2014 Appalachian State University, Boone, NC Playbill '14 Playbill 6/10/14 5:27 PM Page 2

Home , Alexander Schneider, Brandenburg (ballet), Fredrick Davis (dancer), Here It Goes Again, John Gilliland, Jonathan Wolken

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An Appalachian Summer Festival

June 28-July 26, 2014 Appalachian State University, Boone, NC Playbill '14_Playbill 6/10/14 5:27 PM Page 2

ON AND AROUND THE CAMPUS OF APPALACHIAN STATE UNIVERSITY, BOONE, NC Playbill '14_Playbill 6/10/14 5:27 PM Page 1

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AN APPALACHIAN SUMMER FESTIVAL

An Appalachian @AppalachianArts Summer Festival

YOUR GUIDE TO THE PLAYBILL Page Numbers and Event Dates

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY

28 Outdoor Fireworks An Appalachian Summer Festival Concert: Little June 28-July 26 Big Town Page 69

29 30 12345 FILM: Fireworks at Broyhill “The Rocket” Broyhill Westglow Resort Page 99 with Michael Chamber LUNCH & LEARN Chamber Action Figures, Pilobolus Sophie B. Hawkins McDonald Ensemble Self-Reflection Ensemble Page 93 Page 74 & BETTY Page 70 Page 32 Page 28 & Salt Glazing For tickets: Workshops 828-295-5146 Page 94

678910 11 Family Day 12 LUNCH & LEARN at TCVA FILM: Turchin Center Page 93 TRIAD STAGE: Page 95 Eastern Festival “The Hayes School Summer Matthew Orchestra “All’s Well Exhibition Lunchbox” of Music that Ends Well” Morrison Page 36 Page 99 Celebration with the Greensboro Faculty Page 88 Showcase Page 94 Symphony Page 70 Plein Air Workshop Page 42 Concert Page 94

13 14 15 16 17 18 19 Rosen-Schaffel Nickel Creek FILM: The Making of a Competition Page 71 LUNCH & LEARN Dance Theatre for Young & “Like Father, Ballet Dancer Kid’s Art Week Like Son” Page 93 Workshop of Harlem Emerging Workshop Page 80 Page 99 Page 93 Artists Page 94 Page 47

20 21 22 23 24 25 26 FILM: Belk Distinguished 28th Rosen “Jappeloup” Lecturer: Outdoor Sculpture Broyhill Broyhill FILM: Walk Page 99 Chamber Chamber LUNCH & LEARN Frances Mayes “The Jungle Page 97 Page 93 Ensemble Discovering Your Ensemble Page 93 Book” National Youth Inner Artist Sheryl Crow Page 53 Workshop Page 57 (1967) Orchestra Page 71 Page 94 Page 99 of the USA Page 62 Playbill '14_Playbill 6/10/14 5:27 PM Page 3

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AN APPALACHIAN SUMMER FESTIVAL 2014 CORPORATE AND MEDIA SPONSORS:

CORPORATE SPONSORS:

WESTGLOW RESORT & SPA BLUE RIDGE ELECTRIC MEMBERSHIP CORPORATION

NORTHERN TRUST MCDONALD’S MAST GENERAL STORIE STREET COMPANY OF BOONE STORE GRILLE

GOODNIGHT BOONE AREA SKYBEST COMMUNICATIONS, INC. THE UNIVERSITY BROTHERS VISITORS BUREAU (a wholly-owned subsidiary of Skyline Telephone Membership Corporation) BOOKSTORE

HOTEL EQUITIES HOLIDAY INN CHARLES EYLER PEABODY’S WINE & EXPRESS AGENCY BEER MERCHANTS

CHETOLA RESORT CREEKSIDE BOONE CASA RUSTICA AT BLOWING ROCK ELECTRONICS, INC. FORD-LINCOLN RESTAURANT

MEDIA SPONSORS:

WBTV (Charlotte, NC) OLDIES 100.7FM/HIGHWAY 106.1 FM WCYB (Bristol, VA/TN) WHKY 1290 AM (Hickory, NC) CHARTER MEDIA MOUNTAIN TELEVISION NETWORK OUR STATE MAGAZINE WDAV 89.9 FM (Davidson, NC) WINSTON-SALEM JOURNAL WFDD 88.5 FM (Winston-Salem, NC) GREENSBORO NEWS & RECORD WETS 89.5 FM (Johnson City, TN) WTVI PBS CHARLOTTE WASU 90.5 FM (Boone, NC) WNC MAGAZINE HIGH COUNTRY 365 (Boone, NC) Playbill '14_Playbill 6/10/14 5:27 PM Page 7

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Tom Robbins: A True Account of an Imaginative Life Internationally-renowned novelist and North Carolina native Tom Robbins returns home for the first time in more than seven decades, and with a new book. Tibetan Peach Pie: A True Account of an Imaginative Life is Robbins’ own story, which began in Blowing Rock, North Carolina. Robbins says it isn't the story of his life, but a series of “true stories from my life.” Robbins offers intimate memories of his Appalachian upbringing during the depression, the psychedelic 1960’s and his start as an author. This will be the only southern stop for the author of multiple cult classics including Another Roadside Attraction, Even Cowgirls Get the Blues, and Skinny Legs and All. www.library.appstate.edu/news/2014/06/tom-robbins Thursday, September 11 7 p.m., Rosen Concert Hall Doors open: 6:30 p.m. Free Event Presented by: Appalachian State University Libraries and the Library Advisory Board Playbill '14_Playbill 6/10/14 5:27 PM Page 8

8 ON AND AROUND THE CAMPUS OF APPALACHIAN STATE UNIVERSITY, BOONE, NC

AN APPALACHIAN SUMMER FESTIVAL WELCOMES CHANCELLOR SHERI NOREN EVERTS Dr. Sheri Noren Everts, provost and vice president for academic affairs at Illinois State University since 2008, was elected chancellor of Appalachian by The University of North Carolina Board of Governors on Wednesday, March 19. Dr. Everts assumes her new duties July 1, succeeding Dr. Kenneth E. Peacock, who announced in April 2013 that he would step down this year after a decade in the post. Dr. Everts has spoken to Chancellor Peacock’s accomplishments during his 10-year tenure and his stature on campus. “Following a talented and wildly popular chancellor may seem a daunting task, but I would offer that I am very fortunate to be able to build on the strength of the Peacock legacy,” she said. “The Appalachian tradition of excellence in undergraduate experience will go forward. I know we will work together to transition in order to continue to build upon the strengths of Appalachian and continue the focus on students and their successes.” A Nebraska native who attended elementary school in a one-room schoolhouse, Dr. Everts graduated from the University of Nebraska-Lincoln with a bachelor’s degree in English instruction and secondary education. After teaching middle school and high school English in Kansas and Nebraska, she returned to UNL, where she earned a master’s degree in literacy education and English and a doctorate in administration, curriculum, and instruction. Dr. Everts began her higher education career in 1994 as an assistant professor in the Department of Teacher Education at the University of Nebraska Omaha. Rising through the academic and administrative ranks at UNO, she was named assistant vice chancellor for academic and student affairs in 2000, promoted to associate vice president in 2003, and named interim senior vice chancellor for academic and student affairs in 2006. She served in that interim capacity until June 30, 2008, when she left Nebraska to become provost and vice president for academic affairs at Illinois State University. Playbill '14_Playbill 6/10/14 5:27 PM Page 9

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AN APPALACHIAN SUMMER FESTIVAL ADVISORY BOARD The Festival Advisory Board provides critical leadership for An Appalachian Summer Festival by offering overall guidance, fundraising assistance, programming ideas and long-term direction for the festival. Advisory Board members are representatives of the festival audience, and in many ways they serve as the festival’s “eyes and ears” in the community– providing valuable feedback to the staff regarding festival operations, and serving as advocates and community ambassadors for the university and the festival. We wish to thank our board members for the leadership, skills, expertise and commitment they bring to this important role.

NANCY SCHAFFEL Chair NANETTE MAYER EX-OFFICIO MEMBERS: MARY FRIEDMAN Vice Chair DANIEL MITCHUM Vice Chancellor for University Advancement JUDY ADLER ALLEN MOSELEY SUSAN PETTYJOHN BILL ATKINS MARK MOSKOWITZ Senior Associate Vice Chancellor for Advancement and Chief Communications Officer DOT BARBER PETER PETSCHAUER HANK FOREMAN SUE CHASE STEVEN C. PRICE Dean, Hayes School of Music LISA COOPER CHRIS ROBBINS WILLIAM L. PELTO FOUR EGGERS JAMIE SCHAEFER Director, Office of Arts and Cultural Programs LYNN EISENBERG AUTUMN SIMMONS DENISE RINGLER TERESA JOHNSON KEITH STONEMAN Major Gifts Officer LATANYA AFOLAYAN JOAN KEELE MARK TAFEEN VENDA LERCH SHELLEY TARBUTTON JANE LONON MARY UNDERWOOD SUSAN LUTZ HELENE WEICHOLZ

2014 FRIENDS OF AN APPALACHIAN SUMMER FESTIVAL CELEBRATING 30 YEARS OF DEDICATION AND SERVICE Supervisory Team: DOT BARBER, BILL BARBOUR, MARGOT BROWN-HAMPTON, CHRISTINE DAVE, JANA DUKE, DIANA LATENDRESSE, CARMEN PATELLA, JIMMY PITTMAN, MIRIAM PITTMAN, KITTY ROMINGER, CYN D. WEAVER LIZ BARR SUSAN HAZLEWOOD SUSIE MORGAN MIKE ROMINGER FRANCINE BARR BARBARA HUNSUCKER BETH MUELLER JAN ROWE CAROL BROWN ROBIN HUNT FAITH & MIKE MURRAY JOAN ROYAL BILLIE JO BROWN KAY ISENHOUR CAMILLE NAPIER TRACI ROYSTER BETH CARRIN WENDY JESSEN SANDRA PERRY MARY RUPP KATHY COPLEY REBECCA KAENZIG BRUCE PETTYJOHN DOROTHY SAGEL ELAINE & JIM CROWELL PENNY KUZYSZYN HELEN PHILLIPS JOANIE & ROBERT SHIRLEY RUTH DAGGETT LYNDA LASSETER & PHOEBE POLLITT LYNNE SLASOR SANDY DAVIS JERRY TRAUDT SUSAN POORMAN CAROL THOMPSON MARION DETTBARN ANITA LAYMON PRISCILLA & ALEX POPPER NANCI TOLBERT NANCE JENNIFER DOTSON MARIA LICHTMANN JOANNE PULIATTI PAM WALKER SANDRA FOLTS LINDA LIELBRIEDIS GRACE & BILL REEDY RUTH WILLIAMS DODIE & DAN GLOWA FAYE MATTHEWS ANN & MIKE RHYNE HELGA WILSON SUSAN GRAHAM JACKIE MCINTURFF MARTY RICE SUZANNE WISE MARGARET GREGOR AMBER MELLON SUSIE & EDWARD ROBERTSON BARBARA WOODROW KAREN GROSS RAY MORETZ BARBARA ROBINSON CYNDI HARBESON ELAINE MORGAN TISH ROKOSKE THANK YOU, VOLUNTEERS! Playbill '14_Playbill 6/10/14 5:27 PM Page 10

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30 YEARS OF UNFORGETTABLE PERFORMANCES, 30 YEARS OF MEMORIES...

AN APPALACHIAN SUMMER An Appalachian Summer Festival is presented by the FESTIVAL Division of University Advancement HOW IT ALL BEGAN... The origins of An Appalachian Summer Festival date to the early 1980s, Vice Chancellor beginning with a desire on the part of Appalachian State University to enhance SUSAN PETTYJOHN Senior Associate Vice Chancellor for Advancement its summer programs and role in the broader community. While Appalachian and Chief Communications Officer had an excellent program of academic, cultural and athletic activities during the HANK T. FOREMAN academic year, there was an interest in further expanding and strengthening the Director, Arts and Cultural Programs university’s summer programs. DENISE RINGLER University officials recognized that a significant contribution to the region ADMINISTRATION could be offered in the area of the arts and cultural programs. By creating a quality Director of Administration arts program, a stronger partnership with the local community would result and SANDRA BLACK the campus could begin to attract visitors from outside the immediate community. Business Manager, Arts and Cultural Programs During this same period, summer residents Arnold and Muriel Rosen were ANNA GAUGERT addressing the need for diverse cultural activities from a different angle. As a Special Assistant, Associate Vice Chancellor for University Communications & Cultural Affairs board member of the Chopin Foundation, Arnold Rosen was involved through LINDSAY MILLER the Miami chapter in the staging of various competitions and concerts, featuring foundation-sponsored musicians. He and Robert Chumbley, the foundation’s VISUAL ARTS PROGRAMMING director in Florida, began to discuss the formation of a North Carolina chapter, Director and Chief Curator, Turchin Center for the Visual Arts and made arrangements for a group of musicians to come to Boone for a series of HANK T. FOREMAN recitals. The concept for the festival was now beginning to emerge, and by 1984, Exhibition Project Assistant, Turchin Center the idea had come to fruition with the staging of a series of cultural activities that for the Visual Arts HANNAH CROWELL also included a residency by the North Carolina Symphony, in conjunction with Registrar and Collections Manager, Turchin Center the Cannon Music Camp. for the Visual Arts Initially, the festival complemented its name in the truest sense, with events STEVEN EICHNER scheduled from May through August. By the summer of 1985, “An Appalachian Lead Installer, Turchin Center for the Visual Arts Summer” began to establish itself as a permanent fixture on the High Country’s BRYAN PROPST summer scene. In addition to the vision they provided, the Rosens generously ARTIST RELATIONS responded to the university’s request for the first major financial contribution to Director of Artist Relations, Arts and Cultural Programs the program. Support from Paul and Faye Broyhill, the Broyhill Family Foundation, SALI GILL-JOHNSON Robert G. and Mariam Cannon Hayes, the Cannon Foundation, Martin and Doris Rosen, Satie Hunt Broyhill, James and Louise Broyhill, Robert and Allene Broyhill SALES, MARKETING & DEVELOPMENT Heilman, Willard and Bettie Gortner, Eileen Lackey Sharpe and Bernard and Director, Sales and Patron Relations, Arts and Cultural Programs Shirley Spector was also critical during this period. SARAH HEUSTESS The Chopin Foundation musicians became established as the Appalachian Marketing and Public Relations Manager Chamber Ensemble in 1985, and with a generous gift from the Broyhill family, Office of Cultural Affairs the group was renamed the Broyhill Chamber Ensemble. Also featured during MEGAN STAGE these early years were performances by the North Carolina Symphony with Advertising Manager, Office of Cultural Affairs conductor James Ogle, who was instrumental in forming the festival’s strong SARAH MCBRYDE Major Gifts Officer, Turchin Center for the Visual Arts alliance with the symphony. Other popular features included the North Carolina and An Appalachian Summer Festival Dance Theatre, Cannon Music Camp concerts, the Acting Company directed by LATANYA AFOLAYAN John Houseman, and the Smithsonian Lecture Series. Internationally renowned Director, Visitor and Donor Services, sculptor Richard Hunt played a key role in the development of the visual arts Turchin Center for the Visual Arts component of the festival, which was initiated with the support and sponsorship NEALY ANDREWS of Martin and Doris Rosen. TECHNICAL MANAGEMENT As the desire to present the finest in the performing and visual arts evolved, Director, Technical and Production Services, so did the need to concentrate these events into a shorter time period. The festival Arts and Cultural Programs SCOTT HAYNES eventually dropped its summer-long time frame in favor of a more condensed Lead Technician, Arts & Cultural Programs schedule. Continuing as a program of the Appalachian State University Foundation CONOR MCKENZIE office for five years, management of the festival was transferred to the newly established Office of Cultural Affairs in 1989. Playbill '14_Playbill 6/10/14 5:27 PM Page 13

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The artistic leadership of Robert Chumbley, and later Gil Morgenstern, played COMMUNITY SUPPORT a key role in developing the festival’s artistic identity and establishing standards of Director of Arts Education and Outreach artistic excellence for which it is known. CHRISTY CHENAUSKY Education and Outreach Coordinator, In the years to follow, the festival made major strides in expanding the scope Turchin Center for the Visual Arts of its artistic programming, strengthening and diversifying its audience base, and PEGGE LAINE building a strong and loyal base of private supporters and corporate sponsors who sustain the festival and invest in its growth and development. STAFF SUPPORT Over the course of three decades, the festival has maintained its commitment Artist Relations Assistant, Arts and Cultural Programs to the values upon which it was founded: artistic excellence, innovation and RACHEL MULLINS (Music Industry Studies) audience-building, which has catapulted it to national prominence. With JOSIE WOOD (Public Relations) recognition in The New York Times, US Airways Magazine and designation as Sales/Marketing Assistants, An Appalachian Summer Festival one of the “Top Events in the Southeast” by the Southeast Tourism Society, WILL ALLEN (Theatre Arts) An Appalachian Summer Festival is no longer the “best kept secret” in the High RACHEL CALI (Studio Art) Country. This event has truly evolved into a community festival that is embraced KATY COCKERHAM (Nutrition) by a wide network of stakeholders who take pride in it, and who are committed SAVANNAH CORE (Theatre Arts) to its future success and longevity. REGGIE HORTON (Recreation Management) LUCAS LANDON (Accounting) LEAH MCDONNELL (High Point University) ARIA MERLE (Pre-Law) ABBY REID (Communications, Public Relations) JORDYN WARREN (Communications, Public Relations)

Production Staff, An Appalachian Summer Festival FOUNDERS SOCIETY DWANYE DAVIDSON (Masters of Arts in History) ALEX GOLDEN (Astrophysics) On July 22, 2000, the university created a Founders Society to recognize the people CASEY HOULE (Building Science) whose vision, generosity and hard work helped build An Appalachian Summer KATIE KAHUT (Theatre Design Technology) Festival. The festival, a vision turned reality, owes its success in large part to these MELANIE MILLER (Theatre Arts) extraordinary individuals. STEPHEN JOSHUA MORGAN (Appropriate Technology) CHARTER MEMBERS TYLER JAMES PIETTE (Music Industry Studies, INDUCTED JULY 22, 2000: Marketing & Promotion) AARON SADIZAND (Music Industry Studies, THE BROYHILL FAMILY FOUNDATION: Recording Production) J. EDGAR and SATIE H. BROYHILL JACKIE THOMAS (Music Industry Studies, Piano, JAMES T. and LOUISE R. BROYHILL Marketing & Promotion) PAUL H. and FAYE A. BROYHILL AMANDA VOLRATH (Music Industry Studies) WILLARD A. and BETTIE B. GORTNER ROBERT E. and ALLENE B. HEILMAN Visual Arts Gallery & Exhibition Staff, Turchin Center for the Visual Arts ROBERT G. and MARIAM CANNON HAYES ARMFIELD and RACHEL RIVERS COFFEY BENJAMIN ARMSTRONG (Graphic Design) BERGE H. and MELINÉ A. MARKARIAN TEIGE ARNOTT (Business Management, Computer Information Systems) BUDD and NANETTE MAYER BLAKE BAINES (Appropriate Technology, Physics) ARNOLD P. and MURIEL S. ROSEN MARTIN L. and DORIS B. ROSEN ZOE CASTELLINO (Art Education) ROBERT and MINNIE SNEAD ANDREW COX (Studio Art) J. BERNARD and SHIRLEY S. SPECTOR ANNE DUGGER (Interdisciplinary Studies) ROBERT L. and LILLIAN A. TURCHIN MICHELLE HARTMANN (Spanish, Global Studies) KAYLE HAZARD (Arts Management, Studio Art) 2002 MEMBERS EMILY LAWRENCE (Arts Management) INDUCTED JULY 14, 2002: SOPHIE MONTESCLAROS (International Business) JOHN E. and FAYE B. COOPER LAUREN ROQUEMORE (Studio Art) BUDDY and CHARLOTTE HALPERT FLORENCE R. HECHT The Arts and Cultural Affairs staff wish to thank our D. GRADY MORETZ JR. and colleagues in University Communications for the REBA SMITH MORETZ exceptional photography, design, web and video production work they provide An Appalachian PETER and JONI WEBB PETSCHAUER Summer Festival. 2013 MEMBERS CONNIE ADAMS BONNIE AND JAMIE SCHAEFER Playbill '14_Playbill 6/10/14 5:27 PM Page 14

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BECOME A SUPPORTER! Artistic excellence, accessibility, and audience engagement are elements that make An Appalachian Summer Festival FESTIVAL REVENUE unique among arts festivals. But quality arts programming is expensive, and because the festival is committed to maintaining affordable ticket prices, revenues from ticket sales cover only about 43% of the festival’s costs. Private support must fill the gap, thereby ensuring a continued commitment to both quality programming and affordable ticket pricing. We are extraordinarily fortunate that our community embraces the arts so passionately, and that festival donors have chosen to support An Appalachian Summer Festival so generously. This loyal annual support is the critical element in sustaining the artistic quality of the festival, enabling it to thrive for three decades. If you are not a current festival donor, we hope you will consider making a tax-deductible gift or pledge. Visit our 57 percent of festival expenses must be website at appsummer.org/supporters, call 828.262.6084, covered by critical private support ext. 107 or inquire at the ticket counter. Your support will make it possible to build the audiences of tomorrow, showcase rising artists, raise national visibility and public awareness of the festival and continue to present the “best of the best!” Playbill '14_Playbill 6/10/14 5:28 PM Page 20

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LIFETIME CUMULATIVE FESTIVAL SUPPORT: Since the festival’s inception in 1984, many individuals, corporations and foundations have made significant contributions to the creation and growth of An Appalachian Summer Festival. This list recognizes their cumulative commitments. $1,000,000 AND ABOVE Blue Ridge Electric Membership Corporation Arnold & Muriel Rosen/Rosen-Schaffel Endowment for Classical Music Programming Rowland’s & Westglow Resort & Spa/The Bonnie and Jamie Schaefer Family Foundation $500,000 - $999,999 The Broyhill Family Foundation Mariam Cannon Hayes SkyBest Communications, Inc. Mr. Paul H. Broyhill Nanette & Budd Mayer (a wholly-owned subsidiary of Skyline Telephone The Cannon Foundation, Inc. Martin & Doris Rosen Membership Corporation) $250,000 - $499,999 Mr. & Mrs. John Cooper/ McDonald’s of Boone/ Venda Lerch Mrs. Nan Van Every Mast General Store Mr. & Mrs. Neil Schaffel Mr. and Mrs. Ken Wilcox Ford Motor Company Robert and Lillian Turchin $100,000 - $249,999 The Max & Victoria Dreyfus Foundation, Inc. Joan & Bernie Keele/Storie Street Grille R.Y. & Eileen L. Sharpe Foundation Mr. & Mrs. Willard A. Gortner Mr. & Mrs. Roger Michelson J. Bernard & Shirley Spector Anthony & Deborah di Santi National Endowment for the Arts Mrs. Allene Broyhill Stevens Mrs. Florence Hecht, Neal & Isabelle North Carolina Arts Council Mark & Nancy Tafeen Amdur, & the Flagler & Naples-Fort Myers Northern Trust Company Greyhound Tracks Joni & Peter Petschauer $50,000 - $99,999 Allen Wealth Management, LLC Mr. & Mrs. Keith Cloyed Harold Libby & Wanda Rayle-Libby Appalachian Hospitality Management Armfield & Rachel Coffey Dr. & Mrs. Berge Markarian Barbara & George Ball A.J. Fletcher Foundation Peabody’s Wine & Beer Merchants Hanes & Lida Boren/ Lawrence & Barbara Freiman Tina & Gary Silverstein Footsloggers Outdoor & Travel Outfitters Dr. & Mrs. Brent Hall Bob & Minnie Snead Boone Area Visitors Bureau/Town of Boone Mr. & Mrs. Sol Halpert Kent & Shelly Tarbutton/Chetola Resort Boone Ford-Lincoln Dieter & Karyn Herterich Mr. J. Wallace Wrightson Sen. & Mrs. James T. Broyhill Dr. & Mrs. Marc Kadyk Mr. & Mrs. Arthur Yergey $25,000 - $49,999 Michael & Judy Adler Mr. & Mrs. Robert F. Gilley Karen P. Minges Appalachian Ski Mountain/ J.C. Goodnight Rosanne & Ken Peacock The Moretz Family William S. Goodnight Edith S. Peiser Drs. William & Sally Atkins Goodnight Brothers Produce, Inc. Betty & Jesse Pike Frank & Kay Borkowski Sonya Rabin Greenfield Perfection Equipment Company Kathleen Price Bryan Family Fund Susie Greene Drs. Raymond & Judith Pulley Mr. & Mrs. Arthur Courshon Billy & Ray Howell John & Joy Safer Byrdie & Ed Denison Mr. & Mrs. Harry F. Jacobs Mr. & Mrs. Lawrence Singer Dewoolfson Down Products Ethel & George Kennedy Family Foundation T.G. Solomon Susan & Harvey Durham Laurelmor – A Ginn Company Resort Marshall Stein & Denise Grohs Ted & Adrienne Finkel Edgar & Nan Lawton David & Ginny Stevens The Friedman Family: Lexington Furniture Industries Ms. Helen Taulman Ingrid, Mary & Nick Linville Ridge Country Club Park Terrell/Nationwide Insurance Agency Mr. Jim Furman – Wendy’s of Boone Mr. & Mrs. James T. Lynagh Mr. & Mrs. Dolph von Arx Dr. & Mrs. Lowell Furman Hospitality Mints, Inc. Mr. & Mrs. Samuel Whalen $10,000 - $24,999 Homer & Margie Barrett Mr. & Mrs. Julian Good Gerard & Judith Rothschild William & Linda Blanton Mr. & Mrs. Harold Granoff Sazingg Jewelers Blue Ridge Mountain Club The Bruce J. Heim Foundation The Sesame Foundation Wendy & Mike Brenner Mr. & Mrs. Ronald G. Hester The Shane Family Foundation Charter Communications, Inc. Holiday Inn Express Gus & Frances Stavros Cheap Joe’s Art Stuff, Inc. Kenneth Hubbard Tarheel Capital Circle S Foundation Anne C. & Myron B. Liptzin Charles Gordon Travis Helen Clabough Foundation Michael & Sara Mayhew Tweetsie Railroad Alan & Sally Cone Daniel & Harlene Mitchum Mary Underwood & Ben Henderson/ Crestwood Resort & Spa Larry & Nanci Tolbert Nance Bare Essentials Natural Market Dr. Pamelia S. Cromer Nationwide Insurance/The Charles Eyler Agency United Technologies Corp. Deer Valley Racquet Club The Nesor Foundation US Airways Dianne Davant Interiors Old World Galleries Mr. & Mrs. Alberto Vadia Foundation of Jewish Philanthropies Edmund F. Perls Mr. Edward Vincz Mr. Jim Furman – Wendy’s of Boone Anonymous Cindy Wallace & Allen Moseley Dr. & Mrs. Lowell Furman Ron Redmon & Tom Normand Jeffrey & Cher Zavik Ralph Glaser, Jr. & John A. Pfeifer Fred & Priscilla Robinette Betty E. Yount Mr. & Mrs. Frank Ross, Jr. Playbill '14_Playbill 6/10/14 5:28 PM Page 22

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2014 FESTIVAL SUPPORTERS

An Appalachian Summer Festival deeply appreciates the support of its contributors. This list reflects contributions and pledges made solely to An Appalachian Summer Festival Annual Campaign from October 1, 2013 through June 4, 2014. Please note that this list does not include gifts to other areas within Appalachian State University. PREMIER SPONSORS $100,000 and Above Bonnie & Jamie Schaefer Westglow Resort & Spa & Rowland’s Restaurant LEAD SPONSORS $50,000 - $99,999 Blue Ridge Electric Membership Corporation FESTIVAL SPONSORS $25,000 - $49,999 Broyhill Family Foundation, Inc. The Muriel & Arnold Rosen Endowment for the Arts Neil & Nancy Schaffel The Rosen-Schaffel Endowment for Classical Music Programming CHANCELLOR’S CIRCLE $10,000 - $24,999 Boone Area Visitors Bureau Northern Trust Company Goodnight Brothers Produce Company Martin & Doris Rosen Foundation Brent & Patricia Hall Tina & Gary Silverstein Mast General Store/John & Faye Cooper Skybest Communications, Inc. Nanette & Budd Mayer (a wholly-owned subsidiary of Skyline Telephone Membership Corporation) Max and Victoria Dreyfus Foundation Circle S Foundation McDonald’s of Boone/Venda & Ralph Lerch Storie Street Grille ARTIST’S CIRCLE $6,000 - $9,999 Chetola Resort/Kent & Shelley Tarbutton Mark & Nancy Tafeen Harold Libby & Wanda Rayle-Libby Helene & Steven Weicholz Peter & Joni Petschauer BRAVO! CIRCLE $3,000 - $5,999 Judy & Michael Adler Sharon Mills Boone Ford-Licoln/Alfred & Josette Glover Daniel W. & Harlene E. Mitchum Wendy & Mike Brenner Nationwide/The Charles Eyler Agency Creekside Electronics, Inc. Peabody’s Wine & Beer Merchants di Santi Watson Capua Wilson & Garrett, PLLC Casa Rustica Restaurant Holiday Inn Express Susan & Ronald Shane Hotel Equities, Inc Sandi Finci Solomon Anne C. & Myron B. Liptzin Scholars Bookshop at the University Bookstore Helen & Roger Michelson BENEFACTORS’ CIRCLE $1,200 - $2,999 Hanes & Lida Boren Rosanne & Ken Peacock Bruce J. Heim Foundation Edith Peiser Byrdie Rae Denison Steven Price & Christopher Frye Susan & Harvey Durham (In honor of Emma Price) Ted & Adrienne Finkel R.Y. & Eileen L. Sharpe Foundation The Friedman Family – Ingrid, Mary and Nick Drs. Edmund & Louise Reiss Chelsea & Robert Garrett Minnie & Bob Snead Susie Greene Kenneth & Gerry Wilcox Sandy & Marc Kadyk Playbill '14_Playbill 6/10/14 5:28 PM Page 23

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PATRONS $600 - $1,199 Ira & Brenda Abrams Lynn & Barry Eisenberg Larry & Nanci Tolbert Nance Joanne Brannon Aldridge Judie Feinberg Bill Pelto & Linda Larson Sally & Bill Atkins Barbara & Lawrence Freiman Chris & Cathy Robbins Kay & Frank Borkowski Molle Grad Samuel V. Tallman & Michael T. Zuravel Mr. Jack Branch Sonya Rabin Greenfield Mary Underwood & Ben Henderson/ Gary & Robin Bumgarner Denise Grohs & Marshall Stein Bare Essentials Natural Market Sue & Steve Chase Sarah & Troy Heustess Cindy Wallace and Allen Moseley Alan & Sally Cone Rosemary Horowtiz & Jerry Hyman Lisa Cooper Barbara & Mark Moskowitz

CONTRIBUTORS $300 - $599 Connie Adams Dee Dundon Jane & Grady Lonon LaTanya & Tunde Afolayan Eggers, Eggers, Eggers & Eggers Dr. & Mrs. Berge Markarian Rao Aluri & Mary Reichel Attorneys at Law Susan & Bruce Pettyjohn Anonymous Merle and Louis Feinberg Priscilla A. Rich Tim & Janice Baxter Hank Foreman & John Baynor Denise & William Ringler Dick & Margaret Beckman Megan Hayes & Michael Kitchell Drs. Bernard & Michaela Segall Steven & Denise Bentley Renee & David Lieberman Jack Stawicki Howard & Kathryne Brafman Judith M. Liersch & Allen L. Jennings

