribed by Sergei Rachmaninoff

Franz Joseph Haydn


transcribed by Sergei Rachmaninoff

Franz Joseph Haydn

Robert Schumann


Alexander Scriabin

Sergei Rachmaninoff

Sonata in A-flat Major, Hob. XVI,

Moderato

Jinha Park

Song Without Words, Op. 52, NO

Colin Doherty

ABEGG Variations, Op. 1

Jessica Tsai

Souvenirs

Pas de Deux

Bryan Gilbert

Sonata in D Major, L. 461Julie Heck

Flight of the Bumblebee

Morgan Eiland


Allegro moderato

Laura Jackson

Flight of the Bumblebee

Morgan Eiland


Allegro moderato

Laura Jackson

Faschingsschwank aux Wien, O

Intermezzo

Janet Pettit

Sonata in E-flat Major, Op. 7

Allegro molto e con brio

Ji-Yun Yeong

Prelude in D Major, Op. 11, NO.

Tammy Hsu

Prelude in B-flat Major, Op. 23, N

Matthew Barnhill



July 7 & 9 • 7:30 pm


H.M.S. Pinafore



John Greer, conductor • Vincent Liotta, director

Arthur Sullivan

Libretto by W.S. Gilbert

H. M. S. Pinafore

Act I

INTERMISSION

Act II

IN I c K M I ~ ~ I U N

Act II



Lora Napier, set designer


Cheryl Hart, costume coordinator


April Anderson, prop master

David Nelson, technical director


Leah McVeigh, stage manager

Greg Smith, house manager

Support for this evening's program is provided in part by the Audrey Love Charitable Foun



CAST

Sir Joseph Porter, K.C.B., First Lord of the Admiralty

Captain Corcoran, Commanding H.M.S. Pinafore

Ralph Rackstraw, Able Seaman

Dick Deadeye, Able Seaman

Bill Bobstay, Boatswain's Mate

Bob Becket, Carpenter's Mate

Josephine, the Captain's Daughter

Hebe, Sir Joseph's First Cousin

Little Buttercup, A Portsmouth Bumboat Woman

Adam Cioffari

Adam Lau

Daniel O'Dea

Taylor Horner

Alexander Ebin

David Young

Jennifer Moore

Sarah Craft

Janelle Criner

Sailors

Jack Beetle

Tyrone Hayes

Shane McDonough

Matthew Young

Sean Damm

Andrew Hill

Nathan Oakes

Jonathan Zeng

Ryan Goess

Greg Jacobso

Max Wier

First Lord's Sisters, Cousins, and Aunts

Megan Brand Rebecca Comerford Janel Fraze

Joanna Gates Stephanie Harris Ashley Kerr

Amanda Kingston Colleen Koch Catherine Ma

Heather Phillips Kristina Riegle Jennifer Ross

Megan Roth Dana Schnitzer




General Manager

Conductors

Stage Directors

Chorus Master

Collaborative Piano Coordinator

Coaches


Production Manager

Set Designer

Lighting Designer


Costume Designer

Technical Director

Master Carpenter

Carpenters

Scenic Charge

Scenic Artist

Prop Master

Prop Intern

Wig and Make-Up Designer

Wig and Costume Intern

Master Electrician

Electrician Interns

Stage Manager





Stage Crew Assistant Supervisor

Stage Crew Interns


House Manager

Orchestra Liaison

Supertitles

Supertitle Operator

John Greer

David Effron

John Greer

David Gately

Vincent Liotta

Martha Collins

Gerard Floriano

Andrew CampbellJames Lesniak

Charles Prestinari

S'ngah Seo

Jill Henmes

Lora Napier

Robin Vest

Andrea Boccanfuso

Jessica Burgess

Ashley Gregg

Cheryl Hart

David Nelson

Wayne ParmelyNicholas Bobbi tt

Trisla Hover

Nick Miller

Erin LaVallee

Emily Taylor

April Anderson

Danielle Heise

Kristen Menichelli

Jillian Rivers

Jori Malan

Amber Parker

Laura KrouchTheresa Russo

Margaret Kellner

Leah McVeigh

Tanya Schurr

Chad Stewart

Nicholas McCarthy

Lee Helms

Janette Krolczyk

Sandra Knight

Michael Rivera

Mel issa Adler

Rachel Stuart

Greg Smith

Ahmad Mayes

John Greer

Jennifer Moore

Adam Cioffan

Dana Schnitzer

Lee Taylor




ce Ju , concertmaster

sen

a Dyches

'Aliemand

\I

, principal

lizabeth Magnotta

rome Stewart

cipal

dsey Parsons

lkins

ello

my Crosmer, principal

rek Stein

, principal

John Greer, conductor

Flute

Christina Sjoquist , principal

Angela Rich

Oboe

Tessa Gross, principal

Cl arinet

Antonio Tanase, pr incipal

James Garcia

BassoonKendrick Boyd , principal

Horn

Gustavo Camacho, principal

Elizabeth Flem ing

Trumpet

Jo rdan Olive , principal

Tao Ge

Trombone

Stephen Lowery, principal

And rew Walker

Timpani

Christopher Roode, principal

Percussion

Elliot BeckValerie Vassar




H.M.S. Pinafore was the first major success of the creative team of librettist W.S. Gilbert, co

Arthur Sullivan and the impresario Richard D'Oyly Carte. It was to pave the way for a s

masterpieces in the light opera genre named after the theater that D'Oyly Carte had built to

them; the Savoy operas. In these popular works, wit , both literary and musical, meets socia

so perceptive that it has survived the centuries. In H.M.S. Pinafore , it is social rank in the

Navy that is so amusingly and mercilessly harpooned, and it contains many of Gilbert & Su

most famous patter songs, sentimental ballads, patriotic tunes and comic ensembles. Desp

success he had with his operettas, Sullivan always longed to write more "serious " music, an

finales of H.M.S. Pinafore and elsewhere, Gilbert provided him with the opportunity to com

a grand tradition which has become a trademark of the Savoy style.

Why Operetta?

After the French Revolution, a burgeoning middle class was emerging as an important p

economic and cultural force all over Europe. Opera, so long the exclusive property of th

aristocracy, soon found new audiences. Before long , the demand for musical entertainment

the middle class attained a life of its own. Operetta was born , characterized by elegant witty

ensembles and choruses all connected by spoken dialogue , more accessible than trad

sung recitative. Operetta frequently contained affectionate parodies of its grander counterpa

subject matter revolved around the everyday romance and social satire familiar to the a

layperson. By the latter half of the nineteenth century, operetta had reached its golden era w

masterworks of France's Jacques Offenbach, Austria's Franz Lehar and England's W.S.

and Arthur Sullivan. As usual, America followed Europe's example , led by Sigmund Rombe

Victor Herbert. Here , the medium was eventually abandoned for an even more theatrica

lyrically sophisticated art form - the American musical.

Artistic Director Henry Janiec led the first opera production at Brevard Music Center in 19

since then , operetta has been an important part of the annual summer fare. The tradition co

as we include at least one work from the standard operetta repertoire each season . We

in presenting a wide range of musical and theatrical styles , both for the sake of our audien

for the educational experience of the 40 young singers who comprise the Janiec Opera Co

Operetta can be less taxing musically and vocally, but the demands in terms of acting , d

elocution and comic timing are just as challenging to young performers as anything the

encounter on the operatic stage. Preparing for Gilbert and Sullivan's H.M.S. Pinafore require

work and great precision. We hope these rewards will be obvious in tonight's performance

on both sides of the footlights.

John Greer, General Manager






Hinda Honigman Memorial Concert

Spanish Tales


Steven Smith, conductor • Christina Castelli, violin

Jacqueslbert

Sergei Prokofiev

Escales

Rome - Palermo

Tunis - Nefta

Valencia

Violin Concerto No.2 in G Minor,

Allegro moderato

Andante assai

Allegro, ben marcato

Christina Castelli, violin

INTERMISSIONSergei Prokofiev Violin Concerto No.2 in G Minor,

Allegro moderato

Andante assaiAllegro, ben marcato


INTERMISSION

Silvestre Revueltas

Claude Debussy

Sensemaya

Iberia

Par les rues et par les chemin

Les parfums de la nuit

Le matin d'un jour de fete

The Brevard Music Center and the host state of Georgia welcome the members of the N

Federation of Music Clubs' Southeastern Region as they celebrate their 57th year at Bre




Born in Chicago, Christina Castelli is a laureate of the 2001

Elisabeth International Violin Competition in Brussels and grand

winner of the 1997 William Primrose International Viola Competitio

has been a featured soloist with orchestras worldwide, and has app

in recital at Carnegie Hall, Chicago Cultural Center and Kennedy

for the Performing Arts. An avid chamber musician, Castelli has perf

as soloist with and leader of the International Sejong Soloists ch

ensemble and as concertmaster of the Metamorphosen Chamber Orch

2005-06 season highlights include debuts with the Seattle and Na

symphonies and Florida Orchestra. Castelli frequently gives presen

to children in metropolitan public schools and conducts master clas

violin and viola students. In 1996, she was named a Presidential Sch

the Arts. Castelli makes her Brevard Music Center debut as winner

2003 National Federation of Music Clubs Competition. She performs on a 1709 violin craf

Giovanni Grancino of Milan. For more information, visit christinacastelli.com.

Steven Srnith, conductor

This fall marks Steven Smith's seventh season as music director of the

Santa Fe Symphony Orchestra and Chorus. In 2003, he added the position

of associate professor/music director of the Oberlin College Conservatory

Orchestras, where he also leads the Conservatory's opera productions.

Previous positions include assistant conductor of the Cleveland Orchestra,

music director of the Cleveland Youth Orchestra and associate conductor

of the Kansas City Symphony. Recent engagements include appearances

with the Auckland Phil harmonia (New Zealand), Aspen Music Festival

and National Repertory Orchestra. Also an active composer, his Shake,Rattle and Roar, an interactive work for young audience and orchestra,

was featured on National Public Radio's Morning Edition and Performance

Today. A native of Toledo, Ohio, Steven Smith holds degrees from the

Eastman School of Music and Cleveland Institute of Music.

Hinda Honigman Memorial Concert

Tonight's concert, the Hinda Honigman Memorial Concert, is supported by the Hinda Hon

Memorial Endowment established by Mr. and Mrs. Ralph Sarlin. Mrs. Honigman was

president of the National Federation of Music Clubs and a trustee of the Brevard Music Cen



Violin I

Alice Ju, concertmaster

Sarah Schreffler

Christian Jackson

Ellen Cockerham

Arturo Rodriguez

Fiona Hughes

Lauren Rausch

Helen Morin

Eliza Hesse

Kathryn Jensen

Andrew Tholl

Andrew D'Aliemand

Diane Cline

Leif Petersen

Sun Lee

Erica Sanders

Regina Dyches

Essena Setaro

Violin"

Shana Bey

Brandon Ironside

Rebecca Pernicano

Kaitlin Doyle

Francis Auer

Kendra Osterhout

Lindsay Baggett

Kathleen Andrews

Lemuel De La Cruz

Andrew Lynn

Allison WilletElizabeth Magnotta

Adam SI. John

James Farley

Ann Letsinger

Kerstin Tenney

Viola

Kirsti Petra borg

Mati Hofstadt

Jonathan Morgan

Lindsey Parsons

Rebecca Jones

Susannah PlasterScott Clement

Diana Maley

Allison Richards

Audrey Selph

Jim Lichtenberger

Andrew Braddock

Alan Elkins



Cello

Ariana Arcu

Jeremy Crosmer

Katie Andrzejewski

Sara Wolfe

Andy Johnson

Michael Way

Derek Stein

Leah Branstetter

Nick Gold

Marty Sproul

Tate Olsen

Double Bass

Cory Palmer

Paul Quast

Nery Rodriguez

Salima Barday

Gerald Torres

Jennifer Coalson

Ian Berg

Jonathan Perry

Jonathan Deans

Flute

Julia Barnett

Anthea Kechley

Elany Mejia

Angela Rich

Piccolo

Julia BarnettCaitlyn Perry

Oboe

Noelle Drewes

Jennifer Feldman

John Hammerback

Rebecca Marquardt

Sian Ricketts

Clarinet

Jason Denner

Nicole Izzo

James GarciaDaniel Frazelle

Giancarlo Garcia

Bassoon

Alex Applegate

Sasha Enegren

Thomas Fleming

Amy Marinello

Andrew West

Contrabassoon

Andrew West

Horn

Gustavo Camacho

Laura Carter

Martha Fleming

Rose French

Andrea Geniuk

Julia Hencken

Katherine Taylor

Marc Zyla

Trumpet

Tao Ge

David Harbuziuk

Peter Kuan

Jordan Olive

Matlhew Shefcik

Matthew Vangjel

Trombone

Kensey Chellis

Patrick Reynolds

William Timmons

Bass Trombone

Devin Roark

Andrew Walker

Tuba

EdVinson

Harp

Ashley Jackson

Elizabeth Munch

Percussion

Elliot Beck

Nicholas Galante

Lee Hinkle

Lauren Kosty

Robert Kratz

David Newcomb


Chris Roode

Brandon Schantz

Thomas Schmidt

Valerie Vassar

Tihda Vongkoth





French Romanti cs


David Effron , conductor

Paul Dukas

Maurice Ravel

The Sorcerer's Apprentice

Suite No.2 from Oaphnis et

INTERMISSION

Claude Debu ssy Trois Nocturnes

Nuages

INTERMISSION

Cl aude Debussy

Maurice Ravel

Trois Nocturnes

Nuages

Fetes

Sirenes

La Valse

The Brevard Music Center and the host state of Georgia we lcome the members of the

Federat ion of Music Clu bs' Southeastern Region as they ce lebrate their 57th year at B



The Sorcerer's ApprenticePaul Dukas (1865-1935)

Paul Dukas was a fastidious French composer who was known also for his criticism, teaching, and editing of others' m

Of the few works he permitted to be published, The Sorcerer's Apprentice of 1897 is the most celebrated. It is a symp

poem with a program derived from a ballad by Goethe. (Goethe had been inspired by Philopseudes, a story by the

author Lucian, c. 150 AD.) A young man, apprenticed to a magician, is told to haul pails of water. The apprentice, how

is lazy and arrogant. He decides to save himself some work and outwit his master in the bargain, so he casts a spe

orders a broom to do the work for him. Unfortunately, the apprentice does not know the words to make the broom stop

it continues its chore until a flood is threatened. The apprentice takes an ax to the broom, only to have each piece m

into a new broom. Dukas's piece has been known to generations of young people through Mickey Mouse's portrayalapprentice in the 1940 Disney film Fantasia.

Trois NocturnesClaude Debussy (1862-1918)

Debussy's working title was Trois scenes au crepuscule ("Three Scenes at Twilight"), but the ultimate time frame

piece seems to have moved a few hours later by the time the piece was finished; "nocturne" means "night piece." Deb

explained, "It is not meant to designate the usual form of a nocturne, but rather all the impressions and special effects o

that the word suggests." Debussy seems to have borrowed the concept of the nocturne not from Chopin, the most celeb

composer of nocturnes, but from the American painter James MacNeill Whistler, who used

the word to suggest a harmonious relationship of color, shape, and form. The threesections of the work, Nuages (Clouds), Fetes (Festivals), and Sirenes (Sirens),

are stunning examples of orchestral color and aural impressions of light. "It is, in

short,' the composer wrote, "an experiment with the different combinations that

can be obtained from one color-like a study in gray."

Suite No.2 from Daphnis et ChloeMaurice Ravel (1875-1937)

"The centuryof aeroplanes. deserve

its own music.As there ar

precedents, I must create a

- Claude Debussy

The ballet impresario Sergei Diaghilev commissioned Maurice Ravel to compose Oaphnis et Chloe in 1909, the same

he commissioned an unknown Russian composer, Igor Stravinsky, to write The Firebird. Ravel needed three ye

complete the monumental score for Oaphnis. The story was adapted from a Greek pastoral tale. Daphnis and Chloabandoned on an island and raised by shepherd folk. As is usual in such stories, the two fall in love. Unfortunately,

is abducted by pirates, but later she is saved by a god and restored to Daphnis amid great rejoicing. Ravel describe

ballet score as "a choreographic symphony in three parts." He crafted two suites from the work, representing the firs

second half of the story. The second suite is performed more often and generally thought of to include the best parts

score. The three sections of the suite are played without pause.

La ValseMaurice Ravel

Maurice Ravel was a reasonably patriotic French citizen, having served as an ambulance driver for the French army d

World War I. Like many French composers was wary of German music, both for musical and cultural reasons, one presu

However, Ravel felt real affection for the Viennese waltz. La Valse is not a waltz per se, but a symphonic poem abowaltz. It is a dazzling masterwork of orchestral writing, bursting with rhythmic energy, enervated by Ravel's peerles

for instrumental color. All is not sweetness and light, however. Is La Valse a celebration of the waltz, a homage to Jo

Strauss, or is it a refiection of the dark side behind the culture that created the waltz? The composer said of the work

"Some people have seen in this piece the expression of a tragic affair, some have said that it represented the end

Second Empire, others that it was postwar Vienna. They are wrong. Certainly, La Valse is tragic, but in the Greek sen

is a fatal spinning around, the expression of vertigo and the voluptuousness of the dance to the point of paroxysm."

La Valse received its premiere in 1920 and has long been a staple of the symphonic repertoire.

-Emma Candelier



I

concertmaster'

Schreffler

Bagley'

Jackson

Mclin'

Klaua'

Guerriero

Rausch

Robinson

Petrescu

Petersen

II

Ross, principal'

Setaro

Baldridge'

Lacraru

McCreery'

Doyle

a Osterhout

la Cruz

Willet

John

Rawls , principal'

Joiner'

Zeitlin'

Renea

Koontz'

Rosenthal'

Wyllie

ConcklinPlaster

on McCreery, principa l'

z'

Keel



Elaine Anderson'

Leslie Lyons

Sara Wolfe

Katie Andrzejewski

Michael Way

Andy Johnson

Pablo Mahave-Veglia'

Leah Branstetter

Double Bass

Craig Brown, Principal"

Travis Miller

Kevin Casseday"

Salima Barday

Di Wang

Ian Berg

Patrick Byrd

Joshua Lebar

Gerald Torres

Flute


Mihoko Watanabe"

Angela Rich

Piccolo

Christina Sjonquist

Alto Flute

Mihoko Watanabe"

Oboe

Eric Ohlsson, principal"Noelle Drewes

John Hammerback

Rebecca Marquardt

Evelyn Sedlack

English Horn

Paige Morgan, principal'

Clarinet

Steven Cohen, principal"

Eric Ginsberg'

Antonio Tanase

Bass Clarinet

Kristin King

Bassoon


Gili Shareit'

Kendrick Boyd

Th omas Fleming

* Brevard Music Center faculty

Contrabassoon

Amy Marinello

Horn

Jean Martin-Williams, principal"

Gustavo Camacho

Elizabeth Fleming

Andrea Ganiuk

Rose French

Marc Zyla

Trumpet

William Campbell, principal

Mark Schubert'

Peter Kuan

Tao Ge

David Harbuziuk, asst.

TromboneWilliam Zehfuss, principal'

Stephen Lowery

Bass Trombone


Tuba

Charles Schuchat, principal'

Harp

Katie Buckley, principal"

Ashley Jackson

Elizabeth Munch

Keyboard

Andrew Campbell, principal'

Timpani

Conrad Alexander, principal'

Lee Hinkle

Percussion

Conrad Ale xander, principal"

Nicholas Galante

Lee Hinkle

Lauren Kosty

Robert Kratz

David NewcombChelsea Reeves

Brandon Schantz

Thomas Schmidt



Monday, July 11 ·12:15 pm

Thomas Hall

Bach's Lunch

Franz Josef Haydn




String Quartet in F Major, Op.

Andante

Finale: Presto

Aubade Quartet





String Quartet in C Major, KV

Allegro




String Quartet in C Major, KV

Allegro





Ian Jones, cello

String Quartet in E-flat Major

Presto

Allegretto con variazion

Attacca

Alex Martin, violin

Christopher Sanchez, v






Straus Auditorium

Student Recital

Georg Philipp Telemann

P.D.O. Bach

P.D.O. Bach

Sonate I

Dolce

Sonate V

Vivace

Jennifer Moore, oboe

Alexandra Dawson-Bea

"Dutch" Suite in G

Mr. Minuit's Minuet

Panther DanceJennlter Moore, oboe

Alexandra Dawson-Bea

"Dutch" Suite in G

Mr. Minuit's Minuet

Panther Dance

Dance of the Grand Dams

The Lowland Fling

Amy MarineI/o, bassoo

Ed Vinson, tuba





Dfaz Trio

Elmar Oliveira, violin

Roberto Diaz, viola

Andres Diaz, violoncello

Handel-Halvorsen

Zoltan Kodaly

Zoltan Kodaly

Passacaglia

Duo, Op. 7

Allegro serioso, non troppo

Adagio

Maestoso e largamenete ma

troppo lento-Presto

Duo, Op . 7

Allegro serioso, non troppo

Adagio

Maestoso e largamenete ma

troppo lento-Presto

INTERMISSION

Ernb Dohnanyi Serenade in C, Op. 10

Marcia: Allegro

Romanza: Adagio non troppo

Scherzo: Vivace

Tema con variazioni : Andante

Finale : Rondo




Elmar Oliveira remains the first and only American violinist to win the gold medal

at the Tchaikovsky International Competition in Moscow. He has since established

himself as one of the most commanding violinists of his generation, performing

with major orchestras throughout the world. A prodigious recording artist, Oliveira

received a Grammy Award nomination for his disc of the Barber Violin Concerto with

Leonard Slatkin and the Saint Louis Symphony. The son of Portuguese immigrants,

Oliveira was nine when he began studying violin. He performs exclusively on the"Stretton" by Giuseppe Guarneri del Gesu (1729-31) and on an exact copy of the

violin by Curtin and Alf (1993). For more information, visit seldycramerartists.com.

Roberto Dfaz, viola

Roberto Diaz is a violist with an international reputation. Currently principal viola ofthe Philadelphia Orchestra, he was recently announced the next president/director

of the Curtis Institute of Music, a full-time position he will assume in 2006. New

World Records recently released a critically acclaimed live recording of the Jacob

Druckman Viola Concerto with Diaz and the Philadelphia Orchestra. As an active

chamber musician, his festival appearances include Mostly Mozart at Lincoln Center,

Marlboro, Spoleto and Verbier. Dfaz performs on a 1739 Camilli viola and 1595

Amati, formerly owned by William Primrose.

Andres Dfaz, violoncello

Andres Diaz launched his career after winning first prize in the 1986 l\Jaumburg

International Cello Competition. He received an Avery Fisher Career Grant two

years later. In recital, Diaz has toured Taiwan, Hong Kong, Korea, Japan, Hawaii and

Canada, as well as performed a series of concerts in the Soviet Union as soloist with

the Saratov Symphony. In 2001, Diaz gave the world premiere of Gunther Schuller's

Cello Concerto at the Brevard Music Center. Andres Dfaz plays a 1698 MatteoGoffriller cello and a bow made by his father, Manuel Diaz. For more information,

visit herbertbarrett.com.



About the Program

Chamber music comes in all shapes and sizes. Ensembles range anywhere from two perfo

-Kodaly's Duo for Violin and Cello is an example-to eight-think Mendelssohn's String

Music for larger groups can also fall under "chamber music" if only one player is assigned pe

like Louis Spohr's Nonet, which calls for nine instruments. However, bigger does not always

better.

The string trio is one chamber ensemble overshadowed by its slightly larger (by one player) - the string quartet. Since Papa Haydn's revolutionary Opus 9 quartets of 1769, declared

poet Goethe to be "the first music that included stimulating conversation between four inte

people," all great composers have since striven to advance and stretch the medium even f

The string trio, on the other hand, has had few real champions: Mozart wrote the Divertime

E-flat major, and Beethoven produced three early Opus 9 trios, a warm-up to the later Op

string quartets.

Another staple of the string trio repertoire is Ernst von Dohnanyi's Serenade. A quirky five-mov

work, its individual style and almost folk-like themes embrace a wide expanse of texture

colors. Born in 1877, the Hungarian composer was better known as a pianist and conductgrandson Christoph von Dohnanyi, music director of the Cleveland Orchestra for eighteen

continues the family tradition). As a pianist, the elder Dohnanyi toured successfully throu

the United States and Europe. He became permanent conductor of the Budapest Philharm

1919, a position held until 1944. After the Second World War, Dohnanyi left Hungary to settle

United States where he taught at Florida State University until his death in 1960. In addition

Serenade for string trio, he composed two symphonies, three piano concertos, two violin con

and opera and chamber works for piano and voice.

-Emma Candelier

Upcoming Events

July 18

July 25 & 27

August 1

Brickman in Recital

David Brickman is prinCipal seccnd violin with the Ro

Philharmonic. He is joined by pianist Jon Nakamatsu

evening of chamber music.


The Miami String Quartet served as resident ensemblChamber Mu sic Society of Lincoln Center's Chamber

Society Two Professional Residency Program from 19

2001. They return to Brevard for two evening concerts


Known to millions of listeners as a music commentato

National Public Radio's Morning EdiUon and Performa

Today, Hoffman is also a highly regarded violist.



