Presents © Lisa-Marie Mazzucco © Lisa-Marie Joshua Bell with

FEBRUARY 1, 2019

First Baptist Church 1600 S. 8th Street, Fernandina Beach, Florida 1

PROGRAM

JOSHUA BELL, violin SAM HAYWOOD,

Sonata No. 4 for Violin and Piano in A Minor, Op. 23 Presto (1770-1827) Andante scherzoso, pìu allegretto Allegro molto

Violin Sonata No. 2 in D Major, Op. 94a Moderato (1891-1953) Scherzo -Presto Andante Allegro con brio — Intermission —

Violin Sonata No. 2 in G Major, Op. 13 EDVARD GRIEG Lento-Allegro vivace (1843-1907) Allegretto tranquillo Allegro animato

Additional works to be announced from the stage *Program is Subject to Change*

YAMAHA Grand piano generously provided by. . . Keyboard Connection & Organs

Joshua Bell records exclusively for Sony Classical – a MASTERWORKS Label www.joshuabell.com Mr. Bell appears by arrangement with Park Avenue Artists and Primo Artists. www.parkavenueartists.com www.primoartists.com For more information on Sam Haywood, visit: www.samhaywood.com 2 ABOUT THE ARTISTS

JOSHUA BELL

With a career spanning more than 30 years as a soloist, chamber musician, recording artist, conductor, and music education advocate, Joshua Bell is one of the most celebrated violinists today. A Sony Classical artist, Bell has recorded more than 40 albums garnering Grammy, Mercury, Gramophone, and Echo Klassik awards. Named the Music Director of the Academy of St Martin in the Fields in 2011, he is the only person to hold this post since Sir formed the orchestra in 1958. Fall 2018 performances include the season-openings of the National Symphony Orchestra with Gianandrea Noseda and Cincinnati Symphony with Louis Langrée, performances with the Hong Kong Philharmonic under Jaap van Zweden, Baltimore Symphony with Cristian Măcelaru, Deutsches Symphonie-Orchester, Tonhalle Orchester Zürich, and Stockholm Philharmonic. A highlight is the live film concert with the New York Philharmonic of the Academy Award-winning film score for in commemoration of the film’s 20th anniversary. In Spring 2019, Bell tours worldwide with the Academy and his North American and European recital tours with pianist Sam Haywood. Another highlight will be a first-ever tour with friends pianist and cellist to 10 cities in North America, including New York. He also appears with the Czech Philharmonic under Christoph Eschenbach, Israel Philharmonic under Gianandrea Noseda, Camerata Salzburg with Andrew Manze, Pittsburgh Symphony under Manfred Honeck, the Munich Philharmonic, Santa Cecilia Orchestra, Seattle Symphony – including The Man with the Violin children’s film concert – and a play/ conduct with the Houston Symphony. Bell’s recording with the Academy of St Martin in the Fields of Bruch’s Scottish Fantasy and G Minor Concerto was released in June 2018. Previous CDs include an album featuring Nicholas Maw’s , for which Bell received a Grammy® award. Convinced of the value of music as a diplomatic and educational tool, Bell participated in President Obama’s Committee on the Arts and Humanities’ first cultural mission to Cuba. He is also involved in Turnaround Arts, another project implemented by the Committee and the John F. Kennedy Center for the Performing Arts, which provides arts education to low-performing elementary and middle schools. Bell performs on the 1713 Huberman Stradivarius violin. 3 ABOUT THE ARTISTS (continued)

SAM HAYWOOD

Sam Haywood has performed to critical acclaim in many of the world’s major concert halls. hailed his ‘dazzling, evocative playing’ and ‘lyrical sensitivity’ and the New York Times his ‘passionate flair and sparkling clarity’. He embraces a wide spectrum of the piano repertoire and is equally at home as a soloist, chamber musician or with accompanying Lieder. He has had a regular duo partnership with Joshua Bell since 2010 and often performs with cellist Steven Isserlis. He has recorded two solo albums for Hyperion, one featuring the piano music of (grandfather of Steven Isserlis) and the other Charles Villiers Stanford’s preludes. His enthusiasm for period instruments led to a recording on Chopin’s own Pleyel piano. In 2013 Haywood co-founded Solent Music Festival in UK. The annual Lymington- based festival features highly varied programmes by internationally-renowned artists with projects in the local community. Artists have included the Bournemouth Symphony Orchestra, Alina Ibragimova, Mark Padmore and the Endellion Quartet. He was mentored by David Hartigan, Paul Badura-Skoda and . Following his early success in the BBC Young Musician of the Year competition, the Royal Philharmonic Society awarded him the Julius Isserlis Scholarship. He studied both at the Universität für Musik und darstellende Kunst in Vienna and at the in London, of which he is an Associate (ARAM). Haywood has written a children’s opera and is regularly involved in family concerts, workshops and master classes. He is on the roster of Musical Orbit, the online teaching website and his invention ‘memorystars®’ can significantly reduce the time needed to memorise a music score. His other passions include literature, physics, natural history, technology, magic, fountain pens and table tennis. 4 PROGRAM NOTES