FRIENDS $125 - $299 Harold & Ellie Aibel Peggy & Dick Flah Mike & Sandra Perry Earl & Jean Apgar Anna Gaugert Tish & Tom Rokoske Alice & Dean Auten Gaugert Financial Dr. Morris & Margery Segall Marian & Bernard Bernstein Sali Gill-Johnson Harry Skeen John & Bettie Bond Bernard & Gwen Golan Megan Stage Carol Spar Brafman Rita Hutchinson Barbara Sugerman Mr. & Mrs. James R. Bragg Ernest & Shelby Lane (In memory of Barry Sugerman) Farrell & Pamela Bushing Barbara Lawrence Cordelia & Chandler Thompson Polly & Bob Capps Dr. Martin & Barbara Liebling Marlene & Gary Walter Dennis & Anne Carlton-Jones Guy & Jane Lucas (In memory of Muriel & Arnold Rosen) Christy & Brad Chenausky Gregg & Bonnie Marland Cyn D. & John Weaver Stephanie Poet Cohen Sarah McBryde Patricia Wisch & William Yancy (In memory of Jim and Dolly Poet) Mountain Lumber Co. Carolyn G. Witt Arline & Stuart Darrow Susan B. Morgan Dr. and Mrs. Stephen Zaron

MEMBERS up to $124 Gerald & Julia Adams Billy Elliott Mr. & Mrs. Dan K. Moore Ellis & Barbara Aycock (In memory of Michael S. Elliott) Joyce & Richard Newman Kate Barrett Betty Teem Gill Sue & Mickey Pollock Michael & Joan Bell Doris & Daniel Glowa Margaret R. Polson Carla Blue Deb Gooch & Steve Zoufaly Bill & Grace Reedy (In honor of Taylor Blue) Susan Graham Traci Royster Rose & Craig Bridgeman Jeff Handler Jim & Sandy Sheatsley Barbara Burnstine Kathleen & Scott Haynes Daisy Goodnight Waldrep Kerry Clark & Mary Whisenant Ken Hendrix & Helen Sirett Lynne & Wes Waugh Elaine & Jim Crowell Susan Lutz Louis Weaks Helen O. Dellinger Virginia Mattern Ralph & Ruth Ann Wenger NAMED SEATS IN THE SCHAEFER CENTER Wendy & Mike Brenner Kaaren & Lowell Hayes Susan & Ronald Shane Sue & Steve Chase Sarah & Troy Hesutess Tina & Gary Silverstein Lynn & Barry Eisenberg Morris & Kathleen Lioz Bernice Snow Judie Feinberg Barbara & Mark Moskowitz Sandi Finci Solomon Anna Gaugert Rosanne & Ken Peacock Keith & Letty Stoneman Dan Gaugert & Terry Harper Edith Peiser Mark & Nancy Tafeen Sonny Harris Bonnie & Jamie Schaefer Cyn D. & John Weaver Nancy & Neil Schaffel Playbill '14_Playbill 6/10/14 5:28 PM Page 24

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WELCOME TO THE HIGH COUNTRY! From the scenic overlooks on the Blue Ridge Parkway to the majestic peaks of the Blue Ridge Mountains, the High Country provides countless opportunities to combine your festival experience with a healthy dose of relaxation in a breathtaking setting. Cool summer temperatures and mountain breezes complete the picture–offering a refreshing escape from the heat! NEED A PLACE TO STAY? Festival packages are available at the following establishments:

WESTGLOW RESORT & SPA CHETOLA RESORT & 800-562-0807 westglow.com THE BOB TIMBERLAKE INN 800-243-8652 chetola.com

LA QUINTA INN & SUITES OF BOONE, HOLIDAY INN EXPRESS, HOTEL EQUITIES BOONE 828-262-1234 visitboone.com 828-264-2451 expressboone.com For more information on these packages, visit appsummer.org/area-guide FINE ARTS & GREAT FOOD Make it a memorable evening with dinner and a show! These restaurants offer discounts to festival ticket holders: IN BOONE: IN BLOWING ROCK: Makoto’s Japanese Steakhouse & Sushi Bar Rowland’s Restaurant Red Onion at Westglow Resort & Spa Pepper’s Restaurant Storie Street Grille Char Modern American Restaurant Timberlake’s Restaurant at Chetola Resort Playbill '14_Playbill 6/10/14 5:28 PM Page 25

AN APPALACHIAN SUMMER FESTIVAL 2014 25 Playbill '14_Playbill 6/10/14 5:28 PM Page 26

26 ON AND AROUND THE CAMPUS OF APPALACHIAN STATE UNIVERSITY, BOONE, NC

HAYES SCHOOL OF MUSIC THE ARTS AT 828.262.3020 • music.appstate.edu APPALACHIAN DEPARTMENT OF THEATRE AND DANCE THE OFFICE OF ARTS & CULTURAL 828.262.3028 • theatre.appstate.edu PROGRAMS The Performing Arts Series supports the university’s teaching DEPARTMENT OF ART mission by presenting a mix of prominent visiting artists who 828.262.2220 • art.appstate.edu provide great entertainment, while also complementing the classroom curriculum, bringing classroom learning to life and THE HUGHLENE BOSTIAN FRANK enhancing audiences’ perspective and world view. VISITING WRITERS SERIES 2014-15 PERFORMING ARTS SERIES HIGHLIGHTS: 828.262.2337 • visitingwriters.appstate.edu The North Carolina Symphony: October 7 with the Appalachian Symphony Orchestra Los Lobos: La Pistola y el Corazon: October 23 LA Theater Works: In the Heat of the Night: November 11 (honoring the 50th anniversary of the passage of the Civil Rights Act) CANNON MUSIC CAMP Broadway Tour of RAIN – A Tribute to the Beatles: March 4 2014 PERFORMANCE SCHEDULE Koresh Dance Company: April 17 Additional events to be announced… Wednesday, July 2 Chamber Symposium pas.appstate.edu • 828.262.4046 7 pm Concert APPLAUSE! Thursday, July 3 Faculty Recital K-12 PERFORMING ARTS SERIES 7 pm Appalachian State University’s arts education and outreach Sunday, July 6 “Kaleidoscope Concert” program strives to broaden and deepen arts experiences for 2 pm Featuring a variety of large audiences of all ages, while ensuring access to the arts for & small ensembles young audiences, building future audiences for the arts, and Sunday, July 13 Honors Recital I inspiring a love of learning through the arts. 2 pm Selected camper solo 2014-15 K-12 PERFORMING ARTS SERIES HIGHLIGHTS: performances Dept. of Theatre & Dance Presents: Tuesday, July 15 Honors Recital II Holmes– The Art of Deduction 7 pm Chamber Groups (new play based on Sherlock Holmes) North Carolina Symphony Thursday, July 17 FINALE CONCERT I LA Theatre Works: In the Heat of the Night 7 pm Percussion Ensemble The Peking Acrobats String Orchestra BANFF Film Festival Friday, July 18 FINALE CONCERT II Koresh Dance Company 7 pm Women’s Choir Dept. of Theatre & Dance Presents: The Diary of Anne Frank Chamber Singers theschaefercenter.org/applause • 828.262.6084 ext. 109 Concert Choir TURCHIN CENTER FOR THE VISUAL ARTS Wind Ensemble The Turchin Center for the Visual Arts, named for university Saturday, July 19 FINALE CONCERT III benefactors Robert and Lillian Turchin, fulfills Appalachian 10 am All Things Jazz State University's long-held mission of providing a home for 12 pm FINALE CONCERT IV world-class visual arts programming. The largest facility of its Symphonic Band kind in the region, the center presents exhibition, education and collection programs that support the university’s role as 1 pm FINALE CONCERT V a key educational, cultural and service resource. The center Symphony Orchestra presents multi-dimensional exhibits and programs and is a Cannon Music Camp at the Hayes School of Music dynamic, living, breathing presence in the community, 813 Rivers Street, Rosen Concert Hall creating opportunities for people of all ages and backgrounds Appalachian State University, Boone, NC to experience the power and excitement of the visual arts. Concerts are free and open to the public. Find your art at the Turchin Center! Concerts are subject to change: Please check our website Upcoming Exhibitions opening August 22, 2014 www.cannon.appstate.edu for updates or call 828-262-4091. Althea Murphy Price–Printmaking and Sculpture Concerts will be streamed live on our website. Lori Esposito–Gesture Drawing: Motion Mapping (excluding 7/3) Travis Graves: Site-Specific Installation tcva.org • 828.262.3017 Playbill '14_Playbill 6/10/14 5:28 PM Page 27

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Enjoy the show.

896 Blowing Rock Road • Boone

McDonald’s is proud to serve as a sponsor for An Appalachian Summer Festival Playbill '14_Playbill 6/10/14 5:28 PM Page 28

28 ON AND AROUND THE CAMPUS OF APPALACHIAN STATE UNIVERSITY, BOONE, NC

Acclaimed for his artistry and technical brilliance, violinist Gil Morgenstern has performed in many BROYHILL CHAMBER of the world’s great concert halls. The New York Times has hailed his ENSEMBLE playing as “a perfect demonstration of THE BUDD AND THE MAGIC OF NANETTE MAYER CHAIR supreme ability.” His career has taken him to MENDELSSOHN international venues including those in London, Hong Kong, Rome, Florence and Australia. He has also toured the U.S. SUNDAY, JUNE 29 extensively, performing in recitals and as 8 PM, ROSEN CONCERT HALL guest soloist with many leading orchestras. Morgenstern has shared the stage with such eminent musicians as Philippe Entremont, Lynn Harrell, André-Michel Schub, just to Sponsored by McDonald’s of Boone name a few, and has collaborated with U.S. Poet Laureate Robert Pinsky, Pulitzer Prize- Gil Morgenstern, violin; Ole Akahoshi, cello; Rieko Aizawa, piano winning poet Yusef Komunyakaa and performance artist Laurie Anderson. Morgenstern’s discography includes an 1. Piano Trio No. 1 in d minor, Op. 63 Robert Schumann extensive library of works. His latest Mit Energie und Leidenschaft recording, 20th Century Duos for Violin and Cello, was the No. 1 classical CD for over a 2. Song Without Words month on eMusic, and was one of the top ten best-selling classical music albums on Op. 8, No. 3 Fanny Mendelssohn Hensel Amazon.com. Of the CD, The New York D Major, Op. 109 Felix Mendelssohn Times raved, “the music is terrific and B-flat Major, Op. 62, No. 1 Felix Mendelssohn the performances compelling on this (arr. Fritz Kreisler) surprisingly exciting and excellently engineered recording.” He can regularly 3. Piano Trio No. 1 in B Major, Op.8 Johannes Brahms be heard on National Public Radio and Scherzo: Allegro classical music radio stations across the country. 4. Die Sterne, Op. 96, No. 1 Franz Schubert In addition to performing, Morgenstern is the artistic director of the Reflections Series 5. Piano Trio No. 1 in d minor, Op. 49 Felix Mendelssohn International, which presents performances in New York, Florida, North Carolina, Molto Allegro agitato Pennsylvania and Florence and Capri, Italy. Andante con molto tranquillo Morgenstern is also the co-founder and Scherzo co-artistic director of Nine Circles Chamber Finale: Allegro assai appasionato Theatre and the Broyhill Chamber Ensemble. Highlights of his recent seasons include The Broyhill Chamber Ensemble Concert Series is generously supported performances with the Julliard Dance by the Broyhill Family Foundation (in memory of Faye Broyhill), Company at Lincoln Center, NCNY Dance and by Ralph and Venda Lerch/McDonald’s of Boone. Company at An Appalachian Summer Festival and with the Brooklyn Ballet. Additional performance underwriting has been provided by Morgenstern’s performance in the Nine Budd and Nanette Mayer, Neil and Nancy Schaffel, Circles Chamber Theatre production of the R.Y. and Eileen L. Sharpe Foundation, When Samson Met Delilah toured Holland to and the Muriel and Arnold Rosen Endowment for the Arts. rave reviews and his recent appearance in Toronto was broadcast throughout Canada on CBC. In addition, his Falling Bodies, an Biographical information for this evening's performers begin on page 60. original Nine Circles Chamber Theatre work of music and words based on the lives of the scientist-poet Galileo Galilei and poet-scientist Primo Levi, sold out performances in New York and is now touring internationally. Playbill '14_Playbill 6/10/14 5:28 PM Page 29

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PROGRAM NOTES: trios and the one historians and to be feminine as well as effective for commentators have agreed is the house concerts. An early critic noted in Robert Schumann strongest of the three. the Allgemeine musikalische Zeitung that in Piano Trio No. 1 in d minor, Op. 63; Mit comparison to works of her brother in the Energie und Leidenschaft The first movement, Mit Energie und same genre, Fanny’s “fantasy is permitted (Born June 8, 1810 in Zwickau, died July Leidenschaft, (“With energy and passion”) a freer reign, and form is applied with 29,1856 in Endenich) is thoroughly expansive and passionate. Written in contrapuntal sonata form in broader brush strokes.” Robert Schumann’s father was a the minor tonality, it begins with a fervent As she did not compose for the public small-town bookseller who encouraged violin theme. As Arthur Cohn comments, sphere, she allowed her works to juxtapose his son’s inclination toward the arts. At “Schumann, a fully developed romanticist unrelated harmonies and unusual the age of six, the boy began to play the at the age of 37, would not have much, if chromatic progressions. Many were piano and to compose. By the time he any, proportions to his themes; they were simple and songlike, with a clear was 14, he had become a published poet. now the almost non-adhering, tonally homophonic texture, but some were too At 18, he entered Leipzig University as a swerving type.” Cohn also notes that technically challenging to have met the law student, but the call of music was too Schumann made this movement quite needs of the market; her more difficult strong for him to resist; when he was in chromatic in a Romantic style. The pianist works charmed the salons at which she his third year, he left the university, plays rapid arpeggios throughout the first played because of her virtuosic piano determined to become a great pianist. It is section to emphasize the harmony. The technique. Her usually moderate tempi unknown whether it was accident or illness cello echoes fragments of the main theme, allow her lyrical expressiveness to be that caused an injury to Schumann’s hand, in free imitation. highlighted. but regardless, as a result of this injury, he suddenly gave up hope of a career as a Since Schumann clearly wished to attain Fanny used rather conservative, performer, turned to composition and rhythmic variety, he immediately presented uncomplicated formal structures in order to focus on restrained and simple wrote the several brilliant collections of the principal theme in three slightly melodies: typically her lied follow ABA short, descriptive and atmospheric piano different versions. The opening theme is form and feature lyrical upper lines, pieces that established his position as an example of his new style of composing. written within the range of the human Germany’s leading composer. In the contrasting second theme, the pianist plays the melody together with the voice (compared to her vocal songs these In 1838, Schumann wrote to Clara strings, and when the second theme cover a wider range of pitches and include Wieck, who was later to be his wife, repeats, the violin and cello play in canon more leaps of large intervals) with “The piano has become too limited for two octaves apart, following each a half frequently two layers of accompaniment, me.” He confided that he had begun measure apart. Near the exposition’s end, with chords in the middle. The three working on ideas for string quartets. In the main theme reappears combined with sections are more or less equal in length, 1840, the year of his marriage, he wrote fragments of the second. During the and usually the A section serves an almost nothing but songs, more than 130 development, Schumann introduces a expository function. Often the A and B of them, in a great outpouring of love. His new theme that has a distinctive melodic sections are connected by a transition attention was diverted to the orchestra in character and unusual scoring. This that includes innovative modulation; the 1841, when he wrote four symphonic theme appears softly in the piano’s high transition leads to a contrasting B section. compositions and the first movement of range, and Schumann directs the Brilliant unexpected modulations lend his Piano Concerto. accompanying strings to play “am Steg” drama to the music but still preserve its In 1842, he finally put other work aside which means bowing the string as close elegance and sensitivity. Fanny typically to concentrate on chamber music. That as possible to the bridge. After repeating separates the A and B sections by changes April, he ordered scores of all the Mozart the new theme a few times, Schumann of key signature and/or texture. She also and Beethoven quartets available and then reverts back to the two themes from the often uses arpeggios in her accompani- studied them. In a furious burst of creative exposition. In the recapitulation, the ments. Her use of chromaticism is the energy between June and October, he passionate energy returns, and the theme most notable feature of her piano works. composed three string quartets, a piano from the development makes its hushed Chromatic harmonic movement helped quartet and a piano quintet. It was not appearance, too. her to focus on the linear melodic lines until 1847 that he wrote this, the first of and to produce a variety of harmonic his three trios for piano, violin and cello. Fanny Mendelssohn Hensel colors. One can imagine that she set (He also wrote Op. 80 in F Major in 1847 Song Without Words: Op. 8, No. 3 some of her lieder to poetic texts. and he completed Op. 11, in g minor, Larghetto from Vier Lieder für das Her elegant work has not only delicacy, four years later in 1851.) Since piano was Pianoforte but also emotion and compassion. It is Schumann’s instrument of choice, he (Born November 14, 1805 in Hamburg, not known who compiled Op. 8 No.3, included the piano as part of his trio’s Germany; died May 14, 1847 in Berlin) which has been perceived to have the instrumentation. The work puts heavy Fanny Mendelssohn Hensel, qualities of an art song as well as those of emphasis on the piano with the stringed Mendelssohn’s talented sister, dedicated a piano miniature. Her inclusion of the instruments acting together opposing the much effort to this unique genre, name of the poet Nikolaus Lenau keyboard or even sometimes subsidiary to composing short song-like piano pieces (1802-1850) in the title raises questions: the piano as an element in what is a throughout her life. At the time, the lied did Fanny use a specific poem of his that piano dominated texture. Piano Trio No. 1 for piano was deemed an appropriate she set without words, or was she just is the most often performed of the three genre for her: short works were thought generally inspired by his work? Playbill '14_Playbill 6/10/14 5:28 PM Page 30

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Felix Mendelssohn the European public, and Mendelssohn’s Erard in 1821. In fact, one of the reasons Song without Words in D Major Op. 109 reputation as a composer for the keyboard the series is justly renowned is its pianistic (Born February 3, 1809, in Hamburg; was actually built, in part, upon these importance historically. The themes of died November 4, 1847, in Leipzig) miniatures. The rise of the piano as the most of the songs are naturally long song- In addition to his collection of Songs predominant instrument for home music- like themes, woven into a tripartite ABA without Words for piano published in eight making in Mendelssohn’s time is a structure. Most of the compositions retain books, Mendelssohn also composed a phenomenon that is related to the a unified mood throughout and also short piece for cello and piano in 1843 plethora of song-writing, with and typically conclude with a codetta, published posthumously as Op. 109, without words. Karl Schumann, a famous although some of the best-loved pieces which he gave the identical title. Only German musicologist and Lieder scholar, deviate from the form most usually used. on this one occasion did Mendelssohn characterized Mendelssohn’s Lieder ohne Worte as not simply “pillars of the piano compose a lyrical work in this genre for Johannes Brahms repertoire,” but also as “a household cello and piano: he dedicated it to Lisa Piano Trio in B Major, Op. 8, No. 1: possession, as widespread in Germany as Cristiani, one of the few women cellists Scherzo: Allegro the Grimm brothers’ fairy tales... and no of the time. (Born May 7, 1833, in Hamburg; less beloved in Victorian England.” The use of the title Song without Words died April 3, 1897, in Vienna) The existence of the Songs without Words was of apparently Mendelssohn’s own At about the time Brahms turned 20 years is first documented in 1828, when the 19 invention, which he also used to describe old, he went on a tour as a pianist with year-old composer gave one of them to his lyrical and melody-driven short the Hungarian violinist, Eduard Reményi. Fanny, his sister, for her birthday. He had compositions for piano. It is also Reményi introduced Brahms to the already written several by then, and in appropriate for this particular poetic Hungarian “alla zingarese” (gypsy) style 1832, the first collection of eight was piece, which is entirely dominated by and the dance, csárdás, two elements of published in London. Mendelssohn its melodious cello line. Hungarian folk music that would composed these pieces initially for family After a one bar introduction in which influence Brahms in his use of triplet and friends but then decided to revise the pattern of the tranquil piano figures and irregular rhythms in his and publish them. He continued adding accompaniment becomes established, the compositions. In the course of that tour, to the series until the end of his life; the cello plays a glowing melody with a gentle Brahms met the violinist, Joseph Joachim, last two collections of them, Op. 85 and ebb and flow. It follows the outlines of a who was only two years his senior, but Op. 102, were published posthumously descending tonic triad and has two parts, who had been a prominent figure since he including some additional miniatures that each repeated. The middle section gave the first performance in England of he had rejected from earlier sets. These modulates to the tonic minor and the Beethoven Violin Concerto in 1844 cycles are partly lyrical, partly virtuoso introduces a new more agitated melody, with Felix Mendelssohn conducting. pieces, which explore the artistic and it also outlines the notes of a triad, Joachim was immediately impressed with capabilities of the piano in free form. but here, an ascending one. This central Brahms and arranged for him to meet section passes through multiple keys, Many of these pieces are now known by both Liszt and Schumann. Brahms did increasing the tension of the music. fanciful titles that were almost all added not see eye to eye with Liszt’s musical Finally the cello stops, resting on a high later by other people. Mendelssohn objectives, but when he met the note while the piano journeys to the himself, when asked to explain the Schumanns, he felt an immediate Major tonality. In the final part of this content of the piano songs and their closeness both musically and personally ternary form piece, a condensed reprise, relationship to vocal songs, pointed out with both Robert and Clara. Schumann somewhat altered, completes the work. A that his are purely musical, non-literary provided Brahms with encouragement coda first brings back an awareness of the expressions. He said, “Even if I had and public support, writing about him in unsettled nature of the middle section, specific words in mind, I would not tell, his influential journal the Neue Zeitschrift then later displays its melody in the tonic for the same words mean different things für Musik, and he even arranged for Major key in a quiet and serene ending. to different people, but the song [that is, publication of some of Brahms’ early the music itself] arouses the same feeling compositions. Many of the works that in everyone–a feeling that cannot be Schumann praised, however, never met Felix Mendelssohn expressed in words.” with Brahms’ relentless standards for Song without Words: Op. 62, No. 1 in The genuineness and simplicity of the himself, and although he wrote many B-flat Major ‘songs’ spoke to several qualities that were chamber works early in his life, he was The art of songwriting was carried to great much in favor at that time: the form of dissatisfied with most of them and new heights in the early decades of the the small piece, a certain amount of burned them. 19th century, and soon composers began sentimentality, the expression of folk Brahms began this Trio in 1853, and to write similarly lyrical pieces for song characteristics, the use of polyphonic was at work on it in Hamburg when he instruments alone. The idea of a song texture, and the new possibilities of piano received the news of Schumann’s without words may have originated with sound. The latter were made available apparent suicide attempt and subsequent Mendelssohn and his greatly talented through the “English” Broadwood action institutionalization in a mental hospital. sister, Fanny, when they were still children. and the double escapement mechanism Brahms returned to be with his mentor’s Such pieces became very popular among first introduced in piano building by wife, and in the following two years, Playbill '14_Playbill 6/10/14 5:28 PM Page 31

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before Schumann’s death, Brahms and of the original themes, writing a new Felix Mendelssohn Clara, 14 years his senior, developed an contrasting theme for the slow movement Piano Trio No. 1, in d minor, Op. 49 intense affection for one another. and a new second theme for the finalé. The richness and the elegance of Although Clara retained her loyalty to her He also changed connecting passages and Mendelssohn’s melodic invention, the husband, Brahms wrote in a letter to her, wrote entirely new development sections beautifully proportioned extension and “Would to God that I were allowed this and altered some of the original tempi, development of musical ideas, the day... to repeat to you with my own lips leaving only the Scherzo substantially rhythmic vigor and the brilliance of his that I am dying for love of you.” It was unaltered. The later work reflects his writing for the combination of strings and under those conditions that he completed technical confidence and the musical piano make this one of the composer’s the Trio. Schumann had introduced judgment he had perfected during his most enthusiastically received chamber Brahms to his publishers at Breitkopf & life. He changed very little, although he works. Mendelssohn composed the work Härtel, and in 1854, the Trio in B Major, shortened it considerably, and thus its when he was at the height of his career as Op. 8 was the first of Brahms’ chamber musical essence remains intact. When conductor of the orchestra of Leipzig’s works to be published. This work was he had finished, Brahms had a trio Gewandhaus, or “Draper’s Hall” in 1839. also his first music performed in the two-thirds the length of the original that Robert Schumann praised it most highly United States; it was given its premiére in more closely matched his later chamber saying that the happiest of all music New York, on November 17, 1855. works. The revised work premiered in lovers were those who heard its Brahms, then only 22, was not present. Budapest on January 10, 1890. “enchanting freshness” when it was According to Brahms scholar, Walter The Trio, the longest of Brahms’ chamber performed with the composer at the Frisch, the Trio contains many references compositions, brings together Classical keyboard. “It is the masterpiece of our to Brahms’s feelings towards the and Romantic styles. The work is in four time, as the trios of Beethoven and Schumanns: “The second theme of the movements, adding a second movement Schubert were in their day. Mendelssohn finalé seems based on the last song of scherzo to the traditional three movements is the Mozart of the 19th century.” Beethoven’s cycle An die ferne Geliebte, of the usual Classical trio structure. Most of the writing of this work took a work which also had particular This Scherzo, Allegro molto, is a soft, place during the summer of 1839 when significance for Schumann. Brahms’s slow skipping minor dance reminiscent of Mendelssohn spent time in Frankfurt with movement contains an apparent reference Mendelssohn. The movement as a whole his wife’s family. It was a relaxed period to the song Am Meer (from Schubert’s has a lightness, with staccato rhythms for him that he described in a letter to a cycle Schwanengesang), whose text by and a charming, bucolic theme in the friend as refreshing. “In the mornings Heine about frustrated love may have had contrasting central section. The lyrical and I work, then swim or sketch; in the special resonance for Brahms at the time.” somewhat slower trio seems indebted to afternoons I play the organ or piano, and Around 1889, over 30 years later, the folk music. Brahms changed almost afterwards walk in the woods, and then publisher, Simrock, wanted to issue a new nothing in this movement when he go visiting– or home, where I always find printing and asked Brahms if he wanted made his revisions, except for giving it the most charming company.” He to make any corrections. Although a new coda. completed the score on September 23, in Brahms initially intended to make only Leipzig, and on February 1, 1840, he and minor revisions, he actually made two of his colleagues from his orchestra, Franz Schubert significant changes, revising the Trio Ferdinand David (for whom he later wrote Die Sterne Op. 96, No. 1 extensively. He began, he said, planning his Violin Concerto) and Karl Wittmann (Born January 31, 1797 in Vienna; only to “do its hair,” but ended by giving gave the first performance. died November 19, 1828, in Vienna) it a “new wig.” One of his colleagues The first movement, Molto allegro ed Schubert, most critics agree, created the described the new version as an amalgam agitato, is based on two clearly defined, German lied, or song. His output was of a composition by two masters, one broad themes, which the cello introduces, vast– he wrote about 600 songs young and one old. In a letter to Clara, that seem, ironically, to be both similar expressing every type of emotion. Brahms worried, “It will be less dreary and contrasting. Next a rapturously lovely than before, but will it be better?” The Die Sterne, one of Schubert’s most well- movement in three-part form, Andante con answer is that the revised Trio, not the known songs, sets a rather conventional moto tranquillo, in the style of original one, is the version almost always Leitner poem, a eulogy of the stars. Mendelssohn’s Songs without Words, performed now, yet uncharacteristically, Schubert gives it strophic form using a follows. The third movement is a Scherzo, Brahms did allow both versions of the predominant dactyl rhythm in every Leggiero e vivace, in which a single theme work to stand and even suggested to measure except the final one, with other is developed into a fanciful, elfin dance. Simrock that both versions be promoted rhythms running against the dactyl In the Finale, Allegro assai appassionato, together. simultaneously. Brian Newbound suggests the main theme is a gypsy dance that The first version was youthful and fresh, the music may symbolize the “constant recurs as in a classic rondo. but looser and too protracted. The more flickering to which the heaven-turned eye Program Notes: Susan Halpern, copyright, mature Brahms simplified the early must accustom itself, or the immeasurable 2014 sprawling work, making it more coherent, repetition between galaxies.” ridding it of anything that did not further its momentum, and even replacing some Playbill '14_Playbill 6/10/14 5:28 PM Page 32

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PROGRAM NOTES: Ludwig van Beethoven Piano Trio No. 4, in E-Flat, Op. 70, No. 1, BROYHILL CHAMBER Geistertrio (“Ghost Trio”) (Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna) ENSEMBLE In Beethoven’s time, the trio for piano, violin and cello was a very popular medium, and it occupied an important TUESDAY, JULY 1 place in Beethoven’s work. His Op. 1 was 8 PM, ROSEN CONCERT HALL made up of three trios that he played in 1793 for Joseph Haydn, who thought the third of them so advanced that he Sponsored by McDonald’s of Boone suggested that it be withheld from publication at the time. That one was Beethoven’s favorite, and he finally returned Gil Morgenstern, violin; Harumi Rhodes, violin to it again only 24 years after first Ole Akahoshi, cello; Rieko Aizawa, piano completing it when he arranged it as a string quintet that was published as his Op. 104. Piano Trio No. 1 in D Major, Op. 70 Ludwig van Beethoven In his middle years, when he brought the (“The Ghost”) forms he had inherited from Mozart and Allegro vivace e con brio Haydn to their greatest fulfillment, Largo assai ed espressivo Beethoven wrote three more trios, the two Presto of Op. 70 and Op. 97. He completed Op. 70 in 1808, at the time he was composing the Songs Without Words: Symphonies Nos. 5 and 6; during this same Hebrew Melody, Op. 33 Joseph Achron period, he worked on the music for Goethe’s Egmont, as well as learning to Nigun Ernest Bloch accommodate the stresses of his increasing Duo for violin and cello (unfinished, 1941) Gideon Klein deafness. Allegro con fuoco When he offered these works to the Lento publisher Breitkopf and Härtel, he wrote that he had decided to write two piano INTERMISSION trios “since such trios are rather scarce.” He dedicated both to the Countess Anna Maria Piano Trio No. 1 in B Major, Op. 8 Johannes Brahms Erdödy, in whose house he occupied an Allegro con brio apartment at the time. Erdödy, a frail Scherzo woman, related by marriage to Haydn’s Adagio non troppo patrons, the Esterházys, was a student of Allegro molto agitato Beethoven’s, and she performed his music well. Beethoven originally had planned that Op. 70 was to be dedicated to the Emperor’s son, Archduke Rudolph, his The Broyhill Chamber Ensemble Concert Series is generously supported by most generous, most faithful and most the Broyhill Family Foundation (in memory of Faye Broyhill), and by Ralph and elevated student. However, he made a Venda Lerch/McDonald’s of Boone. Additional performance underwriting has been sudden switch, and Rudolph received the dedication of Op. 97, now always called the provided by Budd and Nanette Mayer, Neil and Nancy Schaffel, the R.Y. and Eileen Archduke Trio. L. Sharpe Foundation, and the Muriel and Arnold Rosen Endowment for the Arts. At that time, trios were more frequently This evening’s Broyhill Chamber Ensemble concert series is dedicated to the played as hausmusik (concerts in homes) memory of Martin Rosen, a member of the festival’s Founders Society. Martin and than in concert halls. The composer Louis his wife Doris have provided long-standing support for the festival and for classical Spohr, a contemporary of Beethoven’s, music programming, as well as leadership and vision that established the Rosen mentioned hearing the composer playing Outdoor Sculpture Competition and Exhibition. We fondly remember Martin, the trios of Op. 70 and wrote in his and are deeply grateful for his friendship and support over the years. Autobiography, “As at the time I made Biographical information for this evening’s performers begin on page 60. Beethoven’s acquaintance, he had already Mr. Morgenstern’s biographical information is on page 28. discontinued playing both in public and at private parties; I had therefore but one opportunity to hear him, when I casually came to the rehearsal of a new Trio at Playbill '14_Playbill 6/10/14 5:28 PM Page 33