Tuesday, July 12· 12:30 pm


Faculty Recital

Paul Schoenfield

Don Freund

Don Freund

Don Freund

Gabriel Faure

Partita

OvertureMinuet

Rondeaux

Prelude

Fughetta

Nigun

Sinfonia

William Terwilliger, violin

Andrew Cooperstock, pian

Sonapartita (Noch Nach Bach) (

AdagioPassepied

Presto

Siciliano

Julian Ross, violin

Don Freund, piano

Three Bagatelles for Viola and Pia

Toccata

Nifsi'oSiciliano

Julian Ross, violinDon Freund, piano

Three Bagatelles for Viola and Pia

Toccata

Arioso

Ballata

Scott Rawls, viola

Don Freund, piano

Piano Quartet in C minor, Op. 1

Allegro molto moderatoScherzo. Allegro vivo

Adagio

Allegro molto


Thomas Rosenthal, viola

Pablo Mahave-Veglia, vio

James Howsmon, piano





Emmylou Harris

and Buddy Miller

Tonight's program will be announced from the stage .

A Brevard Music Center Variations Conc

A Brevard Music Center Variations Conc

Fletcher BMW "

is proud to sponsor Emmylou Harris at the

Brevard Music Center. Test drive a new BMW at

their showroom across from the Asheville Airport.



Emmylou Harris

Vocal sensation Emmylou Harris is truly a modern innovator. For ov

years, she has flowed effortlessly between genres, achieving pop

in pop, folk, country and now alternative. Born in Birmingham, Alab

in 1947, Harris releasing her first major label debut, Pieces of the S

1975 when she formed the first version of the legendary Hot Band

the years, the Hot Band included such world-class players as Alber

Rodney Crowell and Hank DeVito.

Billboard Magazine called Harris a "truly venturesome, g

transcending pathfinder." Throughout her career, she has been ad

for her talent as an artist and song connoisseur, but it was with her 2000 album Red Dirt G

which she was awarded her tenth (out of eleven to date) Grammy Award, that she reveale

songwriting abilities. Continuing the trend with her 2003 album, Stumble Into Grace, Harris

ten of the album's eleven tracks.

A longtime social activist, Harris has lent her voice to many causes. She is active in c

preservation issues, notably the Country Music Foundation and the Grand Ole Opry. As an arights activist and the owner of several dogs and cats, Harris also supports PETA (People f

Ethical Treatment of Animals) and the Humane Society. Since 1997, she has been the most v

spokesperson for the Campaign for a Landmine Free World, drawing public attention and no

musical artists to the cause.

For more information, visit emmylou.net.

BuddyMiller

Buddy Miller is a master of many disciplines. Emmylou Harris, in whose band

Buddy served for eight years, calls the 51-year old Ohio-born Nashville transplant

"one of the best guitar players of all time." Universal United House of Prayer is a

song cycle, and its theme is the soul. But in its engagement with social concerns

- not to mention the ecstatic earthiness of its performance quality - this record

bears no resemblance to the music now marketed to Christians. "I like the way

those Marvin Gaye and Staples records were sort of gospel records," Buddy

says, "and sort of about the state of the world." Like its 1960's models, Universal United Ho

Prayer stands on the considerable strength of its music, and addresses what good music aaddresses - the human predicament, and what the heart senses to be true.

Additional support for tonight's concert is provided by the Susanne Marcus Collins Foundation.

Take 5 is the official media sponsor for tonight's event.





Diaz Trio

Elmar Oliveira, violinRoberto Diaz, viola

Andres Diaz, cello


Tan Dun

"Eyeglass Duo" in E-flat, WoO 3

Elegy, Snow in June for Cello and

Timothy Adams, percuss

Conrad Alexander, percu

Lee Hinkle, percussion

Thomas Schmidt, percus

INTERMISSION

I

L;onraa Alexa naer, percu

Lee Hinkle, percussion

Thomas Schmidt, percus

INTERMISSION

Johannes Brahms Piano Quartet in C minor, Op. 6

Allegro non troppo

Scherzo: AllegroAndante

Finale : Allegro comodo

Bruce Murray, piano




Elmar Oliveira remains the first and only American violinist to win the gold medal

at the Tchaikovsky International Competition in Moscow. He has since established

himself as one of the most commanding violinists of his generation, performing

with major orchestras throughout the world. A prodigious recording artist, Oliveira

received a Grammy Award nomination for his disc of the Barber Violin Concerto with

Leonard Slatkin and the Saint Louis Symphony. The son of Portuguese immigrants,

Oliveira was nine when he began studying violin. He performs exclusively on the

"Stretton" by Giuseppe Guarneri del Gesu (1729-31) and on an exact copy of the

violin by Curtin and Alf (1993). For more information, visit seldycramerartists.com.

Roberto Diaz, viola

Roberto Diaz is a violist with an international reputation. Currently principal viola of

the Philadelphia Orchestra, he was recently announced the next president/director

of the Curtis Institute of Music, a full-time position he will assume in 2006. New

World Records recently released a critically acclaimed live recording of the JacobDruckman Viola Concerto with Diaz and the Philadelphia Orchestra. As an active

chamber musician, his festival appearances include Mostly Mozart at Lincoln Center,

Marlboro, Spoleto and Verbier. Diaz performs on a 1739 Camilli viola and 1595

Amati, formerly owned by William Primrose.

Andres Diaz, cello

Andres Diaz launched his career after winning first prize in the 1986 Naumburg

International Cello Competition. He received an Avery Fisher Career Grant twoyears later. In recital, Diaz has toured Taiwan, Hong Kong, Korea, Japan, Hawaii

and Canada, as well as performed a series of concerts in the Soviet Union as soloist

with the Saratov Symphony. In 2001, Diaz gave the world premiere of Gunther

Schuller's Cello Concerto at the Brevard Music Center. Andres Diaz plays a 1698

Matteo Goffriller cello and uses a bow made by his father, Manuel Diaz. For more

information, visit herbertbarrett.com.

Guest Artists

Timothy Adams, Conrad Alexander and Bruce Murray are members of the Brevard Music

faculty. Adams is an associate professor at Carnegie Mellon University and principal timpa

the Pittsburgh Symphony. Alexander teaches at Ithaca College and is a founding member of

Pioneros percussion ensemble. Murray serves as the artistic administrator and dean of the B

Music Center. Lee Hinkle and Thomas Schmidt are Advanced Division students at BMC. Hinkle

the University of South Florida and Schmidt is a graduate student at the Boston Conservatory.



About the Program

Elegy, Snow in June for Cello and Percussion

Tan Dun (b. 1957)

Tan Dun is an innovative composer/conductor whose primary interest is in creating programs that re

and diverse audiences and which break down boundaries between classical and non-classical, E

We st. Born in Simao, China, Dun served as a rice-planter and performer of Peking opera during the

Revolution, later earning a doctorate from Columbia University. His original score for Ang Lee's film CTiger, Hidden Dragon, earned Dun an Oscar.

From tandunonline.com:

The image of Snow in June comes from the 13th-century Chinese drama by Kuan Han-Ching . I

a young woman, Dou Eh , is executed for crimes she did not commit. Even nature cries out for

innocence: her blood falls not to earth but fiies upward, a heavy snow falls in June and a drou

descends for three years. Elegy, Snow in June likewise sings of pity and purity, beauty and darkne

and is a lament for victims everywhere . The work was commissioned by New Music Consort a

given its first performance in 1991 with cellist Madeleine Shapiro.

Piano Quartet in C minor, Opus 60

Johannes Brahms (1833-1897)

It took Brahms nearly twenty years to complete the C minor Piano Quartet. He first began work on th

in 1854 at the impressionable age of twenty-one. The year before, he was introduced to Robert an

Schumann, who took the young composer under their wing, promoting his works and serving as men

friends. Shortly after, Robert was hospitalized for severe mental illness due to syphilis. Brahms ru

Clara's aid, to help her with the children through a difficult time.

It was a period of great anxiety and strain for Brahms, as he was deeply in love with Clara. He wrot

"Would to God that I were allowed this day . . o repeat to you with my own lips that I am dying for loveAfter Robert Schumann's death in 1856, Brahms continued his close friendship with Clara until her ow

in 1896.

The C minor Piano Quartet reflects the complex and turbulent emotions Brahms was suffering. He

happy with the work at first and decided to set it aside for later revision. Seventeen years later,

Brahms dusted it off for completion. He transposed the key down half a step to make the string parts e

play and wrote completely new second and fourth movements .

The mood of the piece is clear from a letter Brahms wrote to his publisher : "You may place a pictur

title page... namely a head - with a pistol in front of it. This will give you some idea of the music. I sh

you a photograph of myself for that purpose ." The work was subsequently subtitled Werlher, aptly nam

Goethe's tragic hero who kills himself for the unrequited love of his friend's wife .

The debut performance was given in Vienna on November 18, 1875, and featured Brahms at the pia

members of the Hellmesberger Quartet.

-Emma Candelier




Thomas Hall

Bach's Lunch

Dmitri Shostakovich

Johannes Brahms

. J U l l d l l l l ~ : : ; Dld l l l l l : : ;

Paul Hindemith

String Quartet No.8, Op. 110

Largo

Allegro molto

Aubade Quartet





Piano Quintet in F Minor, Op. 34

Allegro non troppo

Alice Ju, violin

Christian Jackson, violin

Allison Richards, viola

Jeremy Crosmer, cello

Phoebe Bushman, pianor ' l d l lU ~ U I I I l ~ 1 1 l 1 r IVI I I IUI , ViJ . , ) '

Allegro non troppo

Alice Ju, violin

Christian Jackson, violin

Allison Richards, viola

Jeremy Crosmer, cello

Phoebe Bushman, piano

Kleine Kammermusik fUr fUnf Bl

Lustig

Walzer

Ruhig und einfach

Schnelle ViertelSehr lebhaft

Elany Mejia, flute

Tessa Gross, oboe

Kristin King, clarinet

Amy Marinello, bassoon

Gustavo Camacho, horn



Thursday, July 14 ·4:30 pm

Straus Auditorium



Frederic Chopin

Claude Debussy

Sergei Prokofiev

Claude Debussy

Moritz Moszkowski

Claude Debussy

Moritz Moszkowski

Claude Debussy

Maurice Ravel

Sergei Rachmaninoff

Sonata in C Major, Op. 53

Allegro con brio

Ellen Hahm

Mazurka in A minor, Op. 68 No .

Chris Given

Preludes

General Lavine

Willson Moss

Etude in C minor, Op. 2 NO.4

Alan Rudell

Preludes

Les collines d'Anacapri

Derek Shore

Etude in G minor, Op. 72 No. 12

1-1/011 rr.UUt!1I

PreludesLes collines d'Anacapri

Derek Shore

Etude in G minor, Op. 72 No. 12

Pour Ie piano

Toccata

Je ssica Tsai

Miroirs

Alborada del GraciosoMatthew Barnhill

Prelude in B-Flat Major Op. 23 N

Katherine Murray





Transylvania Wind Ensembl

Sarah McKain, conductor· Steve Cohen, clarine


trans. Hindsley

Joaquin Rodrigo

Scott McAllister

Joaquin Rodrigo

Scott McAllister

Capriccio Espagnole

Alborada

Variazioni

Alborada

Scena e canto gitano

Fandango Asturiano

Adagio Para Orquesta de

Instrumentos de Viento

x0\..,t::lld t:: \.. ,dlllU ~ l l d " U Fandango Asturiano

Adagio Para Orquesta de

Instrumentos de Viento

x

Steve Cohen, cfarinet

INTERMISSION

Aaron Coplandtrans . Hindsley

Alberto Ginastera

EI Salon Mexico

Danza Finale from Estancia





Sarah McKoin is director of bands at the University of Missouri-Kansas City

Conservatory of Music, where she conducts the wind ensemble and teaches

graduate and undergraduate conducting . She was formerly the director of bandsat SUNY-Buffalo and served on the faculty of Fredonia State College. She has

performed world and regional premieres of works by Lukas Foss, Dan Welcher,

Donald Freund, David Maslanka and others. She is executive producer for a

recording project with the Israeli Chamber Orchestra on the Fleur De Son label,

which features the Castellani-Andriacchio guitar duo, Arie Lipsky conducting.

McKoin has authored an analysis of Leslie Bassett's Colors and Contours. She

co-founded the Western New York Youth Wind Ensemble and is music director

and artistic advisor of the Kansas City Youth Wind Ensemble .


Newly appointed clarinet professor and head of the clarinet program

Northwestern University School of Music, Steve Cohen held the same po

this past year at the Cincinnati College-Conservatory of Music. He was prev

principal clarinet with the Louisiana Philharmonic and Professor of Clari

Louisiana State University. In August, 2001 and August 2004, Cohen perfo

at the Bay Chamber Concerts "First Chair All-Stars" with principal wind pfrom the principal orchestras of Chicago, Philadelphia, Montreal, New

Washington, Minnesota and Dallas. Cohen is an artisUciinician for Buffet cla

and a Legere Reed artist.

Free Community Band Concert

The Transylvania Symphonic Band presents a free outdoor concert at the Porter C

Amphitheatre on Saturday, July 16, at 5:30 pm . Led by Kraig Williams, the program inl

arrangements from turn-of-the-century Russian masters such as Kabalevsky and Prokofiev.

a picnic and blanket to accompany the live music.



Flute

Julia Barnett

Anthea KechleyElany Mejia

Caitlyn Perry

Angela Rich

Christina Sjoquist

Oboe

Rebecca Marquardt

Noelle Drewes

John Hammarback

Sian Ricketts

Clarinet

Jason Denner

Daniel Frazelle

Giancarlo Garcia

James Garcia

Nicole Izzo

Kristin King

Antonio Tanase

Bassoon

Kendrick Boyd

Sash a Enegren

Amy Marinello



Saxophone

Austin Arnett

Kimberly GoddardDaniel Kempland

Jeff Loeffert

Horn

Elizabeth Fleming

Julia Hencken

Laura Carter

Katie Taylor

Marc Zyla

Trumpet

Tao Ge

David Harbuziuk

Peter Kuan

Jordan Olive

Matthew Shefcik

Matthew Vangjel

Trombone

Patrick ReynoldsWill Timmons

Kensey Chellis

Bass Trombone

Andrew Walker

Euphonium

Tara Davis

Daniel Chapa

Tuba

Charlie Meldrum

Ed Vinson

Harp

Elizabeth Munch

Percussion

Elliot BeckNicholas Galante

Lee Hinkle

Lauren Kosty

Robert Kratz

David Newcomb

Gabriel Placido

Chelsea Reeves

Chris Roode

Brandon Schantz

Thomas SchmidtValerie Vassar

Tihda Vongkoth

Please Note: Latecomers will be seated at the House Manager's discretion. No cameras, tape rec

smoking or food in the auditorium. Please switch off all cell phones, pagers and watch alarms prio

performance. Restrooms are located at the rear of Whittington-Pfohl Auditorium in the Box Office Lob

to the refreshment stand and also in Thomas Hall.

The Brevard Music Center is grateful for the support received from the North Carolina General Assem

North Carolina Department of Cultural Resources and the North Carolina Arts Council.




Straus Auditorium

Moonlight Concert II

Antonin Dvorak

Dmitri Shostakovich

Johannes Brahms

Bela Bartok.JUlldll l l t;;:i eld l l l l l : : '

Bela Bartok

Antonin Dvorak

String Quartet in E-f1at Major, Op. 5

Allegro ma non troppoHeather MacArthur, violin

Abigale Reisman, violin

Steven Kim, viola

Jenna McCreery, cello


Largo

Allegro molto

Aubade Quartet





String Quartet in A Minor, Op. 51, N

Finale: Allegro non assai

Attacca

Alex Martin, violin


Jon Epstein, viola


String Quartet No.2, 00 . 17.:>Ulf 19 \. ..lUdl It:::H If I J-\ rVllllu" uf.]. I , I\,J

Finale: Allegro non assai

Attacca

Alex Martin, violin


Jon Ep stein, viola



Moderato





Ian Jones, cello

String Quartet in A-flat Major, Op . 1

Adagio ma non troppo; Allegro ap

Uric Quartet


Ema Lacraru, violin

Simina Renea, viola

Ruth Boden, cello





Nordic Night


Thomas Joiner, conductor • Eric Ohlsson, oboe

HugoAlfven


Midsommvarka

(Swedish Rhapsody No. 1), O

Oboe Concerto in C Major, K.Allegro aperto

Adagio non trappo

Rondo: Allegretto

Eric Ohlsson, oboe

INTERMISSION. ... ...... .... ........ ,... .... . ......

Adagio non troppo

Rondo: AllegrettoEric Ohlsson, oboe

INTERMISSION

Jean Sibelius Symphony No. 2

Allegretto

Andante ma rubato

Vivacissimo, allegro mode





Thomas Joiner serves as professor of violin and orchestral activities at Furman

University and as music director of the Hendersonville (NC) Symphony. He has

performed in Carnegie Hall and the Kennedy Center as a principal player with

the Indianapolis Symphony and as a violinist with orchestras in louisville, Aspen,

Charleston and Savannah. As an artistic ambassador for the United StatesInformation Agency, Joiner presented recitals with pianist and BMC faculty member

Douglas Weeks during a five-week tour of West Africa and the Middle East. He

served for ten years as professor of violin and director of orchestral activities at

the University of Georgia. Joiner and his wife, violist Anna Barbrey, perform as the

Joiner Duo. During the summer, Joiner is co-concertmaster of the Brevard Music

Center Orchestra and leads the Transylvania Symphony Orchestra.

Eric Ohlsson, oboe

Now in his twelfth summer as a member of the Brevard Music Center artist Eric Ohlsson is principal oboe of the BMC Orchestra and is regularly featu

soloist and chamber musician. He began his professional career as co-p

oboe of the Columbus Symphony while still a student at Ohio State Univers

has also served as principal oboe of the Naples Philharmonic, Augusta Sym

and South Carolina Philharmonic and Chamber Orchestra. His orchestra, so

chamber performances have taken him throughout the United States and to C

Europe and South America. Ohlsson is currently principal oboe of the Talla

Symphony and the Palm Beach Opera. Ohlsson was on the faculty of the Un

of South Carolina and since 1996 has taught at Florida State University wher

the Charles O. Delaney Professor of Music in Oboe.


Tonight we hear two Scandinavian works, written at almost the same time, as bookends to M

beautiful concerto for oboe.

Midsommvarka (Swedish Rhapsody No.1), Op. 19

Hugo Alfven (1872-1960)

The Swedish composer, conductor, and violinist Hugo Emil Alfven was born in 1872. After his

studies at the Stockholm Conservatory, he enjoyed a long and full career, mainly as a choral con

and he was the head of the music department at Uppsala University from 1910 to 1939. By the

his life, in 1960, he was the grand old man of Swedish music, much beloved in his country. Acco

the l\lew Grove Dictionary of Music and Musicians, "his output was almost entirely of programme



often suggested by the Swedish archipelago; he commented that 'my best ideas have come

my sea-voyages at night, and, in particular, the wild autumns have been my most wonderful tim

composition, '" It all sounds very colorful, and it must be noted that Alfven also showed early p

as a painter. The title of tonight's piece, composed in 1903, translates literally as "midsummer

According to the New Grove, Midsommvarka is "a picture of the Swedish summer in highly-c

orchestral splendor, based on Swedish folk music and inspired by a rude peasant wedding ." A

comparison of his music with his paintings would no doubt be revealing.

Oboe Concerto in C, K. 314Wolfgang Amadeus Mozart (1756-1791)

The life of a successful composer in eighteenth-century Europe bore hardly any resemblanc

composer's life in 2005, Today, with access to academic positions and fees paid for commis

works, composers (such as Mr. Alfven, above) can be relatively independent. Gifted composers s

Mozart who wanted to "make it" in the music world of the eighteenth century had to find patronag

the wealthy and powerful, who would support them materially in return for music composed ex

for their own use, While still living in Salzburg, his birthplace, Mozart had the patronage of Hiero

von Colloredo, Cardinal-Archbishop of Salzburg, and during this time most of his output consi

liturgical choral music. By all accounts, however, Colloredo was a difficult employer, and Mozart under what he considered to be repressive working conditions, (We must candidly admit that h

not really mistreated; during most of Franz Josef Haydn's career, he was required to wear the li

his employer and eat his meals with the servants,) During an extended visit to the capital city of V

Mozart received word from Colloredo's secretary that he was to return to Salzburg immedia

resume his duties. In a moment of ill-considered independence, Mozart quit. Thus, Vienna beca

home for the rest of his short life; he could hardly have returned to the small, provincial Salzburg

While in Salzburg, however, Mozart had plenty of opportunity to write instrumental music, Whate

Archbishop 's faults, it must be conceded that he had good taste in music, and Mozart's instru

output during this period was prodigious-most of his symphonies , the first few string quarte

piano sonatas, all five of his violin concerti, the beautiful Sinfonia concertante for violin andand the concerti for the bassoon , flute, and oboe all date from this time, Concerted works fo

instruments, while not unknown , were considerably harder to come by than the many examples fo

or keyboard, and we don 't know why he decided to write these pieces . Indeed, his dislike for th

is well documented.

The concerto for oboe was written in 1778, at the same time as the flute concerto in G, K. 31

cast in the traditional three-movement form of the time, although Mozart eschews the usual m

finale, probably in response to the newfangled style ga/ant he had encountered in his travels

Europe, Mozart's finale is a sprightly, high-spirited thing with an impressive, and surprising, am

counterpoint. It follows on the heels of a sublime slow movement that must be ranked as one of th

beautiful he had composed up to that time . The first movement, in keeping with the aesthetic of this the longest and most compositionally elaborate of the three, The Mozart oboe concerto was de

to be the last important concerto for the oboe written for many years, although Beethoven tried hi

at one which he never finished. On the whole the Romantics were not interested in oboe conce

until the Richard Strauss concerto of 1945 do we find another one by a major composer,





Violin I

Heather MacArthur, concertmaster

Christine Short '

Kristen Kline

Steven Kim

Emily Nebel

Abigail ReismanStephanie Hao

Sara Guerriero'

Jordan Wong

Ashley Martin

Bethany Moore

Julia Reeves

Luke Rohde

Anna Grace Strange

Maddie Jansen

Chandler Fugate-Laus

Elizabeth Robinson

Carter ThollHaley Dreis

Deborah Johnson

Violin IISeth Gilliard , principal

Gerome Stewart'

Matthew DeBeal

Mia Detweiler

Steven Boyd

Melanie Riordan

Madeline McCreery

Lauren Trolley'Dianna Joiner

Julia Alexander

Katherine Floriano

Svetlana Schneyderman

Juliana Lyn ch

Matthew Madonia

Kylen Moran

Louis McCracken

Raymond Harrison

Brandis Godwin

ViolaLeah Reiter, principal

John Concklin'

Chelsea Godwin

Presti Hinson

Erin Rafferty

Stephanie Ethridge

Christopher Kalter

Christopher Lanier'

Sarah Brown

Cello

Christina Kim , principal

Leslie Lyons'Arleigh Aldrich

Jenna McCreery

MichaelO'Boyle

Sarah Schmitz'

Andrea Albertini

Zachary Mansell

Anna Owensby

Kaitlyn Grady

Emme Johnston

Andrew Brown

Nicholas Gold

Double Bass

Jonathan Deans , Principal

Patrick Byrd'

Mary Reed

David Connor

Stella Heine

Steven Metcalf

Lewis Heald

Benjamin Harshbarger

Luis Catalan

FluteBrian Burkett

Jacob Farnsworth

Nave Graham

Elyse Roberts

Son ali Mahta-Rao

Oboe

Christopher Conners

Alexandra Dawson-Beatty

Jeffery Taylor

Connie Vogelmann

Clarinet

Jonathan Cohen

Maressa McCall

Peter Sabino

Emily Tyndall

• Brevard Music Center Teaching Assistant. . Brevard Music Center Faculty

Bassoon

Kian Anderson

Ellen Martin

Angela Moretti

Jeffrey Nesrsta

Megan Schlie

Horn

Eric Damashek

Andrew Fierova

Mario Lopez

Olivia Sedlack

Beth Smeltzer

Almichael Taylor

Jason Ward

Allison Youngblood

Trumpet

Ben CampbellAnna Garcia

Alex Fioto

Matthew Morrow

John Roberts

Graham Watt

Trombone

James Pannell

Nathan Lodge

Bass Trombone

Timothy Robinson

Tuba

Alexander Hays-Ekelan

Drew Prichard

Harp

Katie Buckley"

Claire Aronis

Timpani

Saul Green

Cameron Heard

Percussion

Saul Green

Lee Hinkle





Bravo Broadway

Brevard Music Center Orchestra • Janiec Opera Co

Henry Janiec, guestconductor

Dmitri Shostakovich

Richard Rodgers

Libretto by Lorenz Hart

Johann Strauss

Leo Delibes

Duke Ellington

arranged by Hermann

Festive Overture

"With a Song in My Heart" from Spr

Kristina Riegle and Alexande

Thunder and Lightning Polka, Op. 3

"Viens, Malika" from Lakme

Janel Frazee and Catherine

Ellington l

INTERMISSION

Richard Rodgers J elections from The Kmg and I

Jerome Kern "The Song Is You" from MUSIC m the

Libretto by Oscar Hammerstem Shane McDonough

Richard Rodgers "There Is Nothing Like a Dame' frorn S

INTER ISSION - -- -

Richard Rodgers

Jerome Kern

Libretto by Oscar Hammerstein

Richard Rodgers

Richard Rodgers

Cole Porter

Andrew Lloyd Webber

Richard Rodgers

Selections from The King and I

"The Song Is You" from Music in the

Shane McDonough

"There Is Nothing Like a Dame" from S

Adam Cioffari, AlexanderEb

Horner. Gregg Jacobson, Sh

McDonough, and Max Weir

"I Enjoy Being a Girl" from Flower D

Megan Brand, Janelle Ctiner, J

Frazee, Ashley Kerr, Cathetine

Ktistina Riegle"I 've Go! You Under My Skin" from Bor

Janelle Criner

"All I Ask Of You " from The Phantom o

"O klahoma l " from Oklahoma

Megan Brand, Ashley Kerr. G

Jacobson, and Adam Cioffar

Support for this evening's performance has been provided in part by United Communit



Henry Janiec, guest conductor

Artistic Director Emeritus Henry Janiec served as the Brevard Music

Center's artistic director from 1964 to 1996. In addition to administrative

responsibilities, he led the BMC Orchestra and Opera Workshop, the

latter of which was named for him upon his retirement. Prior to Brevard,

Janiec was principal opera conductor at the Chautauqua Institution and

for two years conducted at Tanglewood.