Ludwig van Beethoven (1770-1827) Sonata No. 4 for Violin and Piano in A minor, Op.23 “Music is the mediator between the spiritual and sensual life.” — Ludwig van Beethoven The genius of Beethoven’s compositions is said to have possessed an “inexplicable ability to know what the next note had to be” according to composer and conductor . Beethoven, the complex individual and composer, allowed his romantic and gentle nature as well as his angry and darker qualities to be reflected in his music. His happiness inspired by his walks in the forest or time spent gazing at the stars reveals a much different composer than the one who is known for his tumultuous temper tantrums and tortured love affairs. The Sonata in A minor, Op. 23 was composed between 1800 and 1801. It is dedicated to one of his generous patrons Count Moritz von Fries, a nobleman and banker. Opus 23 and Opus 24 his Spring Sonata were originally to be paired as Opus 23, Numbers 1 and 2. An engraver’s mistake made it impossible to bind the two together as the Sonata No. 5 in F major was printed using an oblong format rather than the tall format for Sonata No. 4. Thus it was less expensive to assign them separate opus numbers rather than re-engraving. By the age of 32 Beethoven had composed ten violin sonatas. Although he was renowned in Vienna as a pianist, he was also well acquainted with the violin. As a youth he studied in Bonn and later continued his violin studies in Vienna with Ignacio Schuppanzigh. During Beethoven’s lifetime violins were undergoing con- structional changes. Their range and the volume of tone were increasing due to the longer neck, fingerboard and strings; higher bridge; greater tension on the strings. Steadily Beethoven made growing technical demands on the violin and the piano. In the original eighteenth-century scores the music for the “violin sonatas” identify them as being “for the fortepiano and a violin.” Beethoven’s creative genius creat- ed a more equal partnership between the two instruments. In the ten sonatas he explores combining two voices of unequal sound mass into a dramatic partnership and coherent unity, “A colloquy of reciprocal enrichment” according to music critic and author Louis Biancolli. Violinist and former chair of Eastman School of Music’s string department and professor of chamber music Abram Loft assessed the A mi- nor sonata: “In no other Beethoven sonata will the duo find a greater challenge to its sense of drama, of timing, of musical repartee...It is one of the most exciting pieces that amateur or professionals can play.”

