2019
A FESTIVAL OF CLASSICAL MUSIC ROBERT NORDLING, MUSIC DIRECTOR
July 26th through August 3rd, 2019
Presented by Beaver Island Cultural Arts Association
www.bicaa.org
Baroque on Beaver will now use MyNorthTickets as its provider for both Gala evening www.baroqueonbeaver.orgconcerts ($60 for one ticket; $50 for two or more) and reserved seating ($10) for all other indoor Festival concerts. ~ Tickets for reserved seats will be sold at the door if available. Seats will be set aside for open admission at each concert (except the Galas) and a minimum freewill offering of $5 per person per concert is encouraged. ~ A very limited number of Gala floor-seat tickets will be available for sale at McDonough’s Market. ~ ALL TICKETS GO ON SALE JUNE 1. For more information, please visit www.baroqueonbeaver.org.
Purchases can be made by visiting www.MyNorthTickets.com on your phone or computer, by calling (800) 836-0717, or visiting the convenient Traverse City box office. The box office is open 9 AM to 5 PM weekdays except for major holidays at 125 Park Street, Traverse City, MI.
SPONSOR
2 SPONSOR SPONSOR
SPONSOR 3
TABLE OF CONTENTS
Welcome from the BICAA 27
BICAA Financial Report 28-29
Donors 30-31
Festival Orchestra & Festival Chorus Rosters 32
Music Director Robert Nordling 33
Choral Director Kevin Simons 34
Concert Etiquette 35
Opening Night Gala Concert Friday, July 26 @7:30pm 37
The Lincoln Trio 38-39
Gala Concert Saturday, July 27 @7:30pm 41
Jeeyoon Kim 42-43
Brass on the Grass Monday, July 29 @4:30pm 45
Chamber Music Across Eras Tuesday, July 30 @7:30pm 47
The Founders Concert Wednesday, July 31 @7:30pm 49
Dido and Aeneas notes and translation 50-51 Requiem aeternam notes and translation 52
Dan Ruggles: In Memoriam 53
Chamber Music al fresco Thursday, August 1 @2:00pm 55
Papas and Sons Thursday, August 1 @7:30pm 57
Brandenburg Concerto No. 4 notes 58 Piano Concerto No. 23 notes 59
Kids in Koncert! Friday, August 2 @2:00pm 61
Mozart’s Farewell Friday, August 2 @7:30pm 63
Requiem notes and translation 64-66 Saul notes 67
All the World’s a Stage Saturday, August 3 @7:30pm 69
A Midsummer Night’s Dream notes 70 Peter Amster 71 Jeffrey Nordling 71
Musician Spotlight: Adam Liebert 72
4 INDEX OF ADVERTISERS INDEX OF ADVERTISERS
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J. / Hodgson Island Enterprises Energies….…………………………………….56………………………87 WeathervaneSt. James Terrace Episcopal Inn & Suites Church……………………………...10……………………………………...30 Clothing Company………………………………………………….86Eager Beaver Clean and Store……………………………………76 WhiskeyTaylor Point Rental Brew………………………………………………………..72ing Company………………………………84 CMU Biological StationErin…………………………………………….38 Motel…………………………………………………...16 and 83 WorkTouch-n-Play/ ofKlooster Spring Machinery & Other………..……………………...88 Things…………………………...20, 27 Dudek Insurance AgencyEsperance Group………..……………………………………………………………………………………...8283 Weathervane Terrace Inn & Suites……………………………...10 E.J. Hodgson Enterprises………………………………………….52 SponsorsWhiskey denoted Point in bold.Brew ing Company………………………………78 Eager Beaver Clean and Store……………………………………74 Work-n-Play/Klooster Machinery………..……………………...84 Erin Motel………………………………………………………..21, 27
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½ marathon 9:00 a.m. $60.00 10k 9:30 a.m. $35.00 5k 10:00 a.m. $25.00
All three events begin and end at the public beach. · To register, go to beaverisland.org/run
Late registration and packet pickup 5 - 6 a.m. Porch of Dalwhinnie 8 a.m. Public Beach/Start of race
Results can be found at beaverisland.org/run Follow the link
Proceeds go to support the Beaver Island Cultural Arts Association
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Congratulations Class of 2019
Photo by Frank Solle, Stillpoint Photography
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Beach Glass StudioO’Ma Move More… Fel Be��! Welcome Patrons and Performers 18th Season of Baroque on Beaver
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Stay tuned for more information.