A graduate of the Oberlin Conservatory, Janiec joined the faculty of

the School of Music at Converse College in 1952 and was appointed

dean in 1967. He has been principal conductor or music director of

the Spartanburg Symphony Orchestra, the Charlotte Symphony, the

Charlotte Opera Association , the Converse College opera workshop

and numerous community theater groups, chamber orchestras and

school groups.

Janiec is a member of Pi Kappa Lambda, a national patron of Delta Omicron, a life mem

the National Federationof

Music Clubs and holds membershipsin

numerous professionasocieties. He has served on the South Carolina Arts Commission , its Music Advisory Panel

South Carolina Arts Foundation. In 1969, Janiec received the honorary degree of doctor of h

letters from Wofford College and, in 1974, a presidential citation from the National Feder

Music Clubs.

United Community Bank

With over 70 locations, United Community Bank serves communities in North Carolina , G

and Tennessee. In September 1997, the bank opened its first Brevard location and now

the area with full-service offices, located at Straus Park and downtown on West Main S

is with great pride that United Community Bank, The Bank That Service Built , welcome

Brevard Music Center's Artistic Director Emeritus, Henry Janiec, and sponsors his Bravo Br

concert.

Please Note: Latecomers will be seated at the House Manager 's discretion. No cameras, tape re

smoking or food in the auditorium. Please switch off all cell phones, pagers and watch alarms prio

performance. Restrooms are located at the rear of Whittington-Pfohl Auditorium in the box office lobby

the refreshment stand and also in Thomas Hall .

The Brevard Music Center is grateful for the support received from the North Carolina General Assem





I

, concertmaster*

Jackson

Cockerham

Jensen

II

, principal'

Deliman'

Doyle

Osterhout

, principal'

Rosenthal'

Concklin

Henry Janiec, guest conductor

Sara Wolfe

Sarah Schmidt

Andy Johnson

Michael Way

Double Bass


Travis Miller

Salima Barday

Patrick Byrd

Di Wang

Jennifer Coalson

Flute

Mihoko Watanabe, principal*

Julia Barnett

Piccolo

Elany Mejia

Oboe

Paige Morgan, principal*

Sian Ricketts

English Horn

Rebecca Marquartd

Clarinet

Eric Ginsberg, principal*

James Garcia

Bassoon


Sasha Enegren

Contrabassoon

Kendrick Boyd

SaxophoneGriffin Campbell, principal*

Kim Goddard


Horn

John Q. Ericson, principal

Andrea Genuik

Gustavo Camacho

Rose FrenchJulia Hencken

Trumpet

William Campbell, principa

Mark Schubert'

Tao Ge

Jordan Olive

Trombone

William Zehfuss, prinipal'

Patrick ReynoldsKensey Chellis, ass!. princ

Bass Trombone

Dan Satterwhite, principal

Tuba

Charles Schuchat, princip

Harp

Katie Buckley, principal'

Ashley Jackson

Timpani

Timothy K. Adams, Jr, prin

Percussion

Conrad Alexander, princip

Chris Roode

Valerie Vassar

Chelsea Reeves

Robert Kratz




Black Mountain College Museum and Arts Center

Music of Black Mountain College Compose

John Cage, Stefan Wolpe, and Lou Harris

itch

Andrew Tholl, violin· Jeremy Crosmer, cello

Caitlyn Perry, flute· Jason Denner, clarinet

Katalin Lukacs, piano· Elliot Beck, percussion

Lee Hartman, conductor

John Cage

Lou Harrison

Stefan Wolpe

Lou Harrison

Stefan Wolpe

Lou Harrison

John Cage

Introduction

Don Carson

Radio Music

Varied Trio

III. Elegy

IV. Rondeau, in honor of Frag

Form IV: Broken Sequences

Varied Trio

III. Elegy

IV. Rondeau, in honor of Frag

Form IV: Broken Sequences

First Concerto for Flute and Per

Earnest, fresh, and fastish

Slow and poignant

Strong, swinging, and fastish

Don Carson is a board member of the Black Mountain College Museum and Arts

itch is the student new music ensemble of the Brevard Music Center ,

Tonight's program is a presentation of the Brevard Music Center and

the Black Mountain College Museum and Arts Center,





Gina Bachauer Memorial Concert

Brevard Music Center OrchestJon Nakamatsu, piano • David Effron, conductor

Gioacchino Rossini

Johannes Brahms

Overture to La Gazza Ladra

SymphonyNo.4

in E minor, OAllegro non troppo

Andante moderato

Allegro giocoso

Allegro energico e passion

INTERMISSION

Andante moderato

Allegro giocoso

Allegro energico e passion

INTERMISSION

Sergei Rachmaninoff Piano Concerto No.2 in C minor

Moderato

Adagio sostenuto

Allegro scherzandoJon Nakamatsu, piano




Jon Nakamatsu, piano

A native of California, the former high school German teacher launched

his career after winning the gold medal at the 1997 Van Cliburn

International Piano Competition. Nakamatsu's solo recital appearances

have taken him from New York to the Hawaiian Islands, while chamber

music collaborations include the Ives and Prazak quartets. This season,

Nakamatsu made his Japan debut with the Tokyo Symphony and his

Norway debut in recital at the Sandvika Master Series . In 1998, he was

named Debut Artist of the Year by NPR's Performance Today and has

been profiled by CBS Sunday Morning and Reader 's Digest. He records

exclusively for harmonia mundi and has released six discs to date. Visit

jonnakamatsu .com for more information.


David Effron is the Brevard Music Center's third artistic director and p

conductor. He is an alumnus of BMC and spent his first summer here, s

piano, when he was fourteen years old .

Effron earned a Bachelor of Music degree in piano from the Unive

Michigan. After receiving his master's degree in piano with Sidney Fo

Indiana University, Effron received a Fulbright Scholarship and a Roc

Grant and worked as an assistant to Wolfgang Sawallisch at the Cologne

Upon returning to the United States, he joined the New York City Opera ,

on the conducting staff for eighteen years.

For seven seasons Effron was head of the opera department and conducted many sym

concerts as a faculty member of The Curtis Institute in Philadelphia. Then he spent twe

years as head of the orchestra program at the Eastman School of Music. He joined the fa

the Indiana University School of Music in 1998.


Overture to La Gazza Ladra

Gioacchino Rossini

Rossini's opera La Gazza Ladra, or The Thieving Magpie, received its premiere at La Scala

31, 1817. The plot is not very elaborate: Ninetta, a housemaid, is accused of stealing silv

from her employer. Much intrigue ensues before the culprit is revealed to be a bird that



with the stuff. Everyone lives happily ever after. The overture doesn't seem to have an

whatsoever to do with the opera, but it has become one of Rossini's most familiar pieces. It h

unlikely appearance, via Wendy Carlos's electronic garb, in the soundtrack for Stanley Ku

1971 film A Clockwork Orange . The actual , non-electronic instrumentation is notable for i

of the snare drum, which was de rigeur in the military band but rarely deployed in orches

1817.

Symphony NO.4 in E minor, Op. 98

Johannes Brahms

Of Brahms's four symphonies, the Fourth is the most complex and the most private . It r

some of what he learned after decades of studying counterpoint and coming to terms w

music of Bach and Beethoven. In some respects it is a rumination on music (his own an

of other composers) and on the nature of the symphony itself. It may be the most feroc

organized large musical work between the time of Beethoven and the twentieth century. The

tragic cast throughout most of the piece, but it is tragedy at a distance ("Greek" tragedy as op

to , say, "Latin"). The key of E minor is unusual and provocative . Until Brahms's Fourth the

been no symphony in E minor by a major composer except Haydn's No . 44. Beethoven us

key for only one large work , the second of his "Razumovsky" Quartets. E minor seems tobeen a key of emotional remoteness in the eighteenth and nineteenth centuries-perhaps n

best place for a lengthy, ambitious piece to live. (Curiously, Tchaikovsky wrote a symphon

minor, his Fifth, just a few years after Brahms 's Fourth appeared.)

Not surprisingly, early reviews of the Fourth Symphony were unenthusiastic; it took decades

piece to gain a permanent place in the standard orchestral repertoire. Some things become c

over time, and today many view the Fourth as the finest of Brahms's symphonies.

The first movement seems to have sprung completely from a single interval, the descending

It turns out that the interval helps to generate each of the four movements, as well as the sh

the work as a whole. Richard Strauss described the second movement as "a funeral proc

moving across moonlit heights." The third movement Allegro giocoso is a foil, affect-wise ,

other three movements, almost a real scherzo. The finale is a passacaglia, a set of variation

an eight-note bass. Brahms took the idea of a passacaglia from Bach (ct. the Passacagl

Fugue in C minor for organ) and even constructed his bass line from a Bach cantata. The

of using a variation form as a symphony finale came from Beethoven (in the Eroica , and , to

extent, in the Ninth).

In 1897, a month before he died of liver cancer, Brahms attended his final concert in Vien

heard Hans Richter conduct the Vienna Philharmonic in a performance of the Fourth Sym

On that occasion , in which the public greeted the deathly ill composer with an astounding outpof affection, there was noth ing at all remote about the work .

Piano Concerto No.2 in C minor, Op. 18

Sergei Rachmaninoff

Remember Willie Mays? He was the Triple Threat, a player who could hit, run , and field

highest levels. (Pittsburgh fans might have preferred Roberto Clemente, with his smo



nonchalance.) Sergei Rachmaninoff (1873-1943) was the twentieth century's musical

Threat; he composed, conducted, and played the piano at the highest levels, although h

less known as a conductor than in his two other roles. Rachmaninoff was the fair-haired bo

student at the Moscow Conservatory, winning a gold medal for composition. Imagine his su

when the premiere of his first symphony in 1897 provoked a catastrophic reaction from the

and the press (one review began, "If there were a conservatory in hell ... "). The event see

have spun Rachmaninoff into a bout of depression that lasted for years. The low point may

come when he played some of his pieces for Leo Tolstoy, who asked him , "Tell me, is such

needed by anybody?"

Rachmaninoff had stopped composing, so his cousins convinced him to see Dr. Nikolai D

psychiatrist who specialized in hypnotherapy. (Tom Cruise would not approve.) By Rachman

own account, four months of treatment led him back to composing. The Second Piano Co

was the proximate result, and Dr. Dahl had become the work's dedicatee by the time it was fin

in 1901.

In almost no time the Second Concerto entered the standard repertoire, and it may be the

popular concerto every composed. Its format was derived loosely from Tchaikovsky's con

(Tchaikovsky was Rachmaninoff's ideal) , and it established for Rachmaninoff a style of that was clearer and more direct than what he had been doing before. When Rachmaninoff

to write another piano concerto , the Third, in 1909, he could do no better than to make a b

harder, more elaborate version of the Second . In 1945 Buddy Kaye and Ted Mossman to

second theme of the last movement and made the song "Ful l Moon and Empty Arms ." A bit

second movement led to Eric Carmen's infamous, execrable break-up anthem "All by Mysel

Such borrowings imply merely that the Second Concerto is very accessible, which it is.

is brill iance, a wealth of good tunes, and plenty of Russian yea rn ing. The piano writ

spectacularly effective throughout, exactly the sort of writing a Triple Threat would compo

himself-Rachmaninoffwas , of course, the pianist in the premiere.

-Bruce Murray


Please Note: Latecomers will be seated at the House Manager's discretion. No cameras

recorders, smoking or food in the auditorium. Please switch off all cell phones , pagers and

alarms prior to this performance. Restrooms are located at the rear of Whittington-Pfohl Audiin the box office lobby, next to the refreshment stand and also in Thomas Hall.

The Brevard Music Center is grateful for the support received from the North Carolina G

Assembly, the North Carolina Department of Cultural Resources and the North Carolina

Council.




Violin I

David Brickman, concertmaster*

Alice Ju

Marjorie Bagley*

Austin Wulliman


Arturo Rodriguez

Katie McLin*

Barbara Careaga

Annegret Klaua*

Alexander martin

Eliza Hesse

Kathryn Jensen

Christine Short

Andrew d'Aliemand

Erica Sanders

Sun LeeSarah Johnson*

Violin II


Diane Cline

Margaret Baldridge*

Christopher Sanchez

Kristine McCreery*

Regina Dyches

John Deliman*

Shana Bey

Rebecca Pernicano

Francis Auer

Lindsey Baggett

Andrew Lynn

Lauren Trolley

Elizabeth Magnotta

Gerome Stewart

Kerstin Tenney

Viola


Christohper LanierAnna Joiner*

Audrey Selph


Louise Zeitlin*

Allison Richards

Eric Koontz*

Lindsey Parsons

Tom Rosenthal*

Kirsti Petra borg

Jonathan Epstein

Rebecca Jones

Alan Elkins

Cello


Ariana Arcu

Pablo Mahave-Veglia*

Jeremy Crosmer

Aron Zelkowicz*

Ian JonesElaine Anderson'

Daniel Holloway

Marty Sproul*

Sarah Schmitz

Derek Stein

Double Bass


Cory Palmer

Kevin Casseday*

Paul Quast

Patrick Byrd

Ian Berg

Oi Wang

Jennifer Coalson

Jonathan Perry

Flute

Elizabeth Buck, principal*

Mihoko Watanabe*

Oboe

Eric Ohlssohn, principal*Paige Morgan*


Clarinet

Steven Cohen, principal

Eric Ginsberg*

Bassoon

William Ludwig , principa

Amy Marinello

Contrabassoon

Thomas Fleming

Horn

John Ericson, principal *

Gustavo Camacho


Laura Carter

Andrea Genuik

Trumpet

William Campbell, princi

Mark Schubert*

Peter Kuan

Trombone

William Zehfuss, princip

Andrew Peoples

Bass trombone

Dan Satterwhite, princip

Tuba

Charles Schuch at, princ

Timpani

Timothy K Adams, Jr, Pr

Percussion

Conrad Alexander*



Monday, July 18 • 12 :15 pm

Thomas Hall

Bach's Lunch

Franz Josef Haydn

Claude Debussy

Claude Debussy


Divertimento No.1 in B-flat Majo

Allegro con spirito

St. Anthony Chorale

Minuetto

Rondo

Emily Olsen, flute

Jennifer Moore, oboe

Emily Tyndall, clarinet

Ellen Martin, bassoon

Almichael Taylor, hom

Trois Chansons de Bilitis

La Flute de Pan

La Chevelure

Le Tombeau des Na 'iades

Janelle Criner, Soprano

Trois Chansons de Bilitis

La Flute de Pan

La Chevelure

Le Tombeau des Na'iades

Janelle Criner, Soprano

Matthew Gemmill, Piano

Quintet for Winds

Angela Rich, flute

Rebecca Marquadt, oboe

Giancarlo Garcia, clarinet

Sasha Gee Enegren, bass

Marc Zyla, hom



Monday, July 18· 7:30 pm


David Brickman and Jon Nakama

David Brickman, violin • Jon Nakamatsu, piano

Giovanni Pergolesi

Igor Stravinsky

Sonata in E Major

Allegro

Adagio

Presto

Duo Concertante

Cantilene

Eglogue I

Eglogue IIGigueDithyrambe

INTERMISSION

Maurice Ravel I Tzigane

INTERMISSION

Maurice Rave l

Cesar Franck

Tzigane

Sonata

Allegretto moderato

Allegro

Recitativo-Fantasia

Allegretto poco mosso



David Brickman, violin

Violinist David Brickman is renowned for his great versatility and for his dramatic,

highly personal interpretations of the solo and chamber music repertoire. His

collaborations with pianist Jon Nakamatsu began in 2003 with performances of

works by Mendelssohn, Brahms and Dvorak for Chamber Music Rochester. Mr.

Brickman's diverse musical interests are reflected in his recordings and recent

projects . He is a featured soloist in a performance of Vernon Duke's jazz standard

Autumn in New York on the RPO's 75th Anniversary CD and has recorded

several works of 20th-century chamber music for the Milken Foundation. An

Associate Professor at the Eastman School of Music, Mr. Brickman prepares

graduate students for orchestral careers .

Jon Nakamatsu, piano

A native of California, the former high school German teacher launc

career after winning the gold medal at the 1997 Van Cliburn Internationa

Competition. Nakamatsu's solo recital appearances have taken him froYork to the Hawaiian Islands, while chamber music collaborations incl

Ives and Prazak quartets. This season , Nakamatsu made his Japan de

the Tokyo Symphony and his Norway debut in recital at the Sandvika

Series. In 1998, he was named Debut Artist of the Year by NPR's Perfo

Today and has been profiled by CBS Sunday Morning and Reader's Dig

records exclusively for harmonia mundi and has released six discs to da

jonnakamatsu.com for more information.

Program at a Glance

Sonata in E Major

Giovanni Battista Pergolesi (1770-1796)

Pergolesi is well-known for his opera buffa (comic opera), his most famous work being The Landlady

of 1733. Ironically, a considerable amount of instrumental and sacred works once attributed to the

composer have since been proven falsely attributed . Igor Stravinsky's delightful Pulcinella ballet scor

use of music that was entirely, if erroneously, attributed to Pergolesi. The Violin Sonata on this ev

program, however, as well as a violin concerto , is very much authentic. Pergolesi died at age 2

tuberculosis after retiring to a Franciscan monastery in anticipation of his pending death.

Duo Concertante

Igor Stravinsky (1882-1971)

Stravinsky held three nationalities during his lifetime - Russian, French and American - and his music c

styles just as often . Between the two World Wars , Stravinsky lived in Western Europe and was prob

most influential modern composer of the time . Duo Concertante was composed in 1932, a year a

Violin Concerto and two years after Symphony of Psalms. His interest in classical procedures with ex



harmonic language is well-illustrated in this sixteen minute work for violin and piano. The five movem

written in the neo-classicism style eventually adopted by most of Stravinsky's contemporaries.

Tzigane

Maurice Ravel (1875-1937)

Ravel's Tzigane is one of those jaw-dropping works for violin that is a favorite for both perform

audiences alike. The piece is an imaginative cross-fertilization of French and Slavic elements, with

like virtuosity heard (and seen) at every turn. It's hard not to devote one's entire attention to the vastounding pyrotechnics, but it should also be duly noted the piano part is also quite demanding. Tziga

written in 1924 and dedicated to the Hungarian violinist Jelly d'Arais. Ravel also arranged it for solo vi

orchestra.

Sonata in A Major

Cesar Franck (1822-1890)

Frank's Violin Sonata is firmly routed in the Romantic language, as are most of his works. His influ

younger French composers has been great, though his music is strictly Germanic in character, rem

at times of Wagner - contrapuntally complex and harmonically rich. Franck was a sincere, modest a

respecting composer who never compromised his intentions for public affection. He was best known dulifetime as an organist and is now hailed as the greatest composer of organ music after J.S. Bach. W

1886, four years before his death, the Sonata has since been transcribed for other string instruments.

-Emma Candelier

2005 Chamber Music Series

July 20

July 25 & 27

August 1

August 3


Miami String QuartetThe Miami String Quartet served as resident ens

of the Chamber Music Society of Lincoln Center'

Chamber Music Society Two Professional Reside

Program from 1999 to 2001. They return to Breva

two evening concerts.

An Evening with Miles HoffmanKnown to millions of listeners as a music commen

National Public Radio's Morning Edition and Perfo


I Solisti di BrevardBMC's chamber orchestra, comprised of han

string students from the Young Artists' Division, co

the 2005 Chamber Music Series with an eve

Baroque music.




Tuesday, July 19 • 12 :30 pm


Faculty Recital

J.S. Bach

Aram Khachaturian

Aram Khachaturian

Suite No.6 in D Major for Solo C

BWV 1012

Prelude

Allemande

Courante

Sarabande

Gavottes I and II

Gigue

Aron Zelkowicz, violoncell

Trio for Clarinet, Violin, and Piano in

Andante, con dolore con esp

Allegro

Moderato

Trio for Clarinet, Violin, and Piano in

Andante, con dolore con esp

Allegro

Moderato


Katie McLin , violin

Andrew Campbell, piano




Straus Auditorium

Student Chamber Music Reci

Dmitri Shostakovich

Antonin Dvorak

Antonin Dvorak



Allegretto

Largo

Largo

Aubade Quartet



Tanritai Wyllie , viola


String Quartet in A-flat Major, Op

Scherzo : Malta vivace

Uric Quartet


Ema Lacraru, violin

Simina Renea, viola

Ruth Boden, cello

String Quartet in A-flat Major, Op

Scherzo: Malta vivaceUric Quartet


Ema Lacraru, violin

Simina Renea, viola

Ruth Boden, cello

Quartet in F major Op . 59, No.1

Allegro

Ellen Cockerham, violin

Fiona Hughes, violin

Jonathan Morgan, violaSara Wolfe, cello





Chamber Music

Peter Tchaikovsky

arranged by Schuchat

John Beall

Introduction from Serenade fo

John Q. Ericson, horn

Sarah Oubre, horn

William Zehfuss, tromb

Dan Satterwhite, bass tr

Charles Schuchat, tuba

Quartet for Piano, Violin, Viol

Violoncello (2001)

Quickly, lightlySlowly, brooding

Fast and rhythmic

Maestoso; allegro

Andrew Cooperstock, p

William Terwilliger, violi

Scott Rawls, viola

Fast and rhythmic

Maestoso; allegro

Andrew Cooperstock, p

William Terwilliger, violi

Scott Rawls, viola

Carlton McCreery, cello

INTERMISSION

Richard Strauss Meinem KindeSchlechtes Wetter

Des Dichters Abendgang

o susser Mai

Wiegenlied

Cacilie

Carmen Pelton, sopran

James Howsmon, pian



Franz Schubert

Edward Elgar

arranged by Peterson

Claude Debussy

arranged by Levin

An Die Musik Op. 88, 0547

Two Songs, Op. 45

Feasting I Watch

Whether I Find Thee

Trois Chanson

Dieu! Qu'illa fait bon regarder!

Quant j'ai ouy Ie tabourinYver, vous n'estes qu'un villain

John Q. Ericson, horn

Sarah Oubre, horn

William Zehfuss, trombone

Dan Satterwhite, bass trombone

Charles Schuchat, tuba

Translations

Meinem Kinde

(To My Child)

Gustav Falke

You sleep, and gently I bend down

over your cot and bless you.Each cautious breath I draw

is a flight soaring up to heaven,

is a quest far and wide,

to find if there is not some little star

from whose mere radiance and light

love might pluck an herb of happiness

which it could carry down on its wings

and lay upon your white coverlet.

You sleep, and gently I bend down

over your cot and bless you.

Schlechtes Wetter

(Terrible Weather)

Heinrich Heine

It is terrible weather:

it's raining and storming and snowing ;

I sit at the window and gaze

out into the darkness.

There, a lonely light is gleaming,

and it moves slowly onward;

a little old woman with a lanterntotters across the street there.

I think she has bought flour, eggs, a

butter;

she plans to bake a cake

for her chubby, darling daughter.

She is lying at home in an armchair

and she blinks sleepily in the light;

her golden curls strayingover her sweet face.

Des Dichters Abendgang

(The Poet's Evening Walk)

Johann Uhland

If you stroll in the evening light



(that is the time for a poet's rapture) :

always turn your face

to the glory of the now departed sun!

Your spirit will soar in noble solemnity,

you will gaze into the halls of the temple,

where all that is holy is disclosed

and heavenly forms move to and fro.

But when the dark clouds roll down around

the sanctuary,

then all is accomplished, you will turn back,

enraptured by the wonders you've seen .

You will go with quiet emotion,

you will bear in you the blessing of a song ;

the brightness that you have seen there

will shine round you softly on sombre

paths .

o susser Mai

(0 Sweet May)

Karl Henckel!

o sweet May, have mercy;

o sweet May, I entreat you ardently:

at your bosom I see the meadow grow

warm ,

and everything that lives in your realm isgrowing;

you, so endlessly tranquil and benevolent,

o dear May, grant me this favour!

The drab pilgrim, who in these regions

escaped the icy breath of wintry times ,

chose a maiden , as mild as you look,

spring-fresh like you in chaste

magnificence .