5 PROGRAM NOTES (continued)

Sergei Prokofiev (1891-1953) Violin Sonata No. 2 in D Major, Op. 94a “I want nothing better, more flexible or more complete than the sonata form, which contains everything necessary for my structural purposes.” — Sergei Prokofiev Called “the Pride of Soviet Music,” Sergei Prokofiev was born on April 27, 1891 in Sontsovka, in the Ukraine. His musical talent was apparent by age six and he entered the St. Petersburg Conservatory at age 13. His public debut as a composer and pianist was on New Year’s Eve 1908 and already he was known for an avant-garde, astringent style which some described as “shocking.” Words describing the young composer ranged from stubborn to obstinate, intelligent, and genius. Perhaps best known for his work Peter and the Wolf, a musical story where the characters are portrayed by different orchestral instruments, Prokofiev also composed 7 symphonies, 5 piano concertos, 2 violin concertos, 3 operas, and 8 ballets as well as some film scores. Fleeing the Russian Revolution Prokofiev emigrated to the United States in 1917. Known for his sensational piano skills, he was also commissioned by the Chicago Opera. His The Love for Three Oranges composed in 1919 is based on a play taken from Giambattista Basile’s fairy tale achieved international success. In 1922 the composer moved to Paris and in 1936 lured by numerous Russian commissions, he returned to Russia. This proved to be a most inopportune time for Prokofiev as the Soviet authorities were beginning to interfere in artistic matters. In 1942 while working on the film score for Ivan the Terrible, Prokofiev sketched out a sonata for flute and piano inspired by memories the famous French flutist Georges Barrére. Completed in Moscow, the sonata drew unfavorable reviews. In Perm in the Ural Mountains at a remote WWII shelter for Soviet artists, Violinist David Oistrakh suggested that it be arranged for violin and piano. With Oistrakh’s assistance Prokofiev created the 2nd Violin Sonata, Op 94a. According to author Simon Morrison Prokofiev invited Oistrakh and his accom- panist, Lev Oborin to the dacha, a country cottage, so that they could acquaint themselves with the composer’s rough draft. Prokofiev described the character and structure of each of the four movements and proceeded to play them -with- out pause- at the piano. “His technique had slipped but the effect produced by the hesitant, nervous performance was profound.” Oistrakh and Oborin premiered the Violin Sonata at the on October 23, 1946. Prokofiev was in the audience on October 25th along with members of the Stalin Prize Commit- tee. Praise was high. Gavrill Popov said: “I don’t like prescribing overdoses but the sonata is truly brilliant!” The composer himself was not as pleased. He described Oistrakh and Oborin’s performance as dispassionate. He said the second and fourth movements sounded as if “2 old professors” were performing. Prokofiev was so Continued on following page 6 PROGRAM NOTES (continued)

greatly troubled that he invited the two for a coaching session on November 18 at the Moscow apartment and he revised the score by adding more accents and dynamic markings to prevent others from standardizing their performance. He considered rewriting the second movement and the work on this Violin Sonata took a physical toll on the composer. In the fall of 1946 a spike in Prokofiev’s blood pres- sure prevented him from traveling and delayed the world premiere of his opera the Duenna. The Op.94a score would not be published until 1951. Sadly, in two years on March 5, 1953 Prokofiev died of a brain hemorrhage. Oistrakh performed the first and third movements of the Violin Sonata in D at the composer’s funeral.

Edvard Grieg (1843-1907) Violin Sonata No. 2 in G major, Op. 13 “I am sure my music has a taste of codfish in it.” — Edvard Grieg As quoted in Grieg’s Diaries, Articles, and Speeches Edvard Grieg was called “the most national among the national composers, the true Messiah of Norwegian mu- sic.” His music is rooted in the soil of his native land, linking it to the landscapes of Norway and his Norwegian way of life. His Violin Sonata in G major, Op. 13 is the middle of his three violin sonatas. It is here that Grieg’s strong influence of Norwe- gian folk music is most clear. The Danish composer Neils W. Gade told Grieg “not to make the next Sonata as Norwegian.” Grieg’s response was: “On the contrary, Professor, the next one will be even more so.” He desired these three sonatas to be performed as much as possible and the composer frequently performed the piano part himself. He wrote in a letter to the Norwegian poet Bjørnstjerne Bjørnson in January 1900: “Last week I had the pleasure of performing my three violin sonatas with Lady Neruda-Hallé before a discerning Danish audience and receiving a very warm response. I can assure you that we did very well and it had special significance for me, because these three works are among my very best and represent different states in my development: the first, naïve and rich in ideals; the second, nationalis- tic; and the third with a wider outlook.” The Sonata No. 2 in G major was composed during his honeymoon in Kristian- ia (Oslo) during the summer of 1867. Grieg married his cousin Nina Hagerup, a talented soprano, after a three year engagement. Her parents strongly disapproved of the relationship with her mother saying: “He is nothing and he has nothing and he writes music that nobody wants to hear.” But it was the incorporation of his Norwegian folk music set in a classical guise that made his compositions acceptable in the concert hall. He became more than “just a national composer” according to Professor Harald Herresthal at the Norwegian State Academy of Music in Oslo. “Edvard Grieg’s goal was to create a national form of music which could give the Norwegian people an identity, and in this respect he was an inspiration to other composers. But the greatness of his works lies not just in this, but in the fact that he 7 PROGRAM NOTES (continued) also succeeded in expressing his thoughts and emotions which could be recognized everywhere, music which people could identify with. Grieg’s music transcended national boundaries.” Aimer Gronvold, Grieg’s biographer, describes a summer day in the 1880’s where he watched the barely five foot tall composer walk along the fjord at Lofthus making his way to a small wooden cabin. This small one room sanctuary containing only a piano and a writing desk provided the peace, inspiration, and tranquility required by Grieg. The upright piano, an anniversary gift from Nina, was of normal size. However, to properly reach the keys the diminutive composer placed a copy of Bee- thoven’s 32 sonatas in his chair. Biographer Gronvold described the “hut” as being in the midst of “the exquisite beauty of Ullensvang with the deep, dark fjord below and the glittering ridge of the Folgefonna glacier on the other side of the water...In the heart of this matchless amphitheater of nature, surrounded by the most sublime and majestic scenery in Norway [Grieg] sat, like an Orpheus reborn, and played in his mountain fastness among the wild animals and the rocks. His music came from the depths of rural Norway where the quick and resonant tones of the Hardanger fiddle met his ear, and the Hardanger fjord’s shifting moods enchanted the eye.” — Emma Mills Bledsoe, 2019