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Beethoven’s house. It was by no means an now in his middle period, was reaching ball-concert given by the Czar’s adjutant enjoyment; for in the first place the toward Romanticism. This tension filled, for an aristocratic audience. It was pianoforte was woefully out of tune, suspenseful slow movement includes presumably written in a half-hour of which, however, little troubled Beethoven, serious, dark, mysterious rumblings and intense inspiration after Achron met with since he could hear nothing of it, and other dramatic and eerie effects, and like composer Salomon Rosowsky, a student secondly, of the former so admired the first movement, this powerful of Rimsky-Korsakov, and president of the excellence of the virtuoso, scarcely any movement grows out of a motif that newly-formed Society for Jewish Folk thing was left, in consequence of his total Beethoven states at the very beginning. Music. Some of the melody was derived deafness... I felt moved with the deepest The exciting finale, Presto, has a from music of the Hasidic tradition. The sorrow at so hard a destiny. It is a sad completely cheerful, bright aspect and piece was described as “giving vent to the misfortune for anyone to be deaf; how was composed in clearly-defined sonata outburst of suppressed pain and emotion, then should a musician endure it without form with several contrasting themes. and then, towards the end, falling back despair? Beethoven’s almost continual Basil Smallman describes this movement exhausted.” When Achron ended his melancholy was no longer a riddle to as “an admirable compound of high performance, there was tumultuous me.” Nevertheless, during this middle spirits, wit and occasional rustic good applause and the composer was asked period, Beethoven composed fast and humor.” to repeat the piece. After this piece’s furiously. success, Achron composed more music The Trio, Op. 70, No. 1 is very dramatic. Joseph Achron in the same vein that year, including two Throughout, the music moves quickly Songs without Words: Hebrew Melody, pieces based on Jewish folk songs, the from loud and violent to soft and lyrical Op. 33 Hebrew Dance and the Hebrew Lullaby, Op. and uses deceptively simple materials, (Born 1886 in Lodzey, Russia (now 35. In them, he synchronizes traditional and the work creates masterful effects. Its Lithuania); died in April 29, 1943 in Jewish melody with the contemporary first movement, Allegro vivace con brio, Hollywood) harmonic and thematic practices. begins with all three instruments playing Achron was a child prodigy, who made Achron moved to the United States in a unison rhythmic motif, violent and fiery, his concert debut at the age of seven. He 1925. In Hollywood, he composed film which blends into a more melodic motif is little known for his composition, but he scores and taught music. One of his most that the cello first introduces. These two began to compose in early adulthood; the famous students is Andre Previn. Achron’s motifs, displaying Beethoven’s fondness composer Arnold Schoenberg commented work, including many chamber works for working with small motifs rather than that Achron was “one of the most collected after his death, has been held at with expansive themes, dominate the underrated modern composers.” the National Library of Israel. With the movement. The movement ends Born in a shtetl, a small insular Jewish National Library’s help and the assistance suddenly, with a final repeat of the community formerly found in Eastern of the Hebrew University Jewish Music original motif. Europe, the son of a ba’al tefillah or prayer Research Center, Achron’s forgotten The extraordinarily slow second leader, Achron studied with two compositions have been recovered and movement, Largo assai ed espressivo, has renowned violin teachers, Leopold Auer are now being performed. the programmatic quality that gives this of the St. Petersburg Conservatory and Ernest Bloch work its name. In Beethoven’s the famed virtuoso, Joseph Joachim in Nigun sketchbook, music for this movement Berlin. At the turn of the 20th century, a (Born July 24, 1880, in Geneva, appeared in the same location as an idea number of Jewish musicians who were Switzerland; died July 15, 1959, in for the opera Macbeth, which he never stimulated by their love of Judaism and Portland, Oregon) completed. Some commentators indicate their longing for the re-establishment of a that the name “Ghost” may have been Jewish homeland, created their own style Before 1916, Ernest Bloch, Swiss by birth, derived from these entries in the of musical expression and elicited a had a symphony performed in Munich sketchbook, making the name “Ghost” response from Jewish musicians who and an opera performed in Paris, but after reflect some connection in Beethoven’s might otherwise have been assimilated in 1916, he found it increasingly difficult to mind between the spectral music he the national traditions. The members of succeed as a composer and conductor in writes in its slow movement and the the group founded the Society for Jewish Europe. He emigrated to America where ghostliness of the witches’ scene in Folk Music in St. Petersburg in 1908. he spent the rest of his life. Bloch was an important figure in the musical Shakespeare’s Macbeth. On the other Inspired by the contemporary national community of the United States. He hand, other commentators indicate movement among fellow Russian Jewish became a widely performed composer, a Beethoven had just completed reading composers to create Jewish classical music educator and an influential teacher Hamlet and may have been recalling the music, Achron, who said he had not of younger composers. During his last terror of the ghosts that tormented the thought of Jewish music before the years in Europe, he had written a cycle of protagonist. Lewis Lockwood in his book, Society was formed, composed one of his large works that were inspired by Jewish Beethoven: The Music and the Life notes that earliest works, Hebrew Melody in 1911. It, history and tradition. The most striking Czerny wrote in 1842 that the second based on a theme he had heard as a boy of these works is Schelomo, a Hebrew movement “reminded him of the first in a Warsaw synagogue, became his most Rhapsody for Cello and Orchestra. In his appearance of the Ghost in Hamlet, thus renowned piece, recorded many times by later years he wrote several more works of coining the colloquial title ‘Ghost’ for the violinists beginning with Jascha Heifetz. It this kind, including the colorful Hebraic whole work.” Regardless of how the trio was first performed as an encore after a Suite. Nigun is a part of Bloch’s Baal became associated with ghostliness, the classical music concerto of Achron’s other Shem, Three Pictures from Hassidic Life, music throughout shows that Beethoven, music in 1912 in St. Petersburg at a which he composed in 1923, the year in Playbill '14_Playbill 6/10/14 5:28 PM Page 34

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which he became an American citizen. attended the Prague Conservatory, he and often starkly dissonant duo in 1941, Although less known than his Schelomo, it studied composition with Alois Hába. He but left it unfinished when he was is one of the most expressive of Bloch’s also studied musicology at Charles deported to Theresienstadt. His sister works. University in Prague, but was forced to discovered the remaining manuscript in In the triptych Baal Shem, Bloch’s discontinue his studies in 1940 because 1990. The first movement, Allegro con personal voice is powerfully established as of the Nuremberg Laws. The National fuoco, is nervous, opening with the two being distinctively Jewish in utterance. Socialist Protectorate barred him from instruments clashing strongly against each The critic Erik Levi suggests that Bloch’s accepting a place at the Royal Academy other harmonically. A swinging dance Jewishness grew from an “inner impulse, of Music in London. The strongest rhythm attempts to make an appearance, not through a conscious absorption of influences on his music are those of but cannot establish itself in this Hebraic folk elements.” The way Bloch Janácek, Schoenberg and Berg. Since movement of many changes. The writing himself has explained it, it is clear that his compositions and performances by Jewish is powerful and effective: Klein frequently music has no superimposed layer of musicians were banned, his own earliest uses double stops, pizzicato and bowed ethnicity to it: “It is neither my purpose works could not be played in public, but tremolos, the latter in the cello. nor desire to attempt a reconstruction of he continued in his career as concert The second movement, Lento, begins Jewish music, nor to base my work on pianist by assuming several pseudonyms. intensely with each instrument more or less authentic melodies... I am Klein was sent to Theresienstadt (Terezín) independent but lyrical. It starts out with not an archaeologist; for me the most a month after it opened in 1941. At that the violin playing a bowed line over important thing is to write good and time, musical instruments were smuggled strummed chords in the cello; it ends sincere music.” Writing specifically about into the camp, and performances were without completion. Baal Shem, Bloch addresses this issue given in secret. This site, not far from again: “What interests me, is the Jewish Prague, became a way station for Johannes Brahms soul, the enigmatic, ardent, turbulent soul thousands of Jews who were eventually Piano Trio No. 1, in B Major, Op. 8 that I feel vibrating throughout the Bible... deported to extermination camps, mostly (Born May 7, 1833, in Hamburg; died it is all this that I endeavour to hear in to Auschwitz. In Theresienstadt a creative, April 3, 1897, in Vienna) myself and to transcribe into my music; cultural, and intellectual life actually Brahms was a perfectionist and routinely the venerable emotion of the race that flourished with artists, academics, destroyed works that did not please him, slumbers way down in our souls.” professionals and intellectuals who, in and thus much of his early chamber Nigun (“Improvisation”), Adagio non troppo, contrast with those interned in other music was never released. It is estimated is the central movement of the three- camps, were given a modicum of freedom he presumably destroyed around 20 movement Baal Shem. The other in their daily lives. The Nazis recognized quartets before the first one was movements are: I. Vidui (“Contrition”) and the beneficial propaganda potential in published. When he composed this III. Simchas Torah (“Rejoicing.”) Levi writes their ability to showcase those work, he was visiting his friend, the that Nigun is the most extroverted incarcerated going about a wide range of violinist Joseph Joachim, who had been composition. “Here, Bloch attempts to “normal” activities. In 1944, the Nazis instrumental in introducing him to the recreate the feeling of ecstatic religious documented life at Theresienstadt in their successful composer Robert Schumann. chanting through a highly charged and propaganda films and showed delegates Schumann subsequently became Brahms’ ornate melodic line that rises to a fever from the International Red Cross this artistic hero. Schumann introduced the pitch of spiritual intensity before dying camp with the assumption that the young composer to his publisher, who away to a gentle close. Before this comes outside world would believe that all the issued this trip in 1854. Vidui in which the fervour of a sinner concentration camps were running on Brahms finished writing the Piano Trio returning to God is evoked by cantilena this model. No. 1 early in 1854 when he was only 21 writing of considerable nobility. The final Until 1944, Klein formed chamber and just beginning to enter the musical section of Baal Shem, Simchas Torah, ensembles, organized solo concerts and world. Surprisingly, even though Clara inspired by the moment when Moses performed the works of Bach, Mozart, Schumann, the wife of Robert and also handed down the torch to the children Brahms and his countryman, Janácek, as Brahms’ trusted friend, gave the work of Israel, is a lively, optimistic and well as his own compositions and those some severe criticism, he allowed it to be exhilarating piece.” Bloch originally wrote of other composers living in the camp. performed. The first public concert the work for violin and piano; however, Klein principally composed vocal and performance of this trio, its official he also composed an orchestral chamber works both before and during premiére, was in New York on November accompaniment in 1939. Now, cellists, his years in Theresienstadt (Terezín.) 27, 1855, at Dodsworth Hall. too, occasionally perform Baal Shem. Some were experimental, exploring Around 1889, over 30 years later, the Schoenberg’s 12-tone techniques or publisher, Simrock, wanted to issue a new Gideon Klein micro-tonal procedures. The pieces he printing and asked Brahms if he wanted Duo for Violin and cello, unfinished composed while in the concentration to make any corrections. Although (Born in Prerov, Moravia, now the Czech camp were intended for specific Brahms initially intended to make only Republic on December 6, 1919; died in performances. Life in the camp minor revisions, he actually made Fürstengrube, near Katowice, Poland in understandably discouraged composers significant changes, revising the trio January 1945) from writing orchestral works, which had extensively. He began, he said, planning Gideon Klein was a Moravian Jew, a only a remote chance of getting only to “do its hair,” but ended by giving composer and a pianist. From the age of performed. it a “new wig.” One of his colleagues 11, he studied music in Prague. When he Klein began this intensely expressionistic described the new version as an amalgam Playbill '14_Playbill 6/10/14 5:28 PM Page 35

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of a composition by two masters, one scherzo to the traditional three move- Lied Am Meer. Quiet piano chords young and one old. In a letter to ments of the usual Classical trio structure. accompanying a lyric violin section lead to Schumann’s widow, Clara, Brahms worried, The first movement, Allegro con brio, is an extended and warm cello solo in its “It will be less dreary than before, but will extensive, reflecting the heroic length of middle section. The feel of the movement it be better?” The answer is that the its main themes. A cello solo follows the is dark-hued yet calm, with a rich texture. revised trio, not the original one, is the pensive piano introduction, which recurs The movement ends with the same piano version almost always performed now, yet in the whole ensemble. The second chords with which it began. uncharacteristically, Brahms did allow theme, introduced by the piano in The finale is an expansive Rondo, Allegro, both versions of the work to stand and octaves, is curving and introspective. This whose main theme in b minor has a even suggested to Simrock that both long movement has fully five themes, and feeling of restlessness and instability that versions be promoted together. at the end, the music tapers into a dissipates when the music shifts to the The first version was youthful and fresh, peaceful sounding mellow coda, yet one major key in which the first movement but looser and too protracted. The more not without drama. This first movement is began and with which this movement mature Brahms simplified the early the one Brahms revised most radically in ends. Here, the piano’s power gives the sprawling work, making it more coherent, his second version of the work. work almost a symphonic feel. In his ridding it of anything that did not further Next comes a Scherzo, Allegro molto, a rewriting, Brahms changed this lyrical, its momentum, and even replacing some soft, skipping minor dance reminiscent of passionate movement the most of the original themes, writing a new Mendelssohn. The movement as a whole dramatically, even though Clara contrasting theme for the slow movement has lightness, with staccato rhythms, and Schumann disagreed violently with his and a new second theme for the finalé. a charming, bucolic theme in the alterations and hated the new theme with He also changed connecting passages and contrasting central section. The lyrical and its bold triadic outline. Theorists debate wrote entirely new development sections somewhat slower trio seems indebted to the source of the second theme of this and altered some of the original tempi. folk music. Brahms changed almost movement. It may be based on the last When he had finished, Brahms had a trio nothing in this movement when he made song of Beethoven’s song cycle An die two-thirds the length of the original that his revisions, except for giving it a new ferne Geliebte, a work that also had more closely matched his later chamber coda. The serene slow movement, Adagio, particular significance for Schumann, or it works. The revised work premiered in is a solemn, hymn-like meditation that may be a quote from Schumann’s C Major Budapest on January 10, 1890. begins with a chorale-like theme. This Fantasy which, in turn, Schumann quoted The trio, the longest of Brahms’ chamber movement was shortened considerably in from Beethoven’s An die Musik. compositions, brings together Classical the revisions of 1889, when Brahms removed an allegro section. In its first Program Notes: Susan Halpern, copyright, and Romantic styles. The work has four 2014 movements, adding a second movement interlude, Brahms quotes from Schubert’s Playbill '14_Playbill 6/10/14 5:28 PM Page 36

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Internationally recognized for his AN APPALACHIAN SUMMER FESTIVAL PRESENTS moving performances, innovative programming and extensive catalog of EASTERN FESTIVAL recordings, American conductor Gerard ORCHESTRA Schwarz serves as Music Director of the All Star Orchestra Sir James Galway, flute & guest conductor and the Eastern Music Festival in Shane Rathburn, alto saxophone addition to Conductor Laureate of the Seattle Symphony. Mr. Schwarz’s latest project, The All-Star Orchestra, features a SUNDAY, JULY 6 handpicked ensemble of star players 8 PM, SCHAEFER CENTER FOR THE PERFORMING ARTS from America’s leading orchestras coming together for an eight episode American Public Television series designed to Performance Sponsored By: Northern Trust Company encourage a greater understanding and enjoyment of classical music. His considerable discography of nearly Brandenburg Gate MORAVEC 350 showcases his collaborations with some of the world’s greatest orchestras including Philadelphia Orchestra, Czech Flute Concerto No. 2 in D Major, K. 314 MOZART Philharmonic, London Symphony, Berlin Sir James Galway, flute & guest conductor Radio Symphony, Orchestre National de France, Tokyo Philharmonic, Los Angeles Chamber Orchestra, New York Chamber Concertino da camera for alto saxophone and orchestra IBERT Symphony and Seattle Symphony among others. Shane Rathburn, alto saxophone Schwarz began his professional career as co-principal trumpet of the New York INTERMISSION Philharmonic and has held leadership positions with Mostly Mozart Festival, Royal Liverpool Philharmonic and Los Symphony No. 8 in G Major, Op. 88, B. 163 DVORˇÁK Angeles Chamber Orchestra and New York Chamber Symphony. As a guest conductor in both opera and symphonic This performance has been supported in part by the Rosen-Schaffel Endowment for repertoire, he has worked with many of Classical Music Programming at An Appalachian Summer Festival, and is dedicated the world’s finest orchestras and opera to the memory of Muriel and Arnold Rosen, whose vision and generosity led to the companies. founding of An Appalachian Summer Festival. Additional performance underwriting has been generously provided by Harold Libby and Wanda Rayle-Libby. Schwarz, a renowned interpreter of 19th century German, Austrian and Russian repertoire, in addition to his noted work with contemporary American composers, recently completed his final season as music director of the Seattle Symphony in 2011 after an acclaimed 26 years a period of dramatic artistic growth for the ensemble. In his nearly five decades as a respected classical musician and conductor, Schwarz has received hundreds of honors and accolades including Emmy Awards, GRAMMY nominations, ASCAP Awards Seiler is the official piano of the Eastern Music Festival, and the Ditson Conductor’s Award. He provided by Piedmont Music Center in Winston-Salem and Charlotte. was the first American named Conductor Playbill '14_Playbill 6/10/14 5:28 PM Page 37

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of the Year by Musical America and has solo flautist, Galway performs an he has recently placed 3rd in the North received numerous honorary doctorates. average of 120 concerts per year and American Saxophone Alliance Biennial Most recently, the City of Seattle and plays everything from Mozart and Quartet Competition with the Aidai named the street alongside the Vivaldi to John Denver and 70s pop Saxophone Quartet and won the Benaroya Hall “Gerard Schwarz Place.” to packed houses worldwide. University of North Carolina School of the Arts Concerto Competition. Rathburn is currently pursuing his Originating from Winner of the 2013 Master of Music degree at Indiana Belfast, Northern Rosen-Schaffel University Bloomington. Ireland, Sir James Competition for Galway inherited his Young and Emerging woodwind talent from artists, Shane his grandfather. Rathburn is from Progressing from Burnsville, N.C. mouth organ and Receiving his Bachelor penny whistle, Galway's victories in all of Music degree at the University of three classes of the Irish Flute North Carolina School of the Arts, Championships at the age of 10 led to Rathburn has found success as an a place in the Belfast Youth Orchestra advocate for new music. Since making and his first BBC broadcasts. Training his orchestral solo debut in 2011, he at London’s Guildhall School of Music has performed concertos with the and the Paris Conservatoire provided University of North Carolina School Galway with the knowledge and skills of the Arts Symphony Orchestra, Toe necessary to eventually become River Chamber Orchestra and principal flautist with the Berlin Mountain Heritage Symphonic Band. Philharmonic. Now, an award-winning In addition to his successes as a soloist,

LifeStore Bank, Boone Animal Emergency and Pet Care Clinic of Boone Point, Boone the High Country, Boone Casey & Casey Law Offices, Boone Five Guys Burgers & Fries, Boone Elk Park Town Hall, Elk Park Western Carolina Eye Associates, Boone Graystone Eye Center, Boone Lodges at Winkler’s Creek, Boone Grandfather Mountain Renovations, Linville Many fine residences in the High Country Playbill '14_Playbill 6/10/14 5:28 PM Page 38

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PROGRAM NOTES: embodies an extra-musical idea. “I have begins with the initial figure of the main the entire string section pitching very melody, a thoughtful touch that serves Paul Moravec loudly in this chaotic, nutty way,” he to unify the movement’s several Brandenburg Gate notes, “and programmatically I associate episodes. Before the close of each (b.1957) that with the sound and the image of movement Mozart provides opportunity No composer has been more admired these chisels and hammers chipping for a cadenza solo by the featured by his colleagues or exerted a deeper away at the Berlin Wall.” instrument. influence on them than J. S. Bach. Beethoven called Bach “father of Wolfgang Amadeus Mozart Jacques Ibert harmony.” Mozart studied Bach’s fugues Flute Concerto No. 2 in D Major, Concertino da camera for alto diligently and wrote several pieces in K. 314 saxophone and orchestra frank imitation of them. So did Robert (1756-1791) (1890-1962) Schumann. Others, as diverse in style Mozart created his Flute Concerto in D Jacques Ibert might be what the French and outlook as Brahms, Liszt, Mahler, Major in 1778 for a Dutch merchant call a petite maître: a composer of Stravinsky, Schoenberg, Shostakovich, and amateur flutist named De Jean. impeccable skill and artistry, but one Hindemith and Philip Glass, have This “gentleman of means and lover of who did not produce the expansive and acknowledged debts to Bach. the arts,” as Mozart described him, weighty works that would have ranked Bach continues to inspire and provide a offered a handsome commission for a him among the great musicians of his model to composers. A case in point is pair of concertos and some quartets for time. Ibert did write large-scale Paul Moravec. Moravec, winner of the flute and strings. Mozart set to work but compositions, particularly operas and 2004 Pulitzer Prize in music, wrote this soon found his interest waning, and ballets, and some of his pieces convey piece in 2008. Scored for solo violin progress on the promised compositions real depth of expression. But his most and small orchestra, it is a present-day slowed to a crawl. Eventually, he turned popular works are sunny in character, gloss on the style of Bach’s famous to an oboe concerto he had written the light in texture, economical in scale and Brandenburg Concertos. Its title, the previous year, transposing it from C endowed with pleasing melodies. composer has written, “suggests a portal Major to D and modifying the solo part These are the virtues of Ibert’s through which we enter Bach’s world of slightly. He presented this to De Jean, Concertino da camera, or Small Chamber exuberant invention. It also refers to the along with three quartets and a newly- Concerto. Composed in 1935, this actual monument in Berlin, which I per- composed concerto (in G Major, piece features alto saxophone sonally associate primarily with the K. 313), as fulfillment of the commission. accompanied by a small orchestra. Ibert astonishing images of the opening of Whether or not the Dutchman realized wrote it for Sigurd Raschèr, a German- the Berlin Wall on November 9, 1989.” that he had received second-hand born saxophone virtuoso. Raschèr had Brandenburg Gate unfolds in a single- goods, he must have been delighted begun his career as a classical clarinetist movement encompassing two fast with this concerto. Its first movement but took up the saxophone because sections framing a central passage in opens with a vigorous orchestral tutti there was more call for that instrument slow tempo, a form that mirrors Bach’s passage. The solo instrument then in dance bands during the 1930s. He usual concerto design of three makes one of the most striking soon became dissatisfied with the music movements in a fast-slow-fast entrances in any of Mozart’s concertos, such ensembles played, and he set out arrangement. The energetic first section running up a scale to a high D and developing a formidable technique that uses, in a modern way, two features of perching on that note while the allowed him to commission concertos the Brandenburg Concertos. First is a orchestra restates the principal theme. from nearly two dozen composers. steady micro-pulse, a rapid stream of The developments that follow are bright Eventually he emigrated to the United notes in even rhythms, though varied and athletic, like so much of Mozart’s States, where he performed with the accents and phrase lengths maintain youthful music. Boston Symphony, New York variety and interest. The second is lively There follows a slower movement Philharmonic and other orchestras and instrumental dialogues, especially whose music conveys an air of taught at the Juilliard, Eastman and between the featured violin and wind nocturnal romance: its melodies are Manhattan Schools of Music. instruments. lyrical and poetic, its harmonies imbued Ibert’s Concertino da camera is nominally Further transformations of Bach’s style with a distinctly Mozartian sweetness. in two movements, but the second is follow in the central episode. Here The composition closes with a sprightly divided into slow and fast sections. The somber music for the strings vie with a finale. Here the recurring principal piece therefore unfolds in essentially the consoling chorale. The final portion of theme is given out by the solo flute and three-movement concerto form we have the piece begins with a line plucked by repeated by the orchestra in the encountered already on our program. the strings. Quickly this figure expands, opening measures. Each of the two Ibert draws on Raschèr’s classical becoming a torrent that carries secondary themes Mozart considers virtuosity in the opening movement, interjections by the winds and solo between recurrences of this main idea but also acknowledges his dance-band violin. Moravec admits that this music experience with syncopated rhythms Playbill '14_Playbill 6/10/14 5:28 PM Page 39

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and a lush, silky lyricism in the more form of melodic inflections that mirror movement indicate a scherzo, its relaxed subsidiary theme. The second those of Czech folk music. relaxed pace and wistful tone are more movement begins with a ruminative Of course, more than just themes in character with the intermezzo soliloquy by the saxophone alone. redolent of folk tunes distinguish this movements that Brahms, Dvorˆák’s When the orchestra enters, it colors the composition. Dvorˇák had attained, by friend and mentor, favored for his solo instrument’s line with melancholy this time, a thorough command of symphonies. harmonies, giving the music the symphonic form. And having mastered A trumpet fanfare heralds the finalé, character of a minor-key ballad. All its rules and procedures, he was able to whose broad principal theme, given out pensiveness vanishes as the tempo vary the genre’s established patterns in by the cellos, is related not only to the quickens for the second half of the striking and successful ways. The preceding trumpet call but also to the movement, where the music is lively opening of the Eighth Symphony flute melody of the first movement. and ebullient. provides an example. The first Program Notes © Paul Schiavo movement is in the bright key of G Antonín Dvorˇák Major, but Dvorˇák begins in the minor Symphony No. 8 in G Major, Op. 88, mode with a melody that exploits the B.163 rich timbre of the cellos. This passage (1841-1904) serves as a prelude to the movement’s Antonín Dvorˇák was born into a poor principal theme (announced by the family in Bohemia, the largest part of flute), but without being a distinctly what is today the Czech Republic. He separate section, as in the typical spent the early part of his career classical symphony. struggling to support himself as a A long, energetic transition leads to the church organist and by playing viola second subject, which emerges from the with café and theater orchestras in dying tone of a brief horn solo. Here we Prague. Only after years of perseverance find two distinct melodic ideas, both of did he achieve success as a composer which display a common characteristic and a measure of material security. of Czech folk music: the initial phrase One of the first expressions of Dvorˇák’s which is begun three times, as if to new found prosperity was the purchase gather momentum. A rather heroic final of a modest country house in the rural theme then leads seamlessly into the village of Vyoská. There he lived with central development section. When the his family for many years and in 1889, principal subject makes its definitive during a particularly cheerful period in return, we find it transformed into a his life, he composed his Eighth blazing trumpet call. Symphony. Its music mirrors both The ensuing Adagio is exceptionally rich Dvorˇák’s contented frame of mind and in moods and ideas. Moving fluidly the Czech countryside in which it was between intimate and grandiose created. It is one of the composer’s expression, it is by turns grave and happiest creations, and it is infused playful. Although the rhythms and with unmistakable local color in the clear A-B-A design of the following Playbill '14_Playbill 6/10/14 5:28 PM Page 40

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EASTERN MUSIC FESTIVAL ROSTER VIOLIN I VIOLA FLUTE TRUMPET Jeffrey Multer, Concertmaster Dan Reinker, Principal Les Roettges, Principal Chris Gekker, Principal Dovid Friedlander, Assoc. CM Mara Gearman, Assoc. Principal Ann Choomack Jeffrey Kaye John Fadial, 1st Asst. CM Meredith Crawford, Asst. Principal Brian Gordon Flute/Piccolo Judith Saxton, 3rd/Assoc. Principal Shawn Weil, 2nd Asst. CM Sarah Cote Elizabeth Phelps Baron Jamie Hofman OBOE TROMBONE Ariadna Bazarnik-Ilika Chauncey Patterson Randall Ellis, Principal (1-4) Gregory Cox, Principal Anne Donaldson Diane Phoenix-Neal Katie Young Steele, Principal (5) Mike Kris Courtney LeBauer Jennifer Puckett Susan Eischeid Terry Mizesko, Bass Trombone Yuka Kadota Hyojoo Uh (Scholar) Karen Birch Blundell, English Horn/Assoc. Principal Oboe TUBA So Yun Kim Jesse Yukimura (Scholar) Tom McCaslin, Principal Joan Griffing Nicholas CELLO CLARINET Jennifer Rickard Shannon Scott, Principal TIMPANI Uli Speth Neal Cary, Principal Eric Schweikert, Principal Julian Schwarz, Assoc. Principal Anthony Taylor David Yarbrough Kelly Burke Amy Frost-Baumgarten, Asst. Princ. PERCUSSION VIOLIN II Danielle Guideri BASSOON John Shaw, Principal Randall Weiss, Principal Marta Simidtchieva George Sakakeeny, Principal John Parks Jenny Gregoire, Asst. Princ. Beth Vanderborgh Karla Ekholm Tommy Dobbs (Intern) Corine Brouwer Rebecca Zimmerman Cathy Cary Scott Thomas Lesser (Scholar) CONTRA-BASSOON HARP Ioana Galu Eduardo Vargas (Scholar) Anthony Anurca, Adjunct Anna Kate Mackle, Principal Lucas Guideri PIANO Daniel Skidmore BASS HORN Gideon Rubin, Chair Diana Tsaliovich Leonid Finkelshteyn, Principal Kevin Reid, Principal Rion Wentworth, Asst.Principal Joy Branagan William Wolfram Hannah Barrow (Scholar) Eunhye Grace Choi, Hangyul Kim (Scholar) Luciano Carneiro Kelly Hofman Collaborative Piano Alison Konopka (Scholar) Marc Facci Robert Rearden Annaliese Kowert (Scholar) Meredith Johnson George Speed Section strings are listed alphabetically and seated in rotation Playbill '14_Playbill 6/10/14 5:28 PM Page 41

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ARTIST BIOS Violinist Nancy Bargerstock has HAYES SCHOOL OF MUSIC appeared as a recitalist, soloist and chamber musician in the US, Europe and the Far East. With degrees from the FACULTY SHOWCASE Juilliard School and the University of NC- Greensboro, she has participated in CONCERT music festivals across the world. Presently Professor of Violin at Appalachian State University, she has given master classes at WEDNESDAY, JULY 9 the Hartt School, SUNY Fredonia, 8 PM, ROSEN CONCERT HALL Washburn University, Belmont University and Greensboro Music Academy. She Ensemble 322 adjudicates competitions regularly, serves Douglas James, guitar; Nancy Bargerstock, violin; Chung Park, violin on national committees of the American Eric Koontz, viola; Kenneth Lurie, violoncello String Teachers Association and has presented pedagogical sessions. She has Malagueña, Op. 21 Pablo de Sarasate recorded for Fabel Sound, Vanguard, Cala Vista and Lyra Records and the Cypriot Siete canciones populares españolas Manuel de Falla and Greek Radio and Television El paño moruno (arr. Torrent/Koontz) Networks. Asturiana Brent Bingham received his Bachelor Capricho Arabe Francisco Tarrega and Master of Music from Appalachian’s Vistes al Mar for String Quartet Eduard Toldrà Hayes School of Music. An active I. La ginesta (Allegro con brio) freelancer and clinician throughout the Southeast, Bingham also performs Quintet No. 4 in D, G. 448, “Fandango” Luigi Boccherini regularly with the Symphony of the III. Grave assai - Fandango Mountains (Kingsport Tenn.), Johnson City Symphony and New River Brass. His Inalare trumpet teachers include Joe Phelps, Bill Kay Borkowski, flute; Linda Larson, soprano; Bair Shagdaron, piano Adam, and Vince DiMartino. Rossignols Amoureux Jean Philippe Rameau Kay Borkowski has been principal flutist From Hippolyte et Aricie (1733) with the Jacksonville Symphony Orchestra, the Ft. Wayne Philharmonic Soir Païen Georges Hüe Orchestra, the Indiana Chamber Orchestra, the South Carolina La flûte enchantée Maurice Ravel Philharmonic and Chamber Orchestras From Shéhérazade (1903) and the Augusta Symphony Orchestra. Une flûte invisible (1855) Camille Saint-Saëns She has taught at West Virginia Portrait (Valse chantée) (1904) Cécile Chaminade University, Ohio University, Indiana University-Fort Wayne, Columbia Translations on page 44 College, Augusta College, the University of South Florida and Appalachian State New River Brass Ensemble University and has participated in faculty James Stokes, trumpet; Brent Bingham, trumpet; Karen Robertson, horn chamber music groups at each of those Drew Leslie, trombone; Bernard Flythe, tuba universities. She holds the Bachelor of Bright Brass Gwyneth Walker Music degree in Performance at Indiana University and the Master of Arts degree Laura Henry Mancini in Music Theory from Ohio State (arr. Jack Gale) University. Escape Kevin McKee As an orchestral tubist, Bernard Flythe has performed with the Detroit It Don’t Mean a Thing Duke Ellington Symphony Orchestra, the Atlanta (arr. Jack Gale) Symphony Orchestra, the Nashville Symphony and the North Carolina Symphony. As a chamber musician, Playbill '14_Playbill 6/10/14 5:28 PM Page 43