Details and class schedule on Facebook: @BeachGlass.Studio @BeachGlass.Studio eMail: [email protected] * If weather is uncooperative… Wed. July 31
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Holy Cross Catholic Church on Beaver Island welcomes all the Holy Cross Catholic Church on Beaver Island Baroque on Beaver welcomesMusic all the Festival Musicians Baroque on Beaver Music Festival Musicians
Summer Mass Schedule: Sat. at 5 p.m., Sun. at 9:30 p.m. Father Jim Siler: 448-2230 Summer Mass Schedule:Holy Cross Hall Sat.and Convent at Rental: 5 448-2206 p.m., Sun. at 9:30 p.m. Father Jim Siler: 448-2230 Holy Cross Hall and Convent Rental: 448-2206 24
Summer Mass Schedule: Sat. at 5 p.m., Sun. at 9:30 p.m. Father Jim Siler: 448-2230 Holy Cross Hall and Convent Rental: 448-2206 25 Cultural Arts Association
Presents the 18th annual
MUSIC FESTIVAL
Robert Nordling, Music Director July 26 – August 3, 2019 Beaver Island, Michigan
baroqueonbeaver.org | facebook.com/baroqueonbeaver bicaa.org | facebook.com/beaverislandculturalartsassociation mynorthtickets.com/organizations/baroque-on-beaver
26 On behalf of the Beaver Island Cultural Arts Association, welcome to the 18th consecutive season of the Baroque on Beaver Festival. This year we are thrilled to be celebrating the ten-year anniversaries of Music Director Robert Nordling and Choral Director Kevin Simons. Our festival has grown in quality and in patronage under their leadership. Thank you, Robert and Kevin.
The Board has been working hard since the last Festival with regular meetings, strategic planning, grant writing, sponsorship procurements, donor letters, etc. We have begun a multiple year planning process. We are even excitedly working on our 20th season in 2021!
We are so pleased to welcome the Grammy-nominated Lincoln Trio on Friday evening, and on Saturday Jeeyoon Kim will play our Mason & Hamlin piano. We are also pleased to welcome back our incredible orchestra and our hard-working staff. You truly all are appreciated.
Now, to you our audience. This festival would not be possible without your generosity and support. There are so many people to thank and it takes all of you to make this happen. We are very grateful for each and every one of you. We are very excited to present the 2019 Baroque on Beaver Festival and we are confident you will be pleased with the finished product. Enjoy!
Tamara McDonough Chair
OFFICERS & DIRECTORS
Peter Amster, Vice-Chair Terry Hodges, Secretary Lois Sowa Stipp, Treasurer
William Freeman Anne Glendon Joan LaFreniere Sally Rehkopf Emily Ruddell, Volunteer Coordinator William Schneider, Piano Technician Beverly Seiford Lois Williams
ADVISORS
Jane Maehr, Chair Emerita Roberta Welke, Comptroller
BAROQUE ON BEAVER FESTIVAL STAFF
Matthew Thomas, Festival Director & Personnel Manager / Program Editor Robert Nordling, Music Director & Principal Conductor Kevin Simons, Choral Director Allison Kistler, Operations Director Laura Schipper, Librarian Guy Barast, Annotator
27 BEAVER ISLAND CULTURAL ARTS ASSOCIATION FY2018 ANNUAL REPORT DATA VIA FUNDER REPORT PREPARED BY SMU DataArts
BEAVER ISLAND CULTURAL ARTS ASSOCATION - FY 2018 ANNUAL REPORT
Unrestricted Activity FY 2018 Unrestricted operating revenue Earned program (Tickets, Sponsors, Advertisors, Freewill) $22,971 Earned non-program $17,615 Total earned revenue $40,586 Investment revenue (CDs) $15,089 Contributed revenue (Donations, Foundations, Grants) $86,033 Total unrestricted operating revenue $141,708 Operating expenses Programming $91,574 Fundraising 0 General & administrative $13,742 Total operating expenses $105,316 Net unrestricted activity - Operating $36,392 Net unrestricted activity - Non-operating Total net unrestricted activity $36,392 Net temporarily restricted activity Net permanently restricted activity Net total activity $36,570 Revenue by Source
$40,586
$86,033 $15,089
