Season 31 June 18 - September 6, 2021 M MCelebrating Beethoven at 250 Powerful Concerts • Brilliant Musicians No radio? No problem! Find us on Facebook, Twitter and at wpr.org.

2 Midsummer’s Music Providing comprehensive piano service to Midsummer’s Music Festival

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Season 31 3 About Midsummer’s Music Founded in 1990, Midsummer’s Music has been bringing chamber music to Door County, Wisconsin, audiences for more than three decades. Our “exciting, pulse-pounding and riveting” concerts include international premieres and feature world-class artists. Our unique and diverse cultural, historical, and scenic musical experiences touch tens of thousands of listeners each year via live performances, radio, and social media. A multi-faceted organization featuring collaborations with local organizations and institutions, we attract musicians from Chicago’s Lyric Opera, Chicago Symphony, Milwaukee Symphony, St. Paul Chamber Orchestra, Ravinia Festival, and Pro Arte Quartet, among others. Our resident string quartet, the Griffon String Quartet, enriches the lives of children and adults throughout northeast Wisconsin through concerts, workshops, and music education. Collaborations include Write On, Door County and Woodwalk Gallery involving poets and artists who create original works based on the music that inspired them, and the Celebrate Water initiative which is a major programming commitment to bring awareness to water supply protection. Midsummer’s Music attracts increasing admiration and respect from around the country, while still gaining the affection of local Door County audiences.

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Mission Statement Our mission is to present world-class chamber music at the highest standards of artistic excellence that enriches audiences near and far by sharing dynamic, distinctive and engaging performances. We are actively committed to accessibility and intentional inclusivity in all aspects of our work and continually strive to provide all people with opportunities to connect with the music we perform.

4 Midsummer’s Music Board of Directors James T. Berkenstock, President Nancy Goldberg, Vice President Peggy Lott, Secretary Nancy Borghesi, Treasurer Mary Hauser and Ann Morgan, Members at Large Jean W. Berkenstock Allyson Fleck Tyler Powell Alice Chrismer Megan Heintzkill Dianne Trenchard Beverly Ann Conroy Kathryn M. Kant David Utzinger Arlene Johnson Michael J. Schmitz, Honorary Chairman

Emeritus Beth Coleman Sue Jacobs Doug and Penny Schultz Frank Dayton Karl Klug Judy Widen Gloria Drummond Suzanne Musikantow Carmen Witt George Fiedler Alicia and Hugh Mulliken

Staff Allyson Fleck, Executive Director Christina Laymon-Jones, Office Clerk Noah Schaffrick, Associate Director & Jenn Taylor, Bookkeeper Education Porgram Coordinator Nathaniel Malkow, Social Media Russ Warren, Marketing & Media Jacob Alexander, Junior Office Assistant

Table of Contents From the Artistic Director...... 6 From the Executive Director...... 9 All Paths Lead Through Beethoven...... 10 Griffon String Quartet...... 18 Crossing Borders...... 20 Creative Crisis...... 26 Kreutzer Connotations...... 32 Respect and Revelation...... 38 Diversions and Excursions...... 42 Musicians...... 49 Major Support for the 2021 Season...... 58 Special Tributes...... 60 Endowment Trust...... 61 Gracenotes...... 63 The Bravo Society...... 64 The 88 Key Society...... 64 Salon Concert Hosts...... 65 The Jim and Jean Berkenstock Legacy Society...... 66 Season 31 5 From the Artistic Director Understanding Beethoven Since two-thirds of our programs include works of Beethoven, a few words to put his life and works in some context might be helpful. Such context only underscores the magnitude of Beethoven’s accomplishments. So, let’s focus on three things: the world he was born into, the unusual role that Bach played, and the influence Haydn and Mozart had upon him, and how he, in turn, influenced others. Beethoven existed primarily in two locations for his entire life – Bonn, Germany, and Vienna, Austria. Bonn, where he was born, was a provincial capital, ruled by a relatively enlightened Elector, Max Friedrich. The Elector was very interested in art and architecture and especially music. He had a fine musical establishment involving singers and orchestra, and his Kapellmeister was named Ludwig van Beethoven. This was our Ludwig’s grandfather. For forty years, the elder Ludwig served the court as an esteemed bass singer, keyboard player, and, for the last 12 years, as its musical leader and force of will he managed to control it better conductor in the position of Kapelmeister. than his father or grandmother. Nonetheless, He was a talented and imposing man. it made his life difficult at times and most Eventually his son, Johann, would join the certainly seems to have shortened it. musical establishment as a tenor. However, In the 1770s, when young Ludwig was just when Johann tried to succeed his father, beginning to be aware of life and his musical he was deemed not to have the talent or surroundings, the style of music most temperament. The senior Ludwig’s wife, appreciated was light and uncomplicated. As Johann’s mother, developed a problem a reaction to the contrapuntal and texturally with alcohol, and eventually she had to be complex music of the Baroque, the style of sent away to a cloister where she remained this period was often referred to as the stil for the last 22 years of her life. Eventually, galant or rococo style. Slowly, the principal Johann began to develop the same problem, domain of music was moving from the church which probably brought an early end to to secular instrumental arenas. The first his life. It also made him very disagreeable symphonies, including those of Haydn, were and difficult to live with while he was alive. only written about 10 years before Beethoven He was reported to have been very hard was born. These early works frequently lasted on Ludwig, his first son, especially when it no more than twelve minutes, had three came to his musical training, which began movements, and ended with a relatively light on violin and keyboard at a very early age. minuet. Haydn and Mozart would soon rev Young Ludwig would also inherit the same things up, but Beethoven was witness to difficulty with alcohol, although by sheer this development and capitalized over time 6 Midsummer’s Music (almost beyond imagining) on the vision one outside of Leipzig would have likely it presented to him. The stil galant would known or been aware of. Neffe immediately become a distant memory. immersed Beethoven in the Well-Tempered Part of what would lend a hand in the Clavier of Bach. Almost instantaneously, gradual transformation of the simple Beethoven was transfixed by the and delicate music of the early classical power of counterpoint, the controlled period into the power and glory of the late independence of the different voices. The classical style was the music of J. S. Bach. transformation was nearly immediate but, This, however, is almost beyond fathoming. as he encountered more works of Bach, You see, Bach was virtually unknown when would continue to become increasingly Beethoven was born. Bach never was very and especially felt all the way to the end of highly regarded as a composer in his day. his life. Ludwig was 14 years younger than Few of his works were published. The town Mozart, and 36 years younger than Haydn, council in Leipzig acknowledged in the but when Beethoven encountered Bach’s proceedings when they hired him that a music, neither of the older masters, Mozart more promising candidate for the position at and Haydn, had yet to become acquainted St. Thomas Kirche had slipped through their with Bach. That was a bit in each of their fingers, and they would have to settle for futures. Beethoven had a big head start this second-rate composer named J. S. Bach. and at the tender and impressionable age He was known as an extraordinary organist, of eleven. Ultimately, J. S. Bach, speaking but his style as a composer was already very through Beethoven, would dramatically outdated when he died, and even his own change the course of music. Eventually, son, the very talented C. P. E. Bach, referred in the 19th century, Bach would become to him as “The Old Wig.” Yet, somehow, some widely known, especially thanks to of the music of this unknown came to be Mendelssohn. But for now, the unknown known, by Mozart, Haydn, and particularly organist from Leipzig, J. S. Bach, would be a Beethoven. In the case of Mozart and Haydn, secret known only to a very select few, and they were both near the end of their careers, especially Beethoven. although the discovery had a profound There is no question that Beethoven was effect at the time on Mozart. But Ludwig was also keenly aware of Haydn and Mozart, a very young fellow when he, figuratively, particularly Mozart. In 1785, Beethoven met “The Old Wig.” decided that he needed to go to Vienna, the Ludwig’s early instruction came from musical capitol of the world at the time. He his own father and then another rather hoped to take some lessons with Mozart, mediocre teacher in Bonn, but in 1781, who had been living in Vienna since 1781. Ludwig met someone who would change With some financial help from his Elector, his life and change musical history. Max Friedrich, Beethoven set off on the Christian Gottlob Neefe, a musician from 550-mile trip. It took him about two weeks Leipzig, arrived in Bonn to take over as with some stopovers. When he got there, musical director of the Elector’s Theater. he discovered that Mozart was terribly busy Beethoven was eleven, very talented and and about to leave on a trip himself. The hard-working, and he needed a much two did meet, but, while Mozart seemed better teacher. Neefe was a Godsend. He impressed (which was not his norm), he was a former student in Leipzig of the gave Beethoven little encouragement successor to J. S. Bach at St. Thomas Kirche, due to his hectic schedule. Furthermore, Johann Adam Hiller, and founder of the Beethoven was almost immediately called now famed Leipzig Gewandhaus concert back to Bonn because his mother, suffering series. Neefe had been brought up by from tuberculosis, had taken a turn for the Hiller in the Bach tradition, something no worst. She would die soon after his return. Season 31 7 Six years later, Beethoven returned to Vienna, serenades, piano sonatas (where he could this time for good. He went with the hopes of demonstrate his own great prowess as a resuming his acquaintance with Mozart and performer), and he would delay any kind the help it might bring. Beethoven arrived in of frontal assault on the two great masters Vienna only to learn of Mozart’s recent death. until he felt ready. Beethoven now turned to Joseph Haydn for This was a new way of thinking. Before instruction. Haydn was newly freed from his this time, music was very often written life-long service to the Esterhazy family and for immediate needs or a specific was living in Vienna. However, Haydn, too, purpose. Having your music published for was busy. Enjoying his new-found freedom wider dissemination was a fairly recent from exclusive patronage, Haydn was about development. Writing for the ages was ready to embark on a trip to London where almost unheard of. Beethoven changed all six of his newest symphonies would be that, or at least he took it to a new level. introduced. Like Mozart, he had little time to teach Beethoven. He did give him some When Brahms wrote his first symphony, it instruction during which he discovered that took him twenty years. Why? Beethoven! Beethoven was very gifted but lacking certain Those damned nine symphonies loomed basic fundamentals that had been overlooked over him with awesome demeanor. From in his instruction. Haydn didn’t have the time now on, Beethoven’s ghost would haunt all or inclination to correct Beethoven’s exercises subsequent composers making them self- in these basics. He handed Beethoven over conscious. Many would write no more than to Albrechtsberger who was known as an nine symphonies out of respect or because excellent teacher in the kind of things that they were fatalistic. Mahler wrote eight Beethoven needed. Beethoven never forgave symphonies and then wrote what was really Haydn. Beethoven believed in his own a ninth but called it a symphonic song, genius, but he wanted to run before he could Das lied von der Erde, so he wouldn’t tempt walk, and Haydn had no patience for that. fate. Then he tried to write another (tenth?) Beethoven misunderstood Haydn’s situation symphony, convincing himself it was only and point of view and was incensed. his ninth. He died before he could complete it. As it has often been said, Beethoven Beethoven was trying to make his way in made composers that followed him very Vienna, the city now so closely associated much more self-aware than composers of with Mozart and Haydn. But, while Mozart previous eras. What is often overlooked, was now deceased, Haydn was more alive however, is that before doing this to others, and famous than ever. With his two highly Beethoven did it to himself. successful trips to England behind him, Haydn became the toast of Vienna, and Our selection of works by Beethoven this Beethoven saw him as a rival of almost season includes mostly works from the first impossible dimensions. Not only that, half of his Viennese life. In different ways but deep down, he really wanted Haydn’s they show Beethoven finding his voice and approval. Most of all, he didn’t want to discovering what the destiny that he felt so come off as second rate to either Mozart or strongly within himself would really look Haydn, but especially Haydn. Beethoven’s (and sound) like. We hope this approach solution? He would stay away, for now, helps you to truly see him “In a New Light.” from the type of works Mozart and Haydn were most famous for. He would delay any attempts at writing a string quartet or a symphony for at least a decade. He would concentrate on string trios, piano trios, James T. Berkenstock, Artistic Director

8 Midsummer’s Music From the Executive Director Midsummer’s Music is back! And you are the reason! That synergy of music only exists when you are with us live. Midsummer’s Music has now brought chamber music to Door County audienc- es for three decades. We provide diverse cultural, historical, and picturesque musi- cal experiences in intimate venues. Our concerts, which have been called “exciting, pulse-pounding and riveting,” feature world-class artists and include world premieres. The inspiring perfor- mances touch thousands of listeners ev- ery year, plus thousands more via radio and media. Each year, our musicians come to Door County from the Chicago Symphony, Chicago’s Lyric Opera, Pro Arte Quartet, Milwaukee Symphony, St. Paul Cham- ber Orchestra, Indianapolis Symphony, I invite you to come celebrate with us! Aspen Music Festival, and the Ravinia Festival, among others. Midsummer’s Music elicits admiration and respect from around the country, while attracting an ever-growing Allyson Fleck community of loyal Door County Executive Director audience members. Assistant Artistic Director

Season 31 9 All Paths Lead Through Beethoven Hosted by Norman Gilliland, Wisconsin Public Radio

Quartet in G Minor, K.V. 478 Wolfgang Amadeus Mozart Piano, Violin, Viola, and Cello (1756-1791) Allegro Andante Rondo: Allegretto con moto

Trio in B-flat, Op. 11 Ludwig van Beethoven Clarinet, Cello, and Piano (1770-1827) Allegro con brio Adagio Tema con variazioni: Allegretto

Intermission Quartet in B-flat Major, Op. 41 Camille Saint-Saëns Piano, Violin, Viola, and Cello (1835-1921) Allegretto Andante maestoso ma con moto Pocoallegro più tosto moderato Allegro

Daniel Won, Clarinet • David Perry, Violin • Sally Chisholm, Viola • James Waldo, Cello • John Goodwin, Piano

Friday, June 18, 7:00pm – Barbara & Spencer Gould Theater, Fish Creek a tribute to Spencer Gould sponsored by Jim & Jean Berkenstock and Roy & Betsy Gill Sunday, June 20, 3:00pm – SWY231, Sturgeon Bay sponsored by Barbara Johnson & Sandy Zingler Tuesday, June 22, 7:00pm – Door Community Auditorium, Fish Creek, sponsored by Mary Hauser and Jerry Randall