CHAMBER MUSIC: A PRIMER Chamber music, which originated in Europe in the 16th century, involves a group of 10 or fewer musicians performing as an ensemble, usually in a small indoor setting (the chamber of a nobleman in old parlance) or even outdoors. The ensemble typically consists of strings and can include some combination of woodwinds and piano or the instrument’s predecessor, the harpsichord. The Amelia Island Chamber Music Festival presents traditional classical chamber music performed by internationally recognized musicians. Our programs typically include works by such giants as Bach, Beethoven, Brahms, Mozart, Schubert, and the musical styles vary from Baroque to Romantic. However, chamber music continues to be composed today, and we present Modern and even Post-Modern genres. At the time of its inception, chamber music often was performed by amateurs, who played together in what might be called jam sessions! Remember, what we consider today as classical was the popular music at that time. And history repeats itself as amateurs today jam in small groups to rock, jazz, country or folk. You will hear traditional classical chamber music at the Festival, but you will also experience classically-trained artists performing modern variations on classical themes and exciting renditions of contemporary music, as well as artists from other genres such as jazz, bluegrass, country, western and folk music. We hope you also will find these eclectic additions to our traditional chamber music repertoire appealing and entertaining. 8 SPONSORS & CONTRIBUTORS

This list represents contributions and pledges for the 2018/2019 Festival made from the start of the 2017 fiscal year on August 1, 2017, through January 28, 2019. Every effort has been made to ensure accuracy. If we have omitted or incorrectly listed a name, we sincerely apologize and ask that you notify us promptly for correction. The most current list of donors can be viewed at www.aicmf.com. Corporate Sponsors Platinum Nautilus Amelia Island Tourist Development ($5,000-$9,999) Council WestRock First Federal Bank Emma Mills Bledsoe Florida Public Utilities Paul and Kathy Bosland​ Keyboard Connection – Jack Melvin Ron and Dorothy Cheeley National Endowment for the Arts Bob and Pat Henderson Omni Amelia Island Plantation Resort Jacqueline Dorrance-Tomlinson Rayonier Advanced Materials Foundation Jim and Jane Flynn Rayonier, Inc. Jack and Sandy Halsey Ritz-Carlton Amelia Island Bill Hensley and Anne Coonrod Hensley State of Florida, Division of Cultural Jack and Beverly Keigwin Affairs and the Florida Arts Council Peter and Jackie Martin WestRock Steven and Jerrie Sell WJCT Public Broadcasting Gold Nautilus ($2,500-$4,999) Hope Diamond Nautilus Omni Hotels & Resorts ($20,000 and up) Amelia Island Plantation First Federal Bank Ritz-Carlton Amelia Island Barbara A. Alleva and Donald R. Gant State of Florida, Division of Cultural Patricia Clegg – In memory of George Clegg Affairs and the Florida Arts Council Bob and Robin Bolan Diamond Nautilus ($10,000+) Margaret Bellucci and John Stancin Amelia Island Tourist Development Bruce and Lee Buchanan Council Imogene Coleman Florida Public Utilities Michel and Lyn Deroy Keyboard Connection – Jack Melvin Timothy Flanagan Henry Berghoef and Leslie Lauer Berghoef ​Paul and Anne Glendon Sue Braddock Mark and Donna Paz Kaufman – In memory of Steve Braddock Phil and Claudia Koerner Richard and Anne Cinquina Michel and Heidja Kruse Tom and Sally Henderson Jack and Diane Lord Nina Rodale Houghton Dr. Joe Marasco Bruce Morrison and Judy and Scott McCue Deborah Billings-Morrison Donald McCurry and Suzanne Keith Tom and Jeanette Pippin Steve and Nancy Rieck Eric and Gail Sakurai Perry J. Snyderman Dr. Rebecca Stafford Pat and Bob Stichweh Bud and Maxine Tanis Tom and Vicki Whittemore 9 SPONSORS & CONTRIBUTORS