That we might love each other and

embrace in love -

grant it, May, the most lovely and blessed ,

have mercy!

Wiegenlied

(Lullaby)

Richard Dehmel

Dream, dream, my sweet life,

of the heaven that brings flowers.

Shimmering there are blossoms that

to the song that your mother is singin

Dream, dream, bud of my worries ,

of the day the flower bloomed;

of the bright morning of blossoming,

when your little soul opened up to the

world.

Dream, dream, blossom of my love,

of the quiet, of the holy night

when the flower of his love

made this world a heaven for me.

Cacilie

Heinrich Hart

If you only knew

what it 's like to dream of burning kiss

of wandering and resting with one's

beloved,

eye turned to eye, and cuddling and

chatting -

if you only knew,you would incline your heart to me!

If you only knew

what it's like to feel dread on lonely n

surrounded by a raging storm, while no o

comforts

with a mild voice your struggle-weary

if you only knew,

you would come to me.

If you only knew

what it's like to live,

surrounded by God 's world-creating b

to float up, carried by the light, to ble

heights- if you only knew,

then you would live with me!




Straus Auditorium


Claude Debussy

Schuberl-Liszt

Frederic Chopin

Claude Debussy

Norman Delio Joio

Franz Liszt

Maurice Ravel

Franz Liszt

Maurice Ravel

Franz Liszt

General Lavine Eccentric

Willson Moss

Soirees de Vienne NO.6

Victoria Suchodolski

Scherzo No.2 in B-flat minor,

Emily Fuhrman

Pour Ie Piano

Prelude

Ji-Yun Yeong

Sonata NO.3Allegro vivo e ritmico

Mary Price

Sonetto 104 del Petrarca

Benjamin Fowler

Miroirs

Alborada del Gracioso

Matthew BarnhillMary Price

Sonetto 104 del PetrarcaBenjamin Fowler

Miroirs


Matthew Barnhill

Sonata in B minor

Jinha Park



July 21 & 23 • 7:30 pm


SWEENEY TODD

The Demon Barber of Fleet Str

A Musical Thriller

Brevard Music Center Orchestra • Janiec Opera Com

John Greer, conductor • David Gately, director

Music and Lyrics bySTEPHEN SONDHEIM

Book byHUGH WHELLER

From an Adaptation by

CHRISTOPHER BOND

Originally Directed On Broadway by HAROLD PRINCE

From an Adaptation byCHRISTOPHER BOND

Originally Directed On Broadway by HAROLD PRINCE

Originally Produced on Broadway by Richard Barr,

Charles Woodward , Robert Fryer, Mary Lea Johnson, Martin Ri chards

in Association with Dean and Judy Manos

Jill Hermes, production managerRobin Vest, set designer


Cheryl Hart, costume designer


April Anderson. prop master

Chad Stewart. sound designer

Barry Sparks and David Nelson, technical directors

Leah McVeigh , stage manager

Gregory Smith , house manager




General Manager of the Janlec Ope ra Compa ny

For Greer's blOQraphy. please visit brevQrdmusic.ora.

Kevin Murphy, baritone

Hometown' Mall/ene, NY

School. Indiana University. SU NY Potsdam

Notable roles. Czotgose In Assassins. Saraslro In

The MagIc Flute

First year at BMC

Rebecca Comerford,

mezzo-soprano

Home town Kennebunk Beach. ME

School ' Eastman School of Music.

Man hattan Schoo l of MUSIC

Notable roles Sorceress In Dido and Aeneas,

Romeo In I CapuJeN JMon tecchl

FlTst year at BMC

Karina Kacala, soprano

Hometown Wal lingford, PA

School ' Swarthmore Co llege. Westminster Choir

College

Notable roles. Janthe in Der Vampyr, Hero in

Beatnce and BenedictFirst year at BMC

Shane McDonough, tenor

Hometown Green Bay, WI

School. New World School of the Arts

Notable roles Alfred in Ole Fledermaus, Tony In

Wes' Side Sfory, Spoletta in Tasca

F fst year at BMC

Nathan Oakes, tenor

Home town' Fowlerville, NY

Schoo]' Finger Lakes Community College

Fllst year at BMC


David Gately, directo

For Gately's biography, please VISt

Ryan Goessl, bariton

Hometown · Medford, WI

School: University of Southern Ca

College

Notable roles Pa llante in Agrippin

Camblale dl MatrimoflJo

First year at BMC

Katherine Altobello ,

mezzo-soprano

Hometown . Aus tin , TX

School: Indiana Univers ity, Southw

Notable ro les. Eliza Doolittle In My

Madam Lavina in Eugene Onegm

Second year at BMC

Jack Beetle, tenor

Hometown' Sicklerville. NJ

School Eastman School of MusIc

Notable roles ' Jinx In Forever Pla

ferson In 1776. Angus in Macbelh

Fl lst year at BMC

Matthew Young, barit

Hometown. New Orleans, LASchool: University of North Texas

Notable roles Marco In Gianni SC

in Cendrillon

Fl lst year at BMC

Tonight's performance has been sponsored in part by Charter Media.



Sweeney Todd

Anthony Hope

Beggar Woman

Mrs. Lovett

JohannaTobias Ragg

Adolfo Pirelli

Beadle Bamford

Judge Turpin

Stephanie Harris

Andrew Hill

Megan Brand

Jennifer Rossetti

Joanna Gates

Daniel O'Dea

Taylor Horner

Michael Floriano

CAST

Kevin Murphy

Ryan Goessl

Rebecca Comerford

Katherine Altobello

Karina KacalaJack Beetle

Shane McDonough

Nathan Oakes

Matthew Young

Ensemble Soloists

Ashley Kerr

Chorus

Amanda Kingston

Dana Schnitzer

Catherine Martin

Adam Cioffari

Children

Jonathan Zeng

David Young

Jennifer Moore

Janelle Criner

Zander Ebin

Adam Lau

Max Wier

Augusta Schubert




General Manager

Conductors

Stage Directors

Chorus Master

Collaborative Piano CoordinatorCoaches


Production Manager

Set Designer

Lighting Designer


Costume Designer

Technical Director

Master Carpenter

Carpenters

Scenic Charge

Scenic Artist

Prop Master

Prop Intern


Wig and Costume Intern

Master Electrician

Electrician Interns

Stage Manager



Sound Coordinator




Stage Crew Interns


House Manager

Orchestra Liaison

Supertitles

Supertitle Operator

John Greer

David Effron

John Greer

David Gately

Vincent Liotta

Martha Collins

Gerard Floriano

Andrew CampbellJames Lesniak

Charles Prestinari

S'ngah Seo

Jill Hermes

Lora Napier

Robin Vest

Andrea Boccanfuso

Jessica Burgess

Ashley Gregg

Cheryl Hart

David Nelson

Wayne Parmely

Nicholas Bobbitt

Trista Hover

Nick Miller

Erin LaVallee

Emily Taylor

April Anderson

Danielle Heise

Kristen Menichelli

Jillian Rivers

Jori Malan

Amber Parker

Laura Krouch

Theresa Russo

Margaret Kellner

Leah McVeigh

Tanya Schurr

Chad Stewart

Lee Taylor

Nicholas McCarthy

Lee Helms

Janette Krolczyk

Sandra Knight

Michael Rivera

Melissa Adler

Rachel Stuart

Greg Smith

Ahmad Mayes

John Greer

Adam Cioffari

Dana Schnitzer

Janel Frazee




Violin I

Lauren Rausch, concertmaster

Helen Morin

Leif Petersen

Brandon Ironside

Violin IIKaitlyn Doyle, principal

Kendra Osterhout

Adam St. John

James Farley

Viola

John Concklin, principal

Matt HofstadtSusannah Plaster

Jim Lichtenberger

Scott Clement

Cello

Leslie Lyons, principal

Katie Andrzejewski

Sara Wolfe

Andy Johnson

Double Bass

Travis Miller, principal

Paul Quast

Flute

CaiUyn Perry, principal

Julia Barnett

Oboe/English Horn

Jennifer Feldman, principal


Clarinet

Daniel Frazelle, principal

Jason Denner

Giancarlo Garcia

Bass Clarinet

Jason Denner

Bassoon

Sasha Enegren , principal

Horn

Gustavo Camacho, principal

TrumpetMatthew Shefcik, principal

Jordan Olive

Trombone

Andrew Peoples, princpal

Stephen Lowery

Bass Trombone

Devin Roark

Percussion

Lauren Kosty, principal

Gabriel Placido

Harp

Ashley Jackson, principal

Keyboard

Charles Prestinari, principal

Please Note : Latecomers will be seated at the House Manager 's discretion. No cameras, tape recorders, smoking

the auditorium. Please switch off all cell phones , pagers and watch alarms prior to this performance. Restrooms ar

at the rear of Whittington-Pfohl Auditorium in the box office lobby, next to the refreshment stand and also in Thom

The Brevard Music Center is grateful for the support received from the North Carolina General Asse mbly, the North






The Jerry Hart Jerome Memorial Concer

Frederica von Stade Return

Brevard Music Center OrchestraFrederica von Stade, mezzo-soprano • David Effron, co

Otto Nicolai

Felix Mendelssohn

Joseph Canteloube

Overture to The Merry Wives of

Symphony NO . 4 in A Major, Op. 9

Allegro vivace

Andante con moto

Con moto moderato

Saltarello. Presto

Chants d'Auvergne

Banero

Lo fiolaire

Uno jionto postouro

Chut, chut

Pour I'enfant

Lou coucut

Banero

Lo fiolaire

Uno jionto postouroChut, chut

Pour I'enfant

Lou coucut

INTERMISSION


Ambroise Thomas

Jacques Offenbach

Suite from The Sleeping Beauty

Introduction: La Fee des lilas

Adagio: Pas d'action

PanoramaValse

"Connais-tu Ie pays" from Migno

"Me voici dans son boudoir" from

"Tu n'est pas beaux" from La Pe

"Ah, que j'aime Ie militaire" from

Grand-Ouchesse de Gerolstein



Frederica von Stade, mezzo-soprano

Described by the New York Times as "one of America's finest artists and

singers," Frederica von Stade continues to be extolled as one of the music

world's most beloved figures. Known to family, friends and fans by her

nickname "Flicka," the mezzo-soprano has enriched the world of classical

music for three decades. She launched her career in 1970 with her

brilliant Metropolitan Opera debut. In 2000, the company celebrated the

30th anniversary of her debut with a new production of The Merry Widow,

specifically for her, and in 1995, as a celebration of her 25th anniversary,

the Metropolitan Opera created for her a new production of Pelli§as et

Melisande . This is her fourth appearance at the Brevard Music Center,

last performing in 2000.

With impressive versatility, she has effortlessly traversed an ever-broadening spectrum of m

styles and dramatic characterizations . A noted bel canto specialist, she excelled as the h

of Rossinis's La cenerentola and" barbiere di Sivig/ia. She is an unmatched stylist in the

repertoire and in one critic's words, "the Melisande of one's dreams." Flicka has created the

Tina in Dallas Opera's world premiere production of Dominick Argento's The Aspern Papers

for her) as well as the role of Madame de Merteuil in Conrad Susa's Dangerous Liaisondiscography, including more than 70 recordings with every major label, has garnered six G

nominations and one Grammy Award. In 1998, she was awarded France's highest honor in t

when she was appointed an officer of L'Ordre des Arts et des Lettres. For more informatio

fredericavonstade.com.


David Effron is the Brevard Music Center's third artistic director and p

conductor. He is an alumnus of BMC and spent his first summer here, spiano, when he was fourteen years old.

Effron earned a Bachelor of Music degree in piano from the University o

gan. After receiving his master 's degree in piano with Sidney Foster at

University, Effron received a Fulbright Scholarship and a Rockefeller Gra

worked as an assistant to Wolfgang Sawallisch at the Cologne Opera

returning to the United States, he joined the New York City Opera, serving on the conducti

for eighteen years.

For seven seasons Effron was head of the opera department and conducted many symphoncerts as a faculty member of The Curtis Institute in Philadelphia. Then he spent twenty-one

as head of the orchestra program at the Eastman School of Music. He joined the faculty

Indiana University School of Music in 1998.

Frederica von Stade appears by arrangement with IMG Artists, 152 West 57th Street, New York, NY




Overture to The Merry Wives of Windsor

Otto Nicolai

Otto Nicolai (1810-1849) was an exact contemporary of Chopin, and missed Mendelssohn (1809-18

only a year or two in either direction. Although he was German, his career as an opera composer be

Rome. Success begat success, and he moved to Vienna as Kapellmeister in 1841, His opera The

Wives of Windsor was composed near the end of his brief life. It receives only an occasional revival todits Overture has become a staple of the light orchestral repertoire.

Chants d 'auvergne

Joseph Canteloube

The French pianist and composer Marie-Joseph Canteloube de Malaret (1879-1957) studied with d'in

wrote a number of ambitious pieces. Today his reputation rests on a collection of folk songs that he ar

for voice and orchestra during the period 1923-1930 and published under the title Chants d'auvergne. A

collection of arrangements, Chants des Pays Ba sques , is done occasionally, but the original works h

but disappeared, Oh , well. The Auvergne songs reveal Canteloube's wit (he was also a published aut

fine ear for orchestral color, and a predilection to let the voice be the voice , Not surprisingly, then, the

have become popular with singers, and the whole group of nearly thirty numbers has been recorded s

times,

Symphony NO.4 in A Major, Op. 90, "Italian"

Felix Mendelssohn

Felix Mendelssohn is widely regarded as a great composer, but one is tempted to ask: for what? Well

is the overture to A Midsummer Night's Dream and that violin concerto. And some other stuff, right?

Mendelssohn may be the most "unknown" of the great European composers , Of the five symphonie

tonight's Italian is played with real frequency. The overture The Fair Melusina, one of the most strikinprescient works of the early nineteenth century, is all but unknown to concert goers. Musicians rate the

for double string quartet as a cornerstone of the chamber music repertoire , but logistical difficulties m

against regular performance, The Songs without Words are played by piano students but rarely by c

artists; the large piano works remain mysteries .

If nothing else, Mendelssohn was versatile , In his childhood he was the gold standard for musical

gies-a greater prodigy than Mozart, many contend. At sixteen he wrote the Octet; at seventeen , th

summer Night's Dream Overture, By age twenty he had resurrected Bach 's St. Matthew Passion for

performance and, effectively, had instilled Bach into the European intellectual consciousness once and

He was a virtuoso pianist who performed with Chopin and Liszt. He was the first modern orchestra con

and his stewardship of the Leipzig Gewandhaus Orchestra resonates down to the present day, He fo

the Leipzig Conservatory and ran music festival s in Germany and England.

Perhaps his sheer facility obscured someth ing of his compositional gift. That his reputation with the

rests upon just a few familiar works could hardly be more unfair. The level of his craftsmanship was a

exquisite by the time he was sixteen years old, and it never flagged, True, he had his more inspire

and less inspired days, but so does every composer. There are many Mendelssohn works that are wo

investment of listening and that will pay dividends many times over.

Fortunately, the Italian Symphony has had a healthy life on the concert stage. It was begun in Italy i



or 1831 but not completed until 1833, while Mendelssohn was visiting London. Although the piec

played in 1833 the composer refused to allow publication; he believed that revisions were needed

outer movements. Alas, Mendelssohn died (at age thirty-eight) before revisions could be undertaken

Italian Symphony was published posthumously, in 1851, and has been in the standard repertoire ever

Amazingly, it appeared just three years after Berlioz's Symphonie fantastique. If Berlioz's symphony

sents the nightmare aspects of early musical Romanticism, then Mendelssohn's piece represents the

side. The symphony is, quite literally, a young man's reaction to seeing Italy, with its landscapes, its tra

all its fabulous art and architecture, even the sunlight flashing on the water. It is the quintessential fu

Romantic affect and Classical diction, and it is one of the happiest creations of European music.

Suite from Sleeping Beauty


In 1697 the French author Charles Perrault published Histoires ou contes du temps passe, avec des

tes: Contes de ma mere rOye, a small collection of stories that were mostly his "reimaginings" of folk

The Contes de ma mere rOye, or "Tales of Mother Goose," were, in effect, the first fairy tales. The co

included "La Belle au bois dormant" ("Sleeping Beauty"), "Le Petit Chaperon rouge" ("Little Red Riding H

and "Cendrillon" ("Cinderella"), among others. Where would Disney be without Perrault?

One can also ask where would ballet be without Perrault, since the fairy tale quickly became a vital

for ballet libretti. There was a "Sleeping Beauty" ballet, for example, as early as 1815. TchaikovskySleeping Beauty was composed in 1888-89 upon commission from the Maryinski Theatre in St. Pete

Tchaikovsky worked very closely with the choreographer Marius Petipa and composed music to orde

"32 bars for the transition into the panorama."

The score for The Sleeping Beauty is not quite so familiar as Swan Lake but familiar nonetheless. Th

was assembled not by Tchaikovsky but by his composition student Alexander Siloti, who had studied

with Liszt and had a distinguished career teaching at the Juilliard School fro m 1924 until 1942.

-Bruce Murray


Jerry Hart Jerome

(October 10, 1934 - December 11, 1997)

Tonight's presentation of Frederica von Stade Returns is dedicated to Brevard native and long-tim

trustee, Jerry Hart Jerome. Mr. Jerome was an ardent supporter and good friend of the Music Center H

and children are proud to sponsor this concert in his memory.

Please Note: Latecomers will be seated at the House Manager's discretion. No cameras, tape rec

smoking or food in the auditorium. Please switch off all cell phones, pagers and watch alarms prior

performance. Restrooms are located at the rear of Whittington-Pfohl Auditorium in the Box Office Lobb

to the refreshment stand and also in Thomas Hall.

The Brevard Music Center is grateful for the support received from the North Carolina General Assemb




d'Auvergne

I'afo, asgalre de

boun tems?

lou baflera ler6, lero lera lero

lero1o.

n'a'l pa ga'fre, e dio, tu?

lero, lero lero (etc.)

Iou prat fa 'f flour. Ii cal gorda

toun

lou baflera lero, lero lera lero

lero

16.

es pu fin ' 01 prat d'oicil

lero lera (etc.)

, couci forai, en obal io loubel rlou!

lou baliera lero, lero, lera lera

lero

1o.

te bao circa'

',lera lero, lera lera (etc.)

qu'ere pitchounelo.

moulous.

lirou lirou .

la diri tou tou la lara!

'no counoulheto

'ai pres u postrou.

lirou lirau ... (etc.)

fa I'obiroudeto

poutou .

lirou lirou ... (etc.)

soui pas ingrato

liet d'un n'in fau dous'

lirou lirau .. etc.)

jionto pastouro

pastoura,d'oquece motis,

su I'erbeto,

Gara, serio be oura

fougesso tournat'

may10

cur aura dounat'

soui yen

Text and Translations

Bailero

Shepherd, yonder across the river,

surely you

are not having much fun?

Singing bailero lero, lero lero lerolera

bailera 10 .

None at all. and are you?

Sing bailero lero, lera lero (etc.)

Shepherd, the grass is in flower,

come here to

tend your flock.

Singing bailero lero, lera lero lero

lera

bailera 10.

The grass is better in my field'

Sing bailero lera, lero lero (etc.)

Shepherd, the river runs betweenus. and I cannot get acrass!

Singing bailero lero, lera lera lero

lero

bailera 10 .

Then I shall come and fetch you'

Sing bailero lera, lera lero (etc.)

The spinner

When I was little,

I tended the sheep,

Ti lirau lirou .

a la diri tou tou la lara!

I had a distaff

and I took a shepherd,

Ti lirau lirou ... (etc.)

For tending my sheep

he asks me for a kiss,

Ti lirau lirau ... (etc.)

No skinftint I,

I give him two instead'

Ti lirou lirou . . etc.)

A pretty shepherdess

A pretty shepherdessone morning

was sitting on the grass

crying for her sweetheart

"He should have returned

before now'He must have fallen in love

with another shepherdess'

"All' poor shepherdess!

I have been abandoned

Coumo 10 tourtourelo

Qu'o perdu soun poriou!"

Chut, chut (Book 4, No.4)

Mon pa'fre me n'o lougado.

Per ona gorda 10 bacado,

Chut, chut. que z'o cal pas dire'

Chut, chut, menes pas ton de brut!

Ne I'i soui pas to leu estado,

Que moun golont m'o rencoun

trado,

Chut, chut..

N'a'f pas ieu fatso de fuzados.

Cou m'o fat guel de poutounados'

Chut, chut..

Se n'l 0 be de miliour cou6,fado,

N'io pas de miliour embrassado'

Chut, chut..

Lou coucut

Lou coucut, oqu'os un auzel

Que n'io pas capt plus de to bel

Coumo lou coucut que canto.

Lou mio coucut, lou tio coucut,

E lou coucut des autres'

Dio, Obes pas entendut canta lou

coucut?

Per obal found del prat ,

Se nio un 8ubre lIouit e gronat.

Que lou coucutl'i canto.

Lou mio coucut, lou tio coucut,

E lou coucut des autres .

0'0, Obes pas entendut canta lou

coucut?

E se toutse les coucuts

Boullou pourta souneto,

O! fonou ,cin cent troupmetoi!

Lou mio coucut, lou tio coucul,

E lou coucut des autres.

Oio, Obes pas entendut canta lou

coucut?

Connais-tu Ie pays?, from Mignon

Ambroise Thomas

Text by Michel Carre & Jules Bar

bier

Connais-tu Ie pays ou lIeurit

I'oranger.

Le pays des fruits d'or et des roses

vermeilles.

OU la brise est plus douce et

I'oiseau plus leger,

OU dans toute saison butinent les

abeilles?

OU rayonne et sourit, comme un

bienfait de Oieu.

like a dove

who has lost her mat

Chut, chut

My father has found

It is to go and guard

Hush. hush! Mustn't

Don't make so much

No sooner had I arriv

Than my sweetheart

Hush. hush' ..

I didn't do much spin

But I did get kissed a

Hush , hush!..

There may be girl

hairdos,

But it is better to get

Hush, hush' ..

The cuckoo

The cuckoo is a bea

there are none more

than the cuckoo that

than my cuckoo, than

than anybody's cuck

Say. have you not he

sing?

Yonder, at the bottom

stands a scarlet flow

and there the cuckoo

He's my cuckoo, he's

he's everybody's cuc

Say, have you not hesing?

And certainly if all th

chose to wear bells,

they would sound lik

trumpets'

He's my cuckoo, he's

he's everybody's cuc

Say, have you not he

sing?

Do you know the la

ange trees bloom

the land of golden fru

lion roses,

where the breeze is

birds more light o

where bees gather

round,

where radiates and

kindness from Go



eternel printemps sous un ciel

toujours bleu?

ne puis-je te suivre

ce rivage heureux d'ou Ie sort

m'exila!

lil que je voudrais vivre,

et mourir! C'est la!

la maison au I'on

m'attend la-bas?

salle aux lambris d'or au des

hommes de marbre

dans la nuit en me

tendant les bras,

la cour au I'on danse 3 I'ombre

d'un grand arbre?

Ie lac transparent au glissent sur

les eaux

bateaux legers pareils a des

oiseaux .l que ne puis-je te suivre

pays lointain d'ou Ie sort

m'exila!

13 que je voudrais vivre,

mourir l C'est la l .

dans son boudoir"

from Mignon

moi, j'ai tout brise l N'importe l

M'y Voici l

, man oncle a loge Philine

chez ma tante l

son boudoir et je

sens man Coeur,

sens man Coeur battre

d'espoir.

je guette I'instant de la revoir.

je sens man Coeur, je sens

man Coeur battre d'espoir!

revoir!fin vaincre la cruelle

, toucher Ie Coeur de

I'infidelel

suis dans son boudoir, et je

sens man Coeur, je

Sens man Coeur battre

d'espoir.

je veux qu'on m'aime, et

j'espere, oui, (espere a man

tour

Etre heureux; tant pis, ma foi'

Pour taus ses amoureux,

Tant pis pour taus ses

amoureux!

suis dans son boudoir'

des Aveux from La

Pericho/e

n'est pas beau

n'est pas riche

manques tout a fait d'esprit

gestes sont ceux d'un godiche

talent, c'est une autre affaire

an eternal spring under an always

blue sky?

Alas! if only I could follow you

to the happy shore from which I've

been exiled!

It is there that I would like to live,

to love, and diel There l

Do you know the house there

where they walt for me?

The room paneled in gold, where

marble statues

call me in the night, outstretChing

their arms,

and the courtyard where one

dances in the shadow of a great

tree?

And the transparent lake where

thousands of quick boats glide on

the waters like birds

Alas'if only I could follow you

to the far-off land from which I've

been exiled

It is there that I would like to live,

to love, and diel There '

It's mel I've broken everything

What of it , here I ami

What? My uncle has lodged Filina

in my aunt 's rooms!

Here I am in her boudoir, and I feel

my heart, I feel my heart beat

high with hope.

Ah, I wait for the hour when we

shall meet'

Yes I feel my heart beat with hope.

One must in the end vanquish

One must touch the heart of the

infidel.Oh, I'm in her boudoir and I feel my

heart beat with hope .

Me, I just want everyone to like and

I hope in my time to be happy

How sad it is for all those who love

her. But I'm here in her bou

doir ..