Earned Income Investment Income Contributed Income
28 Expenses by Functional Grouping
$13,742 $0
$91,574
Programming General & Administrative Fundraising
Attendance
In-person Participation FY 2018 In-person participation - paid 299 In-person participation - free/reserved 1,420 Total in-person participation 1,719
Types of In-person Attendance FY 2018 Performance tickets 1,713 Registrants for classes/workshops 6 Total in-person participation 1,719
Attendance Ages FY 2018 Children (18 and under) 118 Seniors 462 Adults 1,139
Program Activity
Baroque Program Types FY 2018 Distinct productions 10 Student Workshop 1
Staffing
Staff & Non-Staff Statistics FY 2018 Volunteers (Assist at Festival) 38 Independent Contractors (Musicians and Baroque Staff) 60 Interns and Apprentices (Musicians) 5 29 DONORS
The Beaver Island Cultural Arts Association is sincerely grateful for all of those listed below for their generous donations of time and treasure, without which Baroque on Beaver and other BICAA events and initiatives would not be possible. Names with an asterisk (*) denote individuals who have identified their donation as a memorial in honor of Dan Ruggles, a longtime musician dedicated to the Baroque on Beaver Festival. The names with the double asterisks (**) denote individuals who gave donations as part of the 5K and ½ Marathon. Gifts received between July 4, 2018, and June 28, 2019, are reflected herein. Donations received after the deadline will be listed in the 2020 program. We truly regret any errors or omissions. The BICAA Board also wishes to acknowledge and thank Bill Schneider for his endless hours of service regarding storing and maintaining the Mason and Hamlin Concert Grand Piano, which includes restringing and tuning the piano in May 2019. His extensive in-kind contributions make him a major donor to the Association and are greatly appreciated. In addition, the Board wishes to thank an anonymous donor who generously donated 40 choral chairs and choir risers for resetting the choral platform. This donor’s outstanding gift is a wonderful addition to assist the choral artists in presenting the festival and help the audience view the chorus more easily.
MAESTRO ~ $2,500 +
Anonymous 1 Frank & Dana D'Andraia Peter Amster Maureen Delaney-Lehman Charlevoix State Bank Stan & Sheree Dollen Paul & Anne Glendon Mary Dorais EJ Hodgson Enterprises Cynthia & Gary Gray James Luteyn Jane Maehr McDonough's / Dalwhinnie John Martin & Molly Resnik Myles & Sally Rehkopf Bill & Tamara McDonough SpartanNash Emily & John Ruddell Diana & Donald Taylor Katie See Dan & Barb Yenglin Jill Sigsbee** The Bos Family VIRTUOSO ~ $1,500 - 2,499 Bob & Sharon Toms Sue Welke
Anonymous 2 Beaver Island Boat Company SUPPORTER ~ $100 – 249 Blarney Castle Oil Co. Hogarth's Pest Control Co. Robert & Alana Anderson New House Productions Anonymous 3 Bobbi Welke Anonymous 4 Eric Blalock IMPRESARIO ~ $1,000 - 1,499 Jane Boyles Visel Michael Braden
Ann Brown* 5K & 1/2 Marathon Dean Cady Robert & Julie Neff Shirley Cunningham Fresh Air Aviation Annette Dashiell Island Airways Wayne & Polley Duncan Ruth & Jack Kelly Nancy & James Evans Kate Maehr & Sam Pickering Barb & John Fiore in honor of Jane Maehr's birthday John & Sandra Gerrish Robert & Lois Nordling Jeanne Gullahorn & Family Taffy Raphael & James Gavelek Steve Hagerman Larry & Bev Seiford Haggard's Inc. Hans & Davi Stein Lynn Hansen*
Evilou & Matthew Hill BENEFACTOR ~ $500 - 999 Melinda A. Hill Dennise Hoffman Jon & Teresa Ayers Ruth & Peter Igoe Kevin & Judy Boyle Nadra Johnson Charlevoix Hospital / Munson Healthcare Jim I. & Judith G. Jones Clare Collins & Louis Post Michael Kamrin & Katie See Mary Lee Falik Dale & Terry Keyes William & Janice Freeman Tammey Kikta & Rich Warren Philip & Kathryn Friedel Joan LaFreniere Terry Hodges Lars & Doris Larson Jeanne Howell John Lucas Louis & Sharon Nemser Fund Dana Luscombe Marilyn & Joe Reed Mike & Judy Marinco Susannah & Matthew Thomas Cynthia & John Martin James & Katherine McElwain PATRON ~ $250 – 499 Rod & Marilyn McFarland Meyer Music* Barbara Almli Domenica Moroney Mark & Amy Anderson David & Ingrid Nedwick Nancy Armstrong Kathleen & Kenneth Nelson Ann Carbonell & Robert Gajda Robert & Cherith Nordling Peg Curley Steven O'Mara Erik Peterson 30 SUPPORTER continued VOLUNTEERS continued