10 Midsummer’s Music All Paths Lead Through Beethoven PROGRAM NOTES One somewhat tantalizing way to look at involving piano date from within a year of Beethoven is as a kind of musical vortex. one another. The G Minor Quartet, K. 478, In the top comes the wide and import- dates from 1785, while its sister composi- ant variety of 18th century influences on tion, the E-flat Major Quartet, K. 493, dates young Beethoven. Hurling out the bottom from the following year. According to is the complete transformation of those the New Grove Dictionary of Music and traditions that the mature Beethoven Musicians, “This period (1785) represents thrust upon the youthful 19th century and the peak of his reputation as composer every decade thereafter. In this program, and pianist.” His opera, The Abduction from we start with one of those influential com- the Seraglio, was being performed widely posers so highly regarded by Beethoven, across Germany. He had composed all and then we sense the impact that but four of his 41 symphonies, and his Beethoven’s output had on a significant many appearances as a pianist, frequently composer of the later 19th century. performing his own works, sustained his Music for string reputation as an extraordinary virtuoso trio and one con- and musician. In addition to the G Minor trasting instrument Quartet, this year also saw the birth of became very pop- three of his most important concertos, the ular in the 18th D Minor, K 466, C Major, K. 467, and E-flat century when Major, K. 482. These concerti established a hundreds of such new level of collaboration between orches- pieces were writ- tra and soloist. Extraordinary virtuosity was ten by numerous thoroughly integrated with thematic devel- composers. One of opment and remarkable interplay between the driving forces solo orchestral forces and the piano. of this phenomenon was the rise of a mid- To grasp the depth of compositional power dle class with the means and time to devote Mozart brought to his piano quartet of this to music. The other stimulus was the num- year, one must only look at his earliest string ber of talented musicians among the aris- quartets or even the piano trios from around tocracy who wanted music they could play this time. In these works, thematic material in social settings to display their talents, or is concentrated in the top or solo voice. The music that would simply provide the oppor- other voices act more in an accompanimen- tunity for interaction with other musicians. tal role. With the G Minor piano quartet, In either case, a market developed that was Mozart is writing true chamber music, thor- fed by composers throughout the latter half oughly involving everyone, without sacrific- of the century. Wolfgang Amadeus Mozart ing the soloistic quality of the piano part he (1756-1791) wrote several works in this cat- undoubtedly wrote for himself. egory. In the process, as is true in so many Another important aspect of this work is the other areas, he helped raise the genre to a key itself. Only twice in his 41 symphonies whole new level and set the bar for many did he choose a minor key. Both times it was succeeding generations. the key of G minor. Only two of his 27 piano Among such works he composed three concerti used the minor key (D minor and examples for flute and strings, one for C minor). The first movement of the quartet oboe and strings, and two for the combina- shows the same passionate brooding that tion of piano and string trio. The two works we associate with the G minor symphonies. Season 31 11 The andante has a melancholy quality to it music had been a common fixture at court that is relieved by the finale with its delight- events and parties of the nobility. Mozart ful melodies, which turns to the key of G had satisfied this thirst to a degree and so major to underscore its exuberant mood. did Beethoven for a time. Soon, that taste The richness and concentration of material would change, and Beethoven would move in this work leads Maurice Hinson in his The away from chamber music involving winds Piano in Chamber Music to call this work “a to concentrate on writing for string quartet. catalogue of Mozart’s finest art.” For the moment, however, he needed to For Mozart, the year 1785 was really pivotal. feed the Viennese appetite with works like He had accidentally come in contact with the Clarinet Trio. It is not surprising that he some of the works of J. S. Bach, at the time, would choose the clarinet for this work. a virtual has-been. This encounter change Mozart had set the tone writing numerous Mozart’s whole outlook on composition, works featuring the clarinet inspired by his despite the fact that Bach, now dead for friend and virtuoso clarinetist, Anton Stadler. 35 years, was nearly unknown. To say it Indeed, Mozart himself had written a Clarinet rather simplistically, Mozart went from a Trio for Stadler, the so-called Kegelstatt, composer of genial yet brilliant works that K.498, using viola rather than cello. flew out of his head onto the page, to a Beethoven’s Trio suits his purpose perfectly. master architect whose works added layers It is pleasantly appealing. Its third movement of depth and thought requiring his deepest employs a well-known theme borrowed from concentration as he explored thematic rela- a popular opera of the time that portrays a tionships never before considered. kind of street-song. It would have been easi- Ludwig van ly recognized by Beethoven’s audience. Beethoven (1770- It is disarmingly laced with humor, not 1827) would even- unknown to Mozart, but perhaps more tually fully seize in the vein of Haydn. Beethoven shows what Mozart had his true harmonic colors immediately. He grasped in Bach’s starts the first movement teasingly. Even music, but not yet though the movement is in B-flat major, – not at the time the first notes, unison in all instruments, Beethoven wrote are F, F#, and G – not pitches that would his Clarinet Trio, suggest the main key of the movement. In Opus 11. It was fact, it is not until the 19th measure that now 1798, and Beethoven had been living in Beethoven gives a progression that tells Vienna for just about five years. He had yet us where we are tonally, yet this is not to write his first symphony or his first string a defining moment thematically. It is as quartet. He was still ingratiating himself though he is trying to keep us just a bit off with the Viennese nobility for financial sup- balance until he decides to release us from port. This meant teaching piano to some of this unease. When he does, we are already them and their children and performing for into the second theme area and another them at various social functions, which by key center. After the opening exposition is then Beethoven could do with astounding played and repeated, we are ready for the ability, especially his improvising in a sensa- development. Here again he has a surprise tional way. It also meant composing pieces for us. After ending the exposition in the that satisfied the fashion of the day – wind key of F he suddenly just shifts to D-flat music. Emperor Joseph II set the tone for to begin the development. This is just a Vienna with his Harmonie (wind band) at hint at the starling features Beethoven will his court, but for some decades now, wind come to surprise (even shock) us with as he

12 Midsummer’s Music develops as a composer. The slow move- introduced to by Count Waldstein, a patron ment is a beautiful cantilena played first in of Beethoven’s from Bonn. Mozart was the the cello and then repeated by the clarinet. piano teacher of several members of the It is both unpretentious and charming. Countess’s family. Mozart and the Countess The finale is a set of variations based on first met when Mozart was seven and the a theme taken from an opera of Joseph Countess eighteen. “She is the most charm- Weigl that premiered just months before ing and lovable lady I have ever met,” Mozart Beethoven wrote this trio. The aria was said of her. She was a very able keyboard “Pria ch’io l’impegno” (“Before I go to work”). player and apparently was highly regarded It became so immediately popular that it by many of the best musicians in Vienna. was heard sung or whistled in the streets, She apparently returned the favor where often called Gasse. As a result, the trio warranted, as was the case with Beethoven. became known as the Gassenhauer Trio or Camille Saint-Saëns “Street Song Trio.” (1835-1921) was an The theme is stated in the piano with the extremely preco- other two instruments accompanying. The cious young musical first variation belongs to the piano alone talent and among while the second is sung by the cello with the most prolific of the clarinet imitating each phrase. In all composers. Much there are nine short and clearly defined vari- like Mozart and ations followed by a substantial coda where Mendelssohn he musical whimsy leads to possible mischief. showed remarkable abilities at the key- The work is dedicated to Countess Maria board and in composition at an extremely Wilhelmine von Thun, a member of a tender age. He wrote his first piece at three, Viennese noble family that Beethoven was

Season 31 13 was studying composition and organ at Saint-Saëns presents a movement of almost seven, and played a piano recital at ten in overpowering and relentless intensity. which he offered to play any of the [32] The first movement begins almost wistfully in Beethoven sonatas from memory as an keeping with the lightness suggested by the encore. During the early part of Saint-Saëns’ allegretto tempo indication. However, this career, German instrumental was a heavy changes quickly as growing passion infuses influence, and for Saint-Saëns, Beethoven the thematic material in the strings and the was at the heart of that influence. figuration in the piano. The second theme in He wrote extensively in every musical genre the strings returns to a more lyrical grace. but had his greatest success in instrumental The imaginative scherzo is of the “fantastic” music. He had an inquisitive, wide ranging type according to Emile Baumann writing intellect that included interests in geology, in Cobbett’s Cyclopedic Survey of Chamber archaeology, astronomy, mathematics, and Music. It “suggests a nocturnal dance of spec- philosophy. In addition to championing the ters,” he continues. It is full of incongruous music of his day, Saint-Saëns was one of a syncopations and juxtapositions of 6/8 and few nineteenth century musicians to have a 2/4 meters. A recitative-like cadenza for violin real interest in the music of earlier masters. leads to the return of the opening section. His efforts helped to revive awareness of the music of Bach, Handel, and Mozart, and The finale makes clear the composer’s cycli- he had a real affinity for the music of fellow cal intentions for this piece by bringing back French composers of previous generations, thematic material from other movements to Gluck and Rameau. achieve an overall unity. The cantus firmus melody is heard midway through the move- This interest in the music of the past is strik- ment and then is joined by thematic mate- ingly demonstrated in the second movement rial from the first movement. After a section of the Piano Quartet, Opus 41. Rather than in a slower tempo a fugato leads to a strong write a lyrical slow movement, Saint-Saëns conclusion. It is a movement of considerable pays homage to the learned style of the energy and contrapuntal interest. Baroque era employing a cantus firmus theme against fast moving imitative figuration in a At the premiere of this work on March 6, style reminiscent of a Bach chorale prelude. 1875, Saint-Saëns was the pianist, and the However, rather than a pedantic imitation, violinist was the renowned Pablo de Sarasate.

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14 Midsummer’s Music Season 31 15 Remembering Spencer Gould The passing of Spencer Gould this past spring was an event of sadness and significance. It has given those of us with Midsummer’s Music pause to reflect on how much he, along with his wife Barbara, meant to our organization. For those of you who didn’t have the pleasure of knowing him, he was very special to many, many people. He and his wife Barbara have been very good friends of Midsummer’s Music (and personal friends to Jean and me) from the very beginning of Midsummer’s Music. Spencer and Barbara attended the very first performance of Midsummer’s Music in June of 1991 at the home of Dianne and Peter Trenchard. I still have the attendance list for that event with their names on it. In fact, they purchased 8 tickets and brought interesting and tasty examples to share friends thereby helping to insure we had a from his cellar. good “house” for that first event - a typical Spencer loved life, great music, good food Spencerian gesture. and wine, and many, many friends. He It was Spencer who first approached me epitomized the essence of Midsummer’s about the idea of creating an Endowment Music with his spirit and generous attitude for Midsummer’s Music. He and Barbara toward all. I will miss him dearly. We subsequently were the principal will make plans to celebrate him at an contributors to that fund, which now totals appropriate event this summer. over $750,000. He also knew how tenuous Below is a poem I wrote for him several our funding was in the early days and years ago. He had just made another would inquire of our needs each season one of his and Barbara’s very generous about the time he knew our cash-flow contributions to us. I was overwhelmed and would be upside down. Upon hearing of awoke in the middle of the night consumed our plight, he would swiftly make a very by their generosity. Slowly, the essence of a welcome contribution. poem started forming in my head. I got up, Spencer was extremely knowledgeable went downstairs, and began writing. Later about music and had one of the largest that summer, Barbara and Spencer hosted collections of recordings (LPs and CDs) that a special benefit dinner performance for I have ever encountered. He also loved our Midsummer’s Music, at the Waterfront musicians. He and Barbara have housed Restaurant. I read the following poem at many of our players in one or more of their that event and gave Spencer a framed copy. cottages over the years, and they would often take us all to breakfast at the Old Post Office in Ephraim. Spencer was also a wine authority and significant collector. Anytime Jim Berkenstock he was invited to one of our parties, he would surely show up with several

16 Midsummer’s Music FOR SPENCER “When Words Failed Me” Words fail me when I need them most. So here I sit 2:00 am... searching… I feel the need to capture this man in words, encircle his spirit in an alphabetic robe, but he eludes me. The trail is long... elusive: teacher, expert, connoisseur, aficionado, sportsman, student of life, philanthropist, example for all... A bond of words escapes me; this nimble wit is crafty, and, he would not like my sneaking around among his appellations. Aber, vielleicht eine andere sprache...! Si senti? ma non, basta...! Les mots... trops grands et trops petit. Perhaps a song for this lover of music. A song without words might say it all. I could ensnare him in music! Rich harmonies and full orchestration this opus would boast. Yes, that’s it! Maestro, if you please... Careful now, perfect intonation, acute rhythm, subtle phrasing to catch every nuance. But, a title is needed. Words again! It’s my hands that’re tied; tongue, too. Just how do you say, - Jim Berkenstock “A Mensch”? Sept. 4, 2008 Season 31 17 Griffon String Quartet

String Quartet in D Major, Op. 5, “Lark” Joseph Haydn String Quartet (1732-1809) Allegro moderato Adagio cantabile Menuetto: allegretto Finale: vivace

Strum Jessie Montgomery String Quartet (b.1981)

Intermission String Quartet No. 12 in F Major, Op. 96, “American” Antonín Dvořák String Quartet (1841-1904) Allegro ma non troppo Lento Molto vivace Finale: vivace ma non troppo

Ji-Yeon Lee & Vinicius Sant’Ana, Violins • Blakeley Menghini, Viola • Ryan Louie, Cello

Friday, June 25, 7:00pm – Donald & Carol Kress Pavilion, Egg Harbor sponsored by the Griffon String Quartet Advisory Committee (Bob Chrismer, Alice Chrismer, Laurey Clampitt, Annie Egan, and Nancy Goldberg)

We are very grateful for the following individuals and organizations for their generous support for the Griffon String Quartet. Jim & Jean Berkenstock Arlene Johnson & Chris Weidenbacher Robert & Alice Chrismer Mr. Robert Judd Mr. Thomas Esau Mosaic Fine Arts Institute at East High Paul & Gabriele Moylan Robert A. Forsberg Jerry Randall & Mary Hauser Mr. Warren Gerds Dianne Trenchard Greater Green Bay Community Fund Esther Wennerstrand Wes and Abbey Grunwald Wisconsin Arts Board Cares Act James L. Hoehn & Nancy J. Golberg Women’s Fund of the Door County William & Carol Hoehn Community Foundation Judy Hollingshead 18 Midsummer’s Music URGENT CARE Keeping you on track.