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Flythe has performed with the Detroit of Music in the fall of 2011 and is Opera and Song program at the Banff Chamber Winds, the Atlanta Symphony currently the Assistant Professor of Centre for the Arts. She has taught at Orchestra Brass Quintet and the North Trombone. He has broad experience as New York University and Ithaca College Carolina Symphony Brass Quintet. He a professional trombonist and music and served as coordinator of the Vocal received a bachelor of music degree educator, performing and teaching Coaching Program at Cornell University from the University of North Carolina throughout the world in a number of and is now conductor of the at Greensboro and his master of music different settings. Leslie received his Appalachian Chorale. and specialist in music degrees from the doctor of Musical Arts degree in Chung Park is quickly establishing University of Michigan. Flythe has held trombone performance from the himself amongst the finest of the faculty positions at Kennesaw State University of Texas at Austin, his master current generation of American University, Austin Peay State University, of music from the Manhattan School conductors, educators and string Sewanee Summer Music Festival, of Music in New York City and his pedagogues. Park currently serves as University of Georgia, the University of bachelor of music from the University Director of Orchestral Studies at the Toledo, the University of North Carolina of Michigan. Additionally, he spent four Hayes School of Music and also leads at Chapel Hill, the University of summers studying and performing at the String and Symphony Orchestras at Michigan All State Program at the Aspen Music Festival and School. the HSOM’s Cannon Music Camp. Interlochen, the University of Michigan His primary instructors include Prior to his appointment at Summer Arts Institute and the UNC- Nathaniel Brickens, Per Brevig, Michael Appalachian, Park was Assistant Greensboro Summer Music Camp. Powell, David Jackson, H. Dennis Smith Professor of Upper Strings at Idaho Guitarist Douglas James has appeared and Jonathan Holtfreter. Drew Leslie is a State University. He draws inspiration in concerts throughout North America Conn-Selmer sponsored artist/clinician for his work from a wide variety of and Europe and performs regularly and plays on Bach trombones. sources, including Thomas Sleeper, throughout the U.S. and Europe with Kenneth Lurie earned degrees at the Charles Dutoit, John Eliot Gardiner, the the Italian guitarist Pasquale Rucco. Eastman School of Music, the Cleveland art of Johannes Vermeer and Andy James has recorded three critically Institute of Music and Ithaca College. Goldsworthy, the writings of Chögyam acclaimed CD’s for the Cala Vista label. His studies included summers at Trungpa Rinpoche and the Orpheus He holds the Doctor of Musical Arts Kneisel Hall, Meadowmount, the Chamber Orchestra, among others. degree from the University of Arizona, International Course of Violoncello Karen Robertson received a bachelor where he studied with Thomas Paraiba Brazil and the Berklee College of Music degree from the University of Patterson. James is Professor of Guitar at of Music. Lurie’s orchestral experience Tennessee/Knoxville, a master of music Appalachian State University where he includes performing with the Caracas degree from the College-Conservatory also directs the annual Appalachian Philharmonic, Roanoke Symphony, at the University of Cincinnati and a GuitarFest and is a member of the Rochester Philharmonic, Syracuse doctor of musical arts degree at the Board of Trustees of the Guitar Symphony and the Shreveport Summer Conservatory of Music, University of Foundation of America. Music Festival. Lurie has performed as Missouri at Kansas City. She is currently Eric Koontz has led the viola sections guitarist with Mance Lipscomb and the Professor of Horn at the Hayes of the Barcelona Symphony Orchestra Mississippi Fred McDowell, mandolinist School of Music. Before Appalachian, and the Jerusalem Symphony Orchestra. with the High Country Klezmer she served on the faculties of the While in Barcelona, Koontz also led an Ensemble and recorded two CDs of University of Missouri at Kansas City intense chamber music activity with traditional Appalachian music with the and William Jewell College. Robertson several ensembles and premiered the Appalachian Acoustic Ensemble. Prior has performed with symphony Max Bruch “Double Concerto for Viola to joining the faculty at Appalachian in orchestras throughout the nation and and Clarinet.” He has performed many 1987, Lurie held academic appointments has won several awards for her solo chamber and symphonic concerts at Shenandoah Conservatory, Roanoke performances, including the 1993 around the world. Since returning to College and the Caracas Conservatory. Concerto-Aria competition at the the United States, Koontz has Soprano Linda Larson has sung leading Conservatory of Music, University of performed in chamber music concerts operatic roles throughout the United Missouri at Kansas City. Robertson was with Bernard Greenhouse, Dmitri States with companies including New a guest artist at the 2006 and 2009 Sitkovetsky, Gary Hoffman, the Brevard York City Opera National Company, International Horn Symposiums and Music Center faculty series and Opera Illinois, Syracuse Opera, is a frequent Regional Artist at the Charlotte’s Music at St. Peter’s series. Tri-Cities Opera, Indianapolis Opera Southeast Horn Workshop. She has He holds degrees from the Cincinnati and Opera Memphis. Larson holds performed solos with orchestras in College-Conservatory of Music, Yale degrees from the University of Michigan Missouri, Tennessee and North University and the University of North and the University of Texas at Austin. Carolina. Carolina at Greensboro. She is a graduate of the Tri-Cities Opera Pianist Bair Shagdaron was born in Drew Leslie, a native of Ann Arbor, MI, Resident Artist Training Program and Moscow, Russia and began studying joined the faculty of the Hayes School participated in the Twentieth Century music at age four. He studied at the Playbill '14_Playbill 6/10/14 5:28 PM Page 44

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prestigious Moscow Gnesins Music Translations for Inalare Program La flûte enchantée (The enchanted School for Gifted Children and then at Rossignols Amoureux (Amorous flute) the Moscow Tchaikovsky Conservatory, nightingales) The shade is soft and my master sleeps obtaining a doctorate degree in piano Amorous nightingales, respond to our Wearing a bonnet of conical silk performance and then assuming the voices And his long nose yellow in his white position of assistant professor. He With the sweetness of your songs. beard. served as assistant to Tatiana Nikolaeva Your songs are tender tributes But I, I am awake still for six years. In 1990, Shagdaron To the deity who reigns over our woods. and I hear outside a flute song which graduated from the Conservatory with pours out, his second degree in composition. After Soir Païen (Pagan Evening) in turn, sadness or joy. coming to the United States in 1996, The moon shines over the woods, her An air, by turns langorous or frivolous he has taught at Ottawa University in paleness sweet and opaline. Are you That my dear lover plays. Kansas and in 2000, he joined the listening to all the voices rising from all And when I approach the window, faculty of Appalachian State University the ravines? Be silent! Listen…a flute It seems to me that each note flies where he currently serves as professor prelude from the depths of the wood! From the flute to my cheek of piano. I dream of forms on the road which will Like a mysterious kiss. James Stokes is the professor of come alive again. We will forget that the –Tristan Klingsor trumpet for the Hayes School of Music. hour is short and that dawn will return. He holds a doctoral degree in The flowers of the night open and pour Portrait performance from Ohio State University out a dream, but the sun will close Her name is sweet as honey, and a bachelors degree in music them again. She is blonde as a fairy, education from Indiana University –André Lebey Her eyes are made of a corner of the where he studied with William Adam. sky, He is co-principal trumpet of the Une flûte invisible (An invisible flute) Is it real or did I dream it? Symphony of the Mountains and has Come! An invisible flute sighs in the She is frail and sweet as a lily. performed with the Columbus, orchards. She is melancholy and grace. Promusica, Charlotte and Asheville The most gentle song is the song Do you know this one who has caused Symphony Orchestras and the CAPA of the shepherds. my madness? Broadway Show Series. He has been a The wind ruffles, under the oak tree, Her voice contains the flowers’ honey, featured artist across the U.S., Australia the shadowy mirror of the water. It is unreal and profound. and China as a soloist and clinician. The most joyous song is the song of the And I drink all the sorrow Stokes serves as an adjudicator and an birds. In the voice of the blonde siren. artist performer for the National That no care torments you, Her gaze touches me Trumpet Competition and is a member let us love, let us love always! But she ignores me. of the International Trumpet Guild. He The most charming song is the song of She passes and my fervent heart is a founding member of the Cathedral love. Flies on her trail and adores her. Brass Ensemble and the New River –Victor Hugo Brass Ensemble. He is an Artist/Clinician with the Conn/Selmer/Bach Corporation. Playbill '14_Playbill 6/10/14 5:28 PM Page 45

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ABOUT THE COMPETITION The festival, in partnership with the Hayes School of Music, proudly presents ROSEN-SCHAFFEL the fourth season of the Rosen-Schaffel Competition for Young and Emerging COMPETITION Artists. During the spring of 2014, contestants submitted recordings of their work and a FOR YOUNG AND panel of judges selected seven finalists to compete in a public performance. During EMERGING ARTISTS the final round, jurors will choose three top prizewinners and the audience will FINAL ROUND select and Audience Choice Award Winner. In addition to a cash prize, the OF COMPETITION: first-prize winner will receive the PUBLIC PERFORMANCE opportunity to perform with conductor Gerard Schwarz and the Eastern Festival Orchestra during the 2015 season of An SUNDAY, JULY 13 Appalachian Summer Festival. 1 PM, SCHAEFER CENTER FOR THE PERFORMING ARTS ARTIST BIOS Bennett Astrove began his formal education on Krisztina Dér, flute the violin at the Robert Rocco, accompanist University of South Fantaisie sur le Freischütz (c. 1880) Claude-Paul Taffanel Florida, where he studied with Dr. Carolyn Stuart. Chris Plaas, tenor Currently a student of Susan Slingland, accompanist Kevin Lawrence, he recently completed Je crois entendre encore Georges Bizet his master’s degree at the University of Il mio tesoro intanto W.A. Mozart North Carolina School of the Arts. Dies Bildnis ist bezaubernd schön W.A. Mozart Bennett has participated in a variety of New York Lights William Bolcom festivals and ensembles including the Ecco, ridente in cielo Gioachino Rossini Green Mountain Chamber Music Festival, NU Music Ensemble, Music from Salem and the Robert Helps New Music Bennett Astrove, violin Festival. When it doesn’t come to music, Nancy Johnston, accompanist Bennett enjoys cooking a good stew and Violin Concerto No. 1 in g minor, Op. 26 Max Bruch is also a certified canoe instructor. Vorspiel: Allegro moderato Amber Joy Carpenter Adagio decided to become a Finale: Allegro energico harpist at the age of four. she has performed a solo for the Charlotte Alex Sidwell, marimba Philharmonic Jonathan Asbell, accompanist Orchestra’s summer Concerto No. 2 for Marimba David R. Gillingham concerts, won two Slowly and mysteriously; Quick with restlessness regional concerto competitions and the Chaconne Suzuki Association of the America’s Very fast and lively national harp competition and was a finalist in the International Lyon and INTERMISSION Healy Awards Harp Competition. Carpenter has twice been a featured artist on WDAV Classical Radio’s “Main Street Sessions.” She has performed with the Playbill '14_Playbill 6/10/14 5:28 PM Page 48

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Charlotte Symphony Orchestra and is Amber Carpenter, harp also an active member of the Oratorio Ginger Wyrick, accompanist Singers of Charlotte. Carpenter currently Concerto in B-flat George Friderich Handel serves as a teacher for the American Andante Allegro Youth Harp Ensemble’s European Larghetto Summer Institute where she has Allegro Moderato accompanied her students on a tour of Austria and the Czech Republic, performing a weeklong concert series, Erica Spear, flute and also to New York City for the Susan Slingland, accompanist ensemble’s Lincoln Center debut. Fantasie-Brillante sur “Carmen” Francois Borne Carpenter is a graduate of the University of North Carolina at Charlotte. Krisztina Dér received Diana Yodzis, mezzo-soprano her bachelor of arts in Benjamin Blozan, accompanist music performance and Anakreons Grab Hugo Wolf musicology with the Kennst du das Land Hugo Wolf academic honors Wo die schönen Trompeten blasen Gustav Mahler summa cum laude at the University of Maryland, Baltimore County. While serving as 2013 National This competition program is dedicated to the memory of Mrs. Muriel Rosen, who Flute Association Assistant Program with her husband Arnold, served as a founding patron of An Appalachian Summer Chair, she received her master of music Festival. The festival extends its deepest appreciation to the Rosens’ daughter, in flute performance at the University of Nancy Schaffel, and her husband, Neil Schaffel, whose vision and generosity have North Carolina, School of the Arts, was made possible this annual competition. The 2014 Rosen-Schaffel Young Artist the Large Ensemble Librarian, a Competition has also received generous support from the Bruce J. Heim Nutcracker Scholar and the Flute Studio Foundation, and from Mark and Nancy Tafeen. These gifts have enabled the Teacher’s Assistant. She has placed first in program to increase the amount of its cash awards to the competition’s winners. both the Flute Society of Washington’s The festival expresses its appreciation to Maestro Gerard Schwarz, Music Director Collegiate Competition and Student of the Eastern Music Festival, and Dr. Bill Pelto, Dean, Hayes School of Music, Honors Competition. She has soloed and, for their assistance and support in developing and implementing this program. twice with orchestra– performing with Please join us for a reception in the lobby of the Schaefer Center following the the UMBC Orchestra and the DC Youth competition program. Orchestra. Dér is a lover of Hungarian music and culture, a proponent of new music and collaborative artwork, a musicology enthusiast and member of the flute and harp duo Winds Upon a String. Tenor Chris Plaas has entertained audiences throughout the United States and Europe. Growing up in Johnson City, Tennessee, Plaas obtained his Bachelor of Music in Vocal Performance degree at East Tennessee State University. There, he participated in ensembles such as the ETSU Chorale and the BucsWorth men’s ensemble. He is currently at Appalachian State University finishing his master of music in vocal performance degree. Plaas has been featured at multiple National Conferences of the American Choral Directors Association as well as a National Playbill '14_Playbill 6/10/14 5:28 PM Page 49

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Conference of the Intercollegiate Men’s Association, Raleigh Flute Association Messiah concert series. Under his Choruses. He is a founding member of and the National Association for Music tenure the orchestra has also taken the the Living Harmony Gospel Quartet Education. She is a recipient of the Winston-Salem Youth Orchestras based in Johnson City and is a member North Carolina Teaching Fellow program completely under its umbrella, of Brethren, a professional men’s Scholarship and the Appalachian State hired a full-time assistant conductor, ensemble based out of Washington, University Diversity Scholarship. and performed a first-ever joint classics D.C. He was recently honored as a Diana Yodzis, concert with the Greensboro Symphony winner of the Appalachian State mezzo-soprano, will Orchestra. The Portland Symphony University Concerto/Aria Competition. be returning to announced the appointment of Moody as music director/conductor starting Alex Sidwell received Carnegie Hall in with the 2008/2009 season. his bachelor’s of January, 2015 to give Additionally, Moody serves as artistic music in percussion a Spotlight Recital as director of Arizona Musicfest, the performance from part of Marilyn Horne’s annual song nation’s premiere winter destination Auburn University music festival, held in north Scottsdale, where he was celebration, The Song Continues. She participated in the workshop, singing Carefee, Cave-Creek and through the principal percussionist Arizona Desert Foothills region. Born of the Auburn on Christa Ludwig’s masterclass in January 2014. Yodzis made her West and raised in Greenville, S.C., Moody University Symphonic Winds, with took up the cello in the 4th grade. He whom he participated in a tour Coast debut last summer as Second Lady in The Music Academy of the completed his undergraduate studies at throughout China. He also performed Furman University, and his master of with the Percussion Ensemble, Steel West’s production of Die Zauberflöte. She has made appearances with the music in conducting at the Eastman Band and the Auburn University School of Music in Rochester, N.Y., Marching Band, with whom he Albany Symphony, Winston Salem Symphony, Music Academy of the West where he studied with Donald Neuen. performed at the 2009 Fiesta Bowl and Festival Orchestra and the Greensboro Moody is a frequent guest conductor the 2010 BCS National Championship. Symphony among others. She has been with orchestras across the United In 2011, he was selected to participate awarded first-place prizes at the Opera States, and has conducted many of the in the first ever Alabama Intercollegiate Guild of Charlotte (2013), MTNA worlds top classical and pops artists in Band. Sidwell is currently seeking his Southern Regional (2013) and the concert. A champion of new music, masters of music in percussion North Carolina and Southern Regional Moody is proud to have played an performance at Appalachian State NATS (2009-2013) competitions. She instrumental role in the commissioning University where he has performed as recently received an encouragement and premiére performances of several principal percussionist of the award at the N.C. District Metropolitan important new works for orchestra. Appalachian Wind Ensemble and Opera National Council Auditions in After an extensive principal timpanist of the Appalachian 2013. Yodzis is currently a student at Symphony Orchestra. He is currently a two-year search with the University of North Carolina at applicants from 15 substitute percussionist with the Greensboro. Johnson City Symphony Orchestra and countries, Jacomo Rafael Bairos became currently holds an assistantship at the 17th music Appalachian in both music history and FINALIST JURORS director for the administration. Biographical information for Gerard Amarillo Symphony Schwarz appears on page 36. Erica Spear is Orchestra during the fall of 2013. currently an Robert Moody has Described as “expressive and undergraduate student had the honor of passionate” [Malaysian Straits Times] at Appalachian State serving as music and lauded by the Leipziger Volkszeitung University, pursuing director for the as an “impressive conductor... who is degrees in both music Winston-Salem elegantly demanding,” Bairos enjoys an education and flute Symphony since emerging career as an imaginative and performance. She 2005, artistic director inclusive conductor, dedicated educator began her musical studies in Japan with for Arizona Musicfest and ardent champion of new American piano at the age of five, picking up the since 2007 and Music Director for the music. flute several years later. She has been a Portland Symphony Orchestra (Maine), During his tenure as associate and finalist in the Hayes School of Music since 2008. Moody is the fourth music guest conductor for the Charlotte Concerto-Aria Competition twice director in the Winston-Salem Symphony Orchestra from 2010-2013, (2012, 2013) and has played in various Symphony’s 64-year history. Bairos reached tens of thousands of chamber, orchestral and wind band Unprecedented success has been the enthusiastic listeners through the broad settings, serving as principal flute in hallmark of this tenure, including the spectrum of concerts he programmed numerous ensembles. Spear is a creation of Pops, Kicked-Back Classics, and conducted. 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alded Pops series garnered consistent praise for not only his As a recipient of the BMI/Lionel Newman Conducting adventurous programming, but his collaborations with dancers Scholarship and YMF Conducting Grant, Kalia is entering his and visual artists as well as his use of technology to enhance second season as music director of the Young Musicians and bring more excitement to the concert experience. He Foundation Debut Orchestra of Los Angeles. Winner of YMF’s regularly performed and premiered new music by living 2012 National Conductor Search, he follows in the footsteps composers on every series he conducted in Charlotte, of such illustrious conductors as Michael Tilson-Thomas, including reinventing famous classics with modern twists on Andre Previn and Myung Whun Chung. his Family, Education, Outreach and Parks concerts. Roger is entering his fourth season as music director of the Bairos’ guest engagements have been with orchestras in the Lake George Music Festival. In addition, he has been invited U.S. and abroad and has collaborated with an array of to serve as cover conductor with the St. Louis Symphony and distinguished artists such as violinists Shlomo Mintz and has served as an adjudicator in the classical instrumental Elena Urioste, Latin-Grammy winner, Nestor Torres, the division for the 2013 Spotlight Awards at the Dorothy eclectic cross-over group ProjectTrio and three-time Grammy Chandler Pavilion. nominated Cuban Band, Tiempo Libre. Kalia made his subscription debut with the Memphis Awarded the prestigious 2012 Mendelssohn-Bartholdy Symphony Orchestra in October 2011 after winning second Scholarship by Maestro Kurt Masur, he traveled to Leipzig, prize in their inaugural International Conducting Competition. Germany to share concerts with the Leipzig Symphony In recent seasons he has worked with orchestras and Orchestra, assist at the Gewandhaus Orchestra and further ensembles across North America and Europe. He was chosen his studies and mentorship with Mo. Masur. by former New York Philharmonic Music Director Kurt Masur to participate in his weeklong Conducting Seminar at the Winner of the 2013 Solti Foundation US Manhattan School of Music in January 2013. He was also Career Assistance Award, Roger Kalia is personally selected by David Zinman to conduct the Tonhalle currently in his first season as assistant Orchestra Zurich as part of his 2011 International Conducting conductor of the Charlotte Symphony Masterclass at the Zurich Festspiele. In 2011, Kalia was also Orchestra where he will conduct the awarded a Bruno Walter Conducting Scholarship to attend the orchestra’s “Lollipops” series, On Campus Cabrillo Festival of Contemporary Music and in 2010 he was and Education concerts and cover all a Conducting Fellow at the American Academy of Conducting classical subscription concerts for Maestro at the Aspen Music Festival. Christopher Warren-Green and guest conductors. Playbill '14_Playbill 6/10/14 5:28 PM Page 51

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PROGRAM NOTES: Felix Mendelssohn and Fanny Mendelssohn BROYHILL CHAMBER Songs without Words (Born February 3, 1809 in Hamburg; died November 4, 1847, in Leipzig) ENSEMBLE (Born November 14, 1805 in Hamburg, Germany; died May 14, 1847 in Berlin) The art of songwriting was carried to great SUNDAY, JULY 20 new heights in the early decades of the 8 PM, ROSEN CONCERT HALL 19th century, and soon composers began to write similarly lyrical pieces for instruments alone. The idea of a song Sponsored by McDonald’s of Boone without words may have originated with Mendelssohn and his greatly talented sister, Fanny, when they were still children. Such Gil Morgenstern, violin; Harumi Rhodes, violin; Kathryn Lockwood, viola; pieces became very popular among the Inbal Segev, cello; J.Y. Song, piano European public, and Mendelssohn’s reputation as a composer for the keyboard was actually built, in part, upon these Songs Without Words Fanny and Felix Mendelssohn miniatures. The rise of the piano as the predominant instrument for home Cello Suite No. 5 (BWV 1011) J.S. Bach music-making in Mendelssohn’s time is a Prelude and Fugue phenomenon that is related to the plethora of song-writing, with and without words. Karl Schumann, a famous German String trio No. 3 in c minor, Op. 9 Ludwig van Beethoven musicologist and Lieder scholar, Allegro con spirito characterized Mendelssohn’s Lieder ohne Adagio con espressione Worte as not simply “pillars of the piano Scherzo: Allegro molto e vivace repertoire,” but also as “a household Finale: Presto possession, as widespread in Germany as the Grimm brothers’ fairy tales, ... and no INTERMISSION less beloved in Victorian England.” The existence of the Songs without Words is Piano Quintet No. 1 in c minor, Op. 1 Ernst von Dohnányi first documented in 1828, when the 19 Allegro year-old composer gave one of them to Scherzo. Allegro Fanny, his sister, for her birthday. He had Adagio, quasi andante already written several by then, and in Finale, Allegro animato 1832, the first collection of the eight was published in London. He composed them initially for family and friends but then decided to revise and publish them. He The Broyhill Chamber Ensemble Concert Series is generously supported continued adding to the series until the by the Broyhill Family Foundation (in memory of Faye Broyhill), end of his life; the last two collections and by Ralph and Venda Lerch/McDonald’s of Boone. of them, Op. 85 and Op. 102, were Additional performance underwriting has been provided by published posthumously including some Budd and Nanette Mayer, Neil and Nancy Schaffel, additional miniatures that he had rejected the R.Y. and Eileen L. Sharpe Foundation, from earlier sets. These cycles are partly and the Muriel and Arnold Rosen Endowment for the Arts. lyrical, partly virtuoso pieces, which explore the artistic capabilities of the piano Biographical information for this evening’s performers begin on page 60. in free form. Mr. Morgenstern’s biographical information is on page 28. Many of these pieces are now known by fanciful titles that were almost all added later by others. Mendelssohn himself, when asked to explain the content of the piano songs and their relationship to vocal songs, pointed out that his are purely musical, non-literary expressions. He said, “Even if I had specific words in mind, I would not tell, for the same words mean different things to different people, but the song [that is, the music itself] arouses the same Playbill '14_Playbill 6/10/14 5:28 PM Page 54

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feeling in everyone– a feeling that cannot for which he chose to compose. The cello the manner of a French opera overture, be expressed in words.” suites contain musical and mechanical the first grave, the second the only fugue The genuineness and simplicity of the challenges for the performer because the in the suites. ‘songs’ spoke to several qualities that were music in them contains so much more than is apparent on a simple reading of much in favor at that time: the form of Ludwig van Beethoven the notes. To do them justice, a musician the small piece, a certain amount of String Trio No. 3 in c minor, Op. 9 truly has to “read between the lines.” sentimentality, the expression of folk song (Born December 16, 1770, in Bonn; Forkel, Bach’s first biographer, said in his characteristics, the use of polyphonic died March 26, 1827, in Vienna) texture, and the new possibilities of piano book, “Bach went so far in his under- Among Beethoven’s noble friends and sound. The latter were made available standing of melody and harmony that supporters, when he was a young through the “English” Broadwood action he could exhaust their possibilities. He musician in Vienna, were the Count and and the double escapement mechanism combines in a single part all the notes Countess von Browne. The Count, whose first introduced in piano building by Erard needed to make the harmony and family was Irish in origin, was only three in 1821. In fact, one of the reasons the counterpoint complete, so that another years older than the composer; he served series is justly renowned is its pianistic note is neither necessary nor possible.” Catherine the Great, Empress of All the importance historically. The themes of In 1717, Bach was composer and music Russias, as a Brigadier and Governor most of the songs are naturally long director for Prince Leopold, ruler of the General of most of what is now Lithuania song-like themes, woven into a tripartite tiny state of Anhalt-Cöthen. The Prince and Estonia. His immense properties in ABA structure. Most of the compositions was an accom plished musician, and it the Baltic region then called Livonia gave retain a unified mood throughout and was at his court that Bach wrote most of the Count a huge income that he spent also typically conclude with a codetta, his chamber music. The Prince played the freely in Vienna. In 1796, he took a although some of the best-loved pieces viola da gamba, an instrument whose German baroness to be his Countess, deviate from the form most usually used. range resembled that of the cello, and he and the two of them rewarded Beethoven had on his staff two members of the Abel The ideas encompassed in the “Songs generously for the dedications of several family, who, for three generations, were Without Words” stimulated other compositions. composers for the piano from Grieg to known as great gambists and cellists. The In April 1797, when he inscribed a set of Brahms, Fauré, and Bizet. The popularity cello suites were probably written for the variations on a Russian dance to the of the composition during Mendelssohn’s younger of them, Christian Ferdinand Countess, Beethoven was given a fine lifetime alone was phenomenal, most Abel or perhaps for another skilled cellist riding horse, which, characteristically, he especially in England where all of his in Cöthen at that time, Christian soon forgot he owned. The three String music was popular. The ‘songs’ are still Bernhard Linigke. Bach also wrote three Trios, Op. 9, are dedicated to the Count, much appreciated everywhere today for sonatas for viola da gamba and the three Piano Sonatas, Op. 10, to the their combination of Romantic elements harpsichord that may not have been Countess. The Trios were probably written and Classical form, their simplicity and beyond the powers of the Prince. They in 1797 and 1798, and in 1798 were elegance. are now often played on the cello. published with a dedication in French so Like much of Bach’s music, the Cello flowery in its expression of gratitude to Suites were neglected for many years after Johann Sebastian Bach the “Maecenas of my Muse,” so modest his death, and it was not until well after Cello Suite No. 5, in c minor, BWV 1011: about “the inspiration of genius,” that it the revival of his music in the 19th Prelude and Fugue makes sense only if read as an elaborate century that they began to be appreciated (Born March 21, 1685, in Eisenach; formal, 18th century thank you note for by a wider public. Even then, they were died July 28, 1750, in Leipzig) the gift of a horse. first thought unimportant, too dry and The six Cello Suites are among the most academic for the romantic generation of Beethoven had written string trios before, extraordinary inventions of Bach’s the time. but soon after he had finished this set he incomparable creative power, yet in began his first set of string quartets, and The dance suite was already an Bach’s time the cello was considered an then he composed no more trios. The established form in Bach’s time, and its instrument inferior to the viola da gamba. richly textured music he gets from just order had become codified. Originating The cello’s main use then was to fill out three instruments demonstrates his as folk and court dances, the suite’s parts the continuo, or bass, of chamber and incomparably inventive imagination and had become highly stylized and had orchestral works, yet around the same the technical mastery he already moved from the ballroom to the concert date that Bach wrote the six works for possessed at the age of 28. Chamber room. Each of Bach’s six cello suites has unaccompanied violin in 1720, he music players sometimes say that these six movements, consisting of a formal composed a similar series for are quartets that do not need a second opening movement, a Prélude, followed by unaccompanied cello. These Cello Suites violin. five dances. In Suite No. 5, Bach specifies have the distinction of being the first of a variant of the usual tuning of the The key of c minor was one in which their kind; they now still arguably stand instrument’s highest string in order to the stormy passions of the Romantic as the finest works in the cello repertoire. make a different harmonic vocabulary movement made their way directly into Bach was his period’s most accomplished available. The Prélude derives from the Beethoven’s music. In 1798, when he keyboard player, and he liked to play the kind of improvisation once expected of published the String Trios, it was only a viola in ensembles, but he did not play instrumentalists when they first sat down few years since Haydn, whose sensibilities the cello. He was, nevertheless, the to play, and thus was called “preluding.” were those of an earlier generation, had complete master of any musical medium The Prélude of this Suite has two parts in urged him to withhold the c minor Piano Playbill '14_Playbill 6/10/14 5:28 PM Page 55