Marijean & Fran Pike Erin Dixon Robert A. Pitman Jan McKnight Martha Ratliff & Tony Eliassen Jan Paul Alice M. Ray Janice Freeman Paul & Carol Rose Jeanne Gullahorn Patricia & Thomas Sell Jeff Stone Joseph & Elizabeth South* Joan LaFreniere Calvin Sprik Joe Reed Steven Steinglass Karen Whitecraft Susan Stodolsky Kevin Stipp Penelope Strong & Paul Matt Kimberlee Mitchell John & Linda Teutsch Lars Larson Nita Thieme Linda Wearn Bob & Kathy Tidmore Lois Williams Jeff & Nancy Traudt Lois Stipp Ward Paul & Charles Schoenknecht Lori Taylor -Blitz Robert Warski Louis Nemser Linda Wearn Louis Post Joe & Lois Williams Lucy Niehaus Ron & Patti Wojan Lynne Flanagan Nel Worsfold Marijean Pike Marilyn Reed FRIEND ~ < $100 Mary Ellen Mauro Matthew Swarthout Maureen Abele Nancy Smith AmazonSmile Nel Worsfold Wil Cwikiel Patty Mueller Richard & Mary Garnett Patty Renz Susan M. Loveley Peg Curley Beth & Ed Lueck Peggy Davis Kay Masini Peter Amster Shawn McDonough** Ruth Igoe James & Patricia Mollema* Ruth Kelly Network for Good Sally Rehkopf Jodie Plumert Sandy LoDico John & Joyce Runberg Sarah Rohner Mr. Robert Schwendau Sharon Nemser Nancy Smith Skip McDonough Don & Barbara Spenser Sue Screven Mary Jean & Norman Van Sickle* Taffy Raphael Alan & Beverly Vicstein Terry Hodges Thea McKiernan FOUNDATIONS Ward Paul Zach Evans
The Anton Foundation The Welter Foundation GIFTS IN-KIND Charlevoix County Community Foundation Michigan Council for Arts & Cultural Affairs Bill & Tammy McDonough Taffy Raphael Thomas Stankiewicz ENDOWMENT FUND GIFTS Don Taylor Beaver Island Boat Company Barbara & David Lucas Beaver Island Christian Church Anne & Raymond Stanhope Beach Glass Studio Central Michigan University – John Gordon ORCHESTRAL CHAIR DONATIONS Charlevoix County Community Foundation Fresh Air Aviation Lisa Honeycutt Gordon Foods Holy Cross Catholic Church VOLUNTEERS Kilwin’s Chocolates of Charlevoix Lipari Foods
McDonough’s / Dalwhinnie Adam Richards St James Episcopal Annette Dashiell Whiskey Point Brewery Audrey Van Dyke
Becca Foli Beverly Seiford HOME HOSTS William Freeman Charles Schoenknecht Jeanne Gullahorn Clare Collins Emerald Isle Hotel – Bill Thomas Danielle Scardigno Erin Motel - Mike Wojciehowski Domenica Maroney Laurel Vietzen & Bob Warski Donna Fase Ruth & Peter Igoe Donna Hardenberg Ruth & Jack Kelly Doris Larson Bill & Tammy McDonough Drew Evans Joyce & John Runberg Linda Wearn 31 FESTIVAL ORCHESTRA Robert Nordling**, Music Director & Principal Conductor
First Violin Clarinet James Crawford*, Concertmaster Joan Van Dessel***, Principal David Reimer**, Assistant Concertmaster Steve Landane*** Adam Liebert* Connie Markwick** Bassoon Mark Ortwein, Acting Principal Second Violin Deanna Erwin** Jenna Anderson*, Principal Abderrahman Anzaldua** Horn Batya MacAdam-Somer* Kurt Civilette*, Principal Marla Smith** Lisa Honeycutt*** Julie Schleif Viola Michael Hall**, Principal Trumpet Dilek Engin** Matthew Thomas***, Principal Ann Schoelles** Matt Taton* Kim Teachout* Jeff Markwick*
Cello Trombone Andrea Yun**, Principal Joseph Radtke**, Principal Elizabeth Brown* Christian Gilbert Elizabeth Bert** Stefan Stolarchuk Zachary Boyt** Tuba Bass Bryan Smith**, Principal Mark Buchner*, Principal Edward Hasspacher Keyboard Dorothy Vogel*, Principal Flute Leslie Deppe***, Principal Percussion Laura Schipper** Timothy Mocny**, Principal Michael Hamilton Oboe Kramer Milan Lynn Hansen***, Principal Mezraq Ramli*