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Season 31 19 Crossing Borders

Midsummer Moon (1926) Rebecca Clarke Violin and Piano (1886-1979)

Quintet in E Minor (1916) Adela Maddison Two Violins, Viola, Cello, and Piano (1862-1929)

Largamente - Andante Vivace Tranquillamente, ma non troppo lento Allegro vivo

Intermission Quintet in C Minor, Op. 1 Ernst von Dohnányi Two Violins, Viola, Cello, and Piano (1877-1960) Allegro Scherzo: Allegro vivace Adagio, quasi andante Finale: Allegro animato - Allegro

David Perry & Ann Palen, Violins • Allyson Fleck, Viola • James Waldo, Cello • John Goodwin, Piano

Wednesday, June 23, 7:00pm – Barbara & Spencer Gould Theater, Fish Creek sponsored by Roy & Betsy Gill Tuesday, June 29, 7:00pm – Door Community Auditorium, Fish Creek Thursday, July 1, 7:00pm – Donald & Carol Kress Pavilion, Egg Harbor

20 Midsummer’s Music Crossing Borders PROGRAM NOTES Rebecca Clarke Trio was also highly regarded but did not (1886-1979) was win a prize. a musical pio- Commuting back and forth across the neer in several Atlantic, Clarke was caught in the U.S. at respects. Among the outbreak of World War II and couldn’t other notable return home. Shortly thereafter she had a accomplishments chance meeting with James Friskin on a are her successes Manhattan street. Friskin, a composer and as a composer, founding member of the Juilliard School, as a performer had been a classmate of Clarke’s at the able to make the Royal Academy years before. Both now in viola a recognized solo instrument, and as their fifty’s, they rekindled their friendship one of the first females to be accepted into and were married in 1944. the ranks of a British symphony orchestra. None of these came easily. She was born in Midsummer Music comes from 1924, a year Harrow, England to an American father and after her Rhapsody for Cello and Piano, a German mother. As a result, she had dual which was commissioned by Sprague American and British citizenship. Her father, Coolidge. Rhapsody is one of her most being very interested in music, encourage substantial works. Midsummer Music, in con- the talent of Rebecca and her brother. trast, is an evocative character piece that exploits the quixotic abilities of the violin In 1903, she entered the Royal Academy of to portray the ever-changing color and es- Music and studied with Percy Hilder Miles sence of the full moon as wispy clouds play for two years, but after he proposed to hide and seek with it. It is masterful in its Rebecca, her father forced her to withdraw evocative writing for the violin and piano. from the Academy. She re-entered the school again in 1907 studying with Charles As a footnote, Clarke’s admiring first teacher Villiers Stanford, Britain’s most highly at the Royal Academy, Percy Miles, willed regarded teacher who counted among his his Stradivarius Violin to Clarke. She even- students, Ralph Vaughn Williams, Gustav tually sold it to establish the May Mukle Holst, and Samuel Coleridge-Taylor. Her prize for an outstanding cellist at the Royal father subsequently cut her off from further Academy in honor of the cellist in a string support because of her criticism of his fre- quartet with which both women performed quent philandering. However, she was able in the early 20s. The prize is still given today. to obtain one of the first position in a pro- A generation or fessional orchestra when Sir Henry Wood so before Clarke hired her for the Queen’s Hall Orchestra. stands another Four years later she moved to the U.S. important female One of her most significant moments as composer of En- a composer came in 1919 when she and glish birth. Adela Ernest Bloch tied (out of 72 entrants) in a Maddison (1862- composition competition sponsored by 1929) was born in Elizabeth Sprague Coolidge. However, London. Her father rumors persisted that her Viola Sonata was was Vice Admiral too excellent for a woman and Bloch was Louis Symonds given the prize. Two years later, her Piano Tindal and her mother, Henrietta O’Donel Season 31 21 Whyte. She was afforded the opportunity to The second movement is scherzo-like with study music, and this included study in Par- alternating contrasting slower sections. is. In 1883 she married Frederick Maddison, The slow third movement is perhaps the a barrister and music publisher. The Maddis- most substantial. Its emotional content and sons courted Gabriel Fauré and enticed him fluidity suggest the music of Chausson. The to visit London for concerts and eventually finale almost seems to return from France Frederick’s firm, Metzler & Co., gained the to the English countryside. We don’t know rights to publish some of Fauré’s works. In if Maddison ever studied with Stanford in 1898, Adela moved to Paris, leaving her hus- London, but her style in this movement band behind, and began study with Fauré. makes one wonder. An extended relationship developed that Ernst von is thought to have been romantic. While in Dohnányi (1877 France she became well acquainted with - 1960) was the Delius, Enescu, Debussy, and Ravel. During third in a Hungar- this period, Fauré wrote his Nocturne No. 7 ian triumvirate in C# Major, Opus 74, which he dedicated to of composers, Adela and then gave her the manuscript. which included After a period of about seven years, she Bartok and Ko- moved to Berlin to be near a new friend daly. They added named Marta Gertrud Mundt, who was immeasurably the editor of a prominent Berlin socialist to the repertoire journal. After several years in Germany, they of the 20th century with their colorful, both moved back to Paris, but their relation- often folk-inspired music. Dohnányi and ship eventually became strained because of Bartok were friends from childhood, and the outbreak of World War I. Adela returned both attended the Budapest Conservatory. to England and, in addition to composing, Excelling at both piano and composition, would become active as a concert present- Dohnányi received his diploma in 1897. He er, especially at the Glastonbury Festival. made his professional debut as a pianist in The Piano Quintet was written in 1916 but London with a performance of Beethoven’s not performed until after the end of the War Fourth Piano Concerto under the renowned in 1920. Adela published the work at her conductor, Hans Richter, which helped own expense in 1925. establish his fame as a pianist. The first movement begins slowly in a His stature as a composer was already somewhat melodramatic searching mood developing, thanks to the aid of Johannes with three successive statements of a mot- Brahms, who helped arrange the premiere to idea, each stated on successively higher of the Quintet for Piano and String Quartet pitches. Finally, the introduction leads into in C Minor, Opus 1, in Vienna in 1899. That an andante moderato tempo that suggest same year his Piano Concerto, Opus 5, won a stable exposition is unfolding. Harmon- the Bösendorfer Prize. Grove’s Dictionary of ically, however, the searching continues, Music and Musicians states, “he had estab- and here we sense the French influence of lished himself, in both Europe and the USA, Fauré. Soon enough, even the rhythmic sta- as the greatest Hungarian pianist and com- bility starts to shift under foot with chang- poser since Liszt.” In 1920 he performed all ing meters and measure lengths. After the of Beethoven’s works for piano, and in 1941 strings explore a section marked “tranquil he performed all 27 Mozart piano concertos. and very simple,” the opening introduction As a composer, Dohnányi owed much to returns leading to a recap of the opening Brahms, Mendelssohn, and Schumann, but material followed by a quickening coda. his Opus 1, written at 18, already shows

22 Midsummer’s Music SONGS. STORIES. JOY.

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THE 920.854.6117 rekindleCampaign Season 31 23 strong signs of his individuality and a regular rhythm. The suggestion of a fugue is remarkable mastery of his craft. In the first abandoned, and a waltz accompaniment in- movement, the opening theme returns, tervenes instead. An intimation of the initial not only in the recapitulation, but is also theme from the first movement leads to the re-stated one final time in a slower tempo bold conclusion of this work. Throughout, just prior to the coda. Both the second Dohnányi shows a maturity far beyond his movement scherzo and the slow third years in his ability to bring so many different movement feature abundant syncopations. elements together in a convincing whole, The finale, in 5/4 time, replete with Hun- and the many innovative rhythmic and garian rhythms, offers a little of everything. harmonic elements foreshadow his very The second theme is introduced by the personal style in the years that followed. cello and provides humor and a little more

24 Midsummer’s Music Because of Dohnányi’s public stance against Florida in 1949 as a pianist and compos- the policies of the fascist and communist er-in-residence at Florida State University. regimes in Hungary, a substantial effort was It is only fairly recently that we have come made to discredit him. The result took its to realize the wealth and variety of music toll on his career and the recognition that this man left us, and the role he played in his music deserved. He was forced to leave bringing the music of his country and his Hungary and lived for a time in Argentina colleagues to the fore. before taking up residence in Tallahassee,

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Season 31 25 Creative Crisis Divertimento in G Major, W.Vlb:13 Johann Baptist Vanhal Violin, Viola, and Bass (1739-1813) Allegro Menuetto Adagio Menuetto Allegro

Symphony No. 2 in D Major, Op. 36 Ludwig van Beethoven (arr. Beethoven) (1770-1827) Violin, Cello, and Piano Adagio molto; Allegro con brio Larghetto Scherzo: Allegro Allegro molto

Intermission Sextet in B-flat Minor, Op. 63 Sergei Lyapunov Piano, Two Violins, Viola, Cello, Bass (1859-1924) Allegro maestoso Scherzo: Allegro vivace Nocturne: Lento ma non troppo Finale: Allegro risoluto

David Perry & Ann Palen, Violins • Allyson Fleck, Viola • James Waldo, Cello • Drew Banzhaf, Bass • Jeffrey Panko, Piano

Friday, July 2, 7:00pm – Donald & Carol Kress Pavilion, Egg Harbor sponsored by Stefan & Joan Anderson Saturday, July 3, 7:00pm – Hope United Church of Christ, Sturgeon Bay sponsored by Barbara Johnson & Sandy Zingler Tuesday, July 6, 7:00pm – Door Community Auditorium, Fish Creek sponsored by Peggy Lott

26 Midsummer’s Music Creative Crisis PROGRAM NOTES Johann Vanhal to usually includes more than one dance (1739-1813) got off movement. However, Vanhal employs a to a relatively slow dance like character in each of the first four start musically and movements by writing them all in triple me- career-wise. Born ter. Only the finale is in duple, but even here into a poor family we feel a distinctive bounce to it through its of serfs in Bohe- persistent use of syncopation. mia, he excelled Ludwig van on the violin and Beethoven (1770- organ, studying 1827) would have with members of been acquaint- his family and local musicians. As a teenag- ed with Vanhal er, he was able to earn a modest living as a starting from his church organist and choirmaster. An early time in Vienna, but patron, Countess Schaffgotsch, recognizing little seems to be his talent took him to Vienna in 1761, about known about any the same time Haydn was getting his first direct contact. And job with the Esterházy family. whereas Bee- He quickly impressed the nobility of Vienna thoven employed the same divertimento with the many symphonies he wrote and charm in some of his early Viennese works conducted. He also is reported to have to gain approval of the nobility, works like studied composition with Dittersdorf during the Serenade for Flute, Violin, and Viola, and this period. Although he and Dittersdorf the Septet for Winds and Strings, the Sec- were born in the same year, Dittersdorf ond Symphony marks a significant creative had the edge on Vanhal in experience and embarkation. It was written in 1802 during training. In 1769 Vanhal traveled to Italy for a stay in Heiligenstadt, a suburb of Vienna. study and stayed a little more than a year This was a time when the seriousness of before returning to Vienna. By the middle of Beethoven’s deafness was becoming pain- the 1770s he seems to have written over 70 fully clear resulting in his writing what is symphonies, but he largely abandoned the known as the Heiligenstadt Testament. It is form from that point on because of chang- a heart-rending document in which Beetho- ing tastes. He wrote over 100 string quartets ven rails against his infirmity, the cruelty it and 48 masses. He also wrote numerous con- imposes on someone of his talent, the lack certos featuring different bass instruments of respect on the part of his younger broth- including four for cello, one for double bass, ers for whom he has tried to care, and he and four for bassoon plus a concerto for two even indicates he has considered suicide. In bassoons. He also wrote 19 piano concertos the end, despite being a kind of last will and and 15 for violin and orchestra. testament, Beethoven indicates that he will The Divertimento in G is meant to charm as resolutely forge on against the ignominy was the tradition for such a work in Vienna fate has bestowed upon him. of the time. It is light-hearted and facile, It is hard to see these circumstances and as is so often the case with Vanhal, he reflected in this music Beethoven was not only employs the bass, he lifts it into a writing contemporaneously. The Second solo role at times. The addition of a second Symphony is strong willed and ebullient, minuet is typical because the divertimen- brilliantly bringing to a close his first Season 31 27 compositional period and suggesting the ubiquitous as they are now and opportuni- wealth of what lies ahead. ties for performance would be slender. A trio The first movement begins with an intro- arrangement would sell many more copies duction of nearly three minute’s length, and offer numerous opportunities for perfor- which, despite its adagio molto (very slow) mance. At times, Beethoven was capable of indication, has a forward moving flow thinking like a businessman. because of the underlying rhythm. The en- It is rare for a suing Allegro con brio exudes an optimism composer to write that one associates with the key of D Major, just one work in traditionally a sunny tonality. It’s almost as if a genre. It is rarer Beethoven chose such a key in his moment still for that one of desperation hoping it would force him work to be one of in a better direction. The slow movement the composer’s is one of Beethoven’s longest. Again, there best. Such is the is a flowing sunniness that one hears again case with the Sex- in the Pastorale Symphony buoyed by the tet for Piano and underlying relentless motion of eight notes. Strings by Sergei Lyapunov (1859-1924). For the third movement Beethoven uses the Lyapunov wrote his only chamber music term “Scherzo” for the first time. It replaces composition at the age of 46 and revised it the minuet. The minuet as a dance move- for publication six years later in 1921. More- ment such as those heard in the Vanhal had over, it is a remarkable work in that it is been threatened for some time. Haydn and one of the works for piano and strings that Mozart both wrote movements labeled adds double bass to the standard quintet “minuet,” but increasingly in their later works of piano and string quartet. A similar work they couldn’t possibly be danced. For all by fellow Russian Mikael Glinka perhaps practical purposes they were scherzos. The served as the model. same is true of the minuet in Beethoven’s Lyapunov was born in Yaroslava and First Symphony. Such fast-paced movements learned piano under the tutelage of his were really scherzos in spirit. Here Beetho- mother, an accomplished pianist. Nicolai ven makes it official by giving it the label. He Rubenstein convinced him to go to the also makes sure it lives up to the “joke” title Moscow Conservatory. There he studied with sprinkles of humor throughout. composition with Hubert, Tchaikovsky, and The fourth movement continues with Sergei Taneyev. Lyapunov had a distin- the humor right from the outset. The guished career as a virtuoso pianist and obstreperous opening motif, which conductor, but he was also very interested dominates the movement, has been in Russian folklore, and that is probably likened to some sort of indication of gastric how he came into contact with Balakirev. distress (of which Beethoven apparently The two, along with the composer Lyadov, suffered profusely). Quickly a driven theme were commissioned to study and collect takes over that propels the movement folksongs in the northern part of Russia. throughout only to be constantly A three-volume collection of Russian folk interrupted by the opening “hiccup.” material was the result. The first performance of the symphony took In 1884, he went to St. Petersburg and place in 1803 along with the premiere of the soon began studying composition with Third Piano Concerto and the Oratorio, Christ Balakirev. Lyapunov followed in the na- on the Mount of Olives. Beethoven made the tionalistic Russian tradition set by Balakirev Piano Trio arrangement soon thereafter. and Rimsky-Korsakov. His many works for Symphony orchestras were nowhere as solo piano were also influenced by Lizst, He 28 Midsummer’s Music Season 31 29 seemed to particularly admire the virtuoso in G major by the solo piano and then aspect of Liszt’s writing. Even though he taken up by the full ensemble. An animato lived into the 1920s, he was at sharp odds build-up leads into a development section with the new Russian school exemplified which modulates widely and takes on the character of a wild ride, the opening theme by Stravinsky. He promoted the use of hammered out in octaves by the piano, with Russian folk material but adhered to the the second subject appearing anxiously in more traditional forms found in Brahms the strings alone. In a fairly orthodox reca- and Schumann. The excellent notes for this pitulation, the second subject reappears in piece that accompany the Dante Quartet’s the tonic and again on the strings; this time recording are quoted here: the animato leads into a coda that is first dramatic but subsides plaintively in the Più A sombre motto theme with more than tranquillo closing bars. a hint of Russian folksong opens the first movement, soon developing into a passion- There ensues a scintillating scherzo in D ma- ate Allegro maestoso. The folksong-cum-Or- jor, powered by the toccata-like repeated thodox chant flavour is even more pro- notes of the viola. Though the rhythm is nounced in the second subject, stated that of a Tarentella, one might imagine this to be some wild Caucasian dance, and Lya- punov’s scoring has a vernal, crystal clarity: piano and strings here might be flutes and bagpipes. A more elegiac-feeling trio in G minor brings back some of the tensions of the first movement, but the dance-rhythm of the scherzo can be felt throughout in the blithe roulades of the piano, marked ‘quasi flauto’. The return of the scherzo is short- ened, running straight into a punctual coda. JERRY’S FLOWERS 2468 S. Bay Shore Drive Sister Bay, WI 54234 Specializing in FRESH CUT FLOWERS • Floral Arrangements For All Occasions • Indoor Blooming Plants & Baskets • Spring Bedding Plants HARBOR • Quality Geraniums Fish Market & Grille Distinctive Waterfront Dining • Vast Selection of Proven Celebrating 20 years! 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Season 31 31 Kreutzer Connotations Danzas de Panama (1948) William Grant Still String Quartet (1895-1978) Tamborito Mejorana y Socavón Punto Cumbia y Congo

Transit Will Healy Soprano and String Quartet (b.1990) At Night Winter TBA Mikaela Bennett, Soprano