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Trio from publication. In one of Ernst von Dohnányi know where Dohnányi stands musically Beethoven’s notebooks there are rough Quintet for Piano and Strings No. 1, and gives a sense of direction for sketches of musical ideas in c minor that in c minor, Op. l everything that is to follow. Soon the eventually found their way into this (Born July 27, 1877, in Pozsony, instrumental texture and the sonority are String Trio and into one of the early Hungary; died February 9, 1960, enriched by a very Brahmsian use of masterpieces of musical Romanticism, in New York) different rhythms in the several parts his Sonate pathétique, Op. 13. The leading figures in Hungary’s rich and by thickening the web of woven This Trio was one of his favorites among musical life during the first half of the counterpoint. For good contrast, the his early works, and there are ideas in it 20th century were three composers who second theme is clearly set for strings that would stay with him until the end of were born only five years apart, Béla alone in the new key of E-flat. With the his career. The first movement, Allegro con Bartók, Zoltán Kodály and Ernst von enthusiasm of youth, Dohnányi spirito, opens with one of them, a little Dohnányi. They were friends and sometimes presses his subjects too hard four-note minor-key falling figure that will colleagues in many artistic projects, but and stays with one idea longer than a have an important place thirty years later they were also rivals who took very more experienced composer would have in the last movement of the c-sharp minor different positions on important issues in done, but we must forgive him for it, as String Quartet, Op. 131. It is rather politics and esthetics. Paradoxically, the Brahms did, and admire the fertility of his ominous-sounding as heard here, played intense nationalism in the music of Bartók imagination. in octaves, which gives it strength and at and Kodály has made their works better The second movement is a charming the same time prevents the ear from known now in the rest of the world than Scherzo, Allegro vivace, full of rhythmic finding out just how many instruments the music of Dohnányi’s cosmopolitan ingenuity. After the contrasting central trio are playing it. In a moment the three classicism. section, an altered reprise of the opening instruments assume their separate Dohnányi’s professional life began music follows. The slow movement, identities, and the little figure turns out brilliantly in 1895, when he was still an Adagio, quasi andante, is a lovely to be just the opening gesture of a long- 18 year-old student. That summer his expression of the composer’s romantic spun, wide-ranging, dramatic first theme. teacher, Koessler, showed Brahms a piano lyricism, in a three-part form. The second theme is charmingly lyrical, quintet his pupil had written, which so Dohnányi, taking Brahms as a model, while the stormy development section of impressed the great master that Dohnányi decided that one Hungarian-flavored the movement is devoted to a musical was summoned by telegram to come see movement was enough in a long work. discussion of the great differences Brahms at the resort where he was Brahms, however, had not been between them. staying. Brahms organized a private Hungarian, but rather was a north Next come a slow movement, Adagio con reading of the work with the famous German who simply liked what he espressione, of as great intensity as could Kneisel Quartet, with conductor Arthur learned of Hungarian and Gypsy music. be achieved in a quartet, and an Nikisch as pianist. It became known as In this Gypsy finale, Allegro animato impetuous Scherzo, Allegro molto e vivace Piano Quintet No. 1, Op. 1 when it was (following not only the model of Brahms whose power comes principally from published in 1902. Brahms also arranged but of Schubert, Mozart and Haydn too), Beethoven’s manipulation of its rhythms. for the first public performance, which the form is that of a rondo. A principal In the Finale, Presto, Beethoven organizes was given in Vienna in 1903. Dohnányi subject of irregular meter recurs in his fiery themes in a form that is rich in dedicated the work to Koessler “in alternation with contrasting ideas, the first episodes and events until he lets the admiration and friendship.” lyrical, the second fugal, and the last a music come to an end with a light and At the very beginning of the Allegro first restatement of the grand theme with quiet gesture. movement, the listener becomes aware of which the Quintet began. what attracted Brahms to this music. The Program Notes: Susan Halpern, copyright, broad opening theme in the piano, with 2014 its firmly based harmony, lets the listener Eggers, Eggers, Eggers, & Eggers, PLLC ATTORNEYS AT LAW Proud Supporters and Alumni of Appalachian State University

737 WEST KING STREET • BOONE, NC 28607 • (828) 264-3601 • WWW.EGGERS-LAW.COM Playbill '14_Playbill 6/10/14 5:28 PM Page 56

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PROGRAM NOTES: Wolfgang Amadeus Mozart Duo for Violin and Viola No. 2 in B-Flat BROYHILL CHAMBER Major, K. 424 (Born January 27, 1756, in Salzburg; ENSEMBLE died December 5, 1791, in Vienna) In 1783, when Mozart returned to his native Salzburg for the last time, he found TUESDAY, JULY 22 that one of his friends among the local 8 PM, ROSEN CONCERT HALL musicians, Michael Haydn, the younger brother of Joseph Haydn, was in trouble. Michael Haydn had joined the musical staff Sponsored by McDonald’s of Boone of the Prince-Archbishop of Salzburg as concertmaster and conductor, and later Gil Morgenstern, violin; Harumi Rhodes, violin; Kathryn Lockwood, viola; served as organist as well. As two of Inbal Segev, cello; J.Y. Song, piano Michael Haydn’s pupils told the story many years later, illness had prevented Haydn Duo for Violin and Viola No. 2 Wolfgang Amadeus Mozart from writing more than four duos for a set in B-Flat Major, K. 424 of six that his employer had ordered. The Adagio - Allegro Archbishop thought that lowering his pay Andante cantabile would get the composer out of bed and Theme with Six Variations; Andante grazioso back to his writing desk. Mozart, understanding the gravity of the illness, Nacht und Traüme, Op. 43, D. 827 Franz Schubert used to visit the sick man every day, and Porgy and Bess when he heard of Haydn’s problem, went George Gershwin home, wrote the two duos we now know as. (arr. Heifetz) K. 423 and 424, and gave them to Haydn to Summertime/A Woman is a Sometime Thing send to the Archbishop as his own. It Ain’t Necessarily So Mozart was writing some of his best chamber music at this time. He had Waltz and Hoedown Aaron Copland recently completed three of the six string quartets that he was to dedicate to Joseph INTERMISSION Haydn, and he may have enjoyed the discipline of writing for only two Piano Quintet in f minor, Op. 34 Johannes Brahms instrumental voices. In the duos that Allegro non troppo both Michael and Joseph Haydn composed, Andante, un poco adagio the violin is the soloist and the viola Scherzo: Allegro accompanies it. Mozart, with the experience Poco sostenuto; Allegro non troppo of the beautiful Sinfonia Concertante for Violin and Viola, K. 364, which he had composed in Salzburg in 1779, knew how The Broyhill Chamber Ensemble Concert Series is generously supported to broaden and enrich the musical by the Broyhill Family Foundation (in memory of Faye Broyhill), possibilities of the two instruments. By and by Ralph and Venda Lerch/McDonald’s of Boone. treating them almost as equals, he drew Additional performance underwriting has been provided by Budd and Nanette a rich texture from them. Mayer, Neil and Nancy Schaffel, the R.Y. and Eileen L. Sharpe Foundation, This Duo opens with a huge, symphonic and the Muriel and Arnold Rosen Endowment for the Arts. movement that has a grand, slow Biographical information for this evening’s performers begin on page 60. introduction, Adagio, to the sonata-form Mr. Morgenstern’s biographical information is on page 28. main section, Allegro. Next come a brief slow movement, Andante cantabile, and then a finale, which is made up of a theme with six variations, Andante grazioso. Playbill '14_Playbill 6/10/14 5:28 PM Page 58

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Franz Schubert Aaron Copland Johannes Brahms Nacht und Träume, Op. 43, D. 827 Scenes from Rodeo Waltz and Hoedown Piano Quintet in f minor, Op. 34 (Born January 31, 1797, in Vienna; (Born November 14, 1900 in Brooklyn, (Born May 7, l833, in Hamburg; died November 19, 1828, in Vienna) New York; died December 2, 1990 in died April 3, l897, in Vienna) Nacht und Träume (“Night and Dreams,” North Tarrytown, New York) The Piano Quintet in f minor, Op. 34 is the D. 827) was composed in 1822 and In 1942, Copland composed Rodeo, the climactic composition of the young although you hear it in this concert as a second of his three popular ballets on Brahms; it is one of the very greatest of cello and piano arrangement, it was American subjects, on a commission for his works, yet one that arrived in its final originally a rapturous and exalted song for Agnes de Mille, who wrote him in early form with great difficulty. In his early voice and piano. Schubert used two that year asking that he write the score for career, after Brahms completed a work, he poems by Matthaus von Collin together a “cowboy ballet” that she wanted to usually became severely self-critical. Only to create its text. In a very slow, Sehr choreograph for the Ballets Russe de then did he decide whether to allow his langsam but majestic tempo, the very soft Monte Carlo, (the former Diagilev group) creation to be performed or to reject it, Nacht und Träume maintains a complete which had been relocated to New York often perhaps because he judged his sense of simplicity as its lyric, noble lines due to World War II. Now subtitled The composition needed greater self-discipline are set above a gently swaying Courting at Burnt Ranch, the original title than he had given it. He was frequently accompaniment. Harmonically interesting that Copland gave the work, Rodeo details reluctant to launch works that he knew with an artful modulation and an almost the story of a young cowgirl who would be compared to those of ethereal chromaticism, this little piece has desperately attempts to find herself a Beethoven and other great masters; there- an exquisite luminosity and beauty. man. She finally succeeds in making the fore, much of the music he composed, he desired impression on the head cowhand subsequently destroyed. The pieces that George Gershwin, arr. Heifetz when she appears at a hoedown in a do survive were often those he created Summertime and It Ain’t Necessarily So fetching red dress. with instrumentation that others had not from Porgy and Bess used extensively, and thus he avoided the (Born September 26, 1898, in Brooklyn, Rodeo tells its simple story with warmth possibility of direct comparison. For New York; died July 11, 1937, in and humor. Its premiére on October 16, example, he wrote string sextets and Hollywood, California) 1942, at the Metropolitan Opera in New York was a large success, and Copland piano quartets rather than string quartets, George Gershwin, one of the best known soon produced a four-movement suite and he made sure that these were mostly American composers of the early 20th from the ballet, which the Boston Pops note-perfect in their original manuscripts century, composed concert music and Orchestra premiered in May 1943. with but a few important exceptions. The wrote songs for the Broadway theater and history of the changes in the present work Copland quoted folk songs in this work Hollywood films, most of them with differs somewhat from those of other in order to create a feel of time and place clever and poetic lyrics by his older works, for on this occasion Brahms tried of the setting. He used cowboy songs, brother, Ira. Porgy and Bess is the last and the composition out with varying fiddle melodies, railroad songs and also greatest composition in which Gershwin instruments. extended his genius as a melodist from a Scottish dance song. The Piano Quintet made its first songs to larger musical forms. He had Tonight’s concert features two movements: appearance in 1861, as a string quintet searched extensively for an American The slow third movement Saturday Night in f minor with two cellos. (The most opera subject and found it in Dubose and Waltz begins with the sound of country memorable work written for this Dorothy Heyward’s play, Porgy, about life fiddlers tuning up, then goes on with a combination is Schubert’s majestic among the black poor of Catfish Row in dance-like almost-quotation of Goodbye, Quintet in C Major, Op. 163, D. 956.) Charleston, South Carolina in the 1930s. old Paint. (or I Ride an Old Paint). The Brahms sent the first three movements of He and Ira worked with Dubose Heyward finalé, Hoe Down is based on Bonyparte; it his work, even before he had finished the for years on the music, the book and the also briefly quotes McLeod’s Reel as well as quintet, to Clara Schumann, herself a lyrics, and the opera debuted in Boston Gilderoy and Tip Toe, Pretty Betty Martin, all pianist and Robert Schumann’s wife, to on September 30, 1936. tunes Copland found in Traditional Music ask her to judge it. As soon as he by Ira Ford. Most of these songs appear This violin arrangement by Jascha Heifetz completed it, he sent it to the violinist whole and in generally traditional settings. of famous songs from Porgy and Bess Joachim for the same purpose. Joachim Since Copland also composed some includes the marvelous, memorable sultry arranged for the quintet to be played in original music in folk style, he made it song Summertime, with which Clara tries, May 1863, and he subsequently told hard for the listener to know which is the in Act I, to sing her baby to sleep. When Brahms that the strings could not original material and which not. Even she is unsuccessful, her husband Jake, a effectively convey the power and range though he incorporates folk-type music, fisherman, volunteers to try his hand at of some of the music without some the piece definitely displays Copland’s calming the baby, singing the considerably additional instrumental help. The content musical personality and his brilliant less soothing A Woman Is a Sometime was simply too rich and too forceful for orchestration. Thing. the strings to express, he felt, but the In Act II, at the picnic on Kittiwah Island, musical quality was fine. Seeking a more everyone is having a good time. Sporting dynamic medium for his work, Brahms Life regales them with the humorously responded by converting it into a sonata skeptical song, It Ain’t Necessarily So. for two pianos. Playbill '14_Playbill 6/10/14 5:28 PM Page 59

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Clara Schumann and Anton Rubinstein of the strings alone, Clara Schumann is the second, a serene and tender played it in this form at Baden-Baden, and ultimately felt that the music demanded Andante, un poco adagio in a three-part at a later time, performed it with Brahms more variety in sound than the two song form, notable for its gentle, swaying for Princess Anna of Hesse. The Princess pianos could provide and suggested that piano melody with its restrained and so liked the sonata that Brahms decided Brahms convert the work into an rhythmic string accompaniment. The to dedicate it to her when he had it orchestral piece. By the end of the year, Scherzo, Allegro, an exciting movement of published. Princess Anna carefully Brahms had instead combined piano and substantial dimension and intense power, checked with Clara Schumann to make strings to create the Piano Quintet, Op. 34. has an irresistible rhythmic drive based in sure that both published versions would His original version for strings no longer part on material related to the first bear her name and that she would have exists, but Brahms published the Sonata movement. The contrasting, calm central the first copies off the press. A letter of for Two Pianos in 1871 as Op. 34 bis. trio section derives its themes, in turn, November 3, 1864, signed “your old When Joachim saw the changes that from the first part of the strongly Clara” tells Brahms, “The Princess was so Brahms had made, he was very impressed syncopated Scherzo. The syncopation and pleased that I seized the opportunity to and declared that Brahms’s Piano Quintet march-like rhythms return to close the suggest a beautiful gift for you, and the was the greatest piece of chamber music movement. The Finale begins with a slow moment was so well chosen that she then written since Schubert’s death. The only and mysterious introduction, Poco and there commanded me to buy it. You other work that could have possibly sostenuto, full of germinal ideas that come will understand the joy with which I did approached it was Schumann’s quintet, into bloom in the lively main section, so when you see it.” The gift was indeed written in 1842. The opening movement Allegro non troppo. The material of this precious; it was the original manuscript of of Brahms’s Quintet, Allegro non troppo, vibrant movement is subjected to further Mozart’s Symphony in g minor. has both drama and an epic scale. It is development in the coda, Presto non Unfortunately, the two-piano work still based on several themes that have an troppo, which leads to the powerful did not feel right to Brahms, and when he unusually wide range of expression. They climax. and Carl Tausig played the sonata at a include the brooding, the dramatic, the Program Notes: Susan Halpern, copyright, concert of Brahms’ works in Vienna in exultant, and the lyrical. A solemn theme 2014 April 1864, it was the only work on the predominates, but there is also a plethora program that the audience did not seem of subsidiary themes, each functioning to like. Echoing in kind Joachim’s earlier importantly in the rich, dramatic comment about the quality of the sound structure. The simplest of the movements Playbill '14_Playbill 6/10/14 5:28 PM Page 60

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Biographical information for Gil after opening concerts of Tokyo’s Casals the Berlin Philharmonic and Israel Morgenstern appears on page 28. hall and debut concerts at the Kennedy Philharmonic, led by Zubin Mehta. Center and Carnegie Hall under conductor Kathryn Lockwood Cellist Ole Akahoshi Alexander Schneider’s New York String from Germany has has been hailed as a Orchestra. She currently lives in New York violist of exceptional performed in recitals City with her husband, violinist Jesse and as a soloist with talents in reviews Mills, and is on faculty at Longy School around the country many of the world’s of Music of Bard College. leading orchestras on and abroad for her four continents. He Acclaimed by The New performances as a has won numerous York Times as a “deeply chamber musician and expressive violinist,” soloist. Formerly a THE ARNOLD AND competitions including THE RALPH AND VENDA MURIEL ROSEN CHAIR Harumi Rhodes has LERCH/MCDONALD’S OF founding member of Concertino Praga and BOONE CHAIR Jugend Musiziert. He is also recipient of gained broad the Pacifica Quartet, the fellowship award from Charlotte recognition as a she currently performs with the Lark White’s Salon de Virtuosi. Akahoshi has multifaceted musician Quartet, duoJalal with percussionist and performed in many prestigious concert with a distinctive and husband Yousif Sheronick, and teaches at halls worldwide and his performances THE NEIL AND NANCY sincere musical voice. the University of Massachusetts, SCHAFFEL CHAIR have been featured on CNN, NPR, Her generosity of spirit Amherst. Lockwood is frequently invited Sender-Freies-Berlin, RIAS-Berlin and on stage is contagious, making her one of back to her homeland of Australia to Korean Broadcasting Station, among the most sought after violinists and perform with the Camerata of St. John’s others. He has also made recordings for chamber musicians of her generation. In and to teach at her alma mater school at the Albany, New World Records and addition to her career as a founding the Queensland Conservatorium of Composers Recording Inc., to name a few. member of the Naumburg Award–winning Music. Lockwood plays on an unknown He has collaborated with distinguished ensemble, Trio Cavatina, Rhodes was Italian viola from the 18th Century artists such as Sarah Chang, Ani Kavafian, named an Artist Member of the Boston Brescian School and performs during the Wolfgang Schultz, Naoko Yoshino and Chamber Music Society in 2009. While summer for the Broyhill Chamber Hyuna Yu. completing her residency with Lincoln Ensemble, at Elm City ChamberFest in Center’s Chamber Music Society Two, Connecticut and at the Telluride At age 11, Ole Akahoshi was the youngest she also participated in several festivals ChamberFest in Colorado. student to be accepted by Pierre Fournier. including Marlboro Music, Mainly Mozart, He has received his bachelor’s from Since her Lincoln Bard, Bridgehampton, Caramoor, and the Juilliard and master’s degree from Yale Center recital debut Saito Kinen Festival in Japan. A graduate University. Akahoshi has served as and as Pro Piano Artist of the Juilliard School and the New teaching assistant for both Aldo Parisot of the Year, J.Y. Song England Conservatory, Rhodes has served and Janos Starker. He has been teaching has developed as assistant violin faculty at the Juilliard at the Manhattan School of Music since a reputation as a School since 2010, and has most recently 2004. He joined the faculty of the Yale musician with broad been appointed assistant professor of vio- School of Music in 1997 and is assistant and eclectic musical lin and head of strings and chamber professor of cello at Yale University. tastes. Her recording of Music at the Setnor School of Music, THE R.Y. AND EILEEN L. SHARPE FOUNDATION piano music by Jiang Having performed at Syracuse University. CHAIR Wenye was selected by world-renowned Israeli-American film director Hou Hsiao-Hsien for his locations including cellist Inbal Segev’s movie “Café Lumière,” which premiéred Lincoln Center’s Avery playing has been at the Venice Film Festival. Song has Fisher Hall, Boston’s described as “richly appeared in concert in New York at Alice Symphony Hall, inspired,” and “very Tully Hall and Avery Fisher Hall in the Chicago’s Orchestra moving indeed,” by Mostly Mozart Festival; in Paris at Théâtre Hall and Vienna’s Gramophone. In de l’Athénée and Salle Cortot; in THE BROYHILL FAMILY Konzerthaus, Japanese February 2013, she Washington, DC, at the National Gallery FOUNDATION CHAIR pianist Rieko Aizawa THE ARNOLD AND gave the world and Kennedy Center and in Taipei at the is praised by the New York Times for her MURIEL ROSEN CHAIR premiére of a new Taipei National Concert Hall. She has “impressive musicality, a crisp touch and cello concerto by Avner Dorman with received numerous awards, including the expressive phrasing.” Studying at the the Anchorage Symphony Orchestra. Pro Musicis International Award, the Curtis Institute and the Julliard School, Grammy-Award winning composer Christel Award from American Pianists Aizawa was the youngest-ever participant Fernando Otero is also at work on a Association and the Petschek Award, at the Marlboro Music Festival and has Tango-inspired concerto for her. Segev is Juilliard’s highest honor awarded to a become an active chamber musician. a founding member of the Amerigo Trio pianist. She has given master classes in Aizawa is a founding member of the with NY Philharmonic concertmaster France, Taiwan and the U.S. and is Horszowski Trio and of the prize-winning Glenn Dicterow and violist Karen Dreyfus. currently the artistic director of Classics Duo Prism, and became the artistic Segev regularly performs chamber music Abroad’s summer Paris Piano Program at director of the Alpenglow Chamber Music with artists including Emanuel Ax, the Ecole Normale de Musique de Paris. Festival in Colorado in 2010. Aizawa has Agustin Dumay, Pamela Franck, and She has served on the piano faculty of established her own unique musical voice Gilbert Kalish. At 17, she debuted with Mannes College since 1999. Playbill '14_Playbill 6/10/14 5:28 PM Page 61

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PROGRAM NOTES AN APPALACHIAN SUMMER FESTIVAL PRESENTS LEONARD BERNSTEIN (1918-1990) Symphonic Dances from West Side Story About the Composer NATIONAL YOUTH Leonard Bernstein rocketed to fame when, as the New York Philharmonic’s ORCHESTRA OF THE 25-year-old assistant conductor, he stepped in for an indisposed Bruno UNITED STATES OF AMERICA Walter to lead the orchestra in a nationally broadcast concert on David Robertson, conductor; Gil Shaham, violin November 14, 1943. The success of his jazzy musical On the Town the following year transformed him into a Broadway SATURDAY, JULY 26 celebrity as well. By 1958, when 8 PM, SCHAEFER CENTER FOR THE PERFORMING ARTS Bernstein became the Philharmonic’s first American-born music director, he was a household name throughout the United Sponsored by Northern Trust Company States and Europe. A musical magpie, he Symphonic Dances from West Side Story (1960) LEONARD BERNSTEIN took compositional inspiration wherever Prologue (1918–1990) he found it and took delight in knocking Somewhere down cultural and stylistic barriers. In Scherzo addition to four more Broadway shows, Mambo including West Side Story, he wrote three Cha-Cha symphonies and a wide range of other Meeting Scene music for the concert hall, as well as such Cool, Fugue Rumble hybrid works as the operetta Candide and Finale the wildly eclectic Mass, a “theater piece” Violin Concerto, Op. 15 (1938–1939, rev. 1950, BENJAMIN BRITTEN for singers, dancers and instrumentalists. 1954, 1965) (1913–1976) About the Work Moderato con moto– West Side Story is so familiar today that Vivace– it’s easy to forget how breathtakingly Passacaglia: Andante lento (un poco meno mosso) original it seemed when it opened on INTERMISSION Broadway on September 26, 1957. Radial Play (2014, commissioned by Carnegie Hall) SAMUEL ADAMS Loosely based on Shakespeare’s Romeo (b. 1985) and Juliet, the show projected the tragedy Pictures at an Exhibition (1874; orch. Ravel, 1922) MODEST MUSSORGSKY of the star-crossed lovers onto a street- Promenade (1839–1881) gang rivalry between the all-American Jets The Gnome and the Puerto Rican Sharks. Bernstein The Old Castle Tuileries and choreographer Jerome Robbins Cattle combined elements of European opera, Ballet of Unhatched Chicks Latino music and dance and American Samuel Goldenberg and Schmuÿle popular musical theater into what has The Market at Limoges– been described as a “Broadway opera.” The Catacombs When Bernstein asked the show’s The Hut on Fowl’s Legs– orchestrators, Sid Ramin and Irwin The Great Gate at Kiev Kostal, to put together a symphonic suite National Youth Orchestra of the United States of America Lead Sponsor: Bloomberg Founder Patrons: The Horace W. Goldsmith Foundation; Marina Kellen French and the Anna-Maria and Stephen Kellen Foundation; in 1960, they jumped at the chance to the Robertson Foundation; Robert F. Smith; and Sarah Billinghurst Solomon and Howard Solomon. revise the original small pit-orchestra Lead Donors: Ronald O. Perelman and Joan and Sanford I. Weill and the Weill Family Foundation Additional funding has been provided by the Blavatnik Family Foundation; Yoko Nagae Ceschina; The Rockefeller Foundation; scoring. “We were in ecstasy!” Ramin The Peter Jay Sharp Foundation; and Ann Ziff. Public support is provided by the National Endowment for the Arts. wrote. “Every orchestral color was ours Tour Direction for NYO-USA and Management for Mr. Robertson and Mr. Shaham: Opus 3 Artists; 470 Park Avenue South, Ninth for the asking; strings could be Floor North; New York, NY 10016 subdivided ad infinitum, percussion This performance has been supported in part by the Rosen-Schaffel Endowment for could be spread out among many players, Classical Music Programming at An Appalachian Summer Festival, and is dedicated to winds and brass were expanded; and our the memory of Muriel and Arnold Rosen, whose vision and generosity led to the founding only concern was whether the classically of An Appalachian Summer Festival. Additional performance underwriting has been oriented symphonic player could handle generously provided by Harold Libby and Wanda Rayle-Libby. the ‘jazzier’ elements of the score.” Playbill '14_Playbill 6/10/14 5:28 PM Page 63

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A Closer Listen opera. In his last years, Britten turned throughout the finale in the manner of The Symphonic Dances seamlessly increasingly inward, concentrating on a ground bass, freeing the violinist to stitch together nine numbers from West the chamber music festival that he spin ever more elaborate, fanciful and Side Story. Bernstein’s music runs the founded in Aldeburgh. virtuosic webs of passagework. gamut from Latin beats and popular About the Work SAMUEL ADAMS (b. 1985) song styles to jazzy dance rhythms Among the highlights of Britten’s three Radial Play and hints of early rock ’n’ roll. By productive years in North America are contemporary Broadway standards, the the folk operetta Paul Bunyan, the About the Composer score was daringly dissonant; listen for powerful Sinfonia da Requiem, the ever- Widely acclaimed acoustic and the menacing tritone (the interval of an popular Ceremony of Carols and the electroacoustic composer Samuel augmented fourth) that pervades the somberly lyrical Violin Concerto. The Adams draws from his experiences in music of both Jets and Sharks in the last, composed in Canada in the a diverse array of fields, including noise Prologue. The raw kinetic energy of the summer and early fall of 1939, was and electronic music, jazz and field opening number melts into the yearning born under the looming specter of recording. He has received commissions strains of “Somewhere.” That in turn World War II. In a letter to his publisher from Carnegie Hall, San Francisco fades out to the motif of a rising whole in England, the young composer Symphony, New World Symphony, step, a basic building block of the boasted that the concerto was “without Ensemble ACJW and St. Lawrence ensuing Scherzo. This is followed by a question my best piece. It is rather String Quartet. pair of Latin dances–a fast, syncopated serious, I’m afraid– but it’s got some Adams’s recent works include a violin Mambo and a more relaxed Cha-Cha. tunes in it!” The Spanish violinist concerto for Anthony Marwood, which The signature tritone recurs in the short Antonio Brosa premiered the work at received its premiére with the Berkeley “Meeting Scene” that leads to a coolly Carnegie Hall on March 28, 1940, with Symphony in February 2014. In the atonal fugal treatment of the Jets’ ballet. John Barbirolli conducting the New spring of 2013, Adams was composer The suite climaxes in the “Rumble”–in York Philharmonic. The performance in residence at Spoleto Festival USA, the original musical, the scene in which was widely and, for the most part favor- where his String Quartet in Five the rival gang leaders are killed–then ably, reviewed. Britten, too, pronounced Movements was premiéred by St. segues to the tender Finale by way of it a success, reporting that “John B. was Lawrence String Quartet. In April 2013, newly composed flute solo. very serious and took great pains over his Tension Studies were presented as it– and the orchestra liked playing it part of the Los Angeles Philharmonic’s BENJAMIN BRITTEN (1913-1976) a lot.” Brooklyn Festival and, in the following Violin Concerto, Op. 15 A Closer Listen November, were released on post- About the Composer Like Beethoven, Britten begins his only classical duo The Living Earth Show’s Despite his non-traditional views, Violin Concerto with a soft drumroll. first full-length album, High Art. Benjamin Britten– a professed pacifist, Soon picked up by the bassoon, its This fall, Adams’ Drift and Providence, homosexual and agnostic– paradoxically insistent five-note pattern rumbles a work co-commissioned by the San came to be widely regarded as the most beneath the solo violin’s soaring Francisco Symphony and New World quintessentially English composer since cantilena. These contrasting ideas– one Symphony, will be featured as part of Henry Purcell. As a young man he had ominous and vaguely militaristic, the the San Francisco Symphony’s national little sympathy for the patriotic effusions other lyrical and bittersweet– recur of the older generation, preferring to throughout the concerto and define its tour. The following January, he will align himself with mavericks like Frank emotional terrain. As the Moderato con continue his activities with the San Bridge, William Walton and Lennox moto progresses, the violin part becomes Francisco Symphony, curating two Berkeley. During the 1930s, work in a steadily more angular and percussive. evenings as part of their new SoundBox government film-production unit Although the first movement ends on series. brought him into contact with left-wing an elegiac note, the martial atmosphere In the Composer’s Own Words writers and artists who shared his returns with a vengeance in the Vivace, Radial Play is constructed of a series of disdain for bourgeois convention. a strutting, often savage scherzo contrapuntal “objects.” Each contains a When his friends W. H. Auden and characterized by pounding ostinato center pitch around which the rest of Christopher Isherwood moved to New rhythms, spiky syncopations, and the music orbits. Over the course of the York in 1938, Britten and his lover, the swooping glissandos. In the haunting work’s brief duration, these objects tenor Peter Pears, quickly decided to cadenza, the violin recalls the drumroll move, evolve, collide, split, expand and join them. Returning to England in motif from the first movement then contract. In the final moments of the 1942, Britten initially made his mark in proceeds without pause to the majestic work, the counterpoint extends itself to the field of opera. Peter Grimes, which Passacaglia. The lyrical tune from the the thresholds of the orchestra’s range, crystallized his signature theme of the Moderato con moto comes back, this weakens itself and quickly dissolves. “deviant” individual in conflict with time set against a broad, slow-moving I would like to dedicate Radial Play to society, was the first of a series of melody in the trombones. This stately the National Youth Orchestra of the masterpieces that revitalized British theme, in various forms, runs United States of America. Playbill '14_Playbill 6/10/14 5:28 PM Page 64

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MODEST MUSSORGSKY (1839-1881) pen-portraits. One-by-one the vivid Mr. Robertson is a frequent guest Pictures at an Exhibition images pass before our eyes: a gloomy conductor with major orchestras and About the Composer medieval castle; children gamboling in opera houses around the world. In the As one of the group of Russian the Tuileries gardens in Paris; a 2013-2014 season, he conducted the nationalist composers known as the lumbering Polish oxcart; a scherzo-like new production of Nico Muhly’s Two “Mighty Handful,” Modest Mussorgsky vignette of chicks pecking at their Boys at the Metropolitan Opera and was in the vanguard of the movement eggshells; two Jewish men animatedly appeared with orchestras that included to create a specifically Russian musical arguing and gesticulating; a bustling the Royal Concertgebouw Orchestra, tradition in the mid-1800s. Neither by French marketplace; a ponderously The Cleveland Orchestra and the training nor by temperament was he chordal descent into Paris’s subterranean Cincinnati Symphony Orchestra. In past fitted to join the ranks of the European- catacombs; a witch’s hut transformed seasons, he has appeared nationally oriented musical establishment. A into a strutting hen; and, in a with the Boston and Chicago symphony career civil servant, he gravitated instead resplendent climax, the hymn-like orchestras, Philadelphia and Cleveland toward men such as Alexander Borodin strains inspired by Hartmann’s sketches orchestras; and internationally with the and Nikolai Rimsky-Korsakov– largely for an imposing city gate at Kiev. Berliner Philharmoniker, Staatskapelle self-taught composers who drew –Harry Haskell Dresden, Royal Scottish National © 2014 The Carnegie Hall Corporation inspiration from Russian folklore and Orchestra, and Sydney and Melbourne history and disparaged Western symphony orchestras, among others. influences. Declaring that “my music THE ARTISTS With more than 50 operas in his must be an artistic reproduction of A consummate repertoire, Mr. Robertson has appeared human speech in all its finest shades,” musician, masterful at many of the world’s most prestigious Mussorgsky forged a powerfully programmer, and opera houses, including the expressive, proto-modernist musical dynamic presence, Metropolitan Opera, La Scala, Opéra de language in works such as the orchestral David Robertson has Lyon, Bavarian State Opera, Théâtre du tone poem Night on Bald Mountain and established himself as Châtelet, Hamburg State Opera, Santa the opera Boris Godunov. one of today’s most Fe Opera and San Francisco Opera. About the Work sought-after American Born in Santa Monica, California, Mr. Mussorgsky wrote Pictures at an conductors. A passionate and Robertson was educated at London’s Exhibition in June 1874, fresh from the compelling communicator with an Royal Academy of Music, where he hugely successful premiere of Boris extensive knowledge of orchestral and studied horn and composition before Godunov at the Mariinsky Theater in operatic repertoire, he has forged close turning to orchestral conducting. Mr. St. Petersburg. This popular suite of relationships with major orchestras Robertson is the recipient of numerous miniature tonal sketches commemorates around the world through his awards and honors. an exhibition of drawings and exhilarating music making and watercolors by the composer’s recently stimulating ideas. In fall 2013, Mr. Gil Shaham is one of deceased friend Viktor Hartmann, and Robertson launched his ninth season as the foremost violinists though originally composed for piano, music director of the 134-year-old St. of our time. His Pictures is best known in the masterful Louis Symphony. In January 2014, he combination of symphonic transcription that Maurice assumed the post of chief conductor flawless technique Ravel made in 1922 (following the and artistic director of the Sydney and inimitable example of Rimsky-Korsakov, who had Symphony Orchestra in Australia. warmth has solidified his legacy as an taken it upon himself to correct the In 2012-2013, Mr. Robertson led the “mistakes” in Mussorgsky’s American master. Highlights of his St. Louis Symphony on two major 2013-2014 season included orchestrations before the work was tours: his first European tour with published). However, many pianists performances of Korngold’s Violin the orchestra– its first European Concerto with with the Vienna have championed the original keyboard engagements since 1998– in fall 2012, version, including Vladimir Horowitz, Philharmonic Orchestra at Carnegie which included critically acclaimed Hall, The Cleveland Orchestra, and who couldn’t resist adding a few appearances at London’s BBC Proms, at “improvements” of his own to the score. Orchestre de Paris; a continuation of his the Berlin and Lucerne festivals, and at exploration of the concertos of the A Closer Listen Paris’s Salle Pleyel; and a spring 2013 1930s with the San Francisco A majestically striding melody, which California tour that included a three-day Symphony, Los Angeles Philharmonic, will recur throughout the work as both residency at the University of California, and on tour with the Bavarian Radio interlude and thematic motif, ushers the Davis, and performances at the Symphony Orchestra; the world, Asian listener into the exhibition hall. The Mondavi Center for the Performing Arts and European premieres of a new aura of nobility is soon spoiled by the and venues in Costa Mesa, Palm Desert, concerto by Bright Sheng; and a recital grotesque antics of a clumsy gnome– the and Santa Barbara. tour that featured Bach’s sonatas and first of Mussorgsky’s incisive musical partitas for solo violin. Playbill '14_Playbill 6/10/14 5:28 PM Page 65

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Mr. Shaham has more than two dozen concerto and solo CDs to his name, including bestsellers that have appeared on record charts in the US and abroad, winning him multiple Grammy Awards, a Grand Prix du Disque, a Diapason d’Or and a Gramophone Editor’s Choice award. His recent recordings are produced by the Canary Classics label, which he founded in 2004; they comprise Nigunim: Hebrew Melodies, Haydn violin concertos and Mendelssohn’s Octet with the Sejong Soloists, Sarasate: Virtuoso Violin Works, Elgar’s Violin Concerto with the Chicago Symphony Orchestra, The Butterfly Lovers and Tchaikovsky’s Violin Concerto, Tchaikovsky’s Piano Trio in A Minor with Yefim Bronfman and Truls Mørk, The Prokofiev Album, The Fauré Album, Mozart in Paris and works by Haydn and Mendelssohn. Mr. Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Prize. He plays the 1699 “Countess Polignac” Stradivarius. He lives in New York City with his wife, violinist Adele Anthony, and their three children.