Silver Nautilus ($1,000-$2,499) Tom Hilton Rayonier Advanced Materials Foundation Corky and Andrea Hoffman WJCT Public Broadcasting Janet Hughes The Ackerman Cancer Center Dr. Robert Joyce and Rebecca Joyce – Dr. Scott and Alexandra Ackerman Adam Kaufman and Dee Torre Kaufman Francesco and Amanda Borghese ​Phil and Claudia Koerner William and Sheila Braddock​ JoAnn Mackie Harry E. Branch Jean Mann Erle and Candace Bridgewater William and Jo Merman Richard and Jeanne Conner Don and Mary Miech Jack and Margaret Cooper Daniel Mortland James Daubel Judy Ogden Jerry and Catherine Gindele – In memory Jeff Packer and Jane Sandhaus-Packer of Armande Brockschmidt Janet Pfeffer Bill and Anne Gower Jennifer Preik Joanna Kennard – In memory of Ed and Vicki Segraves Samuel J. Kennard, III Dr. and Mrs. Gino Segre Dr. Howard S. and Carol A. Kirshner Sam Schwartz ​Steve and Jo Ann Leimberg Dr. Brian and Karen Tonner Allen and Sharon Lennon Theodora Vanderzalm Bob and Jane Lindberg Andrew and Diana Watson Donald and Sally McCarron Kevin & Lisa Webber Wayne and Jean Middleton ​Klaus & Barb Wenger Christopher Rex and Dr. Martha Wilkins Catherine Whitt Michael and Irene Sanchez Richard Tufaro​ Friends of the Festival: Babette Williams ($100-$499) Susan Alexander Crystal Nautilus ($500-$999) Samuel and Mary Allen Rayonier, Inc. Berta Isabel Arias Hank and Kathy Aberman Lindsay Arthur Dr. Dimitrios and Gail Agaliotis Joan Averett – In honor of Dr. Robert Joyce Ktimene and Michael Axetell Mike and Kathy Baxter John Baker and Margaret Ritchie Kirkland David and Betty Berkman David and Robyn Barrie David and Laurie Bowers David and Gloria Beeman Mary Brannen Robert and Vibeke Bell Robert and Marilyn Bridgers Beverly Blake Sarah Hill Buck Emma Mills Bledsoe – In honor of Barbara Cardile​ Anne Coonrod and Bill Hensley Peter and Merrilee Chamberlain Sarah Borns Henry and Caroline Conway Jesse Michael Bowling Russell and Margaret Dancy Sonya Brabston John and Sandra Fulton Mary Brannen John Giffin and Nancy Warren Bettie Briggs Janet D. Goldstein Sarah Hill Buck – In honor of Dan Groth and Frances Peters Anne Coonrod and Bill Hensley Howard Haims and Carole Cooper-Haims Continued on following page 10 SPONSORS & CONTRIBUTORS (continued)