FESTIVAL CHORUS Kevin Simons**, Choral Director Sarah Todd*, Accompanist
Barb Almli** Jane Girdham Louis Nemser
Peter Amster*** Jeanne Howell**** Paul Niehaus**** Peggy Bartz* John Jansson Iris Dimase Nordling
Thaddaeus Bourne Jack Kelly**** Jeanne Petersen* Karen Cook Tammey Kikta** James Rhodenhiser**
David Chrostek Zachary Kruyf* Catherine Rogers Peg Curley* Erika Lawson-Morrison Heather Seaton*
Annette Dashiell**** Madalyn McHugh* Don Taylor** Maureen Delaney-Lehman** Lisa Mays* Hayley Tibbenham
Rachel Edwin Steven Naylor Keven Washburn*
*2 - 5 Years / ** 6 – 10 Years / ***11 – 15 Years / ****16 – 20 Years
32 Robert Nordling’s conducting has been characterized as “emphatic”, “dramatic”, and “vivid” with a “fresh and airy quality and a certain elegance” (San Francisco Chronicle). Robert serves as the Music Director of the Bandung Philharmonic (Indonesia), the Baroque on Beaver Music Festival (Northern Michigan), the Lake Forest Civic Orchestra (Chicago) and the Shoreline Music Society (Western Michigan). He has appeared with the Grand Rapids Symphony, the Nusantara Symphony Orchestra (Indonesia), the Orquestra Juvenal de Mar del Plata (Argentina), the Great Lakes Chamber Orchestra, the Los Angeles Philharmonic Institute Orchestra, the Cedardell Opera Festival Orchestra, and chamber orchestras in Chicago, San Francisco and England. Robert also founded and was the music director of the Bay Chamber Symphony Orchestra (San Francisco).
The 2017-18 season sees Nordling conduct four World Premieres of commissioned works: Stacy Garrop’s Krakatoa: Concerto for Viola (with Michael Hall); Kim Diehnelt’s Striadica: A Symphonic Passage; Marisa Sharon Hartanto’s Ngasirah; Fauzie Wiriadisastra’s Aki Manggul Awi.
2018 also saw Nordling named as Artistic Director of the Shoreline Music Society based in Western Michigan. Shoreline finds its home in the beautifully renovated Ramsdell Theatre in Manistee, Michigan. The 2018-2019 season will include performances by the Shoreline Chamber Orchestra as well as chamber music and solo concerts.
Robert has released recordings of Beethoven Symphony No. 6, Brahms Symphony No. 2, St. Saëns Symphony No. 3, Beethoven’s Symphony No. 5 and Brahms’ Schicksalslied with the Calvin Orchestra. His recording of Mahler’s Symphony No. 1, won a Telly Award in May of 2008.
A sought-out clinician and educator, Robert performs orchestra clinics, music educational workshops and master classes in schools in the USA and abroad. He has also served on the music faculty of the Calvin College Music Department and Trinity International University where he conducted the orchestras and taught in the areas of music history, music appreciation and conducting.
A native of New Jersey, Robert began his early studies on violin with Stephen Clapp and Paul Zukovsky. Following his undergraduate study at the Wheaton College Conservatory of Music, he was awarded conducting fellowships to the Los Angeles Philharmonic Institute where he worked with Leonard Bernstein, Michael Tilson Thomas, Herbert Blomstedt and Erich Leinsdorf. He also received conducting fellowships from the Oregon Bach Festival to work with Helmuth Rilling and Cedardell Opera Festival to work with Boris Goldovsky. Robert is also an active composer and arranger based in Chicago, and his current interests include Arthurian literature, poetry, English football teams, Indian food, furniture-making, Welsh Terriers, Tom Waits, Gustav Mahler, Cherith Nordling, and espresso.
33 Kevin Simons, a native of Pinckney, Michigan, is Associate Professor of Music and Director of Choirs at Saginaw Valley State University where he teaches applied and class voice, teaches classes in choral methods and music education, and conducts the Cardinal Singers and Concert Choir. He holds degrees in Music Education, Vocal Performance and Choral Conducting from the University of Oklahoma, Central Michigan University and Boston University.