NATIONAL YOUTH ORCHESTRA OF THE UNITED STATES OF AMERICA Each summer, Carnegie Hall’s Weill Music Institute brings together 120 of the brightest young musicians, ages 16-19, from across the country to form the National Youth Orchestra of the United States of America (NYO-USA). Following a comprehensive audition process and a two-week training residency at Purchase College, SUNY, with faculty made up of principal players from top American orchestras, these remarkable teenagers embark on a tour to some of the great music capitals of the world, serving as dynamic musical ambassadors. Launched in summer 2013 to great critical acclaim, the first-ever NYO-USA presented concerts with conductor Valery Gergiev and violinist Joshua Bell in Washington, D.C.; Moscow and St. Petersburg in Russia; and at the BBC Proms in London. The 2014 orchestra– with members hailing from 35 US states plus Washington, DC, and Puerto Rico, and featuring 24 returning musicians from the inaugural season– traveled to New York in early July to begin their training with section leaders from America’s greatest professional orchestras, including the Chicago Symphony Orchestra, Pittsburgh Symphony Orchestra, The Cleveland Orchestra, St. Louis Symphony, New York Philharmonic, Los Angeles Philharmonic, Metropolitan Opera Orchestra, San Francisco Symphony, and National Symphony Orchestra. James Ross, director of orchestral activities at the University of Maryland, returned this summer to lead the NYO-USA faculty for a second year. This eight-city, coast-to-coast US tour introduces concertgoers across the country to the extraordinary music-making of their nation’s very own national youth orchestra. In summer 2015, the members of NYO-USA will add more stamps to their passports as the ensemble makes its first tour to China. Visit carnegiehall.org/nyousa for more information. Playbill '14_Playbill 6/10/14 5:28 PM Page 66

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NATIONAL YOUTH ORCHESTRA OF THE UNITED STATES OF AMERICA

VIOLIN VIOLA Daniel H. Murray TRUMPET Orchestra Library Apprentice Paul Aguilar Rachel Barnett Columbia, South Carolina Matthew Gajda Trey Sakazaki Greenville, South Carolina Westminister, Maryland Evan Musgrave Mahwah, New Jersey Bellevue, Washington Jason Arevalo Sean Byrne Ormond Beach, Florida Madison Lusby Miami, Florida Chesterfield, Missouri Chad Wesselkamper Grapevine, Texas Orchestra Management Apprentice Carson Bohner Arjun Ganguly Cincinnati, Ohio Lincoln Valdez Josh Davidoff White Hall, Arizona St. Cloud, Minnesota Austin, Texas Evanston, Illinois Michael Brown Nathan Hung FLUTE Ricardo Zapata Hoover, Alabama Peachtree City, Georgia Carlos Aguilar Chicago, Illinois Carnegie Hall / NYO-USA Staff Andrew Burgan Tess Jacobson Escondido, California Clive Gillinson Aurora, Colorado Bridgewater, New Jersey Abby Easterling TROMBONE Executive and Artistic Director Andrew Cheshire Margaret Klucznik Grapevine, Texas Liam Glendening Susan Brady Merritt Island, Florida Glastonbury, Connecticut Alejandro Lombo Redlands, California Director, Development Matthew Chow Rosa Ortega Miramar, Florida Brett A. Kelly Synneve Carlino Los Altos, California San Juan, Puerto Rico Elizabeth Sperry Rison, Arizona Director, Public Relations David Fickes Faith Pak Chelmsford, Massachusetts James Tobias Sarah Johnson Peacham, Vermont Auburndale, New York Annie Wu Wynnewood, Pennsylvania Director, Weill Music Institute Willa Finck Erin C. Pitts Pleasanton, California Douglas Beck Boone, North Carolina Atlanta, Georgia BASS TROMBONE Director, Artist Training Programs Lily Honigberg Katie Reinders OBOE Riley Giampaolo A. Joseph Soucy Washington DC Portland, Oregon Kaila DeLany Houston, Texas Associate, Artist Training Programs Anna Humphrey Josephine Stockwell Tarpon Springs, Florida Janet Rucker Rogers, Minnesota El Sobrante, California Cassie Pilgrim TUBA Coordinator, Artist Training Bronwyn James Shan Su Chamblee, Georgia Aden Beery Programs Seattle, Washington Richardson, Texas Ryan Roberts Madison, North Carolina Elizabeth Gaston Zakary Joyner Martine Thomas Santa Monica, California Coordinator, Artist Training Sallis, Mississippi Rochester, New York Davey Van Beveren TIMPANI & Programs Sharon Kim Athalie Claude-Lilia Vaval Chesapeake, Vermont PERCUSSION Christopher Amos Belmont, Massachusetts Miami, Florida Gabriel Young Tyler Cunningham Director, Educational Media and Hannah Lam Nathan Wong Ashland, Oregon Vienna, Virginia Technology Cherry Hill, New Jersey San Gabriel, California Karen Dai Sam Livingston James Lin Amy Zhang CLARINET Chicago, Illinois Associate, Education Programs Bridgewater, New Jersey Princeton, New Jersey Torin Alexander Bakke Aaron Grisez Chad Zodrow Gordon Ma Buffalo Grove, Illinois Fresno, California Production/Stage Manager Cary, North Carolina CELLO Alex Dergal Adrian Lin Kristen Henry Liam Mansfield Clara Abel Mesa, Arizona Cupertino, California Director, Development Las Vegas, Nevada Indianapolis, Indiana Silvio Guitian Liam Smith Administration Keanu Mitanga Georgia Bourderionnet Baltimore, Maryland Minneapolis, Minnesota Atlanta, Georgia New Orleans, Louisiana Phillip Solomon David Yoon Tour Staff Soyeong Park Audrey Chen Montrose, New York Irvine, California Paul Beck Princeton Junction, New Jersey Redmond, Washington Dalton Tran Librarian Benjamin Parton Garrett Chou Irvine, California HARP Lee Mills Sevierville, Tennessee Northbrook, Illinois Jessica Ding Assistant Conductor Evan Pasternak Hana Cohon BASSOON State College, Pennsylvania Joshua D. Miller, MD Scotch Plains, New Jersey Seattle, Washington Nathan Kirchhoff Molly Ann Langr Tour Physician Esther Aviana Platt Eliot Haas San Gabriel, California Salt Lake City, Utah Chris Lee Ashland, Oregon Shreveport, Louisiana Rebecca Krown Photographer Emma Richman Oliver Herbert Quakertown, Pennsylvania ORCHESTRAL Minneapolis, Minnesota San Francisco, California Miles Shore KEYBOARD Opus 3 Artists Inori Sakai Jeremy Kreutz Yardley, Pennsylvania Rebecca Luppe Tour Direction Pittsburgh, Pennsylvania Loveland, Colorado Reuben Stern Kalamazoo, Michigan David V. Foster Sophia Stoyanovich Kartik Papatla Needham, Massachusetts President and CEO Bainbridge Island, Washington Mequon, Wisconsin Cooper Sullivan Leonard Stein Ivan Suminski Bihn Park Williamsville, New York Senior Vice President Traverse City, Michigan Haverford, Pennsylvania Director, Touring Division Angela Tang Evan Wood ALTO SAXOPHONE John Gilliland III West Linn, Oregon Dover, Massachusetts Chad Lilley Associate, Touring Division Alex van der Veen Grant Zempolich Olney, Maryland Irene Lonnblad Palo Alto, California Shaker Heights, Ohio Associate, Touring Division Claire Walter HORN Timothy Grassel Keene, New Hampshire BASS Andrew Angelos Tour Manager Samuel Wang Ivan Aidun Seattle, Washington Tania Jastrebov Medford, New Jersey Albuquerque, New Mexico Nivanthi Karunaratne Tour Manager Alexi Whitsel Harrison Dilthey Gurnee, Illinois Kay McCavic Longmont, Colorado North Adams, Massachusetts Jack McCammon Tour Manager Helen K. Wong Kathryn Evans Naperville, Illinois Rochester, New York Marietta, Georgia Leah Meyer Helen Wu Janice Gho Belmont, Massachusetts Saratoga, California Cupertino, California Connor Monday Ann Yu Tristen Jarvis Jacksonville, Florida Hudson, Ohio Colonie, New York Caelan Stewart Kevie Yu John Mietus Clarkston, Michigan Edmond, Oklahoma Shaker Heights, Ohio Playbill '14_Playbill 6/10/14 5:28 PM Page 67

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AN APPALACHIAN SUMMER FESTIVAL PRESENTS OUTDOOR FIREWORKS CONCERT LITTLE BIG TOWN SATURDAY, JUNE 28 7:30 PM, KIDD BREWER STADIUM GENERAL ADMISSION SEATING, GATES OPEN AT 6:00 PM

Sponsored by Blue Ridge Electric Membership Corporation Supporting Sponsorship provided by Goodnight Brothers

Music Video of the Year. Single of the Year. Vocal Group of the Year. These are just a few of the CMA and ACM awards country powerhouse, Little Big Town, has won in the past three years! Comprised of singers Karen Fairchild, Kimberly Schlapman, Phillip Sweet and Jimi Westbrook, this chart-topping group is famous for their trademark four-part harmonies. Releasing hits such as Little White Church, Tornado, Boondocks, and their 2012 CMA Single of the Year, Pontoon, Little Big Town has sold millions of records and racked up multiple CMA, ACM and Grammy nominations throughout their 14-year career. Little Big Town has been soaking in the success of their “Tornado seems designed to demonstrate that stardom most recent album, Tornado. “I think ‘edge’ is a word that hasn’t separated the band from the backwoods roots it gets overused,” singer Karen Fairchild says. “But this record famously celebrated in the song Boondocks.” does have a raw edge to it.” “It has a really different vibe to - Billboard it,” fellow member Jimi Westbrook agrees. “It doesn’t sound like anything else on the radio right now.” With special thanks to Appalachian’s Athletics Department for their support and assistance in presenting this event, and to Mr. John Carter from WBTV, our emcee for the evening. Playbill '14_Playbill 6/10/14 5:29 PM Page 70

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MICHAEL MCDONALD SATURDAY, JULY 5 8pm, Schaefer Center for the Performing Arts

Two notes. That’s all it takes to recognize the voice of Michael McDonald. His formidable songwriting, keyboard skills and distinctive and soulful sound has contributed to a career that spans four decades. From Doobie Brothers classics such as What A Fool Believes and Takin’ It To The Streets and solo hits like I Keep Forgettin, through two highly-acclaimed Motown cover albums, the five-time Grammy-winning McDonald is an artist whose work is both timeless and ever-evolving. This evening’s performance has been underwritten in part by a generous gift from Nancy and Mark Tafeen.

a subsidiary of Skyline Telephone Membership Corporation Performance sponsorship provided by: This Schaefer Popular Series event is sponsored by Westglow Resort and Spa and Rowland’s Mast General Store, Storie Street Grille, Restaurant, and is made possible through the Boone Area Visitors Bureau and SkyBest Communications, Inc. generous support of Bonnie and Jamie Schaefer. MATTHEW MORRISON WITH THE GREENSBORO SYMPHONY SATURDAY, JULY 12 8pm, Schaefer Center for the Performing Arts

From Broadway to Glee, Matthew Morrison performs some of Broadway’s greatest hits alongside the Greensboro Symphony. Morrison is an Emmy, Tony and Golden Globe-nominated star, achieving recognition from the Satellite Awards and Screen Actors Guild Awards with honors such as Best Actor in a Series and Best Performance by an Ensemble in a Television Series–Comedy or Musical. He released his latest Broadway- inspired album, Where It All Began, in 2013 as a salute to the music that means the most to him.

a subsidiary of Skyline Telephone This Schaefer Popular Series event is sponsored Membership Corporation by Westglow Resort and Spa and Rowland’s Performance sponsorship provided by: Restaurant, and is made possible through the Mast General Store, Storie Street Grille, generous support of Bonnie and Jamie Schaefer. Boone Area Visitors Bureau and SkyBest Communications, Inc. Playbill '14_Playbill 6/10/14 5:29 PM Page 71

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NICKEL CREEK MONDAY, JULY 14 8pm, Schaefer Center for the Performing Arts

This year marks 25 years of music-making for the Grammy award-winning, multi-platinum selling, roots-music trio Nickel Creek. Releasing their latest album, A Dotted Line in April of this year, this is the band’s first tour since 2007. Known for producing hits such as When You Come Back Down, The Lighthouse’s Tale, The Fox, and off their most recent album, Destination, Nickel Creek has been nominated for a Grammy Award for Best Bluegrass Album, a CMA Award for Best Vocal Group and won the Grammy Award for Best Contemporary Folk Album. This evening’s performance has been underwritten in part by a generous gift from Brent and Tricia Hall.

SHERYL CROW THURSDAY, JULY 24 8pm, Schaefer Center for the Performing Arts Nine-time Grammy award-winner, Sheryl Crow, has released nine studio albums throughout her career. With top hits such as The First Cut is the Deepest, Every Day is a Winding Road, All I Wanna Do, Soak Up the Sun, Easy, and her collaborative hit with Kid Rock, Picture, Crow has sold more than 35 million albums worldwide. Her most recent album, Feels like Home, is Crow’s first country album, inspired by her childhood in Kennett, MO and current home of Nashville, TN.

a subsidiary of Skyline Telephone Membership Corporation Performance sponsorship provided by: Mast General Store, Storie Street Grille, This Schaefer Popular Series event is sponsored by Westglow Resort and Spa and Rowland’s Boone Area Visitors Bureau and SkyBest Communications, Inc. Restaurant, and is made possible through the This evening’s performance has been underwritten in part by a generous gift from generous support of Bonnie and Jamie Schaefer. Helene and Steve Weicholz and the Circle S Foundation. Playbill '14_Playbill 6/10/14 5:29 PM Page 72

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ABOUT PILOBOLUS: Pilobolus–named after a barnyard fungus that propels its spores with extraordinary PILOBOLUS speed, accuracy and strength–is a dance company founded by a group of Dartmouth College students in 1971. THURSDAY, JULY 3 Pilobolus continually forms diverse 8 PM, SCHAEFER CENTER FOR THE PERFORMING ARTS collaborations that break down barriers between disciplines and challenge the way Artistic Directors we think about dance. Physically and Robby Barnett Michael Tracy intellectually, the company engages and inspires audiences around the world Associate Artistic Directors Renée Jaworski Matt Kent through performance, education, and consultation. Dancers Pilobolus propels itself in a variety of Shawn Fitzgerald Ahern Benjamin Coalter Matt Del Rosario Eriko Jimbo directions to reach these goals. The Jordan Kriston Nile H. Russell Mike Tyus original company, Pilobolus Dance Co-Dance Captain Co-Dance Captain Theater, has been touring its 115 pieces of Matt Del Rosario Nile Russell repertory to more than 64 countries over Executive Producer Co-Executive Director, Development the last 42 years. Pilobolus’s Shadowland, Itamar Kubovy Lily Binns the company’s evening-length show currently touring Europe, the Middle East Sales & Touring Director of Finance & Administration and Asia, has been seen by more than a Karen Feys Jeffrey Bledsoe half-million people in the five years since Director of Production Senior Company Manager it was created. Shane Mongar Kirsten Leon Pilobolus’ collaborative creative and Production Manager Eminence Grise/Lighting Designer Production Stage Manager educational work takes place through the Kristin Helfrich Neil Jampolis Shelby Sonnenberg Pilobolus Lab, in which the company both convenes diverse artists in the Lighting Supervisor Video Technician Stage Ops Mike Faba Chris Owens Eric Taylor development of new work and teaches its creative method to individuals and Artistic Associate Dancer Apprentice institutions. To date, the Pilobolus Lab Jun Kuribayashi Derion Loman has produced collaborations with Penn & Marketing & Media Coordinator Project Manager Teller, the MIT Distributed Robotics AJ Radford Hannah Cohen Laboratory, Art Spiegelman, Maurice Sendak, OK Go, Radiolab and many Education Coordinator Sales Assistant Emily Kent Maarten Verbeuren others. The Lab’s educational programming– Development Assistant Executive Assistant which applies Pilobolus’ unique Isabella Joslin Amalia La Roche collaborative process includes workshops, Administrative Assistant Assistant Company Manager master classes, residencies and children’s Kate Olsen Hannah Abair programming. Pilobolus Creative Services applies this PROGRAM same method of invention to business, offering a wide range of educational, PILOBOLUS IS A FUNGUS directorial, design, and movement Edited by Oriel Pe’er and Paula Salhany services for film, advertising, publishing, Score by Keith Kenniff and corporate groups and events. ON THE NATURE OF THINGS (2014) Pilobolus has been featured across the Created by Robby Barnett, Renée Jaworski, Matt Kent, and Itamar Kubovy in world at the 79th Annual Academy collaboration with Shawn Fitzgerald Ahern, Benjamin Coalter, Matt Del Rosario, Eriko Awards (2007), and on Sesame Street, Jimbo, Jordan Kriston, Jun Kuribayashi, Derion Loman, Nile Russell and Mike Tyus Oprah, 60 Minutes, and Late Night with Performed by Benjamin Coalter, Jordan Kriston and Nile Russell Conan O’ Brien. It has been recognized Music: Michelle DiBucci and Ed Bilous with prestigious honors, such as the Lighting and Set Design: Neil Jampolis Berlin Critic’s Prize, the Scotsman Award, On The Nature Of Things was commissioned by The Dau Family Foundation in honor of Elizabeth Hoffman and the Brandeis Award, the Primetime Emmy David Mechlin; Treacy and Darcy Beyer; the American Dance Festival with support from the SHS Foundation and the Charles L. and Stephanie Reinhart Fund; and by the National Endowment for the Arts, which believes a Award for Outstanding Achievement in great nation deserves great art. Cultural Programming, the Samuel H. Scripps American Dance Festival Award Playbill '14_Playbill 6/10/14 5:29 PM Page 75

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for Lifetime Achievement in Choreography, and a TED Fellowship for WIND Directed by Robert Löbel presenting at the TED conference in 2005. Pilobolus holds the 2011 Guinness ALL IS NOT LOST (2011) World Record for fitting the most people Created by OK Go, Pilobolus and Trish Sie, created in collaboration with Pilobolus into a Mini Cooper (26); and in 2012, dancers Shawn Fitzgerald Ahern, Winston Dynamite Brown, Matt Del Rosario, the company was nominated for a Andy Herro, Eriko Jimbo, Jordan Kriston, Jun Kuribayashi and Nile Russell Grammy® Award for its interactive music Performed by Shawn Fitzgerald Ahern, Benjamin Coalter, Eriko Jimbo, video collaboration with OK Go and Jordan Kriston, Nile Russell and Mike Tyus Google Chrome Japan, “All is Not Lost.” Music: OK Go Recently, Pilobolus was honored as the Costume construction: Phoebe Katzin first collective to receive the Dance Lighting: Michael Dostal and Shane Mongar Magazine Award, which recognizes artists Creation of ALL IS NOT LOST was made possible by The O’Donnell Green Music and Dance Foundation. who have made lasting contributions to the field. DANIELLE Directed by Anthony Cerniello THE COMPANY: OCELLUS (1972) ROBBY BARNETT (Artistic Director) Choreographed by Robby Barnett, Lee Harris, Moses Pendleton and Jonathan was born and raised in the Adirondack Wolken Mountains and attended Dartmouth Performed by Benjamin Coalter, Matt Del Rosario, Nile Russell and Mike Tyus College. He joined Pilobolus in 1971. Music: Moses Pendleton & Jonathan Wolken MICHAEL TRACY (Artistic Director) Lighting: Neil Peter Jampolis was born in Florence and raised in New England. He met the other Pilobolus INTERMISSION founders at Dartmouth in 1969, and [esc] (2013) became an Artistic Director after Created by Penn & Teller, Robby Barnett, Renée Jaworski, and Matt Kent in graduating Magna Cum Laude in 1973. collaboration with Shawn Fitzgerald Ahern, Benjamin Coalter, Matt Del Rosario, Michael toured with Pilobolus for 14 Eriko Jimbo, Jordan Kriston, Jun Kuribayashi and Nile Russell years–for eight as the only touring Performed by Shawn Fitzgerald Ahern, Benjamin Coalter, Matt Del Rosario, Director–and continues to choreograph Eriko Jimbo, Jordan Kriston and Mike Tyus and direct the company. He has set his Music: “Gumba Blue” Maria Schneider; “The Penguin” Raymond Scott, work on the Joffrey, Ohio, Hartford, G. Schirmer Inc.; “Whipping Post” The Allman Brothers Band; “Bondage” Nancy and Verona Ballets and Johnnyangel; “The Game has Changed” Daft Punk; “Come Fly With Me” choreographed a production of Mozart’s Words by Sammy Cahn, Music by James Van Heusen; “You Shook Me All Night Magic Flute with John Eliot Gardiner, the Long” Written by Angus Young, Malcolm Young, and Brian Johnson; “Swingin’” Monteverdi Choir and the English Mudfoot Jones & The Basement Boys Baroque Soloists, and a national tour Costumes: Liz Prince production for the National Theater of Lighting: Neil Peter Jampolis the Deaf. Michael taught at Yale Magic Consultant: John Thompson University for two decades and lives in [esc] was commissioned by the American Dance Festival with support from the SHS Foundation and the northwestern Connecticut. Charles L. and Stephanie Reinhart Fund. [esc] was created through Pilobolus’s International Collaborators ITAMAR KUBOVY (Executive Producer) Project, which received funding from the National Endowment for the Arts and the Xerox Foundation. oversees the many moving parts of EXPLOSIONS Pilobolus. He founded and co-curates Film by Dumt & Farligt Pilobolus’s critically acclaimed International Collaborators Project, which LICKS (2013) opens the choreographic process to Created by Trish Sie and Renée Jaworski in collaboration with Shawn Fitzgerald artists and thinkers from diverse fields. Ahern, Benjamin Coalter, Matt Del Rosario, Eriko Jimbo, Jordan Kriston, Recent collaborators include the MIT Jun Kuribayashi, Nile Russell and Christopher Whitney Distributed Robotics Lab, Steve Banks, Performed by Shawn Fitzgerald Ahern, Benjamin Coalter, Matt Del Rosario, head writer of SpongeBob SquarePants, Eriko Jimbo, Jordan Kriston, Nile Russell and Mike Tyus choreographers Inbal Pinto and Avshalom Music: Nortec Collective Presents: Bostich & Fussible Pollak, Sidi Larbi Cherkaoui, comics artist Costumes: Liz Prince Art Spiegelman, puppeteer Basil Twist, Lighting: Neil Peter Jampolis masters of trickery Penn & Teller, and LICKS was commissioned by the American Dance Festival with support from the SHS Foundation and the writers Etgar Keret and Shira Geffen. Charles L. and Stephanie Reinhart Fund. LICKS was created through Pilobolus’s International Collaborators Project, which received funding from the National Endowment for the Arts and the Xerox Foundation. Itamar is one of the creators of Pilobolus’s Shadowland, the evening- THIS PROGRAM IS SUBJECT TO CHANGE length hit show in its fourth year touring internationally. He also evolved Pilobolus Playbill '14_Playbill 6/10/14 5:29 PM Page 76

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Creative Services, collaborating with rehearsal director, and most recently all of the unending support and love clients such as Google, IBM, Boston director and choreographer for many of they bring into his life. Consulting Group, the US Olympic the companies collaborations with BENJAMIN COALTER (Dancer) is Committee, the NFL Network, Pfizer, artists and entities such as Dan Zanes, from Hurricane, West Virginia. He and many others to develop movement Steven Banks, Takuya Muramatsu, the began his undergraduate work in for film, advertising, publishing, and rock band OK Go, Michael Moschen, Engineering and International Affairs at corporate events. Pilobolus’s interactive Radiolab and Sidi Larbi Cherkoui. In Marshall University in Huntington, music video collaboration with OK Go 2010 her alma mater honored her with West Virginia. During his second year and Google Chrome Japan, All is Not the University’s Silver Star Alumni at Marshall, Ben took his first formal Lost, was nominated for a 2012 Award for work as an artist in the field dance class. He continued training for Grammy® Award. In keeping with of dance. Renee lives in Connecticut the next five months under the Pilobolus’s traditionally collective with her husband and daughter. direction of Ella Hay, after which he approach to creative work, Itamar now MATT KENT (Associate Artistic transferred to the University of North focuses his efforts on developing the Director) has worked with Pilobolus Carolina School of the Arts, graduating Pilobolus Lab, where the company since 1996 as a dancer, collaborator, in 2012 with a BFA in Contemporary convenes creative minds to produce creative director, choreographer, and Dance. Ben can’t thank his parents imaginative physical entertainment and associate artistic director. Past Pilobolus enough for supporting him in his career distribute it on diverse platforms. Prior projects include Head Choreographer change into the arts and putting their to joining Pilobolus, Itamar studied for Andre Heller’s Magnifico, a large- trust in God that he would have a job philosophy at Yale, ran theaters in scale circus production; Choreographer upon graduation. Ben joined Pilobolus Germany and Sweden, directed plays for a Sports Emmy-nominated teaser in the fall of 2012. by John Guare, co-directed the 2002 created in collaboration with the NFL MATT DEL ROSARIO (Co-Dance season finale of The West Wing, and network; and Choreographer for a Captain) was born and raised in made a film, Upheaval, starring Frances television appearance on Late Night with Hawaii. He began formal dance training McDormand. Conan O’Brien. Matt is one of the at age 20 under the guidance of Paul LILY BINNS (Co-Executive Director, creators of the Pilobolus’s European hit Maley, who inspired him to earn a BFA Development) oversees all internal and Shadowland, and he has performed in in Contemporary Dance at the North external communications; builds over 24 countries and on Pilobolus’s Carolina School of the Arts. In his free Pilobolus’s extended communities of appearance on the 79th Academy time, Matt loves to surf, spear dive, supporters and outreach program Awards. Outside of Pilobolus, he has dance Hula, and play the ukulele. A participants; and oversees the effective worked as zombie choreographer for special thanks to his Ohana for their integration of all the moving parts of AMC’s hit series “The Walking Dead” love and support. Pilobolus toward a sustainable future. and as movement consultant on the ERIKO (Erica) JIMBO (Dancer) was Together with Kubovy, she developed Duncan Sheik musical, Whisper House. born in Japan, raised all over the states, Pilobolus’s critically acclaimed Matt lives in Connecticut with his wife and earned her BFA in Dance from International Collaborators Project, and two sons. North Carolina School of the Arts. Since which opens the choreographic process SHAWN FITZGERALD AHERN then, she has danced professionally to artists and thinkers from diverse (Dancer) grew up climbing trees and with several different companies, fields. Before joining Pilobolus in 2008, skipping stones in Dublin, New productions, and choreographers, and Lily worked in the world of food as Hampshire. After graduating from rural broadened her movement knowledge Managing Editor of Saveur magazine public school and the Monadnock through aerial work, wushu, Capoeira, and as a book editor at Ten Speed Press. Performing Arts Academy, both located hip hop, house, waacking, vogue, She is the co-author of The Hungry in his native New Hampshire, Shawn breakin, African, swing, hustle, and Scientist Handbook (Harper Collins, moved to Vienna, Austria to continue more. She has a special passion for the 2008) and author of the fiction his studies in dance and visual arts. He NYC underground house and hip hop chapbook The First American Wilderness later returned to New Hampshire, culture, and won House Dance (JR Vansant, 2011). She graduated from where he worked in steel construction International in 2009. When time Columbia University in 2003 with a and pursued his undergraduate degree permits, she performs and engages in degree in English and Creative Writing. at Keene State College. He graduated events with her crew, MAWU. Jimbo RENÉE JAWORSKI (Associate Artistic Magna Cum Laude from Keene as a has traveled throughout the world to Director) received her BFA from the Theatre and Dance major under the perform and teach, and aspires to University of the Arts in Philadelphia. mentorship of William Seigh. Shawn continue exploring the globe while Upon graduating she began work with owes his passion for movement and for sharing her passion. She joined MOMIX, performing and teaching learning to the inspired instructors at Pilobolus in 2009. throughout the world as well as creating MPAA, KSC, and the American Dance JORDAN KRISTON (Dancer) was born her own work in Philadelphia. She Festival. He is truly excited each day to in Illinois and grew up in Phoenix, began performing with Pilobolus in collaborate, travel, and perform with Arizona. She earned a BFA in Dance 2000, working on exciting projects such Pilobolus! Shawn thanks you for Performance from Arizona State as the 2007 Academy Awards. She has sustaining the arts, and he thanks his University while performing with served as dance captain, master teacher, family from the bottom of his heart for Playbill '14_Playbill 6/10/14 5:29 PM Page 77

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Movement Source Dance Company of JUN KURIBAYASHI (Artistic Associate) intern at Actors Theatre of Louisville, Phoenix. In 2006 she moved to was born in Japan and raised in the US video intern at New York Stage and Brooklyn, NY. During her time in New since age five. Before pursuing a career in Film’s Powerhouse Theatre, and a York, Jordan performed with H.T Chen dance he was a competitive swimmer, directing intern at Wooly Mammoth and Dian Dong, Douglas Dunn, and breakdancer, and studied various martial Theatre in Washington D.C. for their Karl Anderson. She was overjoyed to arts. At age 22, he began learning dance production of “The Elaborate Entrance start a full-time position with Pilobolus technique at the University of Kansas, of Chad Deity.” Chris currently resides in August 2010. She takes pride in where he earned his BFA. He debuted in Chicago as a freelance director and making new work with Pilobolus, and professionally with Momix in 2004 and videographer. shortly after joined Pilobolus and toured is grateful to be able to share and teach SHELBY SONNENBERG (Production all over the world. Jordan also enjoys as a dancer then dance captain and communications liaison for ten years. He Stage Manager) was born and raised in writing, caring for horses and National gives special thanks to the dance faculty Wisconsin. She graduated from the Geographic Magazine. She will always be at KU, families (Kuribayashi and Jones) University of Wisconsin-Madison thankful for the family and friends who and friends who have always shown (UW-Madison) with a Bachelor of Fine have helped shape who she is and unwavering support, and especially to his Arts degree in Dance in 2012 and encouraged her along the way. wonderful wife, Casey, who always keeps completed production apprenticeships NILE H. RUSSELL (Co-Dance him grounded and level headed. Jun at Bates Dance Festival and New York Captain) is originally from Baltimore, joined Pilobolus in August 2004. Live Arts in 2013. She would like to MD. In 2004, he received a BA in SHANE MONGAR (Director of thank her mom and dad for all their Dance from Connecticut College, where Production) is originally from love and support. he was fortunate enough to have the Chattanooga, Tennessee. ERIC TAYLOR (Stage Ops) is from guidance of wonderful dancers and KRISTIN HELFRICH (Production Tennessee, where he still spends his teachers such as Dan Wagoner, Lan Lan Manager) holds a BA in Lighting time off from touring working as a Wang, Jeff Rebudal, Robyne Watkin, Design and Photography from rigger and stagehand for area theater Eddie Taketa, and Jeremy Nelson. In Columbia College in Chicago, Illinois. productions and corporate events. Eric 2002, inspired by his love for Indian She started working for Pilobolus in has enjoyed touring with Pilobolus culture, Nile traveled to India to study 2008 as Production Stage Manager. since 2011. Temple and Architecture studies and Prior positions include Production OK GO (Composers & Creative Bharatanatyam dance at the University Manager for the Kelly Strayhorn Theater Collaborators) has been called “the of Mysore. Since moving to New York in in Pittsburgh, PA; Production Manager first post-internet band” and is at the 2004, Nile has danced with Silver- and Lighting Supervisor for Deeply forefront of an emerging class of Brown Dance, LeeSaar The Company, Rooted Dance Theater in Chicago, IL; independent creative entrepreneurs Luis Lara Malvacias, Stefanie Nelson Master Electrician for the American making art that is both digital and Dance Group and Naganuma Dance. Dance Festival in Durham, NC; and physical. OK Go’s self-produced videos He will forever thank his friends, family, Assistant Lighting Designer and Master have been viewed over 175 million and mother, Sharon, for their love and Electrician for the National Playwrights times on YouTube. The band’s critically support. Nile joined Pilobolus in August Festival at the Eugene O’Neill Theater acclaimed release Of the Blue Colour of 2009. Center in New London, CT. the Sky has garnered much praise, with MIKE TYUS (Dancer) was born in MIKE FABA (Lighting Supervisor) is a a 4 star review in People Magazine and Seattle, Washington but grew up in the graduate of the Professional Theater Arts the Alternative Press writing that “it fills entertainment capitol–Los Angeles. Training Program in Lighting Design at you with hope for the next decade’s After undergoing reconstructive leg the Seattle Repertory Theater, and holds musical offerings.” Their previous surgery and being prescribed dance as a BA in Drama from Vassar College. He collaboration with Pilobolus, made in physical therapy, dance became his worked as the Production Stage collaboration with Google Japan and passion. He started his training with Manager and Lighting Supervisor for the Trish Sie, was an innovative HTML5 jazz competitive dance, which led him Kate Weare Company and for Radiolab video for “All Is Not Lost” which was to audition for the renowned Cirque du Live: In The Dark, a collaboration nominated for a Grammy and recently Soleil hungry to learn more about between WNYC’s Radiolab and won five Cannes Golden Lions awards. dance. Mike worked with Cirque Du Pilobolus. Mike was the Lighting Their other recent award-winning videos Soleil from 2008-2012, which gave him Supervisor for Martha Clarke’s Angel include “Needing/Getting” (debuted at the opportunity to share and experience Reapers, and spent two summers the Super Bowl, and since viewed nearly dance throughout the entire world. This working as the Master Electrician at 21 million times), a collaboration with experience also helped mold his sense the American Dance Festival. Sesame Street, and a fan-favorite pairing of discipline, work ethic, and pride in CHRIS OWENS (Video Technician) is with the Muppets. Last year, they movement. Mike wants to specifically released the live album 180/365 on their thank Alfonso Coro for supporting him from the great state of Nebraska. He attended Doane College in Crete, newly launched independent label, through the rough stuff. This is Mike’s Paracadute. They are currently writing first season with Pilobolus. Nebraska, and earned a BFA in Theatre, Journalism and Media. Since College and recording music for their fourth Chris has been a media technology full-length album, due in 2013. Playbill '14_Playbill 6/10/14 5:29 PM Page 78

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LEE HARRIS (Choreographer) PENN & TELLER (Creative guest artists and as sole choreographer. Dartmouth class of 1973, was a Collaborators) have been amazing and He also choreographed for the member of the original Pilobolus troupe cracking up audiences for nearly 40 Glyndebourne Festival Opera’s of four men who founded Pilobolus. In years with their own very special blend production of Maurice Sendak’s addition to the roles of dancer and joint of magic and comedy. Emmy Award “Where the Wild Things Are”, and choreographer, he managed Pilobolus’s winners and New York Times best-selling created “Oneiric” featured in a jointly finances, stage management, and lighting authors, the duo’s live shows have been produced Danish Television feature for activities. He left the company in the a hit on Broadway, on sold-out members of the Royal Danish Ballet. spring of 1974 after the company’s international tours, and for the last 20 Over the years he taught many initial breakout tour of Europe and years as one of the longest-running and workshops and was dedicated to the Israel to pursue a career in computer most beloved shows on the Las Vegas furtherance of Pilobolus technique not software. However, he has retained a Strip. Their television appearances have only in dance but as a model for passionate interest in the Company ever run the gamut from Oprah to Late Night creative thinking in any field. since, never misses an opportunity to with Jimmy Fallon, Dancing with the EDWARD BILOUS (Composer) is a see a performance, and is grateful to Stars to Piers Morgan Tonight, The composer and Founding Director of the have had a small part in launching Celebrity Apprentice to animated versions Center for Innovation in the Arts at the Pilobolus as one of America’s premier of themselves on two episodes of The Juilliard School. His compositions feature modern dance companies. Simpsons. Their Showtime series Penn & works for film, stage, dance, and MOSES PENDLETON (Choreographer) Teller: Bullshit! ran for eight seasons and multimedia including Lucid Dreams for was born and raised on a farm in was nominated for 13 Emmy the American Composers Orchestra, Night northern Vermont. He received his B.A. Awards. In April of this year, the pair of the Dark Moon for Pilobolus Dance in English Literature from Dartmouth was honored with their very own star Theater and Mission Eternity for the College in 1971 and co-founded on the Hollywood Walk of Fame. Juilliard School. His film credits include the scores to Scottsboro (2001 Academy Pilobolus that same year and was one JOHN THOMPSON (Creative Award nominee) and Portraits of Grief –A Collaborator) got his start in show of its artistic directors until 1990. In Tribute to the Victims of the September 11th addition to his work with Pilobolus, business as a musician and musical Tragedy (New York Times Television) and Moses has choreographed and arranger. He developed a successful Forgiveness (PBS). Edward is also the performed for numerous companies comedy magic act, “The Great creator of BASETRACK a multimedia throughout the world. He was a Tomsoni,” a parody of serious magical theatrical experience that tells the stories Guggenheim Fellow in 1977. Moses performers, and later joined forces with of one-eight Marines in Afghanistan. has performed as a soloist in galas his wife and partner, Pamela Hayes, BASETRACK begins a national tour of throughout Europe and at the to form “The Great Tomsoni and performing arts centers and military bases Metropolitan Opera House as well as Company”. John is a noted close-up in the fall of 2014. He recently joined the with his own company, Momix, which magic performer, illusion inventor, creative team as composer and music he founded with Alison Chase in 1980. highly respected trade show director for SACRED, a global- TRISH SIE (Creative Collaborator) spokesman, and magical consultant. He documentary event and multimedia With a background in freaky low-budget has written, developed and provided concert produced by WNET-New York filmmaking, modern dance, ballet, material for magicians Siegfried and Roy, Public Television. ballroom dancesport, and music, Sie Penn and Teller, Doug Henning, Lance NORTEC COLLECTIVE PRESENTS: conceptualizes, creates, choreographs Burton, Criss Angel and David Blaine. BOSTICH & FUSSIBLE and directs projects for film, television John was a member of the magic staff (Composers) Nortec Collective emerged and the Internet. She has collaborated for the FX cable channel’s series, Penn from the burgeoning Tijuana electronic with OK Go to conceive, produce and & Teller’s Sin City Spectaculars. He was scene, performing a style of music that direct many of OK Go’s music videos, the magic consultant for the off- they invented called Nortec– a fusion including the Grammy-winning Broadway production of Play Dead, of Norteño (“from the North”) and Techno, documenting the collision treadmill video, “Here It Goes Again” written and directed by Teller and, in between the style and culture of and the dancing dog video, “White conjunction with Teller, he designed the magic effects for The Exorcist, which electronica music, characterized by Knuckles.” Sie, a Featured Director at dance beats layered with traditional Saatchi & Saatchi’s New Director premiered at the Los Angeles Geffen Theatre. forms of Mexican music. With two Showcase in Cannes in 2007, won a Grammy and Latin Grammy nominated Grammy Award for Best Short-Form JONATHAN WOLKEN (1949-2010) Bostich & Fussible albums (Tijuana Music Video and a YouTube Award for (Choreographer) co-founded Pilobolus Sound Machine and Bulevar 2000) under Most Creative Video for her work on in 1971 and remained one of its Artistic their belts, the Nortec sound has been OK Go’s “Here It Goes Again,” plus Directors as well as Director of embraced by an international audience garnered another Grammy nomination Development until his death on June and has become an entire movement and seven Cannes Golden Lions at 13, 2010. Jonathan graduated from encompassing music, film and graphic the International Ad Fest for her Dartmouth College with a degree in design. In recent years, Nortec collaboration with OK Go and Pilobolus Philosophy. During his career he created Collective Presents: Bostich & Fussible with the Google Chrome Experiment, 46 works for Pilobolus, in collaboration has played high-profile U.S. stages like “All Is Not Lost.” with its other artistic directors, with Bonnaroo, Outside Lands and Central Playbill '14_Playbill 6/10/14 5:29 PM Page 79

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Park SummerStage as well as around the globe from Sweden and Germany to Australia, Japan and China. Stars in their native Mexico who routinely headline major festivals, the duo is currently in the studio preparing its latest album set for release in the summer. NEIL PETER JAMPOLIS (Éminence Grise/Lighting Designer) has been lighting Pilobolus since 1975, creating more than 50 new works for the company. He has also had an active career as a set, lighting and costume designer for Broadway - where he has four Tony Nominations and a Tony Award, Off-Broadway, Dance, Regional Theater, and Opera, which he also directs. His designs, large and small, have appeared on every continent. His most recent New York outing was lighting the Metropolitan Opera’s Iphigenie en Tauride in November of 2007. In addition, Neil is Professor of Theater at UCLA. US Touring: IMG Artists Tel: +1.212.994.3500 E-mail: [email protected] International Sales and Commercial Work: Karen Feys E-mail [email protected] US +1.860.717.0517 UK +44.207.193.9877 General inquiries: Tel +1.860.868.0538 E-mail [email protected] Visit our website: www.pilobolus.org Pilobolus Lab is supported by a major award from the National Endowment for the Arts, which believes that a great nation deserves great art, and by the American Dance Festival with support form the SHS Foundation. Pilobolus is a tax-exempt, not-for-profit corporation, supported in part by funds from the Department of Economic and Community Development/Connecticut Office of the Arts and the Connecticut Arts Endowment Fund, and by grants from The Arnhold Foundation, The Beyer Family Foundation, The Dau Family Foundation, The Diebold fabulous new Foundation, The Gilman Foundation, Goldman Sachs Gives, The Harkness Foundation for Dance, Hyde & Watson Foundation, Jean and Julien Levy Foundation location! for the Arts, The NewAlliance Foundation, The William and Alice Mortensen Foundation, Newman’s Own Foundation, The Shubert Foundation, The Silver 1053 main street blowing rock Mountain Foundation, and The Xerox Foundation. If you wish to contribute to Pilobolus, please call or write us. neaco.com 877.33neaco Playbill '14_Playbill 6/10/14 5:29 PM Page 80

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DANCE THEATRE OF HARLEM ABOUT DANCE THEATRE SATURDAY, JULY 19 OF HARLEM: 8 PM, SCHAEFER CENTER FOR THE PERFORMING ARTS Dance Theatre of Harlem is a leading dance institution of unparalleled global acclaim that uses the art form of classical FOUNDERS ballet to change people’s lives. Arthur Mitchell Karel Shook Dance Theatre of Harlem was founded in ARTISTIC DIRECTOR EXECUTIVE DIRECTOR 1969 by Arthur Mitchell and the late Virginia Johnson Laveen Naidu Karel Shook. Mitchell, the first African BALLET MASTERS GENERAL MANAGER American dancer to become a principal Keith Saunders Kellye Saunders Elizabeth England dancer with a major U.S. ballet company DANCERS (New York City Ballet) turned his despair Lindsey Croop Chyrstyn Fentroy Jenelle Figgins Emiko Flanagan at the assassination of Dr. Martin Luther Ashley Jackson Alexandra Jacob Nayara Lopes King, Jr. into hope by establishing a Ashley Murphy Ingrid Silva Stephanie Rae Williams school and later a company to bring new Darius Barnes Fredrick Davis Da’Von Doane Dustin James opportunities to the lives of the young Francis Lawrence Dylan Santos Anthony Savoy Samuel Wilson people in the Harlem neighborhood in ARTISTIC DIRECTOR EMERITUS which he grew up. He believed in the Arthur Mitchell power of training in a classical art form to bring discipline and focus to a challenged Dance Theatre of Harlem is supported in part by public and private funds from The Andrew W. Mellon Foundation, The Thompson Family Foundation, Inc. community. Dance Theatre of Harlem’s The Ford Foundation , The Carl & Lilly Pforzheimer Foundation, Inc. unprecedented success is built on The Shubert Foundation, NYC Department of Cultural Affairs in Partnership with the City Council creating innovative and bold new forms New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature National Endowment for the Arts of artistic expression. Through varied artistic interactions, Dance Theatre of Harlem has inspired countless people in New York City, across the country and THE LARK ASCENDING around the world. (World Premiere 1972, DTH Premiere: October 20, 2012) Choreography: Alvin Ailey Now 45, Dance Theatre of Harlem Staging: Elizabeth Roxas-Dobrish remains committed to the excellence that Music: Ralph Vaughan Williams has sustained it over the years. At the Costumes: Bea Feitler same time, it is dedicated to reaching Lighting: Chenault Spence new audiences with a powerful message CHYRSTYN FENTROY FREDRICK DAVIS of self-reliance, artistic relevance and JENELLE FIGGINS DUSTIN JAMES individual responsibility, all hallmarks of Emiko Flanagan Stephanie Rae Williams Alexandra Jacob Lindsey Croop an organization that has played a key role Anthony Savoy Darius Barnes Dylan Santos Francis Lawrence in the national cultural dialogue. The restaging and performance of The Lark Ascending has been made possible by the National In only its second year, the DTH has Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius. toured across the U.S. and Special Thanks to the Alvin Ailey Theater Foundation for the permission to perform this piece. internationally, taking with it the Pause legacy of thrilling performances, artistic SWAN LAKE innovation and inspiration to audiences (Act III Pas de Deux) wherever it performs. In addition, the (DTH Premiere: November 9, 2012) company offers extensive community Staging: Anna-Marie Holmes after Marius Petipa and Nicholas Sergeyev engagement and arts exposure Music: Pyotr Illyich Tchaikovsky opportunities as part of the organization’s Costumes: Courtesy of Boston Ballet mission to transform lives through the art Lighting: Peter D. Leonard form of ballet. NAYARA LOPES SAMUEL WILSON Playbill '14_Playbill 6/10/14 5:29 PM Page 81

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THE COMPANY: Virginia Johnson Intermission (Artistic Director) A founding member of past-carry-forward Dance Theatre of Harlem, (World Premiere October 17, 2013) Virginia Johnson was one Choreography: Tanya Wideman-Davis and Thaddeus Davis of its principal ballerinas Dramaturge: Thomas F. DeFrantz over a career that spanned nearly 30 Music: Willie “The Lion” Smith and SLIPPAGE (Thomas F. DeFrantz and Jamie Keesecker) years. After retiring in 1997, Johnson Costumes Design and Execution: Charles Heightchew went on to found Pointe Magazine and Lighting: Peter Jakubowski and Peter D. Leonard was editor-in chief for 10 years. Ashley Jackson Emiko Flanagan Lindsey Croop Jenelle Figgins Chyrstyn Fentroy A native of Washington, D.C., Johnson Darius Barnes Anthony Savoy Samuel Wilson Da’Von Doane began her training with Therrell Smith. She studied with Mary Day at the “Harlem Joys “ words and music by Walter Bishop, William H, Smith and Clarence Williams. “Sing Brother Swing” words and music by Walter Bishop, Lewis Raymond and Clarence Williams. Washington School of Ballet and graduated All rights owned or administered by Universal Music Corp (ASCAP). Used by permission from the Academy of the Washington School of Ballet and went on to be a past-carry-forward was developed in part at the Vineyard Arts Project in Edgartown, MA: Ashley Melone, Founder and Artistic Director. University Scholar in the School of the Arts at New York University before Intermission joining Dance Theatre of Harlem. Johnson is universally recognized as one RETURN of the great ballerinas of her generation (World Premiere September 21, 1999) and is perhaps best known for her Choreography: Robert Garland Music: James Brown, Alfred Ellis, Aretha Franklin, Carolyn Franklin performances in the ballets Giselle, A Costume Design and Execution: Pamela Allen-Cummings Streetcar Named Desire and Fall River Lighting: Roma Flowers Legend. She has received such honors as a Young Achiever Award from the National “Mother Popcorn” Council of Women, Outstanding Young INGRID SILVA Woman of America and the Dance Nayara Lopes Alexandra Jacob Ashley Jackson Magazine Award, a Pen and Brush Stephanie Rae Williams Emiko Flanagan DA’VON DOANE Achievement Award, the Washington Dylan Santos Fredrick Davis Darius Barnes Dustin James Anthony Savoy Performing Arts Society’s 2008-2009 Pola Nirenska Lifetime Achievement Award “Baby, Baby, Baby” and the 2009 Martha Hill Fund STEPHANIE RAE WILLIAMS FREDRICK DAVIS Mid-Career Award. Emiko Flanagan Dylan Santos Ashley Jackson Dustin James Arthur Mitchell “I Got The Feelin’” (Co-Founder and Artistic DYLAN SANTOS INGRID SILVA ANTHONY SAVOY Director Emeritus) Nayara Lopes Darius Barnes Alexandra Jacob Arthur Mitchell is known “Call Me” around the world for EMIKO FLANAGAN DUSTIN JAMES creating and sustaining The Company the Dance Theatre of Harlem which he “Superbad” co-founded with Karel Shook. Following a brilliant career as a principal artist with DA’VON DOANE The Company the New York City Ballet, Mitchell dedicated his life to changing perceptions “Mother Popcorn “ and “Superbad” performed by James Brown and advancing the art form of ballet Courtesy of Dynatone Publishing Company By arrangement with Warner Special Products through the first permanently established “Baby, Baby, Baby” and “Call Me” performed by Aretha Franklin African American and racially diverse Courtesy of Pronto Music and Fourteenth Hour Music, Inc. By arrangement with Warner Special Products ballet company. “I Got the Feelin’” performed by James Brown By arrangement with Fort Knox Music, Inc. Born in New York City in 1934, Mitchell Return was commissioned by Arthur Mitchell and Dance Theatre of Harlem. began his dance training at New York City's High School of the Performing Arts, where he won the coveted annual dance award and subsequently a full scholarship to the School of American Ballet. In Playbill '14_Playbill 6/10/14 5:29 PM Page 82

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1955, he became the first African DANCERS: Da’Von Doane, Salisbury, Maryland American to become a permanent Darius Barnes, Da’ Von Doane began his member of a major ballet company Baltimore, Maryland training at the Salisbury when he joined New York City Ballet. Darius Barnes attended Dance Academy and was He rose quickly to the rank of Principal Baltimore School for The a member of the schools’ Dancer during his 15 year career with Arts and was later regional dance company. He has New York City Ballet and electrified accepted into the School attended summer intensives at the Kirov audiences with his performances in a of American Ballet. In 2007 he was Academy of Ballet and the Atlantic broad spectrum of roles. Upon learning offered an apprenticeship with the New Contemporary Ballet Theatre, where he of the death of Reverend Dr. Martin York City Ballet and joined the corps de returned at age 15 as a student. In Luther King, Jr. and with financial ballet. In 2010, he joined the Suzanne 2008, Doane moved to New York City assistance from Mrs. Alva B. Gimbel, Farrell Ballet and made his Broadway to join the DTH Ensemble. As a guest the Ford Foundation and his own debut in the Tony Award-winning savings, Mitchell founded Dance artist, he has performed with the musical Memphis. Barnes has been seen Classical Contemporary Ballet Theatre Theatre of Harlem with his mentor in Broadway’s Spider-Man: Turn off the and ballet instructor Karel Shook. and with choreographer Ja’ Malik. In Dark, the First National tour of Memphis, 2010, he performed with Ballet Noir in With an illustrious career that has NBC’s SMASH, the Metropolitan Opera the 200th Anniversary Chopin spanned over 50 years, Mitchell is the and the Radio City Christmas Celebration and the 2010 World Dance recipient of the Kennedy Center Spectacular. Gala in Poland. Honors, a National Medal of the Arts, a Lindsey Croop, Chyrstyn Fentroy, MacArthur Foundation Fellowship, the Midland, Texas Los Angeles, California New York Living Landmark Award, the Lindsey Croop began her Chyrstyn Mariah Fentroy Handel Medallion, the NAACP Image formal ballet training at trained with her mother Award and more than a dozen honorary Coleman Academy and Ruth Fentroy until the degrees. continued her studies age of 17. After being Keith Saunders during summer intensives with offered a scholarship to the Joffrey Ballet (Ballet Master) Milwaukee Ballet, Atlanta Ballet, School trainee program, she moved to Keith Saunders, a native Orlando Ballet, Ballet Austin and The New York City. During her first year of Baltimore, Maryland, Ailey School. Following high school, there, she was asked to join the Joffrey began dancing in 1971 she attended Butler University, where Ballet School Performance Company in while a student at she received dual degrees in dance arts which she danced several principal Harvard University. He began his ballet administration and strategic communi- roles. Fentroy competed in the Youth training in 1973 at the National Center cations. Croop began her professional America Grand Prix finals in New York for Afro-American Artists in Dorchester, career with Nashville Ballet’s second in 2010 and 2011, where she was then Massachusetts. Saunders joined Dance company, performing under the asked to compete in the Beijing Theatre of Harlem in 1975 and direction of Paul Vasterling in full-length International Ballet and Choreography continued his development under the ballets that included The Nutcracker, Competition. Giselle and Swan Lake. tutelage of Arthur Mitchell, Karel Shook Jenelle Figgins, and William Griffith. He became a Fredrick Davis, Washington, D.C. principal dancer with DTH and Brooklyn, New York Jenelle Figgins began performed a wide range of roles Fredrick Davis started his her training at the Jones- throughout the company for more than training at the age of 11 Haywood School of 17 years. He also danced with France’s with a full scholarship for Ballet, Dance Institute of Ballet du Nord (1986) and BalletMet of Ballet Tennessee. After Washington and Duke Ellington School Columbus, Ohio (1987-1989). He has graduating from the Chattanooga High of the Performing Arts where she performed as a guest artist with many School Center for Creative Arts, he received scholarships to attend DTH’s established companies throught the moved back to his native New York City Kennedy Summer Intensive. She went world and has taught at DTH, to train with the Joffrey Ballet School. on to attend SUNY Purchase New York BallethMet Dance Academy and Ballet He then studied at summer intensives and received her B.F.A. with honors in Tech. Saunders was appointed DTH’s with companies all across the country. dance. Following graduation, she assistant ballet master in 1994 and Davis danced with Roxey Ballet attended Springboard Danse Montreal. ballet master in 1996. From 2004-2010, Company before joining the DTH Figgins has been featured in works by he was director of Dancing Through Ensemble. He has participated in the Sarah Mettin, Twyla Tharp, Paul Taylor, Dance for America Tour, DTH Vision Barriers®, DTH’s international education George Balanchine and Nora Reynolds Gala, The Kennedy Center Honors, the and outreach initiative, in addition to among others. She has danced profes- Donald McKayle Tribute performance in directing the DTH Ensemble. sionally with Mettin Movement Irvine, California and the Paramount Collective, Collage dance Collective and Theatre Gala. Les Grands Ballet Canadiens de Montréal. Playbill '14_Playbill 6/10/14 5:29 PM Page 83

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Emiko Flanagan, training, she joined the Orlando Ballet Alexandra Jacob, Westlake Village, CA II and in 2011, she joined The National Oakland, California Emiko Flanagan received Ballet of Canada as an apprentice. Lopes Alexandra Jacob began her early dance training has competed in ballet competitions her first formal Vaganova from California Dance such as the Youth America Grand Prix- ballet training at the age Theatre and attended finals where she received the Mary Day of eight at Berkeley City summer programs at Pacific Northwest Special Award and the Youth America Ballet and attended summer programs Ballet, Boston Ballet and San Francisco Grand Prix- Regionals where she was at the DTH and Alonzo King LINES Conservatory of Dance. She studied at the Grand Prix Winner 2011. This will Ballet on scholarships. After graduating UC Irvine as a BFA student in Dance be her first year with the DTH. high school, she pursued an architecture Performance where after her sophomore Ashley Jackson, degree at the California College of the year, she took a leave of absence to train High Point, NC Arts. Three years into her college career, with the Joffrey Ballet. Flanagan was an Ashley Jackson graduated she rediscovered her love for ballet and apprentice with the Richmond Ballet for from the North Carolina returned to New York to attend the and then spent one year in the Alonzo School of the Arts, while Joffrey Ballet School. She joined the King LINES Ballet Training Program. also training at Susan’s DTH Ensemble in 2005 and has toured She has performed in works by George Dance Unlimited. She began her Balanchine, William Forsythe, Salvatore with the ensemble throughout the professional career at North Carolina United States and internationally. Aiello, Jodie Gates, Alexei Kremnev, and Dance theatre. She joined Alonzo King Keelan Whitmore. LINES Ballet in 2008 and received a Dustin James, Nayara Lopes, Princess Grace Award and the Chris Houston, Texas Curitiba, Brazil Hellman Award in 2010. Ashley is Dustin James began his Nayara Lopes started featured in the August 2009 edition of dance training at age 11 dancing at age six and Dance Magazine’s article “On the Rise” in Houston and later trained both at the and on the cover of the April 2011 attended the city’s High School of Theatre Dance Baystages Magazine. Ashley is currently School for the Performing and Visual Guaira in Brazil and American Ballet enrolled in the LEAP program at Saint Arts. While there, he also began Theatre’s Jacqueline Kennedy Onassis Mary’s College of California. This is her studying at Houston Ballet’s Ben in New York City. Following her early first season with DTH. Stevenson Academy and became a Playbill '14_Playbill 6/10/14 5:29 PM Page 84

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member of Houston Ballet II for two finalist at Youth American Grand Prix Program. She became a member of the years where he was trained and coached in NYC where he was awarded DTH Ensemble in 2008. Silva has also by Claudio Muñoz as well as Lázaro scholarships at several schools including performed with Armitage Gone! Dance Carreño, Phillip Broomhead and the Harid Conservatory in Boca Raton, performing GAGA-Gaku at the Joyce Priscilla Nathan-Murphy. After FL where he ultimately decided to Theater in 2011. completing his training, James joined continue his studies. After working as a Stephanie Rae BalletMet Columbus, where he danced trainee with the Houston Ballet, Santos Williams, for four seasons and performed works joined the Orlando Ballet. With Ballet Salt Lake City, Utah by such choreographers as Stanton Chicago, Santos first performed such Born in Utah and raised Welch, Darrell Grand Moultrie and Ma Balanchine works Serenade, Swan Lake, in Texas, Stephanie Cong. Who Cares and Divertimento No.15. He Williams received her Francis Lawrence, has worked with many choreographers early training at Dallas Dance Academy. Melbourne, Australia and teachers including Stanton Welch, She made her professional debut with Francis Lawrence studied Phillip Broomhead Claudio Munoz, Texas Ballet Theater and she most at The Australian Ballet Andrew Murphy, Anna-Marie Holmes, recently danced as a company member School and danced with Deidre Miles Burger among others. He with the Francesca Harper Project and The Australian Ballet and has worked in company productions Ballet Black. Williams was an apprentice with its regional Dancers Company for with the Houston Ballet, Joffrey Ballet with Complexions in 2009, and has two years. Upon arriving in the states, and Paris Opera Ballet. He joined Dance also studied during summers at The Lawrence joined New York Theatre Theatre of Harlem in January, 2014. Juilliard School, Alonzo King LINES Ballet for their 30th season and has Anthony Javier Savoy, Ballet and Houston Ballet’s Ben danced for the Grand Rapids Ballet Annapolis, Maryland Stevenson Academy. She was a Company. He has studied under Anthony Javier Savoy fellowship recipient at The Ailey School, programs offered by The Ailey School, began his classical a 2006 National Foundation on the Arts Complexions and Hubbard Street, training, at Abigail award winner, a 2006 Youth America getting to work with choreographers Francisco’s School of Grand Prix Finalist and a 2004 Texas like Pedro Ruiz, Dwight Rhoden and Classical Ballet at the age of 16. In Commission on the Arts Young Master. Desmond Richardson. Lawrence most 2006, he participated in the National Samuel Wilson, recently worked with Olivier Weavers High School Dance Festival and was Bremerton, Washington on Fragments, as well as a new work, awarded the title Maryland All State Samuel Wilson started The Couch. Dancer by the Congressional House ballet at the age of 15 Ashley Murphy, Representative of Maryland. He with the Peninsula Dance Shreveport, Louisiana attended Point Park University and Theatre. He has danced Ashley Murphy began her Anne Arundel Community College, in summer programs such as Summer dance training at age working towards a B.F.A. and a minor Dance Lab in Washington and three and was enrolled in biology. In 2010, Savoy joined DTH American Ballet Theatre in Texas. in the pre-professional Ensemble and participated in the Fire Wilson came to DTH in 2003 and division at Carol Anglin Dance Center. Island Dance Festival 17. He has served joined the Dancing Through Barriers® While there, she became a member of as a cultural ambassador for the U.S. in Ensemble. He has performed at the Louisiana Dance Theatre. She has Kingston, Jamaica and has worked on White House, BET’s 106 & Park, Fox 5 performed for Shreveport Opera and the hit television series, So You Think You News, The Kennedy Center and The Moscow State Ballet. She represented Can Dance Season 10. Joyce Theater. He has also worked with LDT in the Regional Dance America Ingrid Silva, world-renowned choreographers and performance at the International Ballet Rio de Janeiro, Brazil has studied under influential teachers Competition and attended summer Ingrid Silva began her like Arthur Mitchell and Eva programs at New York’s Joffrey Ballet formal ballet training at Evdokimava. School and The Ailey School. In 2002, the age of eight at Murphy went on to train and perform Dançando Para Não with DTH’s Dancing Through Barriers® Dançar, the Deborah Colker school and Ensemble. The following year, she was Escola de Dança Maria Olenewa. She accepted into the DTH Company. has also apprenticed with Company Dylan Santos, Grupo Corpo in Brazil. After entering Sao Paulo, Brazil the Univercidade da Cidade College, Dylan Santos began his she traveled to New York in 2007. That studies at Centro de summer, she attended the DTH Artes Pavilhao D in Brazil. Summer Intensive program and then At the age of 15 he was a joined the school’s Professional Training Playbill '14_Playbill 6/10/14 5:29 PM Page 85