Intermission Kreutzer Sonata in A Major Ludwig van Beethoven (Anonymous arr. from 1832) (1770-1827) Two Violins, Viola, and Two Cellos Andante sostenuto - Presto Andante con variazioni Presto

David Perry & Ann Palen, Violins • Allyson Fleck, Viola • Ryan Louie & James Waldo, Cellos

Friday, July 9, 7:00pm – Donald & Carol Kress Pavilion, Egg Harbor sponsored by the MMG Foundation and Arlene Johnson and Chris Weidenbacker Saturday, July 10, 7:00pm – Old Gibraltar Town Hall, Fish Creek Sunday, July 11, 4:00pm – Woodwalk Gallery, Egg Harbor sponsored by the MMG Foundation and Susan DeWitt Davie

32 Midsummer’s Music Kreutzer Connotations PROGRAM NOTES “It has been equally a pleasure and a Chadwick. Private study followed with the challenge to be colored and to be composing experimental composer, Edgar Varèse, who serious music in the United States: a pleasure, also championed Still’s music. because it is exciting to be competing in a Still wrote over 300 compositions in most new field; a challenge, because there are genres including chamber music. His always problems to be met and conquered.” Danzas de Panama is from 1948. Although — William Grant Still. Still frequently would infuse his music with Long recognized influences from his Afro-American back- as what the Library ground, here he draws on the rich heritage of Congress of Central American traditions. termed the “Dean A Tamborito is a Panamanian dance dating of Afro-Ameri- back at least to the 17th century involving can Composers,” call and response. It means “little drum” and William Grant Still therefore often incorporates drumming (1895-1978) paved in the song, which the string players are the way for subse- asked to mimic in this version. Mejorana Y quent generations Socovon has a somewhat waltz-like charac- of fellow compos- ter to it while the Punto is a seductive dance ers of color. He was the first Afro-American beginning with the male kneeling on the composer to have a symphony performed floor and the female circling around. Both by a major symphony orchestra when the then on their feet, they back away from each Rochester Symphony performed his First other tentatively. Shifting syncopations indi- Symphony (subtitled the Afro-American) in cate the tempting passions. Cumbia Y Congo 1930 under the direction of Howard Han- again employs drumming effects and is a son. The New York Philharmonic performed mixture of African and Latin influences. it in 1935 at Carnegie Hall. He also was the first person of color to conduct a symphony Following four (Los Angeles Philharmonic, 1936). Similar splendid and pro- firsts came with the New York City Opera in ductive years with 1949 with his opera, Troubled Island, which Jacob Beranek was then televised nationally. serving as our first Composer-in-Res- Still was born in Woodville, Mississippi, idence, a national learning several instruments as a young competition man beginning with the violin. He attended involving over 140 Wilberforce University in Ohio where he applicants leads gained experience conducting the band us to welcome and finding opportunities for performances with great pleasure, Will Healy (b.1990) as of his own compositions and arrangements. our Composer-in-Residence beginning this Upon leaving college he found work as an season. Jacob is continuing as an advisor arranger for such musical celebrities as W. C. to our Composer-in-Residence program Handy, Paul Whiteman, Sophie Tucker, and as a part of our newly formed Emerging Artie Shaw. Composers Initiative. He continued studies for a time at Oberlin Last summer, a few months into the Conservatory and then The New England pandemic lockdown, I watched the Conservatory where his teacher was George Season 31 33 International Space Station fly over my written his famous parents’ house in New Jersey. It was Heligenstadt Tes- a stunning sight—a bright, shining tament in October dot appearing out of the darkness, of 1802 in which zooming from one end of the horizon he poured out his to the other in under a minute. At the fear and frustration same time, my family and I watched over his deafness a livestream of the astronauts on the and the conster- space station, who were conducting a nation he felt spacewalk outside the ISS at that very his two brothers moment. On the camera, you could were causing him. see the outline of the east coast below This document didn’t surface until after them while they worked, and presum- his death and shows a deeply disturbed ably somewhere on that landmass was and distraught artist coming to grips with a speck that was me. After six months his loss of hearing, not only from a musical of near-total isolation due to the perspective, but socially and professionally COVID-19 pandemic, I was moved by as well. “I was compelled early to isolate the beauty of this moment, and I felt myself, to live in loneliness… O how harshly in communion with all those who had was I repulsed by the doubly sad experi- looked up in wonder at the sky. ence of my bad hearing, and yet it was im- As I researched texts for this piece, I possible for me to say to men speak louder, came across some celestial poetry by shout, for I am deaf. Ah how could I possibly Sara Teasdale that evoked some of the admit such an infirmity in the one sense wonder, loneliness, and comfort I felt in which should have been more perfect in me that moment last July. Reading her texts, than in others, a sense which I once pos- I feel connected to Teasdale in many sessed in highest perfection…” Beethoven ways—like me, she was a New Yorker; conceded he had considered suicide, but like me, she was drawn to art after strug- rejected it, at least for now. Among other gling with poor health in her childhood. things, he knew his brothers still needed Her poems are beautiful, direct and un- him even if they didn’t appreciate what he pretentious, with words that fit perfectly was doing for them. set to music. Given the opportunity to By the spring of 1803, he was in a bit better write for Mikaela Bennett, a singer with frame of mind. And, while he resolved, to a voice that sounds as if it were deliv- an extent, this turmoil over his hearing, he ered directly from the heavens, I felt apparently also resolved something else. Teasdale’s night poems were the perfect Two things were coming together. He no medium for this piece. I want to thank longer needed to write music with the idea Midsummer’s Music for selecting me as of pleasing his Viennese constituency as a composer-in-residence this year, it is a major consideration, and he felt that he had joy to be back to in-person collabora- developed to where he could begin writing tions and music-making again. the kind of music that was his true destiny. program notes by Will Healy He was still a little over a year away from his 1802/03 was a turning point for Ludwig earth-shattering Eroica Symphony, but he van Beethoven (1770-1827). He had been was moving steadfastly in that direction. in Vienna for a bit more than a decade, and Beethoven pulled off the shelf a move- had, in his own way, ingratiated himself into ment of a violin sonata originally written in Viennese society gaining the approbation 1801/02 for his Violin Sonata, Opus 30, No. and financial support he needed. However, 1. He had decided to replace this move- he was not sanguine. Far from it. He had ment at the time, with something shorter 34 Midsummer’s Music and not so compulsive. Now, this languish- The character of this piece is also dictated, ing movement would take its rightful place in part, by the personality of its original as the finale of something much more com- dedicatee. Beethoven had become friends manding. In effect, Beethoven would write with George Bridgetower, a hard drinking, this piece in reverse. With its finale already carousing violinist that suited Beethoven’s composed, he knew where he was going. frame of mind at the time. Bridgetower’s He just had to create the route to get there. personality inspired Beethoven to bring Season 31 35 forth the two movements needed to com- duce performances and secure the success plete the finale that he already had written. of the composition. As it turns out, Kreutzer Bridgetower was of mixed blood, and Bee- didn’t like Beethoven’s music and thought thoven feared that his work for Bridgetower the piece unplayable. He never performed it. would reflect that reality. In a dedication In 1832, five years after Beethoven’s death, probably penned after a night of drinking an arrangement of the Kreutzer for string with the violinist, Beethoven scribbled on quintet was published by N. Simrock the music, “Mulatic sonata written for the Publishers. Beethoven had known Simrock mulatto Brischdauer, a complete lunatic since his days in Bonn, and Simrock had and mulattic composer.” produced at least 13 editions of Beethoven’s Musically, the mixed blood of this work works. There are those who think the ar- is reflected in its duality of keys. The first rangement is by Beethoven; however, there movement is written as if in the key of A is no hard evidence of that. We do know major, but it is mostly in A minor. The sec- that Beethoven did rearrange some of his ond movement, in F major, is a key that one music from time to time to gain more sales. would expect for an A minor first move- It is also apparent that this arrangement ment. However, the last movement is clearly is very well done. It is really a reworking of in A major. Beethoven doesn’t help us the Sonata because the material is skillfully because he doesn’t name the key in the title divided among the five instruments making as one might expect. Stylistically, the first it a true quintet. It is not just the violin solo movement is full of fire and explosiveness. part with the former piano part played by Bridgetower seems to have made his im- the remaining strings. However, if Bee- print. A slow introduction leads to a robust thoven did the arrangement to earn extra allegro. The introductory material returns money, when was it done, and why did it briefly before a dramatic coda. The slow languish so long before being published? movement is a peaceful contrast. It is a set Whoever did it, it is a wonderful addition to of five variations on a contemplative theme. the string quintet literature. The third movement breaks the serenity of Apart from the music itself, the Kreutzer the slow movement with crashing chord Sonata lived on through a novella written and proceeds with a fiery tarantella in sona- by Leo Tolstoy in 1889, which was censored ta form. As a dance, the tarantella is named by the Russian government. In 1901, René after the Italian city of Taranto where the François Xavier Prinet created his famous local wolf spider’s bite was thought to bring painting “Kreutzer Sonata.” Leoš Janáček’s on hysterical gyrations, which became epit- first string quartet has the same subtitle but omized as a dance. is based on the Tolstoy novella more than Beethoven didn’t have the work completed Beethoven’s composition. Numerous films when the day of the premiere arrived. It was and plays have also been inspired by the postponed for two days, then performed at Kreutzer. As a result, it is one of the most 8:00 in the morning with Bridgetower sight famous violin sonatas, yet is generally not reading the violin part. Shortly thereafter, very well known. Beethoven and Bridgetower had a falling out when the violinist insulted a woman Beethoven thought very highly of. Bee- thoven revised the dedication in favor of one of the most famous violinists of the time, Rudolphe Kreutzer. Beethoven had met Kreutzer briefly in 1798. It is likely that Beethoven hoped his dedication would pro-

36 Midsummer’s Music PRESENTS

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Season 31 37 Respect and Revelation

Un Souvenir de Beethoven Pedro (Pere) Tintorer Violin, Viola, Cello, and Piano (1814-1891) Andante mosso Allegro, ma non tanto

Music for Piano Trio Paul Frucht Violin, Cello, and Piano (b.1989) Agitato

Intermission Quartet in E-flat Major, Op. 47 Robert Schumann Piano, Violin, Viola, and Cello (1810-1856) Sostenuto assai; Allegro ma non troppo Scherzo: Molto vivace Andante cantabile Vivace

David Perry, Violin • Allyson Fleck, Viola • Paula Kosower, Cello • Jeannie Yu, Piano

Friday, July 16, 7:00pm – SWY231, Sturgeon Bay sponsored by the MMG Foundation Saturday, July 17, 7:00pm – St. Luke’s Episcopal Church, Sister Bay Tuesday, July 20, 7:00pm – Door Community Auditorium, Fish Creek sponsored by the MMG Foundation and Roy & Betsy Gill

38 Midsummer’s Music Respect and Revelation PROGRAM NOTES Pedro Tintorer was Pedro returned to Barcelona in 1849 where born in Palma de he founded a school for piano. Mallorca, Spain, on In 1853, Tintorer won a silver medal from February 12, 1814, the Empress Eugenie for one of his masses and died in Barce- resulting in a performance in Barcelona on lona on March 11, the Day of Assumption. Empress Eugenie 1891. Palma is the was the last Empress of the French and wife capital and largest of Emperor Napoleon III. The Te Deum was city of the Balearic composed for the birth of Napoleon III’s Islands located in son. His Stabat Mater, dedicated to Isabella the Mediterranean II, earned him the Queen’s cross and even- Sea. Tintorer was tually a knighthood. baptized Pedro Agustin Nicolas Tintorer y Segarra, which tells us that his mother’s This Quartetino, named Souvenir de name was Segarra. Both parents were Beethoven, was composed during his time Catalan and left Barcelona during the Na- in Lyon in the 1840s. It is a charming work poleonic invasions of Spain. When Tintorer in two movements and the music was was seven, and better times permitted, the published only once over 160 years ago. family moved back to Barcelona. Thanks to Silvertrust editions and a new edition, we are now able to perform this Pedro studied solfege, piano, and composi- relatively unknown work. tion with Maestro Vilanova at the Cathedral Tintorer notes by Allyson Fleck of Barcelona where he sang as a boy sopra- Paul Frucht no. Later in 1830, Tintorer studied harmony (b.1989) is the first and composition at the Real Conservatorio of two Midsum- de Madrid with Carnicer Albeniz and piano mer’s Music Com- with Pedro Albeniz. In 1834 Tintorer went position Fellows to the Paris Conservatory where his princi- as part the new pal teacher was Pierre Zimmerman. Upon Emerging Com- graduation, Tintorer moved to Lyon in 1836 poser’s Initiative where he studied with Franz Liszt and then created this year stayed on as a teacher at the Lyon Music by Midsummer’s School for 14 years. Music. Music for His daily life in Lyon was filled with 16 hours Piano Trio was commissioned by the Rohm of teaching, which might explain why there Music Foundation for the 2016 Kyoto are relatively few compositions to his credit. International Music Festival and premiered Tintorer did compose two masses for solo in Kyoto, Japan by members of the Juilliard voices, mixed choir, and orchestra; a Stabat Orchestra. It was an honor to represent Mater for the same combination; a Te Deum American music on an international concert for choir and orchestra, and other religious series and that context is genesis of this music. In addition, he composed two work. In thinking about some of the most symphonies, a piano trio, the Quartetino for successful works by American composers violin, viola, cello and piano (on today’s pro- that are known to sound very “American” gram), three piano quartets, duos for violin and what it was about these pieces that and piano and for cello and piano, as well makes them so American, I looked at pieces as etudes and character pieces for piano. like Appalachian Spring by Aaron Copland Season 31 39 and Three Places in New England by Charles Overture, Scherzo, and Finale; and material Ives, who like me, grew up in Danbury, for a symphony in C minor. Connecticut. By 1842 Schumann had turned his attention What I found most inspirational about to chamber music completing three string these works is the kinetic rhythmic energy quartets plus the Quintet and Quartet for and the exuberance in the musical materi- Piano and Strings, both in E-flat. The Quintet als that creates a sense of drama, urgency, was sketched in five days during Septem- and sincerity. It is my hope that Music for ber. It took him until December to complete Piano Trio captures those qualities through- the composition, and a private hearing out its narrative. The title is an homage to of the completed work was presented on one of my teachers, Justin Dello Joio, who Dec. 6 with Mendelssohn playing the piano also has a piano trio of the same name: part. He immediately went to work on the a work I greatly admire by a composer I Piano Quartet and had it completed within greatly admire. a month. Program Notes for Music for Piano Trio by Paul Frucht A slow introduction has the piano asking a Robert Schumann question to which the strings respond. The (1810-1856) was main part of the movement follows allegro considered by ma non troppo, but the slow introduction many to be the returns as a prelude to the development. great balancer The Scherzo follows as the second move- of classicism and ment with a staccato theme in the piano romanticism. He and cello. The first of two trios suggests a was keenly aware folk song, but the restless staccato then of the pull of these twice interrupts. The second trio, character- two great forces in ized by syncopated chords, is also interrupt- music and was as ed in similar fashion. The staccato theme eloquent in his writings on the subject as finally prevails until the very end when the editor of the Neue Zeitschrift für Musik as he theme from the opening of the trio has the was by example in his compositions. last word. Few composers’ creative efforts have been The next movement is marked andante as autobiographical as Schumann’s. Two cantabile. Its expansive and expressive main years before the composition of the Piano theme is first sung by the cello, and then Quartet in E-flat, Opus 47, Schumann began taken up by the violin. After a contrasting what was to become an extremely, albeit interlude, the viola is given the theme with brief and perhaps manic, creative period. an ornamented accompaniment in the This period coincided with his engagement violin. During this time, the cellist, in an and marriage to Clara Wieck, which came unusual move, is quietly tuning the C string after a very difficult and prolonged period (the lowest string) down to a B-flat for the in which Clara’s father tried desperately final chord. to prevent the relationship. 1840, the year The finale, marked vivace, is a wonderful of their marriage, saw an incredible out- example of Schumann’s contrapuntal abil- pouring of Lieder, nearly 150 songs in all, ities with fugal writing in abundance. The including the famous song cycles Dichterli- intricacy, however, in no way impedes its ebe, Frauenliebe und Leben, and Liederkreis. infectious enthusiasm or genuine bravura. In 1841, Schumann turned to symphonic writing, composing the Symphony in B-flat, “The Spring;” the Symphony in D Minor; the first movement of the Piano Concerto; the