Friends of the Festival John and Gayle Howard ($100-$499) (cont.) Peter and Leslie Howell Robert Buckley Paul Hunt Larry and Ann Burns Peter and Ruth Igoe ​Cafe Karibo Scott and Nancy Inboden Bill and Jane Casper Kathy Ingram Neyland and Diane Clark Stewart and Eileen Shannon Ira Kathy Colletti William and Lynn Jack Richard and Jeanne Conner Faye Jackson Rosalind Cowie and James Eckstrom Susan Gottesmann-Jarzyna Steven Crowley Neil and Lorraine Johnson Jean and George De Tarnowsky Dr. Robert and Rebecca Joyce – In honor Ronald Eash of Anne Coonrod and Bill Hensley Barry and Margie Efron Don and Marsha Joyner Emily Farmer Don and Marsha Joyner – In honor of Virginia Feazell Anne Coonrod and Bill Hensley First Federal Bank for John Medina Mark and Donna Paz Kaufman – In honor Bobbie Fost of Anne Coonrod and Bill Hensley Jean Frank – In memory of mother, Stephen and Susan Kaye Elizabeth Wade O’Brien Paula Kent Thomas Galbraith and Mary Ann Wright Beverly and Allen Kezsbom Barbara A. Alleva and Donald R. Gant Thomas and Loraine King – In honor of Anne Coonrod Wolfgang Koch and Bill Hensley ​Nicolas and Lisbeth Krawiecki Michael Gard Dr. and Mrs. Ross Krueger Dana and Janet Gatty – In memory Linda Kurtz of Arthur Gatty Bronson and Paula Lamb Lorraine Gawley Karen Lambert Beth-Ann Gentile Leslie Lavino Chuck and Russell Glasheen Jim and Elizabeth Layman Wendell and Ann Godbee Steve and Jo Ann Leimberg – In honor Daniel Gold of Jackie and Steve Kennard Louis and Susan Goldman Allen and Sharon Lennon – In honor Jose Gonzales and Ana Diaz of Anne Coonrod and Bill Hensley Diana Gould Remberto Leiseca Sewell and Marilyn Harlin Stephen Hires Gordon and Rosemary Hart Barbara Hornick-Lockard Pam Hart Elizabeth M. Lockyer Stephen Haskell Gary Loft Hugh and Patricia Hayden Thomas Logan Horst and Irmgard Hehmann Gary Long Philip Henrici Christine Lucas Mary Grace Herrington and Richard Clark JoAnn Mackie Stephen and Paula Heuser Dr. Joe Marasco – In honor of John and Barbara Hopkins Anne Coonrod and Bill Hensley Walter and Carolyn Hopkins Dr. Alan and Joellen Marks – In honor Barbara Hornick-Lockard of Dr. Robert Joyce 11 SPONSORS & CONTRIBUTORS (continued)

​Fred and Marie Martin Steve and Penny Sansbury Peter and Jackie Martin – In honor Douglas Schiffman of Anne Coonrod and Bill Hensley Gaelyn Scuderi Judy Marzilli Richard Seaman John and Diane Materniak Prudence Sellars Early McCall Lee Sessions Susan McGrath-Smith Russell Showalter Timothy and Kathleen Meredith Buddy and Susan Sinor James Miller Tom Sintes Timothy Miller Clayton Smith – In honor of Dr. Joe Marasco Bob and Diane Monti George and Shirley Spaniel Judy Moore Don and Dee Stalcup William and Ann Moser ​Ed Stanley Louise Mozena Ed Stanley and Judy Marzilli – In honor ​Patricia Murray of Anne Coonrod and Bill Hensley Mary and Stan Neal Sheryl Starling William B. and Kaye L. Norris ​Michael and Salme Steinberg James and Diane O’Malley ​Zora Stevens Anne and Ralph Oman Lian K. Tan Tom Orr Richard Taylor Associates Joel and Alice Payne Lauren and Sebastien Templeton Len and Lynne Pelletiere Robert Threikel Marvin and Lynette Perlis Louis and Joyce Tonti Janet Pfeffer Diana Ray Tope Nancy Phillips Alice Weeman Byron and Valarie Pikula Donald and Marjean Wegner Stewart Pikula Jean Welch Judith and Charles Pillans Norman Wentworth Michael and Shelden Pisani Hugh Williams Charles and Janet Plosser Chip and Nancy Wood Robert and Jane Quinby Dora Yelk Fred Ragsdale and Jennifer Salisbury Carlton and Barbara Zacheis Sol and Linda Rajfer ​Cynthia Zarsky Robert and Catherine Randall Katherine Rewa Festival Supporters (up to $99) Steve and Nancy Rieck – In honor of Rosalyn M. Abramson – In honor Anne Coonrod and Bill Hensley of Lois Gosa, retired member Lyn Rion of the Jacksonville Symphony Steve and Leslie Ritter Ruth Carden Shelia Robusto John Chen and Karen Grippo Susan Rudov Jaime Frias Dr. and Mrs. Wilbur C. Rust Barbara Fuller Fero and Nancy Sadeghian Jeffrey Fuller Eric and Gail Sakurai – In honor of Anne Tyson Harper Coonrod and Bill Hensley Horst and Irmgard Hehmann Mike and Irene Sanchez – In honor of Anne Larry and Joann Hertz Coonrod and Bill Hensley Continued on following page 12 SPONSORS & CONTRIBUTORS (continued)