Dr. Simons is currently the Director of Music and Organist at St. John's Episcopal Church in Saginaw, Michigan. Under his leadership, the repertoire of the inter-generational St. John's Choir has grown to include major works with orchestra. He also served as the Artistic Director and Conductor of The Steiner Chorale, a semi-professional choir based in Lansing. He has been the Choral Director for Baroque on Beaver since 2008.
He has conducted the Cardinal Singers in concert with the Saginaw Bay Symphony Orchestra, the Saginaw
Photo: Frank Solle
Choral Society and in an invited concert at the National Cathedral in Washington, D.C. In 2018, they were invited to sing with the famous Irish band, The Chieftains. Choirs under his direction have sung at national and state level denominational functions as well as the Michigan conference of the American Choral Directors Association. Well-known as a builder of church choral programs, he is frequently called upon to lead workshops in choir development and literature for the beginning choir. He regularly serves as a vocal and choral adjudicator.
He is active in several professional organizations, including the American Choral Director's Association, the Royal School of Church Music in America, and he is a Colleague of the American Guild of Organists. He has also been elected to membership in the Association of Anglican Musicians and the National Association of Teachers of Singing. He serves as the Director of the Sewanee Church Music Conference, the oldest conference for musicians in the Episcopal Church.
While at Oklahoma, he studied voice with Sean Daniel as well as with Gary Arvin and Marilyn Horne. His choral conducting studies have been with Susan Boggs, Steven Curtis and Nina Nash-Robertson. He has also studied organ with Donald Williams, Carol Muehlig and Steven Egler. Prior to moving back to Michigan, he was the Organist/Choirmaster at St. Anselm of Canterbury in Norman, Oklahoma and was Director of Music and Organist at First Lutheran Church in Oklahoma City.
Kevin resides in Saginaw with his wife Amy, daughter Claire and son Henry, and their dog Winnie. In his free time, he enjoys traveling, cooking and reading mysteries.
34
Concert Etiquette for Those New to Classical Music
Those new to classical music are sometimes nervous about attending concerts because they don’t know what to expect, and they may have heard that it is kind of “stuffy” with lots of rules. Relax! Classical music isn’t as intimidating as you might think. Use the tips on this page as a starting point to help you fully experience the wonderful classical music, whether it is your first time attending an orchestral concert or you are a seasoned concertgoer.
Cellular telephones and other electronic devices Take a break from technology! Please silence your cell phones, pagers, alarms, and other audible electronic devices before the concert begins. You may not take pictures or record the concerts, sorry. Tweet your location before you turn off your phone, though!
How will I know when the concert is about to begin? When you first take your seat, you may find that some musicians are already on stage even though the concert isn’t scheduled to begin for awhile. Don’t worry; you’re not late. The musicians are warming up, checking over their music, and getting settled before the concert begins. Just before the start of the concert, the concertmaster will come out to the front of the stage, take a bow, and signal to the first oboe player to play the note A; the orchestra will then tune their instruments to match the oboe. The conductor will then come out onto the stage. He will take a bow also, then turn around, mount the podium, and begin the concert. It is appropriate to clap for both the concertmaster and the conductor as they bow.
Is it time to clap yet? While tradition has changed over time, today’s audiences usually wait until the end of an entire work to clap, even though the piece may have several movements where the orchestra will pause before continuing. It is considered a minor faux pas to clap between movements, though the musicians will be glad to know that you are enjoying their performance! Why is it important not to clap at these break points? Holding applause between movements is considered to be respectful to the performers’ concentration and maintains the momentum of the music they are creating. In addition, quiet endings have a lingering magic that can be too easily broken by applause. Sacred works offered in worship are not applauded at all, but when presented in an artistic context such as our concerts, sacred works still often get respectful silence for a long moment before any applause is generated. Your best bet is to watch the conductor. He will let you know when a piece is over, so wait until he puts his arms down and turns to face the audience. If his hands remain in front of him, he is waiting for the orchestra to be ready to continue with the next movement of the piece. If the work is completed, the conductor will also shake the hands of the concertmaster and the soloist if there is one. If you’re still in doubt, you can always wait until the majority of the crowd begins to applaud.
Other Sounds During the Concert The most important thing to remember at a classical music concert is to make sure others can listen to the music undisturbed. Instruments are usually not amplified, so audience noises can be annoying and distracting. Don’t talk, whisper, sing or hum along, or move personal belongings. Conversation at a concert normally stops at the first entrance of the concertmaster, conductor, or soloist.
Again, please turn off your cell phones, pagers, watch alarms, and other electronic devices for the duration