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Season 31 41 Diversions and Excursions

Divertimento (1975) Katherine Hoover Flute, Violin, Viola, and Cello (1937-2018) Allegro giocoso Adagio; Vivace

Serenade in D Major, Op. 25 Ludwig van Beethoven Flute, Violin, and Viola (1770-1827) Entrato: Allegro Tempo ordinario d’un menuetto Allegro molto Andante con variazioni Allegro scherzando e vivace Adagio; Allegro vivace e disinvolto Intermission Souvenir de Florence in D Minor, Op. 70 Pyotr Ilyich Tchaikovsky Two Violins, Two Violas, and Two Cellos (1840-1893) Allegro con spirito Adagio cantabile e con moto Allegretto moderato Allegro vivace

Heather Zinninger Yarmel, Flute • David Perry & Ann Palen, Violins • Allyson Fleck & Ria Hodgson, Violas • Paula Kosower & James Waldo, Cellos

Friday, July 23, 7:00pm – Donald & Carol Kress Pavilion, Egg Harbor sponsored by Mike & Ann Morgan Saturday, July 24, 7:00pm – SWY231, Sturgeon Bay Sunday, July 25, 4:00pm – Woodwalk Gallery, Egg Harbor sponsored by Joe & Ginny Brand

42 Midsummer’s Music Diversions and Excursions PROGRAM NOTES Katherine Hoover The Divertimento dates from 1975 and is (1937-2018) was in two movements. Its light and appealing born in West Virgin- style harkens back to the 18th century diver- ia. Her mother was timenti exemplified by Vanhal heard earlier a painter and her on this series and by Beethoven in the next father a scientist. work. The first movement is jovial and play- Neither encour- ful with the players tossing the thematic ma- aged her interest in terial back and forth. The second movement music, however, she serves as two movements in one. The larger could remember part is slow and somewhat plaintiff but being able to read finally breaks into a vivace coda as it races to music at the age of four – before she could the end. Throughout one can hear Hoover’s read words. Her family moved to Philadel- ability to synthesize many stylistic elements phia where she started playing the flute and including those of Russian and French music later the piano. Because her parents didn’t of the earlier 20th century and jazz. want her to pursue music, she went to the John Corigliano, perhaps the dean of University of Rochester for academic studies. today’s American composers, and one of However, with the famous Eastman School the teachers of our Composer-in-Residence, of Music connected to the University, she Will Healy, and our Fellow in the Emerging couldn’t resist its pull. Eventually she entered Composer’s Initiative, Paul Frucht, as well as Eastman to study flute and later composition the soon-to-be teacher of our own Joseph graduating in 1959 with a bachelor’s degree. Beranek, has this to say: “Katherine Hoover Moving to New York, she earned her living is an extraordinary composer. She has a primarily as a flute teacher at the Julliard wide and fascinating vocabulary which she Preparatory School and then at the Manhat- uses with enormous skill. Her music is fresh tan School of Music where she taught for 15 and individual. It is dazzlingly crafted and years. During her tenure there she earned will reach an audience as it provides interest her master’s degree. to the professional musician.” Her music has been described as being When Ludwig van inspired by: “1) extra-musical references; Beethoven (1770- 2) quotations and manipulations of other 1827) composed composers’ melodies; and 3) use of ab- his Serenade in D stract, original material,” according to the Major, Opus 25 in article on her in Wikipedia. One of her most 1795, the days were famous compositions is one for solo flute numbered for this entitled Kokopeli. It is inspired by a mythical type of composi- Southwestern Native American ceremonial tion. Serenades and flute player from the Hopi tribe. This work divertimentos filled won the National Flute Association Com- an important role in petition in 1991, one of four times she won the latter part of the 18th century. As works this award. She formed her own publishing with five, six, or even seven movements, company to publish her works, and this was including multiple dance movements and its first, and probably most successful, prod- theme and variations, they provided lighter uct. Her company is named Papagena Press entertainment at garden parties, after after the character in Mozart’s Magic Flute. special dinners, and at important social Season 31 43 functions. While most instrumental compos- but it contains two trios separated by a ers of this era wrote such works, Haydn and repetition of the minuet proper. The first Mozart took them to a new level. They took trio omits the flute. their light-hearted music seriously and cre- The third movement is again quick, but ated masterpieces. Beethoven followed in this time is in the parallel minor key (D this mold with his Serenade for Flute, Violin, minor). The keystone of the composition and Viola. However, after this work, compos- is the fourth movement, a set of variations ers in general turned to absolute forms of on an andante theme in 3/4 in which each chamber music (music without specific so- instrument has its turn at a variation. The cial function), most particularly to the string three variations are capped by a coda, quartet. This is exactly what we see happen- which returns the theme but with some ing with Beethoven after the composition of additional variation. the Serenade. He increasingly turned to the string quartet and continued his dedication The fifth and penultimate movement is to this genre until the end of his life. another triple meter (3/4) dance that par- allels the second movement. However, in However, in 1795, Beethoven was a recent this movement Beethoven uses the more transplant to Vienna from his native Bonn. modern (and faster) indication of scherzo Now in Vienna he was without a steady in contrast to the more conventional and income and had to maintain himself statelier minuet. by teaching, playing the piano at social functions (where his improvisational skills The finale begins with a short adagio became widely heralded), and composing which, after a pause on the dominant marches, minuets, country dances, and oth- chord (needing resolution), leads attacca er such pieces for the insatiable Viennese subito (immediately) into the finale marked social appetite. Allegro vivace disinvolto (fast, lively, and in a facile manner). The D major Serenade consists of six movements, beginning with the typical About two years after the Serenade, Bee- movement designed to lead guests to thoven wrote three string trios in Vienna the salon for the evening’s musical enter- during the period from 1797 to 1798. The tainment after a sumptuous dinner. Often Op. 9 trios were published by Johann Traeg this movement is called a march. Here the in the summer of 1798 as a set, one in G designation is Entrata, or entrance music. Major, the second in D Major, and the last The second movement is a typical minuet, in C Minor. They are dedicated to a Rus-

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44 Midsummer’s Music sian officer, Count Browne-Camus, who school of jurisprudence and became a law once gave Beethoven a horse. His dedica- clerk in 1859. Over the next several years, tion message reads “la meilleure de [mes] however, he increasingly devoted himself oeuvres” (“the best of my works”). These to music, studying thorough-bass and form trios were excellent preparation for the under Nikolay Zaremba and instrumen- upcoming string quartets by the 28-year- tation with Anton Rubenstein at the St. old Beethoven. Beethoven was hesitant to Petersburg Conservatory. test his mettle against Haydn and Mozart Souvenir de Florence for string sextet is the in the string quartet or symphony genres. last of a modest list of chamber works that He would do so soon. In the meantime, he includes three string quartets, a piano trio, laid the groundwork with three superb trios and several shorter works. Sketched in that heralded what was to come. 1887, it underwent revision until early in Each trio is in four movements. The G Major 1892. It therefore is roughly contemporary trio, with its rich texture, often sounds like with the Fifth Symphony, his opera, The a string quartet. One doesn’t sense the lack Queen of Spades, and the ballet, Sleeping of an instrument, which in lesser hands Beauty. As Tchaikovsky was putting the might be the case. The opening Adagio, finishing touches on his sextet, he was be- with a descending G Major chord, is skillfully ginning work on the Nutcracker ballet. developed by Beethoven. The sixteenth-note There are two reasons that may explain passage of the violin is passed artfully to Tchaikovsky’s relatively minor emphasis on the other musicians. The Allegro develops chamber music. In the first place, the influ- several themes before returning to the six- ence of French cultural life was strong in teenth-note passage. The second movement, Russia in the nineteenth century, and, as we Adagio, is much like an operatic aria. Florid saw in reference to Adolphe Blanc’s music, melodies and elaborations are given to the the French were not keen on chamber mu- violin while the viola and cello accompany. sic at this time. However, the main reason The scherzo, fast and brilliant, contrasts with may have been the preference Tchaikovsky the preceding serious movement. Internal and his Russian contemporaries had for repeats can catch the listener off-guard when music with bold strokes full of color and expecting a return to the scherzo. A second striking dynamic contrasts that could best trio exits in Beethoven’s own handwriting on be produced by a full symphony orchestra. a single piece of paper. It is the performer’s decision whether to play the movement with Perhaps the desire for a fuller orchestral one or two trios. Even more skillful motivic sound is what led Tchaikovsky to add an development is heard in the finale. Beetho- additional viola and cello to the traditional ven did not return to the string trio in later string quartet in his scoring of this work. years, perhaps due to his affinity and success Certainly, the composer’s interest in the in the string quartet genre. color and traditions of Italian life are well documented in his music. Orchestral works Despite showing like Francesca da Rimini, Capricio Italien, and early signs of the Neapolitan dances in his various ballets talent at the piano all attest to this fascination. and in composi- tion, Peter Ilyich The name Souvenir de Florence appears to Tchaikovsky come from the hauntingly beautiful theme (1840-1893) was to the second movement played by the directed toward a violin and cello. This theme Tchaikovsky professional career wrote down on a visit to Florence in 1887. in the law. He was David Brown in his notes on this work says it educated in a is “perhaps [Tchaikovsky’s] most completely Season 31 45 integrated synthesis of Russian inspiration and harmonic embrace. A faster middle with a fundamentally German model.... In section provides contrast before return of 1886 the St. Petersburg Chamber Music So- the opening material, this time introduced ciety had elected Tchaikovsky an honorary by the cello. member, and in response he had promised The third movement sounds more Russian to compose and dedicate a piece to them. than Italian and, true to Tchaikovsky’s pref- Four years later he redeemed his promise erence, is more relaxed in tempo than might with this sextet.” be expected. The middle section is again The first movement is a big and bold sonata faster and reminds one somewhat of the form movement full of energy and vitality pizzicato ostinato of the Fourth Symphony. from the very first note. Nevertheless, it is The final movement is another sonata form deftly scored with a wonderful variety of movement. Again, the composer’s Russian colors and an imaginative working out of nature is heard in the opening theme. thematic material. A strong rhythmic com- Eventually the homophonic texture of this ponent propels the energy of the move- movement is relieved by contrapuntal ment throughout. writing of a kind we would rarely hear from After a short introduction, the second Tchaikovsky’s more nationalistic contempo- movement introduces Tchaikovsky’s Floren- raries. As in many of his works, Tchaikovsky’s tine inspiration in the first violin and first coda cannot contain itself and ends in a cello over pizzicato accompaniment. One blaze of nearly out-of-control glory. Program Notes by James Berkenstock is reminded of the composer’s Serenade unless otherwise noted. for Strings in the richness of lyrical melody

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46 Midsummer’s Music A Tradition of Distinction! 69th Season | Since 1953

PMF presents ...

Antonio Wu, piano August Acoustics June 20, 2021, 3:00pm August 5, 12, 19, 2021, 7:30pm Kress Pavilion, Egg Harbor Kress Pavilion, Egg Harbor

RECITAL SERIES | A CHAMBER MUSIC SERIES | THE SYMPHONY SERIES

Christoph Ptack, Executive Director

Season 31 47 48 Midsummer’s Music Musicians James T. Berkenstock, Ph.D., Artistic Director Allyson Fleck, D.M.A., Assistant Artistic Director

Heather Zinninger Yarmel, Flute Sally Chisholm, Viola Daniel Won, Clarinet Allyson Fleck, Viola John Goodwin, Piano Ria Hodgson, Viola Jeffrey Panko, Piano Paula Kosower, Cello Jeannie Yu, Piano Ryan Louie, Cello David Perry, Violin James Waldo, Cello Ann Palen, Violin Drew Banzhaf, Bass Mikaela Bennett, Guest Soprano

Emerging Composers Initiative Jacob Beranek, Emerging Composers Initiative Program Advisor Will Healy, 2021 Composer-in-Residence Paul Frucht, 2021 Composer-in-Residence Fellow Quinn Mason, 2021 Composer-in-Residence Fellow Dedicated to pro- An active recording artist, he has over 300 ducing powerful national and international radio and televi- chamber music sion commercials to his credit. His discog- concerts in unique raphy includes recordings with the Chicago and intimate Philharmonic, Chicago Symphony, Univer- settings, Artis- sity of Chicago’s Contemporary Chamber tic Director and Players, and four releases with Midsummer’s founding member Music on the Centaur and Solstice labels. of Midsummer’s As an author, he co-wrote Joseph Haydn Music James in Literature: A Bibliography, published by Berkenstock, the Haydn Institute, Cologne, Germany. with his wife Jean, Berkenstock has served as a Professor of established the Door County, Wisconsin Music at the Chicago College of Performing summer concert series in 1991. Arts at Roosevelt University, and is Professor With an exciting career that has spanned Emeritus at Northern Illinois University. In decades, he is the former Principal Bassoon- 2002, he received the Teacher Recognition ist with the Lyric Opera of Chicago, where Award from the U.S. Department of Educa- he enjoyed a 48-year tenure, and with the tion. Berkenstock is a graduate of Vander- Chicago Philharmonic, where he also served bilt University’s Blair School of Music and as President and continues as a member of Northwestern University, where he earned the board. a Ph.D. in Music History and Literature. He Berkenstock has appeared as soloist with studied bassoon with Wilbur Simpson and the Chicago Philharmonic, Concertante di Willard Elliot, receiving additional training as Chicago, the Illinois Chamber Symphony, a member of the Civic Orchestra of Chicago. Symphony II, the Northern Illinois Drew Banzhaf has been a member of the Philharmonic, and with the Grant Park Baltimore Symphony Orchestra since 2017. Symphony. Additional orchestral roles Prior to this, he was a fellow of the New include Principal Bassoon with the Grant World Symphony in Miami Beach, Florida Park Music Festival Orchestra. for three years. He is a frequent substitute

Season 31 49 with the Atlanta at Lyric Opera of Chicago playing Maria in Symphony Orches- West Side Story, starred in the title role in tra and has also Rodgers & Hammerstein’s Cinderella at the performed with MUNY, returned to the BBC Proms with the the Milwaukee John Wilson Orchestra performing music and San Antonio from the Warner Bros. film studio, and sang Symphony Orches- the role of Mary Wintergreen in MasterVoic- tras. Drew spent es’ production of Gershwin’s Let ‘Em Eat Cake three summers at Carnegie Hall. with the Verbier Mikaela made her professional debut Festival Orchestra starring as Penelope in The Golden Apple at in Switzerland and City Center Encores! She originated the role was a three-time fellow at the Aspen Music of Norma in the new off-Broadway musical Festival. He was also a fellow at the Music Renascence and originated the title role of Academy of the West and a two-time fellow Acquanetta in a new opera by Michael Gor- with the New York String Orchestra Seminar. don and directed by Daniel Fish. Last year, Drew was a finalist for the Principal Mikaela made her BBC Proms debut at of the Milwaukee Symphony and a finalist London’s Royal Albert Hall starring as Maria for the Associate Principal of the San Francis- in the John Wilson Orchestra’s production co Symphony. He has also been a finalist for of West Side Story, and she debuted with the Atlanta Symphony Orchestra, runner up the New York Philharmonic under Leonard for the Principal of the San Antonio Sym- Slatkin and the Philadelphia Orchestra under phony, second runner-up for the Assistant Yannick Nézet-Séguin. Mikaela performed as Principal Bass of the Winnipeg Symphony a featured soloist in Bernstein on Broadway Orchestra and a finalist for the Trondheim at the Kennedy Center under Rob Fisher. She Symfoniorkester in Norway. collaborated multiple times with conductor Drew completed his Master of Music degree in Ted Sperling, most recently at Carnegie Hall the spring of 2014 at Rice University’s Shep- performing Gershwin and as the soprano so- herd School of Music, where he studied under loist in Händel’s Israel in Egypt with Orchestra the tutelage of Timothy Pitts. He previously of St Luke’s. She appeared with the San Fran- studied at Indiana University’s Jacobs School cisco Symphony, Los Angeles Philharmonic of Music, where he received a Bachelor’s of and New World Symphony under Michael Music studying with Lawrence Hurst. In high Tilson Thomas for the world premiere of Four school, Drew studied with Midsummer’s Music Preludes on Playthings of the Wind. Festival’s long-time bassist, Jason Heath. Jacob Beranek is Mikaela Bennett a Wisconsin-born, is a graduate of New York-based The Juilliard School composer and and is celebrated pianist, whose as a singer and music often actress for her work emphasizes his on stage and in love of historical the concert hall. traditions—mu- She most recently sical, religious, or appeared as a fea- even his Czech tured soloist with heritage. Jacob the Los Angeles served as Midsummer’s inaugural Compos- Philharmonic under Gustavo Dudamel per- er-in-Residence (2017-20), a collaboration forming “Aurora” by Wayne Shorter. In 2019 which produced twenty-three performanc- Mikaela was honored with a Lincoln Center es of six new compositions. He is thrilled Award for Emerging Artists, made her debut to continue this season as the Program 50 Midsummer’s Music Advisor to Midsummer’s new Emerging collaborated with guest artists including Composers Initiative. Anthony McGill, Nobuko Imai, Samuel Jacob received his Bachelor of Music in Rhodes, and Leon Fleisher. She returns to the Composition from Vanderbilt University’s Marlboro Music Festival this summer for her Blair School of Music and is now pursuing tenth season. a Master of Music from The Juilliard School As a champion of new music, this season as a student of John Corigliano. A dedicat- she performed the New York premiere of ed scholar of Czech music, Beranek was John Harbison’s Nine Rasas, and the world honored by the American ambassador to premiere of his Viola Sonata in Madison, Wis- the Czech Republic in 2018 during a perfor- consin. Other recent performances of note mance of his music in Prague Castle for the include the world premiere of the revised country’s centenary celebration. His works Viola Concerto of Paul Schoenfield, and a have also been championed by the GRAM- performance of the Bartok Viola Concerto in MY®-nominated Alias Chamber Ensemble Budapest. Additional international appear- (Nashville), Dolce Suono Ensemble (Philadel- ances include concerts in North Korea, Tibet, phia), The Gesualdo Six (London), and Wis- and Poland including concerts at the famed consin Philharmonic (Waukesha), as well as Warsaw Conservatory. acclaimed soloists Peter Sheppard Skærved Chisholm holds the Germain Prevost Profes- and Mimi Stillman. Mikel Toms and the Brno sorship at the University of Wisconsin-Mad- Philharmonic (Czech Republic) recently ison, has served as a juror for the Wronski recorded his Pilgrimatic Overture as part of International Violin Competition, and this Ablaze Records’ ninth “Orchestral Masters” January she was an artist/teacher at the Viola album, to be released in 2022. Learn more at Festival in Otaru, Japan with violist Nobuko www.BeranekMusic.com. Imai. Chisholm loves fast electric cars and is A member of the a fan of the NBA. Midsummer’s Midsummer’s Music Music ensem- Executive Director, ble, violist Sally Assistant Artistic Chisholm has Director and violist, concertized across Allyson Fleck was three continents. drawn to Door Chisholm’s exten- County for its beau- sive chamber music ty and is delighted collaborations to call it home. include performing Fleck has appeared as a member of as soloist with the Pro Arte Quartet and founding mem- orchestras in Wisconsin, Illinois, Georgia, and ber of the Thouvenel String Quartet with with Russia’s Novgorod String Orchestra. As whom she toured Europe, China and Lhasa, an orchestral musician, she has served as Tibet. Known for championing the works of Principal Viola of the Greeley Philharmonic, great American composers, the Thouvenel Assistant Principal of the Fort Collins Sympho- Quartet has commissioned works from Elliott ny, section member of Cheyenne Symphony, Carter, Milton Babbitt, and Ernst Krenek, Madison Symphony, Wisconsin Chamber Or- among others. Recipients of the first prize chestra, Atlanta Ballet and Opera orchestras, at the Weiner International Chamber Music and is active in the freelance community. Competition, they were also finalists of New Dedicated to chamber music she has York’s Naumburg Competition, and per- appeared at Midsummer’s Music since 2004 formed on NBC’s TODAY Show. Chisholm is a and performed at the Token Creek Music permanent member of the Northern Lights Festival, Madeline Island Chamber Music Chamber Music Institute, and the Chamber Festival, and at New York’s famed Carnegie Music Society of Minnesota where she has Hall, among others. Season 31 51 Fleck’s arts administration experience M.M. degrees from the Juilliard School as includes roles as the orchestra manager of well as a B.M. from New York University. the Cheyenne Symphony and librarian of A native of the Greeley Philharmonic. As an educator, Birmingham, she was Assistant Professor of Music at Beloit Alabama, John College, a member of the faculty at Ripon Col- Goodwin holds lege, and at Kennesaw State University where degrees in piano she directed the chamber music program performance and taught studio viola. She has also taught from Birming- beginning strings in various school systems. ham-Southern Fleck received her Doctor of Musical Arts de- College and gree in Viola Performance from the University Northwestern of Wisconsin-Madison. She enjoys spending University. He has time with her boys, Jacob and Eli, listening to been a featured music and outdoor activities. soloist with the Alabama, Shreveport, Be- Paul Frucht is loit-Janesville, and Chicago Youth Sympho- an American ny Orchestras, as well as the Chicagoland composer whose Pops Orchestra, and the Northbrook and music has been Park Ridge Civic Orchestras. Mr. Goodwin acclaimed for its was a featured performer in the acclaimed “sense of lyricism, multimedia series Beyond the Score with driving pulse, the Chicago Symphony Orchestra. He has and great urgen- performed with such diverse artists as cy” (WQXR). His William Warfield, Joshua Bell, Kurt Elling, music has been and Bobby McFerrin. Mr. Goodwin regular- commissioned ly performs both as soloist and collabora- and performed tor throughout Chicago and beyond and by the Minnesota Orchestra, American has performed in Orchestra Hall, Preston Composers Orchestra, Juilliard Orchestra, Bradley Hall, Ganz Hall, The Kennedy Cen- Milwaukee Symphony Orchestra, San Diego ter, and Carnegie Hall, as well as the great Symphony, American Modern Ensemble, concert halls of South America, Europe, Ulysses Quartet, Buffalo Chamber Music and Asia. On most weeknights, Mr. Good- Society, Music Mountain Festival, and the win can be heard on public radio stations New York City Ballet Choreographic In- across the country playing the opening stitute, among others. Paul has been the theme for Bill McGlaughlin’s popular pro- recipient of a Charles Ives Scholarship from gram Exploring Music. the American Academy of Arts and Letters, Mr. Goodwin was a collaborative pianist for the Brian H. Israel Prize from the Society of the Steans Institute Program for Singers at New Music, an ASCAP Morton Gould Young the Ravinia Festival. He has been a featured Composers Award, Juilliard’s Palmer Dixon, performer at the national conventions of the Arthur Friedman, and Gena Raps Prizes, American Choral Directors’ Association, Cho- and the American Composers Orchestra’s rus America, the International Double Reed 2016 Audience Choice Award. Upcoming Society, and the National Flute Association. highlights include the world premiere of Mr. Goodwin is currently a pianist for the an orchestral song cycle commissioned Chicago Symphony Chorus, Principal Pianist/ for Kenneth Kellogg and the Ridgefield Resident Conductor of the Chicago Chil- Symphony Orchestra and new works for the dren’s Choir, and pianist for the Roosevelt Ulysses Quartet and Time For Three. Paul is University Conservatory Chorus. the artistic director of the Charles Ives Music Throughout 2020, he virtually taught Music Festival and an adjunct faculty member at History and Theory for the Chicago Chil- New York University. He holds D.M.A. and dren’s Choir, while recording Bach’s complete 52 Midsummer’s Music Well-Tempered Clavier and an album of origi- of the Tuscia Opera nal piano compositions, all from home. Festival orchestra Will Healy is a in Viterbo, Italy, as composer and well as traveling to pianist based in the Grand Duchy New York. Noted of Luxembourg for his “lushly where she was a bluesy” sound and Guest Artist of the “adroitly blended… Vianden Music textures” (New York Festival. Times), he is the Currently Ria per- artistic director forms with several of ShoutHouse, a groups throughout the Midwest region, collective of hip-hop, jazz, and classical musi- including the Rockford, Dubuque, and cians. His 40-minute song cycle for rappers, Quad City Symphony Orchestras. She can soloists, and chamber orchestra, Cityscapes, be heard most frequently as the violist of was released on New Amsterdam Records in the Tuuli Quartet, a touring ensemble that 2019. As a pianist, he has a passion for both promotes the music of contemporary and new and old music, particularly the works of classical composers. J.S. Bach, with a repertoire that includes the The musical complete Goldberg Variations and Well-Tem- versatility of cellist pered Clavier. Healy studied composition Paula Kosower at The Juilliard School, where his primary makes her equally teachers were Samuel Adler, John Corigliano, at home in solo, and Steven Stucky. chamber music, Recent awards include a Charles Ives and orchestral set- Scholarship from the American Academy tings. Ms. Kosower of Arts and Letters, two ASCAP Morton performs regularly Gould Awards, the W.K. Rose Fellowship, with the Chicago and a J-Fund commission. Healy’s work has Symphony, Lyric appeared recently at The Kennedy Center, Opera of Chicago, Lincoln Center, Carnegie Hall, New York City and the Milwaukee Symphony Orchestra. Ballet, and (le) Poisson Rouge, among others. Her chamber music appearances this season Recent projects include commissions for include performances with the Fulcrum Copland House and Kaleidoscope Chamber Point New Music Project, Chicago Chamber Orchestra, arranging for the New York Phil- Musicians, Chicago Philharmonic Chamber harmonic, and writing a full-length musical Music Series, at the University of Wiscon- that was recorded remotely by a cast of 30 sin-Milwaukee, Northeastern University, and musicians. He recently moved to Carroll Gar- the Music Institute of Chicago, including dens, Brooklyn, where he has been enjoying a festival honoring George Crumb. She is spending maskless time with vaccinated a member of the contemporary chamber friends on his roof. music group Picosa performing programs Violist Ria Hodgson maintains an active ca- this season at the Holtschneider Performing reer as a performer, collaborator, and teach- Art Center at DePaul University, Wentz Con- er. As a chamber and orchestral player, Ria cert Hall at North Central College, Elmhurst has performed throughout the US and College and at the Driehaus Museum in abroad, including appearances with the downtown Chicago. Superior String Alliance Chamber Players, Ms. Kosower teaches applied lessons, The CHAI Collaborative Ensemble, and the cello pedagogy and orchestra repertoire at Civic Orchestra of Chicago, among others. Northwestern, DePaul, North Park Univer- In recent summers, Ria was the co-principal sity, and Northeastern Illinois University, Season 31 53 where she also frequently performs. She dio, he has also been on the faculties of City teaches private cello lessons for pre-college Music Kids in Cleveland, the Chamber Music students at the Northwestern University Connection in Columbus, and the Aurora Music Academy. In addition to perform- School of Music in Aurora, Ohio. ing with Midsummer’s Music during the Born in Queens, New York, Ryan began study- summer season, she performs at the annual ing the cello at age ten. He has completed Zenith Festival in Des Moines, Iowa, and degrees at Carnegie Mellon University and teaches and coaches chamber music for the Cleveland Institute of Music. His teach- music camps in the Chicago area organized ers include Mark Kosower, Dr. Melissa Kraut, by Midwest Young Artists and the Chicago Anne Martindale Williams, and Marion Feld- Chamber Music Festival. man. Ryan has also studied at the Manhattan Kosower received her Bachelor of Music School of Music and Royal Academy of Music and Master of Music degrees from Indiana in London. Throughout his time in Ohio, Ryan University, where she was a student of Janos has performed regularly with the Akron, Can- Starker, and her Doctorate of Music degree at ton, and Toledo Symphony orchestras. Northwestern University where she studied Quinn Mason is with Hans Jorgen-Jensen. a composer and Ryan Louie is conductor based a sought-after in Dallas, Texas. chamber musician, He has studied at orchestral player SMU with Dr. Lane and music educa- Harder has also tor. Throughout his worked closely career, he has per- with distinguished formed in England, composers David Germany, Holland, Maslanka, Jake Italy, Japan, Korea Heggie, Libby and, most recently, Larsen, David Dzubay and Robert X. Ro- Switzerland and driguez. His music has been performed in Taiwan, in renowned venues such as Alice concert by the Dallas Symphony Orchestra, Tully Hall, Carnegie Hall, the National Con- Utah Symphony Orchestra, South Bend cert Hall of Taipei, Severance Hall, Suntory Symphony Orchestra, West Virginia Sympho- Hall, and Weill Recital Hall. ny Orchestra, New England Conservatory Ryan has garnered such awards as the Philharmonia, Orchestra Seattle, Mission Cleveland Cello Society Agnew Bach Prize, Chamber Orchestra, loadbang, Voices of Marion Feldman Scholarship at the Man- Change, Atlantic Brass Quintet, UT Arlington hattan School of Music, Long Island Arts Saxophone quartet, the Cézanne, Julius and Alliance Scholar-Artist Award of Excellence, Baumer string quartets and concert bands the Associated Music Teacher’s League throughout the United States and Canada. Henry Levine and Blanche S. Levy Award, He has received awards from the Metropol- the Mary and George Wilkins Memorial Cello itan Youth Orchestra of New York, American Scholarship at Carnegie Mellon University, Composers Forum, Voices of Change, Texas the Max Pirani Prize, the Wolfe Wolfinsohn A&M University, the Dallas Foundation, the String Quartet Prize, and the Bache Fund at Philadelphia Youth Orchestra, the Heartland the Royal Academy of Music in London. Symphony Orchestra, The Diversity Initia- Ryan has participated in the Amsterdam Cello tive, Arizona State University Symphony Biënnale, Caroga Lake Music Festival, Cello Orchestra and was also named as a finalist Akademie Rütesheim, Great Mountain Music for 2020’s Texan of the Year., He is also a Festival in Pyeong Chang, Pacific Music Festi- conductor, having done intensive study with val, and Palazzo Ricci Montepulciano Festival. Miguel Harth-Bedoya, Will White and John Axelrod, and has guest conducted Orchestra In conjunction with his private teaching stu- 54 Midsummer’s Music Seattle, the Brevard Sinfonia and the TCU Society of American Musicians’ Piano Com- Symphony Orchestra. petition (Chicago) and the Frinna Awerbuch Violinist Ann International Piano Competition (New York). Palen is a Following a concert tour of Poland where member of the he was honored by the United States with Lyric Opera of the title of Cultural Ambassador, Panko was Chicago Orchestra invited by the City of Chicago to present a and Music of the Chopin recital for the visiting Lech Walesa Baroque. She and other Polish dignitaries. Panko has also was a member been featured in performances at Carnegie of the Grant Hall, Weill Hall, Lincoln Center Library, WQXR Park Symphony Radio (New York), is a frequent performer on for more than WFMT Radio (Chicago), and has appeared a decade. Her in Symphony Center playing the music of concerts as a chamber musician have Steven Sondheim for Mr. Sondheim. taken her to Portugal and Russia, and she An Artist Faculty member of the New Music has appeared at the Roycroft Festival, the School piano faculty in Chicago, Panko also Lyric Opera Chamber Series, and on the serves as Minister of Music and as Artistic Morton Arboretum Chamber Concert Director of the Music at Bethel Concert Series. Her discography includes Robert Series for Bethel United Church of Christ in Lombardo’s Music for Mandolin and a Elmhurst, Illinois. GRAMMY award winning recording with Violinist David the Smashing Pumpkins. She has appeared Perry enjoys an on many commercials including “Beef, it’s international what’s for dinner.” career as chamber Palen earned her degrees from the East- musician, soloist, man School of Music and the Peabody orchestral musician Institute where she studied under Sylvia and educator, and Rosenberg. She was also a fellow at Tan- has performed in glewood, the historic Alexander Schneider Carnegie Hall, and String Seminar in New York, and coached in most of the ma- with pianist Samuel Sanders, the Juilliard jor cultural centers and Cleveland Quartets. of North and South Palen enjoys gym workouts, visits to her fa- America, Europe, and the Far East. vorite travel destination, the Great Lakes, for An active chamber musician, he is a member their character and beauty, and along with of the Pro Arte Quartet who celebrated its her husband, raising their two daughters. Centennial Anniversary in the 2011-2012 Pianist Jeffrey season. Acclaimed composers commis- Panko has received sioned for the celebration include William critical acclaim Bolcom, John Harbison, Pierre Jalbert, Walter as both solo and Mays, Benoit Mernier and Paul Schoenfield. collaborative artist He regularly tours throughout the country as throughout the a founding violinist of the Aspen String Trio United States and and has performed with Midsummer’s Music Europe. Earning since 1999. degrees in Piano Concertmaster of the Chicago Philharmonic, Performance from Perry has served as guest concertmaster with the Oberlin College such ensembles such as the China Nation- Conservatory of al Symphony Orchestra, Ravinia Festival Music and the DePaul University School of Orchestra, and the American Sinfonietta. He Music, Panko was awarded top prizes in the also served as concertmaster for the Aspen Season 31 55 Chamber Symphony. Active since the late son) with an emphasis on Russian music 1980s with the Orpheus Chamber Orchestra, and language. As a graduate instructor, renowned for playing without a conductor, James has taught courses on music theory he can be heard on many of their Deutsche and ear training, western music history, Grammophon recordings. Perry’s discography and the history of the Mississippi Delta also includes chamber and solo recordings on Blues. James organized and presented a the Delos, Sonos and Naxos labels. public event at Grace Church, Madison, A member of the University of Wiscon- illuminating the West African and early sin-Madison faculty, he was granted a Paul American heritages of the banjo. James Collins Endowed Professorship in 2003. maintains a small private cello studio and Perry was also on the faculty of the Aspen enjoys gardening and getting outdoors Music Festival and School for nearly two with his wife and two daughters. decades. A 1985 U. S. Presidential Scholar Born in South in the Arts, his first prizes have included Korea and raised in the International D’Angelo Competition, Southern Califor- National MTNA Auditions, and the Juilliard nia, Chicago-based Concerto Competition. clarinetist Daniel Cellist James Won was ap- Waldo is an avid pointed Principal chamber musician, Clarinet of the recitalist, educator, Quad City Sym- and scholar. James phony Orchestra is principal cellist by Music Director for the Cecilia Mark Russell Smith Chorus of New in 2016. Won performs frequently with some York, with semi- of the premier ensembles in the Midwest, annual concerts including Chicago Symphony’s MusicNOW, in Carnegie Hall. Music of the Baroque, Chicago Philharmonic, As cellist of the Chicago Sinfonietta, Chicago Opera Theater, husband-and-wife recital team A.W.Duo, Fort Wayne Philharmonic, and the Chicago James and pianist Alyona A. Waldo tour Jazz Orchestra. annually around the United States. The duo Won has appeared as soloist with several made their debut tour of Northeast China orchestras around the country, including in 2017. Notable venues include Piccolo the Quad City Symphony, Pacific Symphony, Spoleto in Charleston, Alice Tully Hall and Colorado Springs Festival Orchestra, Phil- Merkin Concert Hall at Lincoln Center, the harmonia Columbia of Missouri, Chicago Polish Consulate General of New York, Classical Philharmonic, and UCLA Philharmo- the Metropolitan Museum of Art, and the nia Orchestra. He can be heard on the 2013 Grande Theatre in Harbin, China. In 2015, release of Burstin’ Out, with the Chicago Jazz the duo had the singular opportunity to Orchestra, on Origin Records, and on the perform a complete cycle of Beethoven’s 2010 release of Recorded Music of the African cello-piano sonatas and variation sets for Diaspora, with the New Black Music Ensem- the Columbia Museum of Art in South ble, on Albany Records. Carolina. Now living in Madison, WI, James Won earned a Bachelor of Arts degree from performs with the Madison Bach Musi- UCLA, where he studied with Gary Gray of cians, the Madison Festival Choir, and the the Los Angeles Chamber Orchestra and new Just Bach series. Having completed his received a Master of Music degree and Cer- Doctor of Musical Arts Degree from Univer- tificate in Performance from DePaul Univer- sity of Wisconsin-Madison in 2020, James is sity School of Music. His principal teachers currently pursuing a Doctor of Philosophy at DePaul were Larry Combs and John Bruce Degree in Musicology (also at UW-Madi- Yeh of the Chicago Symphony Orchestra. In 56 Midsummer’s Music 2013, Won was named one of DePaul Univer- China, Sheboygan sity’s 14 Under 40 Alumni Making a Difference. Symphony Orches- Won is a Yamaha Artist and performs exclu- tra, Festival City sively on Yamaha clarinets. Symphony, and the Heather Zinninger Milwaukee Ballet Yarmel plays Orchestra. Assistant Principal A dedicated cham- Flute with the Mil- ber musician, she waukee Symphony is the pianist of the Orchestra. She Florestan Duo with previously spent whom she has re- five seasons in New corded Beethoven’s Orleans playing complete works for cello and piano. Addi- Principal Flute tional chamber music appearances include with the Louisiana engagements with the Northwestern Univer- Philharmonic Or- sity Winter Chamber Music Series, the Green chestra and has performed as a guest with Mountain Chamber Music Festival, Chamber the Chicago Symphony Orchestra, Houston Music North, Three Bridges Chamber Music Symphony, Buffalo Philharmonic, San Anto- Festival, Frankly Music Series, Chamber Mu- nio Symphony, Rhode Island Philharmonic, sic Milwaukee, Midsummer’s Music, and the and New World Symphony. She has been a Rembrandt Chamber Players Series. prizewinner in several national competitions, Media appearances as a soloist and including the National Flute Association’s collaborative artist include WQXR in New Orchestral Audition Competition where she York, WOI in Des Moines, IPR in Interlochen, was awarded first prize. Yarmel shares her and WFMT in Chicago. As a recording artist passion for chamber music with the Milwau- she has recorded volumes of music for kee community by regularly performing with various instruments for the Hal Leonard and serving on the artistic board of Milwau- Publishing Company. kee Musaik. In addition to Midsummer’s Yu’s awards include first prize in the Frinna Music, her summer festival appearances Awerbuch Piano Competition, the Flint Sym- include Lakes Area Music Festival, Tangle- phony International Concerto Competition, wood, Music Academy of the West, and the Portland Symphony International Con- National Repertory Orchestra. Yarmel grew certo Competition, and the Kingsville Piano up in Louisville, KY and studied with Leone Competition. She has performed and taught Buyse at Rice University, Bonita Boyd at the masterclasses at the Alfred University Sum- Eastman School of Music, and Tallon Perkes mer Chamber Music Institute, Ohio Wesleyan at Interlochen Arts Academy. As an educator, Summer Chamber Music Festival, Milwaukee she teaches lessons, coaches chamber music, Chamber Music Festival, and the Troy Youth and presents workshops and masterclasses. Chamber Music Institute. She received her When not playing the flute, she enjoys hik- Bachelor’s and Master’s Degrees from The ing, gardening, advocating for animal rights, Juilliard School, where she was awarded the and maintaining a vegan recipe website Gina Bachauer Memorial Scholarship, and called Flutes and Veggies. her Doctor of Musical Arts Degree from the Acclaimed pianist Dr. Jeannie Yu enjoys an Peabody Conservatory of Music. active career as a soloist, chamber musician, recording artist and educator. Yu has appeared as soloist with the Flint Symphony, Portland Symphony, Marina del Rey-Westchester Symphony, Des Moines Symphony, Des Moines Brandenburg Sym- phony, the Xiamen Symphony Orchestra in Season 31 57 Major Support for the 2021 Season We are very grateful for the following individuals and organizations for their generous support. (Funds received between May 11, 2020, and May 10, 2021) Virtuoso Ms. Christine Henkel Mr. Jerome Krebs $25,000 and above Ross & Loralee Holton Elmer & Ann Lewis Wisconsin COVID Cultural Arlene Johnson & Ann McLean Organization Grant Chris Weidenbacher Carla & Robert Myerson Prodigy Maja Jurisic & Don Fraker Mr. Chip Minguey $10,000 – $24,999 William Koehler Robert &Judith Minahan Anonymous Mr. Martin Krebs Sarah Muench Jim & Jean Berkenstock Donald & Carol Kress Ms. Cynthia Stiehl MMG Foundation Paul & Anne Lings Andrea Wagoner & Mr. Michael J. Schmitz Kevin & Wanda McDonald Roger Ruggeri David & Marion Meissner Arnold & Judy Widen Soloist Mrs. Judith Minahan Gene & Carmen Witt $5,000 – $9,999 Michael & Ann Morgan Section Member David & Nancy Borghesi Paul & Thea Sager James L. Hoehn & Nancy J. $250 – $499 Judith Teicher Dan Baumann Goldberg Marcia Welcome Barbara Johnson & Sandra Ginny & Joe Brand Mr. John Wilson, Jr. Brown County Community Zingler Karen Wilson Peggy Lott Women’s Club Wisconsin Arts Board Chris & Karen Callen Jerry Randall & Mary Hauser Carl & Sandy Zapffe Skinner Family Fund of Vonnie & Dave Callsen Door County Community Partner Bill & Nancy Carpenter Foundation, Inc $500 – $999 Marilyn Carolan Dianne Trenchard Mr. Richard Andrews Ms. Kelly Catarozoli Wisconsin Arts Board Jean Barrett & Paul Neuman Patrick & Mary Cerra Cares Act Priscilla & Anthony Beadell Door County Community John & Kay Bowman Foundation – ALOCMAC Principal Christine Beth & George Drost $1,000 – $4,999 Dennis & Bonnie Connolly Robert & Connie Eby Stefan & Joan Anderson Larry & Cynthia Crock Robert A. Forsberg Phillip & Cynthia Block Gretchen Courtney & William & Carol Hoehn John & Norma Bramsen Ed Reschka Mr. & Mrs. Thomas Hurst Laurey & Phil Clampitt Donna Danielson Mr. Robert Judd Richard & Kit Conner Dennis & Bonnie Dyer Paul Judy Russ & Sandy Dagon Allyson Fleck George & Doris Kimball Susan DeWitt Davie Dr. & Mrs. Robert A. Fleck, Jr. Jann & Keith Kostecke Frank Dayton Wes & Abbey Grunwald Jan Livingston Wietze & Jeannie de Vries Julie Ann Fleck Hobbs Charlotte Lukes Robert & Lois Dittus Jim Goodwin Tom & Mary Ann Mack Alan & Virginia Eades Bob & Linda Graebner Douglas MacNeil Dick & Anne Egan Hudson & Heather Hellmich William Mccully Door County Community Megan & Mark Heintzkill Mary Moster Foundation, Inc. Ironwood Foundation Hugh & Alicia Mulliken Sustainability Grant Kaye Ketterling Erik Nelson Michael Elkow Ronald Klimaitis & Martha Newkirk George & Julie Fiedler Gloria Dougherty Tom & Mary Patza Roy & Betsy Gill Jean Klingenstein Al & Christy Rentmeester Barbara Gould Peter Korotev Madeleine Sargent 58 Midsummer’s Music Janet Sauers Marcia Hoebreckx Barbara Erlenborn Dick & Carol Skare Carolyn Kane Tom & Andrea Esau Wilber & Cynthia Schaulis Marie Kaufman Mary Hendrix Tim & Sue Stone Bill & Gretchen Klug Martin & Hilary Ford Richard A Whittow Natalie Krah Gerri Friedberg Randel Steele & John & Jill Levi Mr. Warren Gerds Margaret Gonzales Joan Lewis Mr. Samuel Glasser Kirk & Donna Scattergood Lowell & Donna Ludford Cathy Grier Ms. Donna Vincent James & Carole Maronek Marcella Heath Russ Warren & Bruce Joffe Richard & Annette Mathy Richard & Nancy Helland Jan & Dick Whittow Donna Milanovich & Ron & Alice Holden George Srajer Accompanist Richard & Jacquelyn Homan Nancy Munch $100 – $249 Andrea Kinsey-Jauquet Michael Nation & Edmund B. Adamic Anthony & Christina Janet Sauers Thomas L. Aerts Laymon-Jones Jerry & Marge Needelman Anonymous Harry & Kaye Maher Bill & Betty Parsons John & Alice Belmont Wayne & Judith Marik Gabriele Pfeiffer CJ Bishop & Peter Orlik Richard & Anne Markham Mr. Dennis Ploor John Brauer Antonio & Demaris Martinez Dina Dewitt Plumb James & Sharon Buhr Marilyn McDonald Ann & Jim Reeve Shaun & Susan Melarvie Jim & Barbara Bunning Ms. Chris Risch Andrew & Jillaine Burton Paul & Gabriele Moylan Dennis & Gail Rossow Sam Perlman & Seefeldt Barbara Sajna Judy Bush Mariah Goode John & Sarah Schaffer Sally Nesser Tim & Mary Carew Elizabeth L. Sperberg Donald & Debra Ann Joan & Bruce Pikas David G. Simmons George & Kristi Roenning Chapman Mrs. Carol Slusser Jennifer & Stephen Christy Ted & Mary Lou Schroeder Bruce & Debra Thayer Mr. Richard O Schultz Mr. John Clare Jon & Cynthia Thompson Peter & Barbara Classen Robert & Rita Sullivan Mark Thompson Family Mrs. Jennifer Taylor Andrew & Karen Cook Robert & Louise VerWert Charitable Fund of the Dave Warmbrodt Allin Walker & Jane Weis Door County Community Margaret Lockwood Foundation, Inc. Terry Wolf Fran & Mary Wasielewski Jack & Barbara Zilavy Ward & Judy Cramer Frank & Carole Weaver Deborah Croker George & Sally Wiley Dale & Mary Davis Lois & Ed Downing Musicologist 10am Coffee Talks Mr. & Mrs. Chuck Dull Up to $99 Join us for our free Coffee Talk Bob & Mary Dunworth Anonymous programs—informal presentations Claudia J. Alt Mary Enroth on music topics by our ensemble Jill Anderson Mr. & Mrs. John Fay members and friends. Ms. Suzanne H Farrand Trisha Baker Darrell & Sally Foell James & Elizabeth Jacob Beranek – American Classical Carla Funk Baxter Music Since 1941: A Sampling of 80 Lise Lotte Gammeltoft Mr. David Borchert Years of Art • July 3, SWY231 Richard & Sybil Kathleen Van Gemert Will Healy, Composer-in- Terry & Pam Goode Carlson Residence • July 10, Kress Pavilion Elizabeth Hassert Beth Coleman & Gordon & Susan Hegenbarth Curt Wessel Paul Frucht – Writing Music for Mr. W Joseph Hetherington James & Karen Our Time • July 17, SWY231 Ebbeson Season 31 59 Special Tributes In memory of Peter Trenchard, a longtime In memory of Bob Haitings supporter of Midsummer`s Music Hugh Mulliken Mr. David Borchert In memory of John Munch In honor of Allyson Fleck Nancy Munch Gretchen Courtney & Ed Reschka In honor of the Preucil Family In honor of Dave’s Tree Service Dennis & Gail Rossow Beth & George Drost In memory of Jeanne In honor of Kaitrin Drost’s birthday Michael J. Schmitz Beth & George Drost In memory of Barry Teicher In memory of Mabel Wenger, mother & Judith Teicher piano instructor In honor of John Munch Gerri Friedberg Mark Thompson Family In honor of Allyson Fleck In memory of John Munch Terrry & Pam Goode Mark Thompson Family In memory of Spencer T. Gould In memory of Peter Trenchard, a longtime Barbara Gould supporter of Midsummer`s Music In memory of Irene (Billy) Kress Dianne Trenchard Wes and Abbey Grunwald In memory of Howard & Doris Warren In memory of Dr. Marvin Ketterling Russ Warren & Bruce Joffe Kaye S. Rogers-Ketterling In Memory of Alice Krebs In honor of Jim & Jean Berkenstock Gene & Carmen Witt Donna Milanovich and George Srajer

60 Midsummer’s Music Endowment Trust In 2004, the Midsummer’s Music Endowment Trust was established, administered by the Door County Community Foundation. Thanks to the wonderful generosity of the individuals and corporations listed below, our goal of $1,000,000 in funds and bequests has been accom- plished; while increasing Annual Fund contributions each year since the fund’s inception.

Thomas Aerts Roy & Betsy Gill Bill & Mary Parsons Alliant Energy Suzanne Musikantow Michael & Mary Rosecky Jean Barrett Spencer & Barbara Gould Jim & Mary Rutter Gary & Janet Berkenstock James & Maria Gousseff Mike & Jeanne Schmitz Jim & Jean Berkenstock Bill & Sue Jacobs Doug & Penny Schultz Beth Coleman Marv & Kaye Ketterling Frank Shaw Edward & Anne Colter Karl & Lucy Klug Cynthia Stiehl Andrew & Karen Cook Richard & Jane Knowles John & Dianne Stitt Frank Dayton Bill & Ruth Koehler Tim & Sue Stone Richard & Patricia Diemer Melodee Kornacker David & Barbara Strom Ray & Helene DiIulio Marty & Alice Krebs Bill & Cheryl Surbaugh Robert & Lois Dittus Irene Daniell Kress Bill & Marti Thompson Gloria Drummond Margaret Lott Lee Traven Jim & Suzie Effland Roy & Charlotte Lukes Stephanie Vittum Exxon/Mobil Harry & Kaye Maher Dick & Pam Wegner John & Laura Fairfield Walter McDonald Arnie & Judy Widen George & Julie Fiedler Doug & Pam McGee John & Karen Wilson Freeman Putney David & Genie Meissner Gene & Carmen Witt Jerry & Janet Gallagher John & Nancy Munch Bob & Charlotte Yeomans Season 31 61 WEDDINGS ENGAGEMENTS & PROPOSALS FAMILY & SENIOR PORTRAITS SPORTS & MORE

PO BOX 184 | STURGEON BAY, WI 54235 920. 495.0629 | [email protected] WWW.HEIDIHODGES.COM

62 Midsummer’s Music Special thanks to the following individuals for making concerts special by generously hosting our receptions Claudia Alt Nancy Grube Joe & Leslie Meyer Gail & Nick Anderson Roxanne Hanney Alicia Mulliken Jean Barrett David & Jutta Hansell Laura Murphy Marianna Beck & Mary Hauser & Jerry & Marge Needleman John Wilson Jerry Randall Paul Neuman Jim & Jean Berkenstock Megan Heinzkill Nicolet Bank John & Norma Bramsen Marcia Hoebreckx June Nirschl Challoner Brown Carol & Bill Hoehn Susan Olson Margaret Butler Jim & Nancy Huebner Virginia Olson Gary & Sheila Cadwallader Huebner grandchildren Ray & Carol Ann Osinski Roy & Jo Cole George & Sue Ray Hughes Bill & Anne Porter Peter & Ken & Sue Issel Todd & Sherri Rockway Beverly Ann Conroy Bill & Sue Jacobs Michael & Judy Roy Gretchen Courtney Jim & Kathy Kant Jaeschke Jim & Mary Rutter Ward & Judy Cramer Arlene Johnson & Barb Sanja Susan Crawford & Chris Weidenbacher Dan & Cindy Schaulis Jeffrey Rossman Donna Johnson Mike Schmitz Helene Di Iulio Kaye Ketterling Doug & Penny Schultz Gloria Dougherty & Karl & Lucy Klug David & Joanne Skidmore Ron Klimaitis Linda Kolberg Tim & Sue Stone Gloria Drummond George & Carole Kraemer Dianne Trenchard George & Julie Fiedler Marty & Alice Krebs George & Eileen True Martin & Hilary Ford Bob & Anne Krystyniak Unitarian Universalists Gerri Friedburg Steve & David & Kathryn Utzinger Allyson Fleck & Marsha Kyzyzanowski Kathy Wagner Julie Hobbs Mark & Kathy Kunstman Jo Wahlen Sam & Mary Frantz Hugh & Lee Levoy Liz Waller Hanne Gault Paul & Anne Lings Jane Weis Rozanna Gerdman Peggy Lott Claire & Gary Wick Nancy Goldberg & Charlotter Lukes Arnie & Judy Widen Jim Hoehn Myron & Pat Marlett Joe & Joyce Wilson James & Marla Gousseff Lynn Mercurio Gene & Carmen Witt Katherine Green Kathleen Miller If you are interested in joining the Gracenotes, we welcome you! The benefits of mem- bership are many … including fun, friendship, new opportunities, and lots of live music performances. Gracenotes meet at least twice a year. Areas where members could assist are: concert greeters, reception hosts, home stay hosts for musicians, office assistance, historical record keeping, and more. Call 920-854-7088. Season 31 63 Bravo Society Thank you to the Midsummer’s Music donors who have supported us continuously for 10 years or more! Jean Barrett Robert A. Forsberg Jim & Jean Berkenstock Arlene Johnson & Chris Weidenbacher Bill & Nancy Carpenter Kaye Ketterling Susan DeWitt Davie Mr. Michael Schmitz Frank Dayton Arnold & Judy Widen Dick & Anne Egan Gene & Carmen Witt

88 Key Society Paul & Anne Lings Larry & Cynthia Crock (A#/Bb, octave 0) (C, octave 4) Kenneth & Carol Boyd Susan DeWitt Davie (B, octave 0) (C#, octave 4) Dick & Annie Egan Stefan & Joan Anderson (Bb, octave 1) (D, octave 4) Todd & Sher Rockway Mary Pikul Anderson (Eb, ocatave 1) (D#/Eb, octave 4) Arnold & Judy Widen Sandy Zingler (B, octave 2) (E, octave 4) Bob & Judy Minahan Peggy Lott (C, octave 2) (F#, octave 4) Karen Wilson Arlene Johnson & Chris Weidenbacher (A, octave 2) (G, octave 4) Peter Korotev Jeannie & Wietze de Vries (Bb, octave 2) (Bb, octave 4) Nancy & David Borghesi Dianne Trenchard & Erik Anderson (B, octave 3) (C, octave 5) Bob & Ruth Fleck Jim & Jean Berkenstock (C, octave 3) (D, octave 5) Todd & Sher Rockway Sue Kinde (D, octave 3) (E, octave 5) Mary Hauser & Jerry Randall Jean Berkenstock (F, octave 3) (G, octave 5) Nancy & David Borghesi Bob & Linda Graebner (A, octave 3) (A#/Bb, octave 5) Jim Jaeschke Beverly Ann & Peter Conroy (Bb, octave 3) (C, octave 6) Barbara & Lee Jacobi (A, octave 4) This exclusive society of Midsummer’s Music supporters is limited to a maximum of 88 members, with each “owning” one or more keys of a piano. In addition, 88 Key Society members receive early season ticket purchasing, VIP seating at concerts, and invitations to special meet-and-greet events with musicians. Become a member of the Midsummer’s Music 88 Key Society today with a donation of $500 per key. Membership must be renewed annually on May 15. 64 Midsummer’s Music Midsummer’s Music is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts

Salon Concert Hosts Originating as a way for nobility to entertain guests, chamber music served as a way for more humble families to enjoy making music together and with friends. Composers often found that the congenial atmosphere allowed them special freedom to experiment and be their most original. We thank our friends and patrons who have extended their warm hospitality and allowed our music to grace the beauty of their homes. Miriam & Saied Assef • Green Bay Suzie Lerner • Sturgeon Bay Martha & Jerry Babel • Ellison Bay Virginia & Tom Maher • Jacksonport Jean Barrett & David Nevalainen • Shaun & Susan Malarvie • Sturgeon Bay Baileys Harbor Pat & Myron Marlett • Egg Harbor Marianna Beck & John Wilson • Fish Creek Carole & James Maronek • Ellison Bay Katie & Charles Brumder • Gills Rock Joyce & David McArdle • Barrington Hills, IL Kate & Tom Burgess • Green Bay Pam & Doug McGee • Sturgeon Bay Ann & Allen Clark • Fish Creek Amy & Allen Musikantow • Marshall’s Point Marianna Collins • Fish Creek Northeast WI Piano Teachers’ Forum Gretchen Courtney & Ed Reschka • Judy & Marc Paulson • Ephraim Sister Bay Doug & Marie Peterson • Egg Harbor Nancy & David Danis • Sturgeon Bay Marikay & Joel Raphaelson • Chicago Donn Dresselhuys & Heather Waldorf • David & Carol Redfield • Baileys Harbor Fish Creek Donna & James Russell • Fish Creek Bob & Mary Ann Dude • Baileys Harbor Cynthia Sargent • Fish Creek Alan & Virginia Eades • Fish Creek John & Diane Sargent • Ephraim Julie & George Fiedler • Ellison Bay Madeline Sargent • Fish Creek Mary & Sam Frantz • Green Bay Kirk & Donna Scattergood • Sister Bay Tony & Magda Golobic • Sister Bay Cindy & Dan Schaulis • Gills Rock Suzanne & Peter Gombrich • Chicago Penny & Doug Schultz • Ephraim Adele Carley-Hake & Carl Hake • Jon & Dyan Smith • Sister Bay Sturgeon Bay Mary & Michael Standish • Sturgeon Bay Heather & Hudson Hellmich • Carlsville Cynthia Stiehl • Ephraim Sue & Hugh Hickey • Ephraim Diane & John Stitt • Cary James Hoehn & Nancy Goldberg • Bill & Cheryl Surbaugh • Sister Bay Sturgeon Bay Virginia Terhune • Sister Bay Beth & Bob Hon • Jacksonport Dianne Trenchard • Sister Bay with Gloria & Siobhan Drummond David & Kathryn Utzinger • Sturgeon Bay Donna & Jim Janning • Sturgeon Bay Stephanie Vittum • Fish Creek Jane & James Jerzak • Green Bay Pam & Richard Wegner • Jacksonport Arlene Johnson & Chris Weidenbacher • Carmen & Gene Witt • Egg Harbor Baileys Harbor Shyla & Elliot Wollman • Ellison Bay Lynda & Eric Larsen • Sturgeon Bay Charlotte & Robert Yeomans • Gills Rock Cynthia & Kim Lasecki • DePere Jean & Ray Young • Sturgeon Bay

Season 31 65 The Jim & Jean Berkenstock Legacy Society The Jim and Jean Berkenstock Legacy Society was founded in 2019 to pay tribute to the foresight of Midsummer’s Music founders - Jim and Jean Berkenstock. They believed that if you bring quality chamber music to Door County, “they” will come. Were they every right! For 30 years, through the guidance of Jim and Jean, the Midsummer musicians have wowed audiences in venues around Door County. As you plan your future philanthropic goals, join us as we honor Jim and Jean and continue to provide an intimate concert experience. Working with a financial advisor, there are a number of ways to structure a planned giving strategy. Popular planned-giving options include Charitable Remainder Unitrusts, Charitable Remainder Annuity Trusts, Charitable Lead Trusts, Testamentary Gifts, Living Trust, Will, IRA Rollover Gifts, and Qualified Charitable Distributions. Questions? Contact our office at [email protected] with your contact information and an advisor will reach out to you. We know that there are many needs and responsibilities in your life. Taking care of your family and other issues important to you. We are grateful you may be considering us in your plans. If you have already included Midsummer’s Music in your will, please let us know. We would like to thank you and include you in the Legacy Society. Know that if your situation changes, you can always amend your gift at any time.

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Featuring Birch Creek’s World-Class Faculty Musicians and Advanced Academy Students

July 14 - 24 June 17 - 26 July 1 - 10 July 28 - August 7

All concerts performed outside of the historic Dutton Concert Barn. Socially distanced benches, or your own chair, for audience seating.

Concerts begin at 7:00 PM, with pre-concert student music at 6:30 PM. Matinee concerts begin at 3:00 PM. Masks are required on campus except while seated outside.

BIRCHCREEK.org/tickets

3 Miles East of Egg Harbor on County Rd E | 920.868.3763 |

Season 31 67 4/23/21 4:31 PM ISLANDORCHARDCIDER.COM Shipping Available 920-854-3344 ELLISON BAY GARRETT BAY ROAD, CIDER HOUSE DOOR COUNTY

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