Supporters: up to $99 (cont.) Emmy Lou Sorum Susan Howard – In memory of Mother-Leonora Hickox Robert Lacey Larry and Jane Sparks Luke Mills Patricia Chi Tsai – In honor of Beth Ralph Pascucci Newdome Fellowship Artists Concert Russell and Ann Showalter – In honor Mar tha Yohe of Anne Showalter and Dorothy Robb VOLUNTEERS Barbara Alleva Gant Allen and Sharon Lennon Joan Averett Chris London Mike and Kathy Baxter Donna Lott Bill and Susie Birdsong Karen Lotz Emma Bledsoe Sylvia Madiol Pam and Steve Boaz Kyril and Susan Magg Andy Bogart Peter and Jackie Martin Jon and Marilyn Bosworth Judy Marzilli Sam and Barbara Boyd Gail McCamy Sue Braddock Don and Sally McCarron Charlene and Mitch Bratton Jeannine McKeown Elizabeth Cantwell Bruce and Jackie Modahl Peter Carter Eileen Shannon Ira Jean Conner Bruce and Deb Billings-Morrison Linda Cooley Ruthellen Muhlberg Ken and Carol Copithorne Pat Murray Stan Cottle Ellen Myers Kathleen Devlin Jeanette Nichols Jim Ekstrom and Rosalind Cowie Judy Ogden Bobbie Fost David Olson Mark and Susan Foutz Ralph and Anne Oman ​Jacqui Galbreath Marilyn Perkins Alaina Giltz Nancy Philips Pam Green Stewart Pikula Glenda Guthrie Dorothy Robb ​Anne Taylor Hensley Bob and Janet Ross Pam Helton Eric and Gail Sakurai Dot Houk Irene Sanchez Peter and Ruth Igoe Tapha Sears Linda Janca ​ Frances Shea. Marsha Joyner Susan Sinor Russ and Judy Kahoe Ed Stanley Mark and Donna Paz Kaufman Kay Stephens Stan and Claudia Kavan Karen Sutton Joy Kemp Rosemary Syczygiel Nick and Lis Krawiecki Bryan and Karen Tabler Rob and Amy Laidlaw Susanna Theo Robert and Karen Lavine Lou and Joyce Tonti VOLUNTEERS (continued)

Jerry and Mary Lynn Torchia Jack and Karen Weber Steven Traver Joyce Wells Tom and Lynn Unkenholz Norman and Marilyn Wesley Betty Waas Catherine West Lisa Webber ​Tom and Vicki Whittemore SPECIAL THANKS Dickie Anderson, The Porch Phil Kelly, Amelia Islander Magazine Ktimene Axetell, Young Patrons group Steve Leimberg, photography Deb Billings-Morrison, ticket sales Kurt Marasco, IT consultant management Jack Melvin, Keyboard Connection Emma Mills Bledsoe, Strings Program Omni Amelia Island Plantation piano teacher Omni Atlanta Hotel, Atlanta, GA Caroline Blochlinger, website developer Omni Bedford Springs Resort, Bedford, PA Bob Bolan, governance consultant Penny Reid, Mouth of Amelia Mike Brooks, marketing Lynne Radcliffe, master class support Dick Cinquina, marketing and publicity Christopher Rex, original painting Club 14 Fitness, 3-month membership C-Note prize C-Note prize Jeff Ringhoffer, graphic design Concours d’Elegance, car show tickets Ritz-Carlton Amelia Island C-Note prize Sue Sinor, grant writer Foy Maloy, Fernandina Beach News Leader Summer House Realty, James and Lea Gallardo, photography Jenny Schaffer, owners Gallo Winery Lauren Templeton, Young Patrons group Russell Glasheen, Trips in the Villlage and Instagram Pam Green, Facebook Shelby Trevor, Strings Program Anne Taylor Hensley, low country boil violin teacher C-Note prize UPS Store, Fernandina Beach Will Howery, luthier services The Violin Shop, instrument Stewart and Eileen Shannon Ira, appraisal services sunset cruise C-Note prize Catherine West, grant writer Bill Ivins, graphic design HOUSING PARTNERS We thank the many organizations and individuals for their hospitality in housing the Festival’s guest artists. Fairbanks House Jim and Jane Flynn Hampton Inn Amelia Island Louis and Susan Goldman at Fernandina Beach Pat and Hugh Hayden Omni Amelia Island Plantation Anne Taylor Hensley Residence Inn Amelia Island Bill Hensley Ritz-Carlton Amelia Island Peter and Leslie Howell Berta Arias Jack and Beverly Keigwin Victor and Linda Bilanchone Steve and Jackie Kennard Emma Bledsoe Kate Ligare Sue Braddock Paul and Christine Meehan Bruce and Lee Buchanan Bob and Jane Quinby Henry and Carolyn Conway Susan Walsh George and Jean De Tarnowsky Christopher Rex and Dr. Martha Wilkins CONCERT SPONSORS The support from the organizations and individuals listed below has made this concert possible. The Board of Directors and all of us at the Festival are most appreciative and very thankful for their commitment to bringing musical excellence to Amelia Island and its environs. Henry Berghoef and Leslie Lauer Berghoef Sue Braddock, in memory of Steve Braddock Bill Hensley and Anne Taylor Hensley

MISSION STATEMENT The Amelia Island Chamber Music Festival’s threefold mission is to: 1. Present the world’s greatest musical artists in chamber music concerts of classical and alternative genres for diverse audiences; 2. Offer music education to concert attendees, students, and aspiring young musicians; and 3. Promote local businesses and tourism by attracting music lovers from Nassau County, Northeast Florida, and beyond.

BOARD OF DIRECTORS Sue Braddock, President Emma Mills Bledsoe Christopher Rex Anne Taylor Hensley, Vice President Barbara Alleva Gant Irene Sanchez Allen Lennon, Secretary Marsha Joyner Lisa Webber Eric Sakurai, Treasurer J. Peter Martin Vicki Whittemore Tom Pippin

About the AICMF Celebrating its eighteenth anniversary season, The Amelia Island Chamber Music Festival is nationally recognized as one of the foremost music events of its kind. The Festival is a not-for-profit, tax-exempt organization under Section 501(c)(3) of the Internal Revenue Code.

Staff General & Artistic Director - Christopher Rex Executive Director - Dr. Joseph A. Marasco, Jr. Office Manager - Donna Hinton

All venues for Amelia Island Chamber Music Festival concerts are handicap accessible. UPCOMING EVENTS

February 24 Dover Quartet 3 p.m. - Historic Nassau County Courthouse, 416 Centre St., FB ($60)

March 3 Balsam Range Bluegrass Band 5 p.m. - Omni Amelia Island Plantation ($60)

March 22 Emanuel Ax 7:30 p.m. - Amelia Plantation Chapel, 36 Bowman Road, AI ($85)

March 31 Christiania Piano Quartet 5 p.m. - Prince of Peace Lutheran Church, 2600 Atlantic Ave., FB ($50)

April 6 Dover Quartet 5 p.m. - Amelia Baptist Church, 961167 Buccaneer Trail, FB ($60)

April 26 Season Finale Celebration: Anne Akiko Meyers with Jason Vieaux 7:30 p.m. - Ritz-Carlton Amelia Island, 4750 Amelia Island Pkwy, FB, ($65) (Includes a Dessert Buffet)

FREE CONCERTS February 23 Dover Quartet Master Class 2 p.m. - Amelia Baptist Church, 961167 Buccaneer Trail, FB (Free and open to the public)

March 11 Philip Pan and his Viper Violin 3 p.m. - Robert’s Learning and Achievement Center, Boys & Girls Club, 1175 Lime Street, FB (Free Family Concert)

Tickets: aicmf.com or call 904-261-1779

Young Patrons: The Young Patrons are a group of young adults with a love of music and a desire to mingle with other like-minded young adults. The program had a successful debut with a special pre-party before last week’s Jazz at the Orchestra with Wynton Marsalis concert. The next event: The Dover Quartet, at the Courthouse, followed by a reception at Art on Centre, is set for February 24. www.aicmf.com for info & tickets.

Thank you for your continued support! Please consider making a tax-deductible donation today: www.aicmf.com 1890 S. 14th Street, Suite #204 • Fernandina Beach, FL 32034