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PROGRAM NOTES: Black Swan The choreographers began this project Originally produced in 1877, Swan as a way to consider the legacy of The Lark Ascending Lake has become one of the most the Harlem Renaissance, a dynamic To Vaughan Williams, with his intense enduring of classical ballets. The Act III cultural movement that shaped African love of the English countryside that he Pas de Deux, which dates from 1895, is American participation in world culture knew in his youth, the lark represented a universal favorite and a showcase for in the 1920s. Wideman and Davis the heart’s rapture and the soul’s bravura technique. The Black Swan pas conceived the work as an exploration of aspiration. A miniature violin concerto de deux, as this selection is popularly the concept of “double consciousness,” in all but name, the composer called it known, was staged for Dance Theatre of a philosophical idea proffered by a “Romance” when he completed it in Harlem in 2012 by former ballerina and leading African American intellectual 1920, after beginning it before war renowned coach and teacher Anna- W.E.B. DuBois, who wondered at the broke out in 1914. The violin rises and Marie Holmes who learned the role in necessity for African Americans to live soars aloft above a delicate orchestral St. Petersburg from the great Kirov behind the “veil” of racial separation; accompaniment, followed by a short ballerina Natalia Dudinskaya. to strive as both black and American, folksong-like middle section, and then with those often contradictory political the soloist again takes wing. Some lines past-carry-forward identities. from a poem by George Meredith are past-carry-forward choreographers Tanya inscribed on the score and aptly define Wideman-Davis and Thaddeus Davis Return the music’s rhapsodic character: have created a work that considers the A rousing blend of the elegance of legacy of the Great Migration of African classical ballet and the gritty drive of Singing till his heaven fills Americans from the agrarian South to soul music, Return is a quintessential Tis love of earth that he instils the industrial North in the early part of DTH ballet. To songs of Aretha Franklin And ever winging up and up the 20th century. The migration forced and James Brown, Garland pushes the Our valley is his golden cup many young African Americans into boundaries of ballet technique and And he the wine which overflows difficult situations, making choices to form, incorporating and blending To lift us with him as he goes. leave family at home in the South while vernacular movement from the African from Poems and Lyrics of the Joys of Earth they searched for the promise of a American experience. From Pas de by Noel Goodwin better life in the North. The Harlem Bouree to the Cabbage Patch, Ballone Renaissance, the African American to the bump, the ballet fulfills Dance presence in a segregated military, Theatre of Harlem’s idea of what it working in the segregated service means to be “classically American.” industry as Pullman railroad porters and as entertainers to white American audiences are also considered in the work. Playbill '14_Playbill 6/10/14 5:29 PM Page 86

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CAST TYLER BARNHARDT◊ (5th Lord/Guard) Preston Lane Richard Whittington Triad Stage debut. Artistic Director Managing Director Regional/Local: How THE FRESH MARKET to Succeed in Business PRESENTS Without Really Trying, Pippin (Theatre Charlotte); Spamalot, Pride and Prejudice (UNCG). Education: Rising Senior BFA actor at UNCG. Written by William Shakespeare ALEX CIOFFI◊ (1st Directed by Preston Lane Lord) Triad Stage: A Christmas Carol (2013). Education: This THURSDAY, JULY 10 (UNCG), Bachelorette 8 PM, SCHAEFER CENTER FOR THE PERFORMING ARTS (UNCG), North Carolina Theatre for Scenic Design by Costume Design by Lighting Design by Young People 2013 tour Robin Vest Bill Brewer Robert Perry of Charlotte’s Web. Rising Senior in the BFA Acting program at UNCG. Sound Design by Voice and Text Coach Fight Choreographer * David E. Smith Christine Morris Jim Wren JOHN HERRERA (King of France) Triad Dramaturg Casting by Stage Manager Stage debut. John Bryan Conger Cindi Rush Casting Emily J. Mails created the role of Neville in the original Production Sponsors production of The CityView at Southside | Compass Financial Partners, LLP Mystery of Edwin Drood Volvo Financial Services | Well·Spring (Tony® nomination) and Presented as part of THTR 232, Triad Stage and UNCG's annual collaboration. Kevin in the Off-Broadway production of The play will performed with one fifteen-minute intermission. In the Heights. Other Broadway: Evita, 1776, Camelot, Man of La Mancha and The CAST Threepenny Opera. Off-Broadway: Cactus (in order of appearance) Flower, Lies and Legends. National Tours: 5th Lord / Guard ...... Tyler Barnhardt◊ Chess (Carbonell Award), Falsettos, Les 1st Lord ...... Alex Cioffi◊ Misérables, Angels in America. Regional: King of France ...... John Herrera* Red (Orlando Shakespeare Theatre); Anna 3rd Lord / Guard ...... DeAndre' Hicks◊ in the Tropics, A Little Night Music and Bertram ...... Anthony Michael Martinez* LMNOP (Goodspeed); Sunday in the Park Diana ...... Chloe Clark Oliver◊ with George (Goodman Theatre). Film/TV: Mariana / Page ...... Madelynn Poulson◊ The House That Jack Built, Law and Order: Countess of Rossillion ...... Beth Ritson* SVU and Person of Interest. Thanks to Ron. * Parolles ...... David Ryan Smith ◊ * DEANDRE' HICKS Widow Capilet ...... Cinny Strickland (3rd Lord/Guard) Steward ...... Sibél Turkdamar◊ Triad Stage debut. 4th Lord / Attendant ...... Brady Wease◊ Regional/Local: Pathway Lafew ...... Jeffery West* 2nd Lord ...... Lee Wilson◊ to Freedom (Snow Camp Helena ...... Kim Wong* Outdoor Theatre). Stage Manager ...... Emily J. Mails* Other: A Year with Frog and Toad (NCTYP); The Metal Children, In The Blood, Spamalot Setting: France and Italy – 1920-1922 (UNCG). Education: BFA Acting, UNCG This evening’s performance has been underwritten in part by a generous gift from 2015. Peter and Joni Petschauer. Playbill '14_Playbill 6/10/14 5:29 PM Page 89

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ANTHONY MICHAEL in Dead Man's Cell Phone and This Wide BRADY WEASE◊ MARTINEZ* Night; Associate Professor of Theatre at (4th Lord/Attendant) (Bertram) Triad Stage the awesome Bennett College. Triad Stage Debut. debut. Off-Broadway: DAVID RYAN SMITH* Regional/Local: A Year Romeo & Juliet (Classic (Parolles) Triad Stage with Frog and Toad Stage Company); I'll Be debut. Broadway: One (NCTYP), Jack and the Damned (The Vineyard Man Two, Guvnors and Jelly Beanstalk (THTR Theatre). Regional/ Passing Strange. Off- 232). UNCG Theatre: Local: Cymbeline (Theatreworks, CO); Broadway/New York Spamalot (2013), Romeo & Juliet (2013), Romeo & Juliet, The Comedy of Errors (The Theater: The Steadfast Bloody Bloody Andrew Jackson (2012). Shakespeare Theatre of NJ); Floyd Collins (Slant Theatre Project); Education: BFA Acting, UNCG 2016 . (Kentucky Stages); Restoration Comedy Marat/Sade (Classical Theatre of JEFFERY WEST* (The Flea Theater, directed by Ed Harlem); The Rover (New York Classical (Lafew) Triad Stage: Iskandar). Education: BA Florida State Theatre); and #9 (59E59) Regional New Music, The Woman University; LAMDA Summer Theatre: Actors Theatre of Louisville, in Black, Providence Shakespeare with John Barton and Cicely Barrington Stage Company, American Gap, Ghosts, Bloody Berry. Conservatory Theater, Crossroads Blackbeard, On Golden Theatre Company, Dallas Theater Center, Pond. Directing: Red CHLOE CLARK California Shakespeare Theater, (Triad Stage at the ◊ OLIVER (Diana) Cincinnati Shakespeare, among others. Hanesbrands Theatre). Regional: August: Triad Stage debut. Film: The Amazing Spider-Man 2, Bee Osage County (HSN/Theatre Raleigh), Regional: HAIR, Love’s Season, Medal of Victory (upcoming). True West, Death of a Salesman, King Lear, Labour’s Lost, Richard Education: Smith received his M.F.A. The Miser (PlayMakers Repertory III (Burning Coal), from American Conservatory Theater. Company), The Night Before Christmas Hedda Gabler, Peter CINNY Carol (Temple Theatre and Raleigh Pan, Hot ‘n’ Throbbing, STRICKLAND* Ensemble Players). TV: All My Children, Man and Superman, The Threepenny Opera (Widow Capilet) Guiding Light, Surface, Dawson’s Creek, (UNCG). Education: Rising senior BFA Triad Stage: Snow One Tree Hill, Brookfield (pilot). Faculty: Acting student at UNCG, UNCSA high Queen, Steel Magnolias, UNCChapel Hill, Duke University, school class of 2011. Providence Gap, UNCG, Elon University, Greensboro College, High Point University. MADELYNN Beautiful Star (2006- Education: BA, College of William and ◊ 2009). Other NC POULSON Mary; MFA, University of Virginia. (Mariana/Page) Triad credits: North Carolina Shakespeare ◊ Stage: The Mountaintop Festival, Charlotte Repertory Theatre, LEE WILSON (2nd trailer. Regional/Local: Blowing Rock Stage Company, The Lord) Triad Stage debut. Regional/Local: Ruined (Burning Coal Actors’ Ensemble, The Broach Theatre, Jack and the Jelly Theatre Co.), Pride and Wilmington’s Dog Eat Dog Theatre. Regional: Arkansas Repertory Theatre, Beanstalk (THTR 232), Prejudice (UNCG), Fall Monomoy Theatre, Bristol Riverside Periphery (CTG). Briefs (UNCG). Film/TV: Untitled: A Story Theatre. Education: BFADrama, Other: (2014), Quake of Lost Love (UNCG). Education: BFA in UNCSA; AB-Political Science, Princeton (2013), Romeo and Acting, UNCG. Other: 2011 VA University. Other: guest artist, UNCSA Juliet (2013), Bloody Bloody Andrew Residential Governor’s School for the School of Music; guest artist, Princeton Jackson (2012). Education: BFA Acting, Visual and Performing Arts. University’s Theatre Intime; guest artist, UNCG 2016. BETH RITSON* Reynolda House Museum of American KIM WONG* (Countess of Art. (Helena) Triad Stage Rossillion) Triad SIBÉL TURKDAMAR◊ debut. Recent credits Stage: A Christmas (Steward) Triad Stage include: Much Ado Carol (2013), Steel debut. Regional: Jack About Nothing Magnolias, The Night and the Jelly Beanstalk (Barrington Stage), of the Iguana, Picnic, (THTR 232). Romeo & Juliet and Bus Stop, Brother Wolf Educational: Junie B. Hamlet (Pennsylvania (2006), Tobacco Road and The Rainmaker. Jones in Jingle Bells Shakespeare Festival), Romeo & Juliet Past Shakespeare roles include: Gertrude, Batman Smells, Peter (American Globe Theatre), The Viola, Olivia, Helena and Lady Macbeth. Pan, Pride and Prejudice (UNCG); Studies Philanderer (Pearl Theatre), Henry VI 1- Other: Founding Member of Paper BFA Acting at UNCG. 3/Richard III in rep (Adirondack Lantern Theatre Company which Shakespeare), and South Pacific (Summer performs at Triad Stage’s UpStage Theatre of New Canaan). TV/Film: Cabaret and where she has performed Deception (NBC), Pirates vs. Ninjas Playbill '14_Playbill 6/10/14 5:29 PM Page 90

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(HubTech Productions). Other: Artistic designs featured in World Stage Design JIM WREN◊ (Fight Choreographer) has Director of Accidental Shakespeare and Prague Quadrennial exhibits. As a staged the violence for over a dozen Company in NYC. director and producer, Bill’s award- Triad Stage productions, including the winning production of Side by Side by battles in Bloody Blackbeard, the Sondheim, ran in San Francisco for two fantastical fights in Brother Wolf (2006 CREATIVE TEAM years. Bill teaches costume design at and 2014), and the general behavior of PRESTON LANE UNCSA and is a member of United the Lesters in Tobacco Road. Education: (Director) is in his Scenic Artists 829. MFA, University of Florida. Jim is 13th season at Triad ROBERT PERRY (Lighting Designer) Performance Program Coordinator for the Stage where he has Triad Stage: Julie's Dance, Steel Magnolias. UNCG Department of Theatre, and is a directed over 30 Off-Broadway: The Water Engine (Atlantic two-time recipient of the Kennedy productions. Preston Theater Company); Reefer Madness Center Gold Medallion for Excellence. is the recipient of the (Variety Arts Theatre); Boston Marriage CINDI RUSH, C.S.A. (Casting 2008 Betty Cone (NY Public Theater); Kingdom of Earth Director) New York: Silence! The Musical, Medal of the Arts and (The Drama Dept.). Regional/Local: My Mother’s Jewish Lesbian Wiccan is in his fourth year as the Artistic Drowning Crow (Goodman Theatre); Wedding (NYMF Winner 2010), Jay Alan Partner for Theatre for An Appalachian Crowns (The McCarter Theatre); Billy the Zimmerman’s Incredibly Deaf Musical, Summer Festival. Preston has taught at Kid (LaJolla Playhouse); Coriolanus (The Bonnie and Clyde, Rooms, Jacques Brel, Six UNCG, NC A&T, UNCSA, Greensboro Shakespeare Theatre–DC). Education: Dance Lessons, The Thing About Men, College, SMU, and the Professional MFA, Yale School of Drama; BFA, North Urinetown, The Hurricane Katrina Comedy Actors Workshop at the Dallas Theater Carolina School of the Arts. Other: Festival. Regional: Penguin Rep, Triad Center. He is an alumnus of the Drama Assistant Professor of Lighting Design, Stage, Act II Playhouse, Arena Stage, League of New York’s Director’s Project. University of Illinois at Urbana- Goodman, Humanafest. Film: Ghoul, A native of Boone, NC, Preston received Champaign. robertperrydesign.com The Woman (Top 9 Sundance 2011), In his BFA from NCSA and his MFA from DAVID E. SMITH◉ (Sound Designer) the Family, Offspring, Jack Ketchum’s The the Yale School of Drama. is director of the University of North Girl Next Door, Headspace. Tours: ROBIN VEST (Scenic Designer) Triad Carolina School of the Arts theatre “Barney,” “Curious George,” “Kidz Bop.” Stage: Mirandolina, The Rainmaker, sound design program. David spent Consultant for National Alliance for Dracula, The Diary of Anne Frank, Brother eight years with the Royal National Musical Theatre (2004–2008), Wolf (2006), The Little Foxes, Bell, Book Theatre in London, England. Triad Stage: Consultant for NYU Graduate Program and Candle, and Black Pearl Sings. NYC: Brother Wolf (2014), Snow Queen, for Musical Theatre Writing. MTC, MCC, Playwright’s Horizons, Tennessee Playboy, Trouble in Mind, The EMILY J. MAILS* (Stage Manager) Triad Lincoln Center LCT3, Second Stage Illusion, A Doll House, Dial “M” for Stage: Pump Boys and Dinettes, Anna Uptown, Juilliard’s Drama Division, Murder, Masquerade, A Christmas Carol Christie, Snow Queen, The Mountaintop, Barnard, TACT, Clubbed Thumb, 13p, and The Glass Menagerie among others. Wait Until Dark, Tennessee Playboy, My and WET. Regional: Yentl (Cleveland Regional: Arena Stage, North Shore Fair Lady, Kingdom of Earth, A Christmas Playhouse), Animal Crackers (The Music Theatre, Trinity Repertory Theatre, Carol (2012), Shipwrecked!, Trouble in Goodman), The Mystery of Irma Vep (The Alliance Theatre, Cape Fear Regional Mind, The Illusion, Ain’t Misbehavin’, The Old Globe), Animal Crackers, One Slight Playhouse. Local: Paper Lantern Theatre Mystery of Irma Vep (2011), The America Hitch, The Bluebird, A Servant to Two Company, Little Theatre of Winston- Play, Billy Bishop Goes to War, Oleanna, Masters (Williamstown Theatre Festival), Salem. David was recently selected as a Bloody Blackbeard, Mad at Miles, The Hansel and Gretel (Washington National finalist in World Stage Design 2013 held Santaland Diaries (2008-2011), Dracula Opera), Ariadne Auf Naxos (Utah Opera, in Cardiff, Wales, with music for four of (2008) and “MASTER HAROLD” ...and Vancouver Opera), It Pays to Advertise the productions he composed for Triad the boys. Regional: A Thousand Cranes (Yale Rep). Education: Yale School of Stage: Dial “M” for Murder, Oleanna, A (North Carolina Shakespeare Festival); Drama. Other: Faculty for Guilford Christmas Carol and A Doll House. Rigoletto (Greensboro Opera); Crime and College's Theatre Studies program. CHRISTINE MORRIS◊ (Voice and Text Punishment, Merry Wives of Windsor, Into BILL BREWER◉ (Costume Designer) Coach) At Triad Stage since 2006. Other the Woods (Orlando Shakespeare Bill designs for theatre, ballet, opera, film coaching includes A Thousand Clowns Festival). Education: BFA in Technical and television across the country and (starring Tom Selleck); Kudzu (with The Production, University of North Carolina abroad. Recently at Triad Stage: Snow Red Clay Ramblers); and Sheridan’s The at Greensboro. Critic at American Players Theatre in * Member of Actors’ Equity Association, the Union of Queen, Wait Until Dark, Kingdom of Earth, Professional Actors and Stage Managers in the United Trouble in Mind, The Illusion, Ain’t Wisconsin. As an actor for Triad Stage: States Misbehavin’: The “Fats” Waller Musical Marthy Owen in Anna Christie; Taw ◊ Student or Faculty Member with the University of North Avery in New Music: Better Days; Cordie Carolina at Greensboro Theatre Department Show, the New Music trilogy. United ◉ Student or Faculty Member with the School of Drama States: Berkeley Rep; Minnesota Rep; Grindstaff in Providence Gap; Mme. at the University of North Carolina School of the Arts Pioneer Theatre Company; Pittsburgh Pernelle in Tartuffe; various ladies & King Ballet Theatre; American Stage; Lucas George in Bloody Blackbeard. UNCG Film; Sweeney Todd, starring Jean Theatre faculty. Member of Actors’ Stapleton; Peter Pan, starring Cathy Equity Association, Screen Actors Guild, Rigby. Abroad: ballet, contemporary and the Voice and Speech Trainers dance and film in Paris; ballet in Milan; Association (VASTA). Playbill '14_Playbill 6/10/14 5:29 PM Page 91

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EDUCATIONAL EVENTS CAROL GROTNES BELK TURCHIN CENTER FOR THE VISUAL ARTS: DISTINGUISHED LECTURE: LUNCH & LEARN FRANCES MAYES WEDNESDAYS IN JULY NOON, TURCHIN CENTER FOR THE VISUAL ARTS THURSDAY, JULY 24 LECTURE HALL 3:30 PM, PARKWAY BALLROOM FREE IN THE PLEMMONS STUDENT UNION FREE EVENT These interactive and informative lectures offer an insider’s Reception and book signing to follow look at festival programming and beyond from experts in the field. Bring a bagged lunch to enjoy during the lecture! July 2- TWENTY: Contemporary Art from South Africa with Hank Foreman, Director and Chief Curator of the Sponsored by Turchin Center The Carol Grotnes Belk Library and Information Commons Hank Foreman will provide an overview of the summer visual arts exhibitions, featuring TWENTY: Contemporary Art in South Author Frances Mayes divides her Africa as the center’s International Showcase Series for 2014-15. time between North Carolina and A private tour with Hank Foreman will immediately follow this Tuscany– the place that has Lunch and Learn. Light refreshments will be served. inspired some of her greatest works, including Under the Tuscan July 9- Give my Regards to Broadway with Keith Martin, Sun, Bella Tuscany and The Tuscan John M. Blackburn Distinguished Professor of Theatre at Sun Cookbook. Appalachian State Appalachian University is a special stop on the Broadway is the heart of musical theatre, a truly American art book tour for her most recent and form. But how did it emerge from its accidental birth nearly personal memoir, Under Magnolia. 150 years ago to its current prominence on stages around the Based on Mayes’ personal globe? Join Keith Martin, the John M. Blackburn Distinguished memories of growing up in the South, Under Magnolia is a Professor of Theatre at Appalachian State University, as he traces searingly honest and unforgettable story of a girl whose the evolution of the American musical, including a behind the perspicacity and dawning self-knowledge lead her out of the scenes look at the Tony Awards. South and into the rest of the world, and then to a profound return home. July 16- Penland Resident Artists with artist David Eichelberger David Eichelberger is a ceramics artist concentrating in functional pottery. He is currently a resident artist at the Penland School of Crafts. During this lecture, Eichelberger will talk about his own works and the nature of Penland residencies and its THE MAKING OF A place in the world of developing artists. An artist meet-and-greet BALLET DANCER will immediately follow this Lunch and Learn. Light refresh- WITH THE DANCE THEATRE OF HARLEM ments will be served. July 23- Education Takes the Stage: Arts Education and FRIDAY, JULY 18 Outreach at Appalachian with Christy Chenausky, 6-7 PM, SCHAEFER CENTER FOR THE PERFORMING ARTS Director of Arts Education and Outreach in the Office AGES 5 & UP of Arts and Cultural Programs FREE EVENT Appalachian State University's arts education and outreach program is committed to connecting university arts resources An informal presentation on the art and science of classical to a diverse audience of community arts patrons, teachers and dancing, “The Making of A Dancer” is a fun and accessible learners in the campus community, and in the public, private introduction to ballet. Specific exercises that develop jumping, and home school network across our region. Arts Education and turning, partnering, lifting and dancing on pointe are Outreach Director Christy Chenausky will share details about demonstrated and explained. Excerpts from Dance Theatre of recent statewide initiatives and university programs geared to Harlem’s eclectic repertoire conclude the show. Great for all promote North Carolina's Comprehensive Arts Education Plan ages! Beware: audience participation! and lifelong learning through the arts. Playbill '14_Playbill 6/10/14 5:29 PM Page 94

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THE TURCHIN CENTER FOR THE VISUAL ARTS FIND YOUR ART. TCVA.ORG

Legacy, Tradition, SUMMER EXHIBITION Reinvention: Penland CELEBRATION Resident Artists Through August 2, 2014 July 11 | Friday, 6-10pm Gallery A and Mayer Free Event Gallery, West Wing Celebrate summer and the opening of the Turchin Center’s Located just 45 miles international exhibition, TWENTY: Contemporary Art from South from the Turchin Center, Africa. Join us for live music and a chance to meet the artists– nestled in the Blue Ridge all while taking a tour through six galleries filled with an Mountains, is one of the extraordinary collection of art! most unique artistic educational facilities in the nation. Penland School of Crafts TWENTY: is a national center for craft education, hosting workshops of all varieties. Approximately 1,200 people come to Penland for Contemporary Art instruction each year and another 14,000 visit the Penland from South Africa Gallery and Visitor Center. This exhibition features the work of July 11- February 7, 2015 the current artists in residence at the Penland School of Crafts. Main & Mezzanine Gallery, East Wing As South Africa celebrates VISUAL ARTS its 20th year of democracy, having made a peaceful transition from apartheid state to a new and more equitable society, WORKSHOPS this show depicts a slice of South African life through Artists of all skill levels are welcome. Advanced contemporary art. The show explores social conditions like registration and payment required. Enrollment is limited land issues, HIV/Aids and resistance art and contrasts these so register today! For detailed information and more with more positive aspects like the Mandela years and the workshops offered throughout the summer, visit influence of traditional craft on contemporary South tcva.org/workshops or call 828-262-3017. African art. FOR KIDS: Ivan Fortushniak: Action Figures Ages 6-11 In Christ Alone June 30-July 3 Through August 2, 2014 Self-Reflection Ages 12-16 Gallery B, West Wing June 30-July 3 Heavily influenced by early Modern American Art of the Kid’s Art Week Ages 7-12 19th century, the motivation July 14-18 behind Ivan Fortushniak’s recent work is his belief of FOR OLDER TEENS & ADULTS: the dire state of man and Salt Glazing (11017 ART 3540) the human need for what the Gospel offers. Some of these June 30-July 2 and July 5 paintings convey biblical references through collaged material *Offered through the Art Department from art historical texts while others use appropriated figurative imagery inspired by Winslow Homer and are juxtaposed with Plein Air Painting- Getting Started water-towers, smokestacks and aircraft. July 12 Discovering Your Inner Artist July 21-25 Playbill '14_Playbill 6/10/14 5:29 PM Page 95

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FAMILY DAY AT THE TURCHIN CENTER July 12 | Saturday, 1-4pm Free Event Where in the world is South Africa? In celebration of the Turchin’s international exhibition, TWENTY: Contemporary Art From South Africa, families are invited to experience the culture of Africa through art activities. Discover how South African children live, work and play! Playbill '14_Playbill 6/10/14 5:29 PM Page 96

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28TH ANNIVERSARY OF THE ROSEN OUTDOOR SCULPTURE COMPETITION & EXHIBITION Sculpture Walk with Juror, Wayne Trapp SATURDAY, JULY 26 10 AM, CATHERINE J. SMITH GALLERY IN THE SCHAEFER CENTER FOR THE PERFORMING ARTS FREE EVENT

The Rosen Outdoor Sculpture Competition & Exhibition is a national, juried competition presented annually by the Turchin Center for the Visual Arts on the campus of Appalachian State University. Made possible by the generosity of longtime arts supporters Doris and Martin Rosen, this competition continues a long-held tradition of showcasing the best of contemporary American sculpture. Each year, Joseph Bigley Robert Buganski Justin Dearduff Formal-ly #1 Profiles #14 Prairie Ray 10 finalists are selected for exhibition and three sculptures are chosen as the Martin and Doris Rosen Award winners. The juror for this year’s competition is sculptor and painter Wayne Trapp. Creating lavish, outdoor sculptures, he is known for his colossal pieces for corporate and private clientele. Trapp will announce this year’s competition winner on July 26 at the conclusion of the sculpture tour.

Catherine Hoskinson Aaron Hussey David Jones The Shooting Star Turret Monument to Nowhere

COMPETITION FINALISTS Joseph Bigley, Formal-ly #1 (Boone, NC) Robert Buganski, Profiles #14 (Garrettsville, OH) Justin Dearduff, Prairie Ray (Dell Rapids, SD) Catherine Hoskinson, The Shooting Star (Brooklyn, NY)

Gwendolyn Kerney Mary Ruden Davis Whitfield Aaron Hussey, Turret (Baton Rouge, LA) Tango Heart Einstein Sundial Keeping Venice Afloat David Jones, Monument to Nowhere (Laramie, WY) Gwendolyn Kerney, Tango Heart (Lenoir City, TN) Mary Ruden, Einstein Sundial (Seymour, TN) Davis Whitfield, Keeping Venice Afloat (Sylva, NC) Glenn Zweygardt, Isis Revisited (Alfred Station, NY)

Glenn Zweygardt Isis Revisited

2013 First Place Winner: Marvin Tadlock, Altered Playbill '14_Playbill 6/10/14 5:29 PM Page 98

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FILM SERIES JUNE 30, JULY 7, 15, 21 & 25 7 PM, SCHAEFER CENTER FOR THE PERFORMING ARTS With special thanks to our host for the Film Series, Dr. John Pfeifer.

Jappeloup GLOBAL CINEMA Monday, July 21 | 7pm At the start of the 1980s, Pierre FILM SERIES Durand abandons a promising Prior to each film, film advisor Dr. John Pfeifer offers a fun legal career and throws himself and informative talk about each film, beginning at 7pm and into his true passion– show lasting approximately 30 minutes. Concessions, including jumping. With his father’s popcorn, beer, wine and cold beverages are available for backing, he gambles everything on a young horse no one purchase at each event. else had any faith in: Jappeloup. With each competition, the pair improve. But the Los Angeles Olympic Games is a The Rocket disaster for them. With the help of his wife, Nadia, and groom Monday, June 30 | 7pm Raphaëlle, Pierre has to regain Jappeloup’s confidence and build a relationship with the remarkable horse, as the 1988 Ahlo’s a 10 year-old boy who is Seoul Olympics looms. believed to bring bad luck. When France; Not rated; Directed by Christian Duguay (2013); 130 minutes. Includes subtitles. his family loses their home and are forced to move, Ahlo meets the spirited orphan Kia and her eccentric Uncle Purple. In a last plea to prove he’s not cursed, Ahlo builds a giant explosive rocket to enter the most lucrative FAMILY FILM NIGHT but dangerous competition of the year: the Rocket Festival. SCHAEFER CENTER FOR THE PERFORMING ARTS Laos/Australia; Not rated; Directed by Kim Mordaunt; 96 minutes. Includes subtitles. FREE EVENT The Lunchbox The Jungle Book (1967) Monday, July 7 | 7pm Friday, July 25 | 7pm A government accountant pays Embark on a thrilling adventure for his lunch to be delivered at with Mowgli as he journeys deep work from a local restaurant, but into the jungle and learns “The Bare his order is switched with a meal Necessities” of life from happy-go- prepared by Ila, a housewife who lucky Baloo the bear. Meet Bagheera, thought she was making lunch for her husband. The mistaken the wise old panther and crazy King delivery connects Ila to an older man in the dusk of his life, Louie, the orangutan. But watch out and they build a fantasy world together through notes in the for the cunning tiger Shere Khan and lunchbox. Kaa, the ssssneakiest snake in the jungle! Explore your family’s India; Rated PG; Directed by Ritesh Batra (2013); 104 minutes. Includes subtitles. wild side as you venture into The Jungle Book for extraordinary Like Father, Like Son adventures and a heartwarming tale that celebrates the true Tuesday, July 15 | 7pm meaning of friendship. Rated G; Directed by Wolfgang Reitherman (1967); 78 minutes Six years into raising their only child, Keita, Ryota and Midori are told that the child is not in fact theirs at all– that a hospital error switched two baby boys at birth. Soon the couple is meeting their biological child for the first time, along with the family that raised him, and must make a life-changing decision and choose their true son or the boy they raised as their own. Japan; Not rated; Directed by Hirokazu Koreeda (2013); 121 minutes. Includes subtitles. Playbill '14_Playbill 6/10/14 5:29 PM Page 100

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