You aren't handsome

You aren 't rich

You lack all sorts of spirit

Your gestures are those of a bump

kin

A showman at whom one laughs

Tu n'en as guere de talent

De ce qu'on doit avoir pour piaire

Tu n'as Presque rien et pourtant, et

pourtant, et pourtant

Je I'adore Brigand

J'ai honte a I'avouer

Je fadore et ne puis vivre sans

t'adorer

Je fadore Brigand, j'ai honte a

I'avouer

Je radore et ne puis vivre sans

t'adorer'

Je ne hais pas la bonne chere

On dinait chez ce Vice-roil

Tandis que toi, toi pauvre here

Je mourais de faim avec toi

J'en avais chez lui de la joie,

J'en pouvais prendre tant et tant

J'avais du velours, de la soie, de

I'or des bijoux et pourtant

Je radore Brigand ...

Ah, que j 'aime les militatres

from La Grande-Duchesse De

Gino/stein

Vous aimez Ie danger.

Le peril vous attire.

Et vous ferez votre devoir;

Vous partirez demain,

Et moi je viens vous dire,

Non pas adieu, mais au revoir!

Ah, que j ' a i n ~ e les militaires.

Leur uniforme coquet,

Leur moustache et leurs manieres,

En eux tout me plait.

Quand je vois la mes soldats ,

Prets a partir pour la guerre,

Fixes, droits, l'oeil 3 quinze pas,Vrai dieul J'en su,s toute fiere .

Seront-ils vainqueurs au defaits?

Je n'en sais rien, ce que je sais ..

Ah ..

....Ah , que, j'aime les militaires,

j'alme, oui I j'aime les militaires !

Je sais ce que je voudrais

Je voudrais etre cantiniere,

Pres d'eux toujours je serais

Et je les griserais,

Avec eux, vaillante et legere,

Au combat je m'elancerais,

Cela me plairait-il, la guerre ?

Je n'en sa s rien . ce que qu'elle

sait. ...Ah ..

.. .Ah, que j'aime les militaires, etc.

As for talent , that's ano

You have practically n

Of all that one needs to

have nearly nothing

But , but, but

I adore you, Brigand, I

to admit it

adore you and can 't

you!

I don't hate the good g

Who dined with the Vi

As for you, I would sta

With him, I had joy.

more and more

I had velvet, Silk and

yet ...

I adore you Brigand, I

to admit it,

I adore you and canno

you l

You love danger,

Risk attracts you,

And you will do your d

You will leave tomorro

And I have come to sa

not farewell, but au re

Ah, how I love soldiers

their smart uniforms,

their moustaches and

plumes I

Ah, how I love soldiers

Their triumphant air, th

ners,I like everything about

When I see my soldier

there

ready to set off for war

standing to attention, e

fifteen paces,

good God, I'm so prou

Will they conquer or b

I don't know, but what

is . . .Ah ..

..Ah, how I love sold

I love, yes, I love soldi

I know what I woutd lik

I would like to be a ca

woman,

I'd be with them all the

and I would make them

forward into battle, val

light-footed,

I'd go with them,

would I like war?

I don't know, but what

is . . .Ah ..

...Ah, how I love soldie



Brevard Music Center OrchestraDavid Effron, conductor

Violin I

David Brickman, concertmaster'

Alice Ju

Marjorie Bagley'

Austin Wulliman

William Terwilliger'Arturo Rodriguez

Katie McLin'

Barbara Careaga

Annegret Klaua'

Alexander Martin

Eliza Hesse

Kathryn Jensen

Christine Short

Andrew d'Aliemand

Erica Sanders

Sun Lee

Violin IIJulian Ross, principal'

Diane Cline

Kristine McCreery'

Shana Bey

John Deliman'

Regina Dyches

Rebecca Pernicano

Francis Auer

Lindsey Baggett

Andrew Lynn

Lauren Trolley

Elizabeth Magnotta

Gerome Stewart

Kerstin Tenney

Viola

Scott Rawls, principal'

Jonathan Epstein

Anna Joiner*

Kirsti Petra borg

Louise Zeitlin*Rebecca Jones

Eric Koontz*

Alan Elkins

Allison Richards

Melinda Hirsch

Audrey Selph

Christopher Lanier

Lindsey Parsons

Cello

Carlton McCreery, principal*Ariana Arcu


Jeremy Crosmer

Aron Zelkowicz*

Ian Jones

Elaine Anderson*

Sarah Schmitz

Marty Sproul

Derek Stein

Double BassCraig Brown, principal*

Travis Miller

Kevin Casseday'

Salima Barday

Nery Rodriguez

Ian Berg

Patrick Byrd

Gerald Torres

Joshua Lebar

Flute


Mihoko Watanabe*

Piccolo

Caitlyn Perry

Oboe


Paige Morgan*

Rebecca Marquardt

English HornPaige Morgan'

Clarinet


Eric Ginsberg'

, Brevard Music Center faculty

Bassoon

William Ludwig, principa

Gili Sharett*

Horn

John Ericson, principal*Gustavo Camacho

Todd Williams*

Laura Carter

Marc Zyla

Trumpet

William Campbell, princ

Mark Schubert*

David Harbuziuk

Matthew Shefcik

Ge Tao

Trombone


William Timmons

Bass Trombone

Dan Satterwhite, princip

Tuba

Charles Schuchat, princ

Harp

Katie Buckley, principal*

Piano

Andrew Campbell, princ

Timpani

Timothy K Adams, Jr. p

Percussion

Conrad Alexander, princ

Tihda VongkothChelsea Reeves

Tom Schmidt

Gabriel Placido





Masters of the Orchestra


Carmen Pelton, soprano

Richard Strauss Suite from Der Rosenkavalier

INTERMISSION

Gustav Mahler

Gustav Mahler

Symphony NO.4 in G Major

Bedachtig , nicht eilen

In gemachlicher Bewegung, ohRllhp.v()11 n()r.() rlrlrl l l i()

Symphony NO.4 in G Major

Bedachtig , nicht eilen

In gemachlicher Bewegung, oh

Ruhevoli, poco adagio

Sehr behaglich

Carmen Pelton, soprano



Violin I

Alice Ju

Sarah Schreffler

Christian Jackson

Ellen Cockerham

Arturo Rodriguez

Fiona Hughes

Lauren Rausch

Helen Morin

Eliza Hesse

Kathryn Jensen

Andrew Tholl

Andrew D'Allemand

Diane Cline

Leif Peterson

Sun Lee

Erica Sanders

Regina Dyches

Essena Setaro

Violin IIShana Bey

Brandon Ironside

Rebecca Pernicano

Kaitlin Doyle

Francis Auer

Kendra Osterhout

Lindsay Baggett

Kathleen Andrews

Lemuel De La Cruz

Andrew LynnAllison Willet

Elizabeth Magnotta

Adam SI. John

James Farley

Ann Letsinger

Kerstin Tenney

Viola

Kirsti Petra borg

Matt Hofstadt

Jonathon Morgan

Lindsay ParsonsRebecca Jones

Susannah Plaster

Scott Clement

Diana Maley

Allison Richards

Audrey Selph

Jim Lichtenberger

Andrew Braddock

Alan Elkins


Cello Kendrick Boyd

Ariana Arcu Andrew West

Jeremy Crosmer

Katie Andrejewski Horn

Sara Wolfe Andrea Geniuk

Andy Johnson Martha Fleming

Michael Way Rose French

Derek Stein Marc Zyla

Leah Bransetter Katie Taylor

Nick Gold Laura Carter

Marty Sproul Julia Hencken

Tate Olsen

Trumpet

Double Bass Matthew Shefcik

Cory Palmer David Harbuziuk

Salima Barday Tao Ge

Nery Rodriguez Peter Kuan

Paul Quast Jordan Olive

Gerald Torres Matthew Vangjel

Di Wang

Josh Lebar Trombone

Jennifer Coalson Stephen Lowery

Jonathon Perry Kensey Chellis

Patrick Reynolds

Flute Andrew Peoples

Caitlyn Perry

Julia Barnett Bass Trombone

Anthea Kechley Andrew Walker

Elany Mejia

Angela Rich Tuba

Christina Sjoquist Charlie Meldrum

Oboe Harp

Noelle Drewes Ashley Jackson

John Hammerback Elizabeth Munch

Evelyn Sedlack

Jennifer Feldman Percussion

Sian Ricketts Elliot Beck

Tessa Gross Nicholas Galante

Lee Hinkle

Clarinet Lauren Kosty

Jason Denner Robert Kratz

Nicole Izzo David NewcombJames Garcia Gabriel Placido

Giancarlo Garcia Chelsea Reeves

Daniel Frazelle Christopher Roode

Antonio Tanase Brandon Schantz

Kristin King Thomas Schmidt

Valerie Vassar

Bassoon Tihda Vongkoth

Thomas Fleming

Alex Applegate



Monday, July 25·12:15 pm

Thomas Hall

Bach's Lunch

Arthur Honegger

Bedrich Smetana

August Klughardt

August Klughardt

John Cheetam

Petit Cours de Morale

JeanneAdele

Cecile

Irene

Rosemonde

Megan Roth, mezzo-sopra


String Quartet in E Minor

Allegro vivo appassionato

Helen Morin, violin

Kathryn Jensen, violin

Scott Clement, violaTate Olsen, cello

Quintett

Allegra non trap po

Allegro Vivace

Christine Sjoquist, flute

John Hammerbach, oboe

Nicole Izzo, clarinet

Alex Applegate, bassoonI • •1: .... I_I ................1,........... 1-.. ..............

Quintett

Allegra non troppo

Allegro VivaceChristine Sjoquist, flute

John Hammerbach, oboe

Nicole Izzo, clarinet

Alex Applegate, bassoon

Julia Hencken, horn

A Brass Menagerie

Anna Garcia, trumpet

Graham Watt, trumpet

Allison Youngblood, horn

James Pannell, trombone

Alexander Hays-Ekeland,




Straus Auditorium

Student Recital

Antonio Vivaldi

Vladimir Cosma

John Beall

John Beall

Bela Kovacs

Bassoon Concerto in E minor

Allegro poco

Angela Moretti, bassoon

Colin Doherty, piano

Euphonium Concerto

Andantino

Daniel Chapa, euphonium

Morgan Eiland, piano

Merwin Songs

On Each Journey

Horsemen

December Among the Vanis

Summits

Beggars and Kings

Kristina Riegle, sopranoI ~ r n h f,(ir/r/pr n i ~ n n

Merwin Songs

On Each Journey

HorsemenDecember Among the Vanis

Summits

Beggars and Kings

Kristina Riegle, soprano

Jacob Kidder, piano

Hommage a R. Strauss

Giancarlo Garcia, clarine



Monday, July 25 • 7:30 pm



Ivan Chan, violin • Cathy Meng Robinson, violin

Chauncey Patterson, viola • Keith Robinson, cel

Ludwig van Beethoven:

The Three Razumovsky Quartets

String Quartet in F Major, Op. 59, No. 1

AllegroAllegretto vivace e sempre scherzando

Adagio molto e maesto

Theme Russe: Al legro

String Quartet in E minor, Op. 59 , No.2

Allegro

Malta adagio

Allegretto

Adagio molto e maesto

Theme Russe: Allegro

String Quartet in E minor, Op. 59, No.2

Allegro

Malta adagio

Allegretto

Finale: Presto

II\JTERMISSION

String Quartet in C Major, Op. 59, No.3Introduzione: Andante can moto:

allegro vivace

Andante con moto quasi allegretto

Menuetto: Grazioso

Allegro molto



The Miami String Quartet

The Brevard Music Center is pleased to welcome back the

Miami String Quartet. Praised in the New York Times as

having "everything one wants in a quartet: a rich, precisely

balanced sound, a broad coloristic palette, real unity of

interpretive purpose and seemingly unflagging energy," the

Miami String Quartet has established its place among the most

respected quartets in America. They have appeared in major

concert halls across North America, Europe and Asia.

Last fall, the ensemble joined Kent State University in Ohio as

quartet in residence . The same position was held at the Hartt

School and Florida International University. They were the resident ensemble of the C

Music Society of Lincoln Centers Chamber Music Society Two from 1999 to 2001. For

several years, the Quartet has served as resident ensemble at the KenUBlossom Music Fe

Ohio, as well as appearing at Mostly Mozart and Ravinia. And, in 2000, the group was awar

prestigious Cleveland Quartet Award.

The Miami String Quartet's interest in new music has led to many commissions and pre

In March 2000, the ensemble gave the world premiere of Augusta Reed Thomas' Invoc

Other highlights include a new work by composer Annie Gosfield commissioned by the Sa

Chamber Music Festival, a joint commissioning by the Chamber Music Society of Lincoln

and the Virginia Arts Festival of a piano quintet by Bruce Adolphe, and a new work by co

Stephen Jaffe commissioned by the Philadelphia Chamber Music Society.

Their discography includes three discs to date. A recording of the first two quartets of Gi

was released in 1994. It was followed three years later by a disc featuring quartets by Saint

and Faure on BMG Conifer. In 1999, the group released the first three quartets of Peterisafter giving their American premieres.

Upcoming Chamber Series Events

July 27

August 1

August 3



Known to millions of listeners as a music commenNational Public Radio's Morning Edition and Perfo


I Solisti di BrevardBMC's chamber orchestra, comprised of han

string students from the Young Artists' Division, co

the 2005 Chamber Music Series with an eve

Baroque music.





Faculty Recital


Benjamin Britten

Benjamin Britten

Suite in C Major NO.3 BWV

Solo Cello

Prelude

Allemande

Courante

Sarabande

Bouree I & IIGigue

Pablo Mahave-Veglia, baro

Phantasy Quartet for Oboe a

Strings, Op. 2

Eric Ohlsson, oboe

Thomas Joiner, violin

Anna Joiner, viola

Phantasy Quartet for Oboe aStrings, Op. 2

Eric Ohlsson, oboe


Anna Joiner, viola




Tuesday, July 26·7:30 pm


Symphonic Band


Kraig Alan Williams, conductor

Tielman Susato

Arranged by Dunnigan

Dan Welcher

Selections from the Danserye

La Morisque

Bergerette

Les Quatre Branles

Fagot

Den Hoboecken Dans

Ronde & Salterelle

Ronde & AliudBass Danse: mon desir

Pavane: La Battaille

Minstrels of the Kells (2001)

Airs in the Mist

Reelin ' and Jiggin'

INTERMISSION

Dan Welcher

Pavane: La Battaille

Minstrels of the Kell s (2001)Airs in the Mist

Reelin ' and Jiggin'

INTERMISSION

Philip Sparke Dance Movements (1997)





Flute

Brian Burkett

Jacob Farnsworth

Nave Graham

Chelsea KnoxChristie Olsen

Elyse Roberts

Oboe

Chris Connors


Jennifer Moore

Jeff Taylor

Connie Vogelmann

ClarinetJonathan Cohen

Lauren Huckaba

Maressa McCall

Megan Mcinnes

Natalie Parker

Peter Sabino

Emily Tyndall

Tiffany Valvo

Bassoon

Ellen Martin

Jeff Nesrsta

Megan Schlie

Saxophone

Austin Arnett

Kimberly Goddard

Daniel Kempland

Jeff Loeffert

Horn

Eric Damashek

Andrew FierovaMario Lopez

Olivia Sedlack

Beth Smeltzer

Almichael Taylor

Jason Ward

Allison Youngblood

Trumpet

Ben Campbell

Alex Fioto

Anna Garcia

Matthew MorrowJohn Roberts

Graham Watt

Trombone

James Pannell

Timothy Robinson

Bass Trombone

Nathan Lodge

EuphoniumDaniel Chapa

Greg Lutz

Tuba

Alexander Hays-Ekeland

Drew Prichard

Harp

Elizabeth Munch

Percussion

Saul Green

Cameron Heard

Elliot Beck

Nicholas Galante

Lee Hinkle

Lauren Kosty

Robert Kratz

David Newcomb

Gabriel Placido

Chelsea Reeves

Chris Roode

Brandon SchantzThomas Schmidt

Valerie Vassar

Tihda Vongkoth






Ivan Chan, violin • Cathy Meng Robinson, violin

Chauncey Patterson, viola • Keith Robinson, cel



Maurice Ravel

Quartet in A Major, Op. 18, NO.5

Allegro

Menuetto

Andante cantabile

Allegro

Quartet in F Major

Allegro moderato: Tres douxAssez vif - Tres rythme

Tres lent

Vif et agite

INTERMISSION

Tres lent

Vif et agite

INTERMISSION

Erno Dohnanyi Piano Quintet in C minor, Op. 1

Allegro

Scherzo: Allegro vivace

Adagio, quasi andante

Finale: Allegro animato

Doug/as Weeks, piano




The Brevard Music Center is pleased to welcome back the

Miami String Quartet. Praised in the New York Times as

having "everything one wants in a quartet: a rich, precisely

balanced sound, a broad coloristic palette, real unity of

interpretive purpose and seemingly unflagging energy," the

Miami String Quartet has established its place among the most

respected quartets in America. They have appeared in majorconcert halls across North America, Europe and Asia.

Last fall, the ensemble joined Kent State University in Ohio as

quartet in residence. The same position was held at the Hartt

School and Florida International University. They were the resident ensemble of the Ch

Music Society of Lincoln Centers Chamber Music Society Two from 1999 to 2001. For

several years, the Quartet has served as resident ensemble at the Kent/Blossom Music Fes

Ohio, as well as appearing at Mostly Mozart and Ravinia. And, in 2000, the group was awar

prestigious Cleveland Quartet Award.

The Miami String Quartet's interest in new music has led to many commissions and pre

In March 2000, the ensemble gave the world premiere of Augusta Reed Thomas' Invoc

Other highlights include a new work by composer Annie Gosfield commissioned by the Sa

Chamber Music Festival, a joint commissioning by the Chamber Music Society of Lincoln

and the Virginia Arts Festival of a piano quintet by Bruce Adolphe, and a new work by co

Stephen Jaffe commissioned by the Philadelphia Chamber Music Society.

Their discography includes three discs to date . A recording of the first two quartets of Gin

was released in 1994. It was followed three years later by a disc featuring quartets by Saint

and Faure on BMG Conifer. In 1999, the group released the first three quartets of Peteris

after giving their American premieres.


Douglas Weeks has performed throughout the Southeast United States both

as soloist and pianist with the Converse Trio. Under the sponsorship of the US

Information Agency, he performed duo recitals with violinist Thomas Joiner in

Africa and the Middle East, as well as solo recitals in India, Pakistan, Sri Lanka,Nepal and Bangladesh. In the spring of 1999, Weeks taught for four months at

the Conservatory of Music in Cairo, Egypt, as a Fulbright Senior Scholar. Honors

include Converse College's Kathryne Amelia Brown Award for excellence in

teaching and a South Carolina Commission on Higher Education's Distinguished

Professor Award . Weeks holds degrees from Illinois State, Florida State and

Indiana universities and a licence de concert from Ecole Normale de Musique in

Paris.



Thursday, July 28·12:15 pm

Thomas Hall

Bach's Lunch

Anton Reicha

Vaughn Williams

Bela Bartok

Bela Bartok

Woodwind Quintet No.2 in E-fla

Op. 88

Lento; Allegro Moderato

Brian Burkett, flute

Chris Connors, oboe

Natalie Parker, clarinet

Angela Moretti, bassoon

Mario Lopez, hornSongs of Travel


Seungah Seo, piano

String Quartet No. 2, Op. 17

Moderato



Austin Wulliman, violin. . ,. . . ". .Ryan Goessl, baritone

Seungah Seo, piano


Moderato





Ian Jones, cello




Straus Auditorium



Franz Liszt

Frederic Chopin

Franz Schubert

Benjamin Lees

Frederic Chopin

Franz Liszt

Frederic Chopin

Alberto Ginastera

Franz Liszt

Frederic Chopin

Alberto Ginastera

Frederic Chopin

Sonata in F Major, Op. 10, No.

AllegroElizabeth Hoarty

Liebestraum NO.3

Richard Lau

Polonaise , Op . 26 , No.1

Mary Price

Impromptu, Op . 90, NO . 3

Spencer Cromwell

FantasyPei-Wei Lin

Ballade No . 1, Op. 23Stephanie Bova

Hungarian Rhapsodie No . 11

Jennifer Huang

Ballade No. 3, Op . 47

Ji-Yun Jeong

Sonata No.1, Op. 22

Allegro marcato

Hungarian Rhapsodie No . 11

Jennifer HuangBallade No. 3, Op. 47

Ji-Yun Jeong

Sonata No.1, Op . 22

Allegro marcato

Kyle Davies

Ballade No. 4, Op. 52

Jinha Park





Transylvania Wind Ensembl


John Adams

Gustav Holst

Short Ride on a Fast Machine

The Planets

Mars

Jupiter

INTERMISSION

David Maslanka A Child's Garden of Dreams

I. There is a desert on the mo

where the dreamer sinks so d

into the ground that she reac

II. A drunken woman falls into

water and comes out renewe

sober.

III. A horde of animals frighte

the girl. The animals increase

tremendous size, and one of

devours the dreamer."HI. . . ) tI 1'-' VUIIU U IO \ . ' :> I I 'C' I c:;CH ..

II. A drunken woman falls into

water and comes out renewe

sober.

III. A horde of animals frighte

the girl. The animals increase

tremendous size, and one of

devours the dreamer.

IV. A drop of water is seen as

appears when looked at throu

microscope . The girl sees tha

drop is full of tree branches.

portrays the origin of the worl

V. An ascent into Heaven wh

pagan dances are being celeand a descent into Hell wher

are doing good deeds.



Flute

Julia Barnett

Anthea KechleyElany Mejia

Caitlyn Perry

Angela Rich

Christina Sjoquist

Oboe

Noelle Drewes

John Hammarback

Rebecca Marquardt

Sian Ricketts

Clarinet

Jason Denner

Daniel Frazelle

Giancarlo Garcia

James Garcia

Nicole Izzo

Kristin King

Antonio Tanase

Bassoon

Kendrick Boyd

Sasha EnegrenAmy Marinello

Saxophone

Austin Arnett

Kimberly Goddard

Daniel Kempland

Jeff Loeffert

Horn

Laura Carter

Elizabeth Fleming

Julia Hencken

Katie Taylor

Marc Zyla

Trumpet

Tao Ge

David Harbuziuk

Peter Kuan



Jordan Olive

Matthew Shefcik

Matthew Vangjel

Trombone

Kensey Chellis

Patrick Reynolds

Will Timmons

Bass Trombone

Andrew Walker

Euphonium

Daniel Chapa

Tara Davis

Tuba

Charlie Meldrum

Ed Vinson

Harp

Elizabeth Munch

Percussion

Elliot Beck

Nicholas GalanteLee Hinkle

Lauren Kosty

Robert Kratz

David Newcomb

Gabriel Placido

Chelsea Reeves

Chris Roode

Brandon Schantz

Thomas Schmidt

Valerie Vassar

Tihda Vongkoth




Straus Auditorium

Baroque Opera Scenes

Members of the Janiec Opera CompaJohn Greer, musical director

Martha Collins, director

Fiona Hughes, violin· Ellen Cockerham, violin

Jonathan Morgan, viola· Sara Wolfe, cello

Salima Barday, bass· John Greer, continuo

George Frideric Handel

Libretto by Niccolb Minato

English translation by Nicholas Hytner

C,w. von Gluck


Libretto by Niccolb Minato

English translation by Nicholas Hytner

C,w. von Gluck

Libretto by Ranieri de Calzabigi

English translation by Walter Ducloux

Xerxes

Act III

Orpheus and Euridice

Xerxes

Act III


Act III

INTERMISSION

Henry Purcell

Realised by Benjamin Britten and Imogen Holst

Libretto by Nahum Tate

Dido and Aeneas



CAST

Xerxes

Xerxes, King of Persia

Arsamenes, his brother, in love with Romilda

Amastris, sole heiress to the kingdom of Tagor,betrothed consort to Xerxes

Ariodates, commander of Xerxes' army

Romilda, his daughter, in love with Arsamenes

Atalanta, her sister, secretly in love with

Arsamenes

Elviro, a facetious fellow, a servant to

Arsamenes

Janel Frazee

Ashley Kerr

Janelle Criner

Andrew Hill

Jennifer Rossetti

Amanda Kingston

Taylor Horner


Orpheus

Euridice

Love

Sarah Craft

Kristina Riegle

Stephanie Harris

Dido and Aeneas

Dido, Queen of Carthage

Aeneas, a Trojan Prince

Belinda, a Lady in Waiting

Second Woman

Sorceress

First Witch and Spirit

Second Witch

First Sailor

Colleen Koch

Sean Damm

Heather Phillips

Rebecca Comerford

Megan Roth

Karina Kacala

Katherine Altobello

Daniel 0' Dea

Chorus of Courtiers, Witches and Sailors

Janel Frazee· Jennifer Rossetti· Janelle Criner· Daniel 0' Dea • Taylor Horner





Louisiana Repertory Jazz Ensem

Fred Starr, clarinet and tenor sax

David Boeddinghaus, piano

Lew Green, cornet

John Joyce, drums

Fred Lonzo, trombone

Joe Muranyi, saxophone and clarinet

Walter Payton, bass and helicon

Charles Fardella, cornet and trumpet

Don Vappie, banjo and guitar

Tonight's program will be announced from the s

Tonight's program will be announced from the s

Tonight's concert has been sponsored by

!IIWACHOVIA

WEALTH MANAGEMENT




"They play with full-blooded, all-American vigor, simultaneously ribald

and ingenious."

- New York Post

How did the Louisiana Repertory Jazz Ensemble (LRJE) come into

being? Clarinetist Fred Starr proposed to drummer John Joyce and

banjoist John Chaffe that they assemble New Orleans' best musiciansto perform classic jazz as it was originally played. Together, they

turned to trombonist Fred Lonzo and the late bassist Sherwood

Manigiapane.

The LRJE is a nine-member group of New Orleans-based musicians who have performed

New Orleans jazz in absolutely authentic formats with period instruments since 1979. Mem

the Ensemble can trace their musical or family-musical genealogy to the earliest days of ja

Veterans of years on Bourbon Street, Mississippi steamboats and local brass bands

musicians are drawn from the racial and ethnic groups that make up the New Orleans "meltiJazz critic AI Rose calls the Ensemble "the most authentic band on the scene today . . . I

heard that sound for 40 years."

The group's repertoire features compositions by "Jelly Roll " Morton, Armand Piron,

Oliver and Nick Larocca. Whether recovered from archival manuscripts or rare printed

reconstructed from early recordings or simply passed down from previous generations of p

the arrangements of the LRJE convey the lost textures and sounds of an earlier age. They

on such period instruments as the pea shooter trombone and a plectrum banjo .

The Louisiana Repertory Jazz Ensemble has performed at the Grammy Awards ,the prestigious DoLectures at the Smithsonian Institute, numerous jazz festivals along the East Coast, as well as in

Hong Kong , Poland , Czechoslovakia and Russia. The group has issued six recordings to da

louisianajazz.com for more information.

Wachovia Wealth Management

The Louisiana Repertory Jazz Ensemble concert is sponsored by Wachovia Wealth Manag

proud to be a part of Brevard and pleased to participate in the unique spirit of this commun

more than a century in managing wealth, Wachovia offers clients of substantial worth the

sional guidance to grow, protect and transfer their wealth .



Saturday, July 30 • 1 30 pm


Young Person's Concert

"The Time Traveler Rocks New Musical Fron


Gerard Floriano, conductor

Richard Strauss

Felix Mendelssohn

Gioacchino Rossini

Aaron Copland

Gustav Holst

James Horner

Felix Mendelssohn

Gioacchino Rossini

Aaron Copland

Gustav Holst

James Horner

John Williams

Also Sprach Zarathustra

Hebrides Overture - "Finga

William Tell Overture

"Hoe Down" from Rodeo

"Uranus" from The Planets

Apollo 13, \Iv ....... "'-.Jt-J' .......v , ' "- ...... '\ .. . .4L" ...... vL ' .......

Hebrides Overture - "Finga

William Tell Overture

"Hoe Down" from Rodeo

"Uranus" from The Planets

Apollo 13

Star Wars

This afternoon's program is sponsored by

FIRsrCITIZENS l1\NK




Gerard Floriano serves as artistic director of the Rochester Opera Factory and

recently led the transition of the newly formed Mercury Opera Rochester, with

whom he leads two productions this coming season. Floriano regularly guest

conducts in Europe and has led performances in Krakow, Warsaw, Prague, Bar

celona, Florence and Leipzig. He recently conducted the Orchestra di Vicenza

with chorus and soloists from the Venice Opera in Mozart's Requiem.

An acclaimed and innovative programmer, Floriano is dedicated to educating

young people. He leads the Buffalo Philharmonic Orchestra's annual educa

tional series titled "Stars of Today with the Stars of Tomorrow." His children's

programs "Music from Around the World and Hogwarts" and "Professor Poof's Magical Mu

Ride" were premiered at the Brevard Music Center.

Under Floriano's leadership, the Greater Buffalo Youth Orchestra has become a premier tra

ensemble for talented young musicians in western New York. They have been invited to pe

at both Carnegie Hall and Alice Tully Hall in New York City, and were chosen by the Ame

Symphony Orchestra League for the Donald Thulean Conductors ' Workshop in January of 2

A graduate of the Eastman School of Music, Floriano resides in Rochester with his wife and

children.

First Citizens Bank

For several years, First Citizens Bank of Brevard has partnered with the Brevard Music Ce

sponsoring such significant events as the annual Young Person's Concert. Through their genesupport, this important community concert is free to the public.

Banking is more than checking, savings and the occasional loan. It's about making the mo

one's money at every stage of life. First Citizens Bank can help with all the business and per

banking services and products you will ever need.

Please Note: Latecomers will be seated at the House Manager's discretion. No cameras,

recorders, smoking or food in the auditorium. Please switch off all cell phones, pagers and walarms prior to this performance. Restrooms are located at the rear of Whittington-Pfohl Audito

in the Box Office Lobby, next to the refreshment stand and also in Thomas Hall.

The Brevard Music Center is grateful for the support received from the North Carolina Ge

Assembly, the North Carolina Department of Cultural Resources and the North Carolina Arts Cou



Cast

Time Traveler

Tygrieve Troll

Annie Belle Buckley

David Young

Andrew Hill

Megan Brand

Hebrides Overture

Choreography by Kristina Riegle

Hoe Down

Choreography by G. Smith

DancersKristina Riegle • Amanda Kingston • Kaitlyn McCreery

Jim Campbell • Maria Floriano • Michael Floriano

Prod uction Staff

Stage Manager

Costume Designer

Costume Assistant

Lighting Designer

Lighting Assistant

Production Assistants

Prop Master

Production Coordinator

Tonya Schurr

Ashley Gregg

Jori Malan

Jessica Burgess

Andrea Boccanfuso

Jeanette Krolczyk

Amber Parker

Melissa AdlerRachel Stuart

Kristen Menichelli

Joan Floriano



Additional Support

Additional thanks to the following businesses and individuals whose generous contributions

support make this special community event possible.

Janis Allen

Aramark

Blue Ridge Quick Print

BMCA volunteers

Brevard Trophy

Coca-Cola

Gerard Floriano

Grover's Office Supply

Sharen Hafner

HPC Printing

Ingles

Kmart

Lindsey Wireless

O.P. Taylor's


WAL-MART

Winn-Dixie

John Allen Photography

Bi-Lo

BMC student volunteers

Bracken Mountain Bakery

Cafe con Brio

Fisher Realty

Food Lion

Harmony House Gift Shop

Harris Ace Hardware

Huddle House

Debbie Klingender

Leslie Shaw Design

McDonald's

Subway

Triangle Stop 217

WHKP 1450 AM

WSQL 1240AM

Drawing Contest Judges

of Retail B

Rodney Locks, Brevard Mayor Pro Tern

Phyllis Nesbitt, Brevard Music Center AssociationContest winners can pick up their prizes after the concert at the Box Office,

located at the back of the auditorium.



, concertmaster

y Moore

Grace Strange

II

Detwiler, principal

Gilliard

Boyd

xander

McCracken

ew Madonia

Reiter, principal

Concklin

Hinson

Rafferty

Brown

Kalter

Gold, principal

Lyons

Transylvania Symphony OrchestraGerard Floriano, conductor

Christina Kim Bassoon

Michael O'Boyle Kian Anderson

Jenna McCreery Megan Schlie

Sarah Schmitz Ellen Martin

Jenni Aldrich Jeff Nesrsta

Andrea Albertini

Kaitlin Doyle Contrabassoon

Zachary Mansell Jeff Nesrsta

Anna Owensby Megan Schlie

Emme Johnston

Andrew Brown Horn

Mario Lopez

Double Bass Eric Damashek

Jonathan Deans, principal Beth Smeltzer

Patrick Byrd Andrew Fierova

David Connor Almichael Taylor

Mary Reed Jason Ward

Stella Heine Allison Youngblood

Lewis Heald Olivia Sedlak

Steven MetcalfBenjamin Harshbarger Trumpet

Luis Catalan Anna Garcia

Matthew Morrow

Flute Ben Campbell

Brian Burkett Graham Watt

Jacob Farnsworth John Roberts

Nave Graham Alex Fioto

Chelsea Knox

Christie Olsen Trombone

Sonali Mehta-Rao James Pannell

Elyse Roberts Nate Lodge

Piccolo Bass TromboneBrian Burkett Timothy Robinson

Jacob Farnsworth

Christie Olsen Tenor Tuba

Son ali Mehta-Rao Greg Lutz

Elyse Roberts

Tuba

Oboe Alexander Hays-Ekeland

Connie Vogel mann Drew Prichard

Jennifer Moore

Jeff Taylor Harp

Alexandra Dawson-Beatty Claire Aronis

Elizabeth Munch

English HornChris Connors Piano

Naoko Suga

Clarinet

Lauren Huckaba Percussion

Megan Mcinnes Saul Green

Natalie Parker Cameron Heard

Tiffany Valvo Robert Kratz

Emily Tyndall Christopher Roode

Brandon Schantz





Jan and Beattie Wood

Concerto Concert


Gerard Floriano, guest conductor • Cynthia Bova, pi

Jonathan Cohen, clarinet • Fiona Hughes, violin

Alexander Martin, violin • Ed Vinson, tuba

Giuseppe Verdi


Samuel Barber

Overture to Nabucco

Concerto for Clarinet, K. 622

Allegro


Concerto for Violin and Orchestra

Presto in moto perpetuo

Alexander Mar/in, violin

INTERMISSION

0amuel Barber Concerto for Violin and Orchestra

Presto in moto perpetuo

Alexander Mar/in, violin

INTERMISSION

Camille Saint-Saens

Vaughan Williams

Franz Liszt

Third Concerto for Violin and Orc

Op .61

Allegro non troppo


Concerto for Bass Tuba and Orc

Allegro moderatoEd Vinson, tuba

Piano Concerto No.1 in E-flat M

Allegro maestoso. Tempo giu

Quasi adagio

Allegretto vivace. Allegro anim

Allegro marziale animato

Cynthia Bova, piano




Gerard Floriano, guest conductor

Gerard Floriano has served as artistic director of the Rochester Opera Factory,

and led the transition of the newly formed Mercury Opera Rochester, with whom

he leads two productions this coming season . Floriano regularly guest conducts

inEurope and led performances

inKrakow, Warsaw, Prague, Barcelona, Florence and Leipzig. He recently conducted the Orchestra di Vicenza with chorus

and soloists from the Venice Opera in Mozart's Requiem.

Under Floriano's leadership, the Greater Buffalo Youth Orchestra has become

a premier training ensemble for the talented young musicians in Western New

York State. They have been invited to perform at both Carnegie Hall and Alice

Tully Hall in New York City, and were chosen by The American Symphony Orchestra Lea

the Donald Thulean Conductors' Workshop in January of 2004. A graduate of the Eastman

of Music, Floriano resides in Rochester with his wife and their three children.

Cynthia Bova, piano

Pianist Cynthia Soya attends Rice University this fall as a freshman. Originally from Gulf B

Florida, she also plays clarinet. This is Bova's second summer at Brevard Music Center. She

second in last year's BMC Piano Competition sponsored by the Zimmerli Foundation and, t

spring, placed second in the Music Teachers National Association Southern Division Senio

Competition. "I came to Brevard to study with Dr. Marina Lomazov," Bova commented . "I

lots of interesting people who share my love for music." She likes to swim in the lake on

and play minesweeper.


Jonathan Cohen practically grew up at Brevard Music Center, as his father, Steve Coh

served on the clarinet faculty for nearly three decades. The younger Cohen is also a clarine

studies with his father. This summer is his third as a Music Center student. He attends Inte

Arts Academy this fall. "I enjoy the intense involvement in music every day, but also look

to more sunny days when I can go swimming with my friends." In addition to hanging out,

enjoys photography and jogging. When asked about his career aims, he responds, "To be p

clarinet of the New York Philharmonic."


Nineteen-year-old violinist Fiona Hughes is a native of Charlottesville, Virginia, and atte

Cleveland Institute of Music. "My teacher [Stephen Rose] recommended Brevard Music C

me. Of all the festivals I've been to, Brevard has the most rigorous schedule. I've been pu

work harder than ever before - and I'm enjoying it immensely!" Hobbies include knitting sc

ward off the cold of Cleveland winters . Hughes hopes to play professionally as a chambe

cian, as well as have a family. This is her first summer at Brevard.



Car Raffle

Winner's Choice: BMW X3 SUV, BMW Z4 Roadster 2.5i

or BMW 325i Sedan

Only 999 tickets will be sold . Tickets are $100 each . This is a fund raising event, and all pro

benefit the educational programs of the Brevard Music Center. The drawing will occur at the

concert on Sunday, August 7, 2005. Participants need not be present to win .

The BMW Z4 Roadster and X3 SUV will be on display in front of the Whittington-Pfohl Audit

during weekend concerts. Entry forms are available at the car raffle tent and at the BMC Box O

Use your Visa, Mastercard , Discover or American Express to order by phone (828-862-21

online at www.brevardmusic.org .

The raffle is made possible by Fletcher BMW, a sponsor of the Brevard Music Center's

Season.

Cafe con Brio

Enjoy a delicious dinner before the concert at Brevard Music Center 's Cafe con Brio, lo

adjacent to Brevard Music Center's main auditorium. The alfresco , covered cafe features cu

fare from Falls Landing Restaurant, with dinner served before Friday and Saturday concerts ,

performances, and Variations concerts.

Two dinner seatings will be offered at 4:45 pm and 6:00 pm. Dinner will be served until 45 m

before curtain time. Please make sure to arrive on time. Reservations cannot be guaranteed

are more than 15 minutes late.

Reservations are recommended and available by calling 828-884-2835.

Cafe con Brio menus are available on the Brevard Music Center website at brevardmusi

events/cafe.php. Cafe con Brio accepts American Express, Visa , MasterCard, and Discover.

Cafe con Brio exclusively serves Biltmore Wines, the official wine of the 2005 season.

Please Note: Latecomers will be seated at the House Manager's discretion . No camerasrecorders, smoking or food in the auditorium. Please switch off all cell phones, pagers and alarms prior to this performance. Restrooms are located at the rear of Whittington-Pfohl Audi

in the Box Office Lobby, next to the refreshment stand and also in Thomas Hall.

The Brevard Music Center is grateful for the support received from the North Carolina GeAssembly, the North Carolina Department of Cultural Resources and the North CarolinaCouncil.



Violin I

Alice Ju

Sarah Schreffler

Christian Jackson

Ellen Cockerham

Arturo Rodriguez

Lauren Rausch

Helen Morin

Eliza Hesse

Kathryn Jensen

Andrew Tholl

Andrew D'Allemand

Diane Cline

Leif Peterson

Sun Lee

Erica Sanders

Regina DychesEssena Setaro

Violin II

Shana Bey

Brandon Ironside

Rebecca Pernicano

Kaitlin Doyle

Francis Auer

Kendra Osterhout

Lindsay Baggett

Kathleen AndrewsLemuel De La Cruz

Andrew Lynn

Allison Willet

Elizabeth Magnotta

Adam SI. John

James Farley

Ann Letsinger

Kerstin Tenney

Viola

Kirsti Petraborg

Matt HofstadtJonathon Morgan

Lindsay Parsons

Rebecca Jones

Susannah Plaster

Scott Clement

Diana Maley

Allison Richards

Audrey Selph

Repertory Synlphony OrchestraGerard Floriano, guest conductor

Jim Lichtenberger Horn

Andrew Braddock Marc Zyla

Alan Elkins Laura Carter

Martha Fleming

Cello Katie Taylor

Ariana Arcu Julia Hencken

Katie Andrejewski

Sara Wolfe Trumpet

Andy Johnson Tao Ge

Michael Way David Harbuziuk

Derek Stein Peter Kuan

Leah Bransetter Jordan Olive

Matthew Shefcik

Double Bass Matthew Vangjel

Travis Miller

Salima Barday Trombone

Ian Berg Stephen LowryPaul Quast William Timmons

Jennifer Coalson Patrick Reynolds

Joshua Lebar Andrew Walker

Di Wang

Jonathon Perry Tuba

Charlie Meldrum

Flute

Anthea Kechley Harp

Angela Rich Ashley Jackson

Elany Mejia Elizabeth Munch

Oboe Percussion

Noelle Drewes Elliot Beck

John Hammerback Nicholas Galante

Evelyn Sedlack Lee Hinkle

Jennifer Feldman Lauren Kosty

Rebecca Marquardt Robert Kratz

David Newcomb

Clarinet Gabriel Placido

Jason Denner Chelsea Reeves

Nicole Izzo Christopher Roode

James Garcia Brandon Schantz

Giancarlo Garcia Thomas SchmidtDaniel Frazelle Valerie Vassar

Kristin King Tihda Vongkoth

Bassoon

Thoms Fleming

Sasha Enegren

Andrew West





Symphonie fantastique


Steven Smith,conductor·

Barrick Stees, bassoo

Richard Strauss

Daniel McCarthy

Don Juan

Gothica

Flying Buttresses

Dark, Heavy Wood

Lancet: Through Stained, Le

Clerestory: Obscured Ligh

Finale: Stone-Cold Height

Mr. Stees

INTERMISSION

IVII. 0t t : t : . : l

INTERMISSION

Hector Berlioz Symphonie fantastique

Reveries, passions

Un Bal

Scene aux champs

Marche au supplice

Songe d'une nuit du Sabb




Barrick Stees, bassoon

Barrick Stees serves as assistant principal bassoon of the Cle

Orchestra. He teaches at the Cleveland Institute of Music and Unive

Akron, where he performs with the Solaris Woodwind Quintet. In 2

was awarded the Presidential Scholar Teacher Recognition Award f

United States Secretary of Education . As a performer and teacher,

appeared throughout Europe, South America and Asia, including a s

of Hong Kong and China . Stees' recordings include The Romantic B

(1994) and Opera Fantasies and Paraphrases (1999) for Claves R

His latest disc, Nostalgica, features works he commissioned for bassoon and string quart

composers Charles Ruggiero, Daniel McCarthy and Miguel del Aguila . Stees holds a ba

degree and performance certificate from the Eastman School of Music.


This fall marks Steven Smith's seventh season as music director of the

Santa Fe Symphony Orchestra and Chorus . In 2003, he added the position

of associate professor/music director of the Oberlin College Conservatory

Orchestras, where he also leads the Conservatory's opera productions.

Previous positions include assistant conductor of the Cleveland Orchestra ,

music director of the Cleveland Youth Orchestra and associate conductor

of the Kansas City Symphony. Recent engagements include appearances

with the Auckland Philharmonia (New Zealand), Aspen Music Festival

and National Repertory Orchestra . Also an active composer, his Shake,

Rattle and Roar, an interactive work for young audience and orchestra,

was featured on National Public Radio's Morning Edition and Performance

Today. A native of Toledo, Ohio, Steven Smith holds degrees from the

Eastman School of Music and Cleveland Institute of Music. During BMC's2005 season, Smith is music director of the Repertory Symphony Orchestra and conducts th

Orchestra for the first time today.




Don Juan

Richard Strauss

The works of the young Richard Strauss, composed between 1870 and the mid-1880's, b

strong likeness to those of Schumann, Mendelssohn, and Brahms. His style of composition d

this period was attributable to the orthodoxy of his primary influences: Franz Strauss, his fa fierce opponent of Wagner and Liszt; and Friedrich Wilhelm Meyer, a composition teache

emphasized strict adherence to established rules of form and counterpoint.

Richard's beginnings in composition were promising but did not, in any way, adumbrate 1

symphonic poem Don Juan, which signified the start of a new era in orchestral music. In this

Strauss eschewed the strict formal elements of the traditional symphony, opting instead for

procedures and an irreverent style. Though Strauss blends elements of two established form

rondo and the sonata, in Don Juan, he imbues the work with a new brand of artistic flamboy

pacing the work at a quick rate (though not always at quick tempi) and giving his audience a

humor.

Don Juan is based, Strauss claimed, on Nikolaus Lenau 's 1844 version of the legend, which de

the legendary figure's amative exploits and ends with his death and descent into Hell. The

with which even a novice listener can follow the story is a testament to the narrative abilit

Strauss. The violin solo, for example, clearly represents Don Juan's first love.

The subject matter of Don Juan was a source of controversy among the established musica

in Europe. Cosima Wagner, the widow of Richard Wagner and daughter of Franz Liszt, c

the work superficial and denounced its recurring melodies. Strauss responded to her criti

by informing her of his next project, Death and Transfiguration, which, in its subject matter

truer to the Wagnerian tradition. However, Strauss did not make any significant alterations compositional style, writing music, for many years , in the style he established in Don Juan.

His adherence to this new style never hindered his career. Don Juan, despite its novelty, prem

to a standing ovation in November of 1889-an auspicious start to the career of the last

Romantic composer.

Gothica

Daniel McCarthy

Daniel McCarthy is chair of the composition and theory section at the University of Akron Sch

Music and director of composition at the Interlochen Arts Camp. Gothica, a concerto for bas

and orchestra, was written in fall 2004 for Barrick Stees , assistant principal bassoonist o

Cleveland Orchestra. Today's performance is the world premiere . The composer writes:

"The five movements of Gothica depict various aspects of Gothic cathedral architecture . T

'cathedral' aspect is represented in a fairly large orchestra for a bassoon concerto with tri

winds, a large brass section, timpani and four percussion.



"The sweeping upward gestures and rhythmic animation are the images for the

Buttresses' in the first movement. The bassoon in the upper register creates the fee

powerful height and lift of the center of the cathedral hall .

"In contrast to the stone walls are the benches, tables, and beaming of 'Dark, Heavy W

polished oak, much like the bassoon itself. The second movement explores the lower s

of the solo bassoon with brooding lyric lines in the lower strings, brass, and winds.

"The use of colored sparkles against the walls of the cathedral halls in the third mov

by the 'Lancet: Through Stained, Lead Glass.' The movement studies the power of ligcolor in a labyrinth of winds and strings, powerful, bold thematic material in the horns, a

virtuosic flourishes of the solo bassoon .

"In otherwise dark corners of the pathways and halls of the cathedral, light is produc

small windows placed high above the buttresses . Here, the delicate balance of light is c

in the fourth movement, 'Clerestory: Obscured Light.'

"The fifth movement is a tribute to the sheer power of the main hall, its stone majesty, in

Cold Height.' With driving rhythm, the soloist plays both an ensemble and solo role w

heaviest orchestra of the piece ."

Symphonie fantastique

Hector Berlioz

Berlioz composed his Symphonie fantastique (Fantastic Symphony) at the age of 26

performance occurring in December of 1830. One can only marvel at the fact that the wor

first symphony, for two of its features proved hugely influential and, arguably, revolutionar

The first of these features is its programmatic content. Each of its five movements cor

to a fictional event described by the composer in programs that were distributed to his au

These programs were misleadingly titled an "Episode in an Artist's Life"; if the piece had

recounted episodes from Berlioz's life, it would not have been particularly fantastic .

The first movement, a slow introduction followed by an Allegro, depicts the "volcanic love

composer felt when he first saw "his beloved," the program claims . The second movement

ostensibly depicts a ball where Berlioz sees his beloved. Next, there is a slow movemen

Berlioz's program states, evokes a "scene in the countryside ."

The last two movements, the symphony's most famous, depict two parts of a violent opium

according to Berlioz's original program. (BerliOZ later revised the program, describingepisodes as parts of the dream.) In the fourth movement, a swift and ironic march, Berlioz

that he has murdered his beloved and is led to the scaffold. In the last movement, his dre

him to a witches' sabbath.

Berlioz called the motif that unifies the symphony the idee fixe, or "fixed idea." This motif re

his "beloved," who , of course, had a real-life basis. Berlioz had fallen in love with Harriet S

an English actress who was not at all interested in him at the time he composed the Sy



Amazingly, the two married years later and produced a child, although their story was ultim

sad one, as they eventually separated .

Many have questioned the significance of the programmatic content to the aesthetic effec

work. Indeed, it seems that any number of narratives might fit the music, and Berlioz's re

to the program make it all seem somewhat immaterial. His achievement here might be

described as a synthesis of what had hitherto been strictly separate forms, the symphony

opera .

The operatic element of Symphonie fantastique is evident not only in its free, narrative s

also in its second revolutionary feature-its orchestration. Many instruments that have b

usual members of the symphonic orchestra were, in Berlioz's day, confined to the opera orc

Among these instruments were the English horn, the harp, the E-flat clarinet, and the b

four appear in Berlioz's Symphonie and help provide a seemingly limitless palette of timb

pitches .

Further, Berlioz, in his final movement, writes for brass in what was, at the time, a no

stunning way. In particular, the Dies irae ("Day of Wrath") theme in the trombone section is ex

effective . Since Berlioz, this theme has permeated our concert halls, in works like Franz

Totentanz and Rachmaninoff's Rhapsody on a Theme of Paganini, and our pop culture, in fStanley Kubrick's The Shining.

It is difficult to identify composers who directly influenced Berlioz'S orchestration, thoug

have speculated that his complete lack of instrumental performing ability caused him to v

orchestra from an unusual perspective. Frequently composers are pianists and think of or

music in relation to the keyboard . Clearly, this constraint was not present for Berlioz, a

consequent freedom he enjoyed is audible in'Symphonie fantastique, which remains, af

years, vital and evocative.

-Jonathan Murray


Steinway & Sons Piano Sale

The Brevard Music Center has proudly selected the pianos of Steinway & Sons, "the stan

excellence," as our performance and practice instruments . More than 73 Steinway, Bost

Essex instruments are used by the students and faculty here at BMC for only seven weethey must be sold at the end of our summer season.

The sale, coordinated by Case Brothers of Spartanburg, will take place on August 12-14, A

by appointment only; to schedule an appointment, call 1-888-845-3896.



Brevard Music Center Society Celebration Day

July 31, 2005

The Brevard Music Center wishes to recognize and thank those individuals who have m

significant commitment to the Music Center and its mission of training talented young mus

Society Celebration Day honors members of the Encore Society, the Lifetime Giving So

the Full Scholarship Society, and those who are connected to Endowment funds at the C

To learn more about the societies or endowments of BMC, see page 83 in your complimentar

of Overture magazine.

As you look around Whittington-Pfohl Auditorium at today 's concert, take notice of the indiv

wearing Society Day name tags. Green musical notes indicate members of the Encore S

purple notes, the Lifetime Giving Society; red notes, the Full Scholarship Society; and blue

an Endowment affiliation. Also, a black note designates a trustee of the Brevard Music C

Ask them why they support BMC. For more information on membership in any of the Brevard

Center societies, contact Gary Himes, Director of Marketing and Development, at (828) 862-2

Fanfare

At each Sunday afternoon concert of the 2005 season, a brass farfare has signalled the

intermission. The fanfares have been performed by a quintet of Brevard Music Center stu

as follows:

Jordan Olive (Northwestern University), trumpet

Matthew Shefcik (Western Illinois University), trumpet

Gustavo Comacho (Arizona State University), horn

Andrew Peoples (University of Cincinnati College-Conservatory), tromboneEd Vinson (Juilliard School), tuba

The Brevard Music Center salutes these students for their service and for their artistry.

Please Note: Latecomers will be seated at the House Manager's discretion. No cameras

recorders, smoking or food in the auditorium. Please switch off all cell phones , pagers and

alarms prior to this performance. Restrooms are located at the rear of Whittington-Pfohl Audin the Box Office Lobby, next to the refreshment stand and also in Thomas Hall.

The Brevard Music Center is grateful for the support received from the North Carolina G

Assembly, the North Carolina Department of Cultural Resources and the North Carolina Arts Co




Steven Smith, conductorViolin I


Sarah Schreffler

Marjorie Bagley*

Christian Jackson


Austin Wulliman

Katie McLin*Arturo Rodriguez

Annegret Klaua*

Sara Guerriero

Lauren Rausch

Helen Morin

Jessica Robinson

Andrew Tholl

Serban Petrescu

Leif Petersen

Violin II


Essena SetaroMargaret Baldridge*

Emanuala Lacraru

Kristine McCreery*

Brandon Ironside

Aaron Neumann

Kaitlin Doyle

Kendra Osterhout

Kathleen Andrews

Lemuel de la Cruz

Allison Willet

Adam SI. John

James Farley

Ann Letsinger

Viola


John Concklin

Anna Joiner*

Diana Maley

Louise Zeitlin*

Susannah Plaster

Eric Koontz*

Simina Renea

Andrew Braddock

Tan Wyllie

Jonathan Epstein

Matthew Hofstadt

Scott Clement

Jim Lichtenberger

Cello


Ruth Boden


Franklin Keel

Aron Zelkowicz*

Leslie Lyons

Elaine Anderson*

Katie Andrzejewski

Andy Johnson

Michael WayLeah Branstetter

Double Bass


Cory Palmer

Kevin Casseday*

Gerald Torres

Nery Rodriguez

Paul Quast

Patrick Byrd

Jennifer Coalson

Ian Berg

Travis Miller

Flute


Mihoko Watanabe*

Piccolo

Elany Mejia

Oboe


Paige Morgan*

Jennifer Feldman

Tessa Gross

English Horn

Paige Morgan, principal*

Clarinet

Steven Cohen, principal*

Eric Ginsberg*

Bass Clarinet

Kristin King

Bassoon

William Ludwig, principal*

Gili Sharett*

Andrew West

Thomas Fleming

Contrabassoon

Amy Marinello


Horn

John Q. Ericson, princi

Gustavo Camacho

Todd Williams*

Andrea Geniuk

Rose French

TrumpetWilliam Campbell, princ

Mark Schubert*

Matthew Vangjel

Jordan Olive

Matthew Shefcik

Trombone


Andrew Peoples

Bass Trombone

Dan Satterwhite, princi

Tuba

Charles Schuchat, prin

Ed Vinson

Harp

Katie Buckley, principa

Elizabeth Munch

Keyboard

Andrew Campbell, prin

Timpani

Timothy K Adams, Jr, p

Percussion

Conrad Alexander, prin

Elliot Beck

Nicholas Galante

Lee Hinkle

Lauren Kosty

Robert Kratz

David Newcomb

Gabriel Placido

Chelsea Reeves

Chris Roode

Brandon Schantz

Thomas Schmidt

Valerie Vassar

Tihda Vongkoth



Sunday, July 31 ·7:00 pm


Brevard Music Center

Piano Competition Finals

Sponsored by The Zimmerli Foundation

Contestants are listed alphabetically.

They will draw for performance order immediately before the concert be

Jennifer Huang - #1


Domenico Scarlatti

Frederic Chopin

Maurice Ravel

Franz Liszt

Sonata in F Major, Op. 10, No.2

Allegro

Sonata in D Major, K. 33

Mazurka in F minor, Op. 63 No.2

Sonatine

Anime

Hungarian Rhapsody in A minor, No.

Katherine Murray - #2

Maurice Ravel

Franz Liszt

Sonatine

Anime

Hungarian Rhapsody in A minor, No.

Katherine Murray - #2


Joseph Haydn

Maurice Ravel

Arnold Schoenberg

Sergei Prokofiev

Prelude and Fugue in G-sharp minor

WTC Book I

Sonata in C Major, Hob XVI:48

Rondo. Presto

Sonatine

Anime

Sechs Kleine KlavierstOcke , Op. 19

Suggestion Diabolique, Op. 4 NO.4



Jinha Park - #3

Joseph Haydn

Maurice Ravel

Frederic Chopin

Sonata Hob. XVI:43

Moderato


Ballade No.4, Op. 52

AmyYeh - # 4

Maurice Ravel

Frederic Chopin

Sergei Prokofiev

Jeux d'eau

Sonata No.2 in B-flat minor, Op. 35

Grave; Doppio movimento

Sonata No.2, Op. 14

Vivace

Akina Yura - #5

Frederic Chopin

Alberto Ginastera

Fantasie in F minor, Op. 49

Sonata No.1, Op. 22

Adagio molto apassionato

Ruvido ed ostinato

A native of Shanghai, China, seventeen-year-old Jennifer Huang lives in Atlanta, Georgia where she is a stude

Schiff. She has been the winner of several statewide solo and concerto competitions. In December of 2004, she

on the program From the Top on National Public Radio.

Sixteen-year-old Katherine Murray grew up in Tuscaloosa, Alabama and moved to Brevard in 2003. She has ap

a soloist with the Carolina Youth Symphony and the Hendersonville Symphony Orchestra. This fall, she will attend

Carolina School of the Arts as a junior.

Born in Seoul, Korea, Jinha Park came to the United States in 1998 to study at the University of Texas at San An

received her graduate performance degree under Marian Hahn at the Peabody Conservatory of Music where sh

won first place at the Baltimore Music Competition.

Born in Lafayette, Indiana, Amy Yeh began taking piano lessons when she was six years old. She actively part

recitals and competitions throughout middle and high school. This fall, Amy will enter her senior year at the Eastm

of Music where she studies with Barry Snyder.

Akina Yura grew up in Japan and attended the Yamaha Music School, where she studied piano, compositi

and organ. In the fall, she will be a sophomore at the University of Nebraska at Kearney, where she studies w

Buckner.

John Salmon, Adjudicator

John Salmon, professor of piano at the University of North Carolina at Greensboro, has distinguished himse

a classical and jazz artist. He has appeared at the International Bart6k Festival in Hungary, the Festival Intern

Musica del Mediterraneo in Spain and at festivals across the United States. His performances have been boadca

stations around the world and have been featured on National Public Radio's Performance Today. He holds the S

10m from the Freiburg Hochschule fUr Musik, the Master of Music degree from the Julliard School, and the Doctor

Arts degree from the University of Texas.



Prizes

First Place: $3000

Second Place : $2000

Third Place: $1000

Fourth Place : $500

Fifth Place : $500

First, second, and third prize winners also receive a scholarship

to return to BMC in 2006.

2004

Sharon Barnea

2002

Mohammed Shams

2000

Previous Winners

Jing Jing Chang and Mohammed Shams (tie)

1998Jeremy Rafal and Nadia Sabau (tie)

2003Joe Backer

2001

Chuan Cheng

1999

Shen Liu

Steinway &Sons Piano Sale

The Brevard Music Center has proudly selected the pianos of Steinway & Sons, "the stan

excellence," as our performance and practice instruments. More than 73 Steinway, BostEssex instruments are used by the students and faculty here at BMC for only seven wee

they must be sold at the end of our summer season.

The sale, coordinated by Case Brothers of Spartanburg. will take place on August 12-14 . A

by appointment only; to schedule an appointment, call 1-888-845-3896.



Monday, August 1 • 12:15 pm

Thomas Hall

Bach's Lunch


Josef Haydn

Antonin Dvorak

Greg Danner

Greg Danner

Morley Calvert

Flute Quartet in D Major

AllegroSonali Mehta-Rao, flute

Haley Dreis, violin

Chelsea Godwin, viola

Zachary Mansell, cello

String Quartet in C Major, Op. 7

Allegro moderato

Mia Detwiller, violin

Carter Tholl, violin

Madeline McCreery, viola

Anna Owensby, cello

TerzettoLarghetto

Scherzo: Vivace

Andrew d'Allemand, violin

Sun Lee, violin

Audrey Selph, viola

Mary's Little Lamb

Angela Rich, flute

~ e b e c c a Marquadt, oboe

Scherzo: Vivace

Andrew d'Allemand, violin

Sun Lee, violin

Audrey Selph, viola

Mary's Little Lamb

Angela Rich, flute

Rebecca Marquadt, oboe

Giancarlo Garcia, clarinet

Sasha Gee Enegren, bas

Marc Zyla, horn

Suite from the Monteregian Hills

La Marche

Chanson melancholiqueValse ridicule

Danse villageoise

Peter Kuan, trumpet

David Harbuziuk, trumpe

Laura Carter, horn

Patrick Reynolds, trombo

Devin Roark, bass tromb



Monday, August 1 • 7:30 pm


An Evening with Miles Hoffma

Miles Hoffman, viola

Bruce Murray, piano • Steve Cohen, clarinet

Sarah Johnson, violin • Carlton McCreery, cello

Max Bruch


Five Pieces for clarinet, viola , an

Op.83

Allegro con moto

Andante

Allegro agitato

Nachtgesang (Andante con m

Allegro vivace ma non troppo


Bruce Murray, piano

Suite No.3, in C Major, BWV 10

Prelude

Allemande

Courante

Sarabande

B o u r r E ~ e I, B o u r r E ~ e "Gigue

- .... ..... ,,,,- ,, '" ...... , .. , .....J'-", LJ .... "

Prelude

Allemande

Courante

Sarabande

B o u m I, Bourree "Gigue

INTERMISSION

Robert Schumann Quartet in E-flat Major for piano

strings, Op. 47

Sostenuto assai ;Allegro ma no

Scherzo : Molto vivace

Andante cantabile

Finale : Vivace

Sarah Johnson, violin


Bruce Murray, piano

Tonight's performance has been sponsored by Mr. and Mrs. ED. Sloan , J



Miles Hoffman, viola

Violist Miles Hoffman serves as artistic director of the American Chamber Players,

with whom he regularly tours throughout the United States and Canada. Together

they have recorded works of Mozart, Bruch, Bloch, Stravinsky and Rochberg for a

series of discs produced by the Library of Congress and distributed internationally

on the Koch International Classics label. A graduate of Yale University and the

Juilliard School, Hoffman won prizes in the National Arts Club and Washington

International competitions. He gave the first American performance of Krzysztof

Penderecki's "Cadenza" for solo viola and has commissioned works by Bruce

Saylor, Max Raimi, Roger Ames and Seymour Barab. In 1982, Hoffman founded

and directed the Library of Congress Summer Chamber Festival for nine years,

which led to the formation of the American Chamber Players in 1985.

As music commentator for National Public Radio's flagship news program, Morning Edition,

is regularly heard by a national audience of nearly 14 million. His musical commentary,

to Terms," was heard weekly throughout the United States for thirteen years - from 1989

- on NPR's Performance Today, and his book, The NPR Classical Music Companion: Te

Concepts from A to Z, is now in its seventh printing from the Houghton Mifflin Company.Hoffman was awarded an honorary Doctor of Humane Letters degree from Louisiana's C

College in recognition of his achievements as a performer and educator.

Hoffman presents children's programs and masterclasses in schools and universities ar

United States when traveling as soloist and while on tour with the American Chamber

He lives in Maryland with his wife, soprano Susan Boykin, and their two daughters. F

information, visit acplayers.com or npr.org .


Pianist Bruce Murray joined the year-round staff of the Brevard Music Center in 2003 a

administrator and dean. He previously taught piano at the University of Alabama for two

serving as director of the school of music for five years. Murray has been a Brevard Mus

faculty member since 1993. An accomplished chamber musician, he has collaborated

Audubon Quartet and Diaz Trio, among others. Murray is a founding member of the Cadek

his discography can be found on Centaur Records and Opus One Recordings. He holds

from Yale University and Carnegie Mellon .

Steve Cohen was recently appointed head of the clarinet program at Northwestern UHe held the same post this past year at the Cincinnati College-Conservatory of Music.

positions include principal clarinet with the Louisiana Philharmonic and professor of c

Louisiana State University. In 2001 and 2004, Cohen performed at the Bay Chamber

"First Chair All-Stars" with principal wind players from the orchestras of Chicago, Phil

Montreal, New York, Washington, Pittsburgh, Minnesota and Dallas . He is an artist/clin

Buffet clarinets and a Legere Reed artist. Cohen has served on the Brevard Music Cente

for 27 years.



Violinist Sarah Johnson made her professional debut at age ten with the Minnesota Orchest

nearly a decade, she has served as founder and director of the "Sarah Johnson & Friends" ch

music series in Charleston, South Carolina. She holds teaching positions at Converse Colle

the North Carolina School of the Arts. An active proponent of new music, she commission

premiered a violin concerto by Pulitzer Prize-winning composer Robert Ward. Johnson is a

member of the Saint Paul Chamber Orchestra and a graduate of the Curtis Institute of Mus

has released two discs to date, Scarlet and Blue and American Romantics.

Carlton McCreery is the longest-serving faculty member of the Brevard Music Center, firstthe organization in the summer of 1977. He serves as professor of cello and director of orc

studies at the University of Alabama. He maintains an active solo and conducting career a

appeared throughout the United States, Europe, South American and Asia. Previous te

positions include Southwest Missouri State University, Lawrence Conservatory of Mus

Pittsburg State University. He has also served as resident conductor and music director

Tuscaloosa Symphony. McCreery is a founding member of the Cadek Trio.

Upcoming Chamber Series Event

I Solisti di BrevardVVednesday, August 3

BMC's chamber orchestra, comprised of handpicked string students from the Young Artists' D

concludes the 2005 Chamber Music Series with an evening of Baroque music.

Antonio Vivaldi

Arcangelo Corelli

Antonio Vivaldi



Concerto Grosso in A minor, Op . 3, NO

David Salness & Thomas Joiner,

Concerto Grosso in G minor, Op. 6, NO

Concerto in C Major for Two Trumpets

William Campbell & Mark Schubert

Concerto NO.7 in G minor, BWV 1058

Bruce Murray, piano

Concerto Grosso in B flat Major, Op. 6,




Tuesday, August 2 • 7:30 pm

Straus Auditorium

Student Wind

Chamber Music Recital


Aaron Copland

Johannes Brahms

Appalachian Spring

Variation on a Theme by Haydn

INTERMISSION

Richard Strauss

William Walton

Serenade, Op. 7

Fac;ade Entertainments

Fanfare

Horn Pipe

En Famille

Mariner Man

Long Steel Grass

Through Gilded Trillises

Tango-PasodobleIl l l irlhv fn r . i1lmhnFanfare

Horn Pipe

En FamilleMariner Man

Long Steel Grass

Through Gilded Tri ll ises

Tango-Pasodoble

Lullaby for Jumbo

Black Mrs . Behemoth

Tarantella

The Man From a Far Countr

By the Cake

Country Dance

PolkaGriffin Campbell, narrator

Christina Sjoquist, flute

Jason Denner, clarinet

Jeffrey Loeffert, alto saxo

Peter Kuan, trumpet

Valerie Vassar, percussio



Violin IEliza Hesse

Erica Sanders

Violin IIKerstin Tenney

Ann Letsinger

ViolaKirsti Petraborg

Jon Epstein

CelloAndy Johnson

Katie Andrzejewski

Double Bass

Travis Miller

Flute

Anthea Kechley

Chelsea Knox

Brian Burkett


Oboe


Jennifer Moore

ClarinetGiancarlo Garcia

Natalie Parker

Jonathan Cohen

BasaoonAlex Applegate

Jeff Nesrsta

Ellen Martin

Megan Schlie

HornJason Ward

Olivia SedlackEric Damashek

Mario Lopez

PlanoMatthew Gemmill



Wednesday, August 3 • 7:30 pm


I Solisti di BrevardThomas Joiner, conductor • David Sal ness, violin

William Campbell, trumpet • Mark Schubert, trump

Bruce Murray, piano

Antonio Vivaldi

Arcangelo Corelli

Antonio Vivaldi

Antonio Vivaldi

Concerto Grosso in A minor, Op. 3, N

Allegro

Larghetto e spiritoso

Allegro



Concerto Grosso in G minor, Op. 6, N

Vivace-Grave

Allegro

Adagio-Allegro- AdagioVivace

Allegro

Pastorale: Largo

Concerto in C Major for Two Trumpe

Allegro

Largo

Allegro


Mark Schubert, trumpet

/ " " , \ I I C : : ~ I U

Pastorale: Largo

Concerto in C Major for Two TrumpeAllegro

Largo

Allegro

William Campbel l, trumpet

Mark Schubert, trumpet

INTERMISSION


Georg Frideric Handel

Concerto No.7 in G minor, BWV 105

Allegro

AndanteAllegro assai

Bruce Murray, piano

Concerto Grosso in B fiat Major, Op.

Largo

Allegro

Largo e piano

Andante

Hornpipe




Thomas Joiner serves as professor of violin and orchestral activities at Furman

University and music director of the Hendersonville (NC) Symphony. He has

performed at Carnegie Hall and the Kennedy Center as a principal player with

the Indianapolis Symphony and as a violinist with orchestras in Louisville, Aspen,

Charleston and Savannah. As an artistic ambassador for the United States

Information Agency, Joiner presented recitals with pianist and BMC faculty member

Douglas Weeks during a five-week tour of West Africa and the Middle East. He

served for ten years as professor of violin and director of orchestral activities at the

University of Georgia. Joiner spent a 2001 sabbatical studying in Paris with eminent

conductor John Nelson. During the summer, Joiner is co-concertmaster of the

Brevard Music Center Orchestra and leads the Transylvania Symphony Orchestra.

For over twenty-five years, David Salness has toured internationally as a soloist and cham

sician. He is a former member of the Audubon Quartet and now performs with the Left Bank

and Smithsonian Chamber Players. He serves as associate professor and head of chambe

activities at the University of Maryland. Previous teaching positions include the Chautauq

tival and Meadowmount School. As a member of Nisaika, he won the Deuxieme Grand Pr1983 Evian International String Quartet Competition. His performances can be found on th

Telarc and Centaur labels. Sal ness heads the Brevard Music Center 's advanced quartet p

Mark Schubert is associate principal trumpet of the Honolulu Symphony and teaches at

versity of Hawaii. A native of Kansas, he has played with the Boston Symphony, Bosto

Opera Company of Boston and Boston Ballet. In addition to being an alumnus of the Brevar

Center, Schubert was also a Tanglewood Fellow for two summers. He is a founding memb

Honolulu Brass, a brass quintet that plays an extensive schedule under the umbrella of C

Music Hawaii, and has toured in the Far East. Schubert has appeared as soloist on nume

casions with the Honolulu Symphony and has performed with the Atlantic Wind Ensemble.

William Campbell joined the faculty of the University of Michigan as professor of trumpet

after teaching at Ohio State University and the University of Kansas. Campbell performed fo

years as principal trumpet with the Orchestra del Maggio Musicale Fiorentino in Florence,

by Zubin Mehta. He has appeared as soloist with Mehta, toured five continents and can b

on numerous recordings. Campbell has performed as principal trumpet with the Chicag

phony, Saint Louis Symphony, Columbus Symphony and Rochester Philharmonic. A Bac

he has appeared as guest artist and clinician throughout the world. This is his fifth summe

faculty of the Brevard Music Center, serving as principal trumpet of the BMC Orchestra.

Pianist Bruce Murray joined the year-round staff of the Brevard Music Center in 2003 as

administrator and dean. He previously taught piano at the University of Alabama for two d

serving as director of the school of music for five years. Murray has been a Brevard Music

faculty member since 1993. An accomplished chamber musician, he has collaborated

Audubon Quartet and Diaz Trio, among others. Murray is a founding member of the Cad

and his discography can be found on Centaur Records and Opus One Recordings. He h

grees from Yale University and Carnegie Mellon.



I Solisti di Brevard


I Solisti di Brevard, founded in 2004, is the Music Center's string chamber orchestra. Meare eighteen years of age or younger and are selected by audition after the third week

summer. They perform a concert of Baroque music with faculty soloists during the final w

each season.

Violin I Heather MacArthur

Kristen Kline

Steven Kim

Emily Nebel

Abigale ReismanStephanie Hao

Violin II Jordan Wong

Bethany Moore

Ashley Martin

Julia Reeves

Anna Grace Strange

Madeleine Jansen

Viola Leah ReiterChelsea Godwin

Presti Hinson

Erin Rafferty

Cello Nicholas Gold

Christina Kim

Michael O'Boyle

Jenna McCreery

Double Bass Jonathan Deans

David Connor

Keyboard Katherine Murray



Thursday, August 4 • 4:30 pm

Straus Auditorium



Johannes Brahms

Frideric Chopin

Maurice Ravel

Alberto Ginastera


Frideric Chopin

Johannes Brahms

Frideric Chopin

Johannes Brahms

Maurice Ravel

Frideric Chopin

Dianne Goolkasian-Rahbee

Sonata in B-Flat Major, K. 333

AllegroKana Yabuki

Intermezzo, Op. 116, NO.4

Melissa Parker

Nocturne, Op. 9, No. 1

Colin Doherly

Sonatine

Modere

Houston Hough

Danza del gaucho matrero

Mary PriceSonata in C Major, Op. 53

Allegretto moderato

Ellen Hahm

Etude, Op. 10, No. 12

David Shimel

Klavierstocke, Op. 119

Intermezzo__ R h ~ r : \ ~ " " " \ I . ._, _. , _

Allegretto moderato

Ellen Hahm

Etude, Op. 10, No. 12

David Shimel

Klavierstocke, Op. 119

Intermezzo

Rhapsody

Kaaren Younts

Toccata

Nick Andrew

Ballade No.2, Op. 38

Lawrence Osborne-Quine

Piano Sonata, Op. 25

Toccata

Laura Jackson



August 4 and 6 • 7:30 pm


Rigoletto

Brevard Music Center Orchestra • Janiec Opera Com

David Effron, conductor • David Gately, director

Giuseppe Verdi

Libretto by Francesco Piave

Rigoletto

Act I, Scene I: The Duke's Co

Act I, Scene II: Rigoletto's Hou

INTERMISSION

Act II: The Court

INTERMISSION

Act III: Sparafucile's Inn


' ~ i p E ~ M r s ~ r a r - r Act III: Sparafucile's Inn


Robin Vest, set designer


Cheryl Hart, costume designer


April Anderson , prop master


Barry Sparks and David Nelson, technical directorsMargaret Kellner, stage manager

Gregory Smith, house manager

Surtities written by John Hoomes

Tonight's performance has been sponsored in part by AI PlatUArchitect



David Effron , conductor

Artistic Director of the Brevard MusIc Cen ter

For Effron's biography, please visit ~ a r d m u s l c . Q r g .

Carlos Serrano , baritone

Professor of vO ice at Temple University and

Academy of Vocal Arts

For Serrano's blOQraphy, please visR Q r ~ ' L ' l r ~

Max Wier, bass

Hometown. San Antonio, TX

School" Rice University

Notable roles Snug in A Midsummer Night 's

Dream. Superintendent Budd In Albert HernngFirst year at BMC

Catherine Martin, mezzo-soprano

Hometown: San Antonio, TX

School University of North Texas

Notable ro les: Pnnclpessa in Suor Angelica. Mrs

Segs trom in A Little Night MusIc

First year al BMC


Hometown: Midland, MI

School University of Michigan

Notable roles Giuseppe Palmieri In The Gondoliers

First year at BMC

Adam Cioffar i, tenor

Hometow n" Wes terv ille , OH

School : Ind iana U niverSity

Notable roles: Lord Chancellor In Iolanthe. The

Duke of Plaza-Taro in The GondolJersSecond year at BMC

Gregg Jacobson , tenor

Hometown. Boston, MA

Schoo l. New England Conservatory

Notable roles. Prince Charmant In Cendnllon,

Quint In The Turn of the Screw

First year at BMC


David Gately, directo

For Gately's biography, please visit

Lee Kathleen Taylor,

Hometown: Rochester, NY

School· Tufts UniverSity, New Eng

tory of MUSIC, FlOrida Stale Univer

NOlable roles: Susanna In The Ma

Rose in Streel Scene, Musetta In

Second year at BMC

Joanna Gates, mezzo

Hometown Austin, TX

School. North Carolina School of th

School of Music

Notable roles . Ollavia In The Coron

Blanca in The Rape of Lucretia

Second year at BMC

Tyrone Hayes, bariton

Hometown: New Orleans. LA

School· UniverSity of New Orleans

Notable roles: Gianni SChlcchl in G

Porgy in Porgy and Bess

First year at BMC


Hometown : Lansing , IL

SellOOI. Weste rn Illino is Un iverS ity

Notable roles: Cand ide In Candide

Magic Flule, Koko In The Mikado

First year at BMC

Jennifer Moore , sopr

Hometown : Richmond, TX

School: Rice University

Notable ro les : Gove rn ess in 711e

Screw, Nancy 10 Albert Hemng

Second year at BMC

Amanda Kingston , so

Homelown. Midd leton. WI

Schoo l: UniversRy of Michigan at A

Notable roles. Narrator in Joseph

Technico/or Dreamcoat, Madhne A

First year at BMC



The Duke of Mantua

Rigoletto , his court jester

Gilda, daughter of Rigoletto

Sparafucile, an assassin

Maddalena, his sister

Giovanna, Gilda 's nurse

The Count of Monterone

Marullo, a cavalier

Matteo Borsa, a courtier

The Count of Ceprano

The Countess , his wife

Page to the Duchess

CAST

Gregg Jacobson

Carlos Serrano

Lee Kathleen Taylor

Max Wier

Joanna Gates

Catherine Martin

Tyrone Hayes

Andrew Hill

Jonathan Zeng

Adam Cioffari

Jennifer Moore

Amanda Kingston

Gentlemen of the Court

Jack Beetle

Shane McDonough

Nathan Oakes

Daniel O'Dea

Alexander EbinDavid Young

Ryan Goessl

Adam Lau

Kevin Murphy

Taylor Horner

Matthew Young

Ladies of the Court and Courtesans

Megan Brand

Heather Phillips

Kristina Riegle

Rebecca Comerford

Ashley Kerr

Sarah Craft

Megan Roth

Janel Frazee

Jennifer Rossetti




General Manager

Conductors

Stage Directors

Chorus MasterCollaborative Piano Coordinator

Coaches

Italian Diction Coach

Production Manager

Set Designer

Lighting Designer


Costume Designer

Technical DirectorAssistant Technical Director

Master Carpenter

Carpenters

Scenic Charge

Scenic Artist

Prop Master

Prop Intern


Wig and Costume InternMaster Electrician

Electrician Interns

Stage Manager






Stage Crew Interns


House Manager

Orchestra Liaison

Supertitle Operator

John Greer

David Effron

John Greer

David Gately

Vincent Liona

Martha Collins

Gerard FlorianoAndrew Campbell

James Lesniak

Chanes Prestinari

Lucia Campbell

Jill Hermes

Lora Napier

Robin Vest

Andrea Boccanfuso

Jessica Burgess

Ashley Gregg

Cheryl Hart

Barry SparksDavid Nelson

Wayne Parmely

Nicholas Bobbin

Trista Hover

Nick Miller

Erin LaVallee

Emily Taylor

April Anderson

Danielle Heise

Kristen Menichelli

Jillian Rivers

Jori MalanAmber Parker

Laura Krouch

Theresa Russo

Margaret Kellner

Leah McVeigh

Tanya Schurr

Chad Stewart

Nicholas McCarthy

Lee Helms

Janene Krolczyk

Sandra Knight

Michael Rivera

Melissa Adler

Rachel Stuart

Greg Smith

Ahmad Mayes

Colleen Koch



Brevard Music Center OrchestraDavid Effron, conductor

Violin I

Marjorie Bagley, Concertmaster'

Alice Ju


Eliza Hesse

Annegret Klaua'

Kathryn JensenChristine Short

Andrew d'Aliemand

Diane Cline

Erica Sanders

Sun Lee

Shu min Lin

Violin I

Julian Ross, principal'

Shana Bey

Margaret Baldridge'Rebecca Pernicano

Kristine McCreery'

Francis Auer

Lindsey Baggett

Regina Dyches

Andrew Lynn

Elizabeth Magnotta

Viola

Scott Rawls, principal '

Melinda Hirsch

Eric Koontz*

Jonathan Epstein

Christopher Lanier

Kirsti Petra borg

Cello

Carlton McCreery, Principal*

Ariana Arcu

Aron Zelkowicz*

Jeremy Crosmer

Ian Jones

Marty Sproul

Double Bass


Nery Rodriguez

Kevin Casseday*

Flute


Mihoko Watanabe'

Oboe

Eric Ohlsson, principal'

Paige Morgan'

Clarinet

Steven Cohen, principal '

Eric Ginsberg*

Bassoon


Gili Sharett'

Horn

Todd Williams, principal'Laura Carter

Gustavo Camacho

Andrea Geniuk

Trumpet

Mark Schubert, principal'

Matthew Vangjel

Trombone


Andrew Peoples

Bass Trombone

Dan Satterwhite, principal*

Tuba

Charles Schuchat, principal'

Timpani

Timothy K. Adams, Jr, principal*

Percussion

Conrad Alexander, principal*Brandon Schantz

David Newcomb




Friday, August 5 • 4:30 pm

Straus Auditorium

An Afternoon of Art Song

Janiec Opera Company • Collaborative Piano Stu

Franz Schubert

Lennox Berkeley

Robert Schumann

Johannes Brahms

Jake Heggie

Robert Schumann

Johannes Brahms

Jake Heggie

Richard Strauss

Die Forelle

Gretchen am Spinnrade

Rastlose Liebe

Amanda Kingston, sopran

S'ngah Seo, piano

Five Poems of W. H. Auden

Lauds

o lurcher-Ioving Collier

What's in your mind

Eyes look into the well

Carry her over the waterDaniel O'Dea, tenor


Widmung

Botschaft

Colleen Star Koch , sopran


Paper Wings

Bedtime StoryAshley Anderson, piano

Widmung

BotschaftColleen Star Koch, sopran


Paper Wings

Bedtime Story

Paper Wings

Mitten Smitten

A Route to the Sky

Katherine A/tobello, mezzo

Elyse Weakley; piano

Allerseelen

All mein Gedanken

Zueignung

Cacilie

Dana Schnitzer, soprano

Naoko Suga, piano

INTERMISSION



Hugo Wolf Selections fram the Italienisches Uederbuch

Auch kleine Dinge

Ihr seid die Allerschon ste

Wenn Du , mein Liebster, steigst zum Himm

Ein Standchen Euch zu bringen

Mein Liebster hat zu Tische mich geladen

Mein Liebster ist so klein

Lass sie nur gehn

Hoffahrtig seid Ihr

Dusagst mirGeselle, woll 'n wir uns in Kutten hOllen

Gesegnet sei, durch den die Welt enstundIhr jungen Leute

Wie lange schon

Ich esse nun mein Brad

Heb' auf dein blondes Haupt

Mein Liebster singt am Haus

Nicht langer kann ich singen

Schweig' einmal still

Benedeit die sel'ge Mutter

Wer rief dich denn?

Nun lass uns Frieden schliessenIch hab' in Penna

Stephanie Harris, soprano

Jennifer Moore, soprano

Jack Beetle, tenor

Max Wier, bass-baritone


Jacob Kidder, piano

The Collaborative Piano Program

The Collaborative Piano Program at the Brevard Music Center is one of the very few summe

grams of its kind. Aspiring vocal pianists/coaches come to Brevard from all over the country an

paired with the fine singers of the Janiec Opera Company on a wide range of projects includi

song, operatic arias and scenes, and vocal chamber music. The Collaborative Pianists also

as the pianists for the orchestras, bands and other large ensembles, accompany their instrum

colleagues for the concerto competition, and frequently play chamber music. The 2005 Collative Piano Studio is comprised of Ashley Anderson (Northern Arizona University), Matthew Ge

(Wheaton College), Jacob Kidder (Oberlin Conservatory), S'ngah Seo (UC Santa Barbara), N

Suga (UC Boulder), and Elyse Weakley (North Carolina School of the Arts) . The program

founded in 1999 and is directed by Andrew Campbell.



Friday, August 5 ·7 :30 pm


Keith Lockhart Conducts


Keith Lockhart, guest conductor

Jennifer Higdon


blue cathedral

Symphony No.4 in B-flat Major, O

Adagio - Allegro vivace

Adagio

Allegro molto e vivace

Allegro ma non troppo

INTERMISSION

Ottorino Respighi The Pines of Rome

Pines of the Villa Borghese

Pines Near a Catacomb

The Pines of the Janiculum

INTERMISSION

Ottorino Respighi The Pines of Rome

Pines of the Villa Borghese

Pines Near a Catacomb

The Pines of the Janiculum

Pines of the Appian Way

Tonight's concert is sponsored in part by The Transylvania Times, an independent

community newspaper serving the residents of Transylvania County.

1l1eTransylvania llmes~ · , ? , r ' x ~



Keith Lockhart, guest conductor

Keith Lockhart is a Brevard Music Center alumnus and returns frequently to guest

conduct. As music director of the Utah Symphony, a position held since 1998, he

recently led the ensemble on its first European tour in nearly two decades. Together,

they presented three "Salute to the Symphony" television specials, one of which

was awarded an Emmy Award. Lockhart is also known to millions as conductor of

the Boston Pops. Appointed in 1995, he has led the ensemble in over 400 concerts,

made 38 television shows and released six discs to date. This season also saw

Lockhart at the opera houses of Boston , Utah and Washington . Previous conducting

positions include music director of the Cincinnati Chamber Orchestra and associate

conductor of the Cincinnati Symphony and Cincinnati Pops.

Born in Poughkeepsie, New York, Lockhart began his musical studies with piano

lessons at age seven . He attended Brevard Music Center for two summers, first as a pianist and th

student of bass clarinet. He earned his undergraduate degree from Furman University and a maste

Carnegie-Mellon University in orchestral conducting. Lockhart holds honorary doctorates from the

Conservatory, Northeastern University and his alma mater Furman University. He has a two-year-

Aaron. For more information, see page 36 of 2005 Overture or visit utahsymphony.org.


blue cathedral

Jennifer Higdon

Composer Jennifer Higdon (b . 1962) serves on the composition faculty of the Curtis Institute o

She has received commissions from many major performing organizations , including the Philadelp

Minnesota Orchestras and the Symphonies of Chicago , Pittsburgh, Atlanta , and Dallas. blue cathe

completed in 1999. The composer writes:

"Blue - like the sky. Where all possibilities soar. Cathedrals - a place of thought, growth , sp

expression, serving as a symbolic doorway into and out of this world. Blue represents all potentia

the progression of journeys. Cathedrals represent a place of beginnings, endings, solitude, fellow

contemplation , and growth. As I was writing this piece, I found myself imagining a journey through a

cathedral in the sky. Because the walls would be transparent, I saw the image of clouds and blu

permeating from the outside of this church. In my mind's eye the listener would enter from the ba

the sanctuary, floating along the corridor amongst giant crystal pillars , moving in contemplative st

The stained glass windows' figures would start moving with song, singing a heavenly music. The lis

would float down the aisle, slowly moving upward at first and then progressing at a quicker pace ,towards an immense ceiling which would open to the sky. As this journey progressed, the speed

traveler would increase, rushing forward and upward. I wanted to create the sensation of contemp

and quiet peace at the beginning, moving towards the feeling of celebration and ecstatic expans

the soul, all the while singing along with that heavenly music.

"These were my thoughts when the Curtis Institute of Music commissioned me to write a w

commemorate its 75th anniversary. Curtis is a house of knowledge - a place to reach toward

beautiful expression of the soul which comes through music. I began writing this piece at a u

juncture in my life and found myself pondering the question of what makes a life. The recent loss



younger brother, Andrew Blue, made me reflect on the amazing journeys that we all make in our live

crossing paths with so many individuals singularly and collectively, learning and growing each step

the way. This piece represents the expression of the individual and the group - our inner travels an

the places our souls carry us, the lessons we learn , and the growth we experience. In tribute to m

brother, I feature solos for the clarinet (the instrument he played) and the flute (the instrument I play

Because I am the older sibling, it is the flute that appears first in this dialog. At the end of the work, th

two instruments continue their dialogue, but it is the flute that drops out and the clarinet that continue

on in the upward progressing journey.

"This is a story that commemorates living and passing through places of knowledge and of sharing and of

song called life."



Saturday, August 6 • 1 30 pm

Whitting ton-Pfohl Audi torium

Parents' Day Concert

Trans ylvania Symphonic Band

Kraig Alan W illiams, conductor

Johannes Brahms

Mark Camphouse

Boris Kozhevn ikov

Va riations on a Theme by H

Wha tsoever Things ..

Symphony No.3

Allegro

Andan teScherzo

Allegro

A llegro



Violin I

Transylvania Symphony OrchestraKeith Lockhart, guest conductor

Sarah Schmitz Beth Smeltzer

Heather MacArthur, concertmaster Jenni Aldrich Jason Ward

Christine Short Andrea Albertini AllisonYoungblood

Kristen Kline Kaitlin Grady Mario Lopez

Steven Kim Zachary Mansell

Emily Nebel Anna Owensby Trumpet

Abigale Reisman Emme Johnston Ben Campbell

Stephanie Hao Alex FiotoSara Guerriero Double Bass Anna Garcia

Jordan Wong Jonathan Deans, principal Matthew Morrow

Bethany Moore Patrick Byrd John Roberts

Ashley Martin David Connor Graham Watt

Julia Reeves Mary Reed Matthew Shefcik

Anna Grace Strange Stella Heine Matthew Vangjel

Madeleine Jansen Lewis Heald

Luke Rohde Steven Metcalf Trombone

Chandler Fugate-Laus Benjamin Harshbarger Nathan Lodge

Elizabeth Robinson Luis Catalan James Pannell

Carter Tholl Timothy Robinson

Haley Dreis Flute William Timmons

Deborah Johnson Brian Burkett

Jacob Farnsworth Bass TromboneViolin II Nave Graham Devin Roark

Mia Detwiler, principal Chelsea Knox Andrew Walker

Gerome Stewart Sonali Mehta-Rao

Matthew DeBeal Christie Olsen Euphonium

Seth Gilliard Elyse Roberts Daniel Chapa

Steven Boyd Tara Davis

Melanie Riordan Oboe

Madeline McCreery Christopher Connors Tuba

Lauren Trolley Alexandra Dawson-Beatty Alexander Hays-Ekelan

Dianna Joiner Jennifer Moore Drew Prichard

Katherine Floriano Jeffrey Taylor

Kylen Moran Connie Vogel mann Harp

Julia Alexander Elizabeth Munch

Juliana Lynch English Horn Ashley Jackson

Svetlana Schneyderman Alexandra Dawson-Beatty

Brandis Godwin Timpani

Louis McCracken Clarinet Saul Green

Matthew Madonia Jonathan Cohen Robert Kratz

Raymond Harrison Peter Sabino Brandon Schantz

Viola Bass Clarinet Percussion

Leah Reiter, principal Emily Tyndall Nicholas Galante

John Concklin Saul Green

Chelsea Godwin Bassoon Cameron Heard

Presti Hinson Kian Anderson Robert Kratz

Erin Rafferty Megan Schlie Brandon Schantz

Stephanie Ethridge Ellen Martin Thomas SchmidtSarah Brown Angela Moretti

Christopher Lanier Jeff Nesrsta Piano

Chris Kalter Ashley Anderson

Contrabassoon

Cello Megan Schlie Celeste

Nicholas Gold, principal Ashley Anderson

Leslie Lyons Horn Naoko Suga

Christina Kim Eric Damashek

Michael O'Boyle Andrew Fierova

Jenna McCreery Olivia Sedlack



Sunday, August 7 • 3:00 pm


Season Finale



Gustav Mahler Symphony NO.6 in A minor

Allegro energico, ma non trScherzo: Wuchtig

Andante

Finale: Allegro moderato

Andante

Finale: Allegro moderato




David Effron is the Brevard Music Center's third artistic director and principal

conductor. He is an alumnus of BMC and spent his first summer here, studying

piano, when he was fourteen years old .

Effron earned a Bachelor of Music degree in piano from the University of

Michigan. After receiving his master's degree in piano with Sidney Foster at

Indiana University, Effron received a Fulbright Scholarship and a RockefellerGrant and worked as an assistant to Wolfgang Sawallisch at the Cologne Opera .

' ~ . _... .

Upon returning to the United States, he joined the New York City Opera , serving on the con

staff for eighteen years .

For seven seasons Effron was head of the opera department and conducted many sym

concerts as a faculty member of The Curtis Institute in Philadelphia. Then he spent twen

years as head of the orchestra program at the Eastman School of Music. He joined the fac

the Indiana University School of Music in 1998.


Gustav Mahler never knew the sustained level of success and public acclaim which othe

posers of the time , including his friend and rival Richard Strauss, had begun to enjoy. He

necessity, then, a part-time composer, who balanced his writing with a full-time career as

Europe's leading conductors. After a swift rise through ever more prominent opera houses (L

Hamburg, Budapest), he was appointed Director of the Vienna Court Opera (now the Vienn

Opera) in 1897. His ten-year reign at one of the world's great houses is still referred to as its

en Age ," and he was known for his uncompromising standards, his iron will, and his impatien

the mediocrity he claimed beset him everywhere. He assembled an unparalleled roster of

and greatly refined the playing of the Opera's pit orchestra , the renowned Vienna Philharmoalso oversaw technological innovations in stagecraft, and his productions with the designer

Roller were immediately recognized for their innovative uses of space and light. After being

to resign the Vienna post because of anti-Semitic intrigue , he conducted at the Metropolitan

and served as Music Director of the New York Philharmonic for a brief time before his de

May 18 , 1911.

Mahler's genre of choice was the symphony, but the symphony, as a preferred genre of comp

was in eclipse in the last quarter of the nineteenth century. Its "Golden Age" was long pas

ing ended about 1825 with the last symphonies of Beethoven and Schubert. The early Rom

had had a difficult time reconciling the new philosophical ideas of post-French Revolution with Beethoven's architectural achievements , and the efforts of the later Romantics-Bru

Brahms, and Dvorak-were all tributes , conscious or un-, to an earlier time. Wagner and

herents dismissed the genre as archaic , and Richard Strauss realized early on that his pat

a different direction. It was left to Gustav Mahler and Jean Sibelius to re-invigorate the fo

demonstrate its relevance to audiences of the new century. It is enlightening to compare t

spective innovations; to Sibelius, symphonic writing was a process of distillation aiming for

concentration and density. His symphonies, with one exception, grew increasingly shorte

his career, as if every extraneous note had been pared away. Mahler, in contrast, thought t



symphony should be all-inclusive, all-encompassing-it should "embrace the world," as he

said, coincidentally, to Sibelius. The Mahler symphonies represent for us today both the swan

of Romanticism and the birth pangs of modernity. They are a remarkable blend of the cosmi

the universal with the personal and the particular.

The Sixth, at one time known as the "Tragic," stands alone in Mahler's output. Of his eleven

phonic works (including Oas Lied von der Erde, which Mahler considered a symphony), all e

the Sixth end in major keys. The traditional Romantic strategy of "triumph-over-adversity" emp

by Mahler so effectivelyin

his Fifthis

conspicuously absenthere-the

symphony endsin

unrebleakness. Perhaps this sheds light on why the Sixth made its way slowly into the repertoire

its completion in 1904. It wasn't played at all in the US until 1946, while the Fifth was played

as early as 1905. It seems that only a handful of contemporary musicians recognized its sta

such as Alban Berg, who, in a letter to Webern, called it "the ONLY Sixth, except the Pasto

Beethoven's Sixth-a well-meant, if meaningless, tribute. In certain ways it is the most "Clas

of all Mahler's works: it is cast in four movements, of which three are in the same key of A m

and they have a unity of tone and mood unusual for a Mahler symphony. Clearly Mahler hel

reins tightly (is there Sibelius influence here?) in a way not often seen with him, which helps

count for both the symphony's consistency of tone and the impression it creates of great con

ness-there is not one extra note, despite its eighty-minute length. How to account for this un

feeling? The elements Mahler used to assemble his Sixth are not different from what we find

other works: we hear marches, chorales, melodies in either an unabashedly "popular" style, or

most heartbreaking loneliness and yearning, and moments of heaven-storming intensity, all cl

in his inimitable orchestral splendor. The difference seems to be in the music's refusal to allo

rare moments of victory to last for long: the first movement's optimistic ending is immediately

by the grim tramping rhythm of the scherzo, and the slow movement's gentle, consoling melan

is just as abruptly cut off by the uneasy and spectral beginning of the Finale. The long Finale

ents episode upon episode of music building up to crashing climaxes of such terrifying intensit

Mahler was compelled to call for a new, giant-sized, drum-like instrument, because the tradi

battery of percussion instruments couldn't give him enough sound. (In today's performance, a

wooden box will be struck with a mallet to provide extra weight at these moments.) The vehemof some of the music seems almost to exceed the expressive capacity of the orchestra. As th

approaches there is no hint of either the victory of the Fifth Symphony's closing or the pea

resignation of the Kindertotenlieder, a nihilistic despair and hopelessness settle over the cod

even one, last, savage gesture cannot dispel. The piece ends with a unison A low in the st

pizzicato - the very sound of emptiness.

A work of art, Emile Zola said, is a "corner of the creation seen through a temperament." Wh

our knowledge Mahler never explicitly embraced that individualist creed, musicians and audie

of our time have somehow accepted the musical temperament of Gustav Mahler as the para

of the post-modern mind-set. Why are we so attracted to this music? It offers no certainty orantee. It abounds in ambiguity. It is often difficult, even unpleasant, to listen to (no "ear candy"

this composer-he was not about to make things easier for us than they were for him). It

first chapter in modern music's creation saga, written with a prophetic prescience that fin-de-

European culture could not continue. He was right, of course; Europe self-destructed in 1914

even if Mahler had lived to see that "corner of the creation" he would have had no reason to

even the smallest detail of his horrific vision, the Sixth Symphony.

-James Howsmon



Violin I




Thomas Joiner*

Jonathan Morgan

Susannah Plaster

Lindsey Parsons

Rebecca Jones

Audrey SelphAllison Richards

Andrew Braddock

Diana Maley

Marjorie Bagley*

Sarah SchrefflerWilliam Terwilliger*

Austin Wulliman

Katie McLin*

Chris tian Jackson

Annegret Klaua*

Ellen Cockerham

Arturo Rodriguez

Barbara Careaga

Fiona Hughes

Sara Guerriero

Lauren Rausch

Alexander Martin

Helen Morin

Serban Petrescu

Violin II


Sarah Johnson*

Margaret Baldridge*

Jessica Robinson

Kristine McCreery*Essena Setaro

Andrew Tholl

Leif Petersen

Emanuala Lacraru

Brandon Ironside

Aaron Neumann

Lemuel de la Cruz

Gerome Stewart

Allison Willet

James Farley

Viola


Simina Renea

Anna Joiner*

Tanritai Wyllie

Louise Zeitlin*

John Concklin

Alan Elkins

Jim Lichtenberger

Eric Koontz*

Matt Hofstadt

Cello


Ruth Boden


Ariana Arcu

Aron Zelkowicz*

Jeremy Crosmer

Elaine Anderson*

Leslie Lyons

Ian Jones

Sara Wolfe

Katie Andrzejewski

Andy JohnsonMarty Sproul

Derek Stein

Sarah Schmitz

Leah Branstetter

Franklin Keel

Double Bass

Craig Brown , principal *

Travis Miller

Kevin Casseday*Gerald Torres

Nery Rodriguez

Salima Barday

Paul Quast

Patrick Byrd

Jennfier Coalson

Ian Berg

Di Wang



Joshua Lebar

Jonathan Perry

Flute

Elizabeth Buck, principal·

Mihoko Watanabe*

julia Barnett

Elany Mejia

PiccoloCaitlyn Perry

Oboe


Paige Morgan*

Tessa Gross

Sian Ricketts

Rebecca Marquardt

English HornPaige Morgan, principal*

Andrea Geniuk

Rose French

Laura Carter

Kathryn Taylor

Marc Zyla

Trumpet

William Campbell, principal*

Mark Schubert*

Jordan OliveMatthew Vangjel

Peter Kuan

David Harbuziuk

Matthew Shefcik

Trombone

William Zehfuss, principal·

Andrew Peoples

Bass TromboneDan Satterwhite, principal*

2005 Individual Performance Programs.

Documents

Transcript of 2005 Individual Performance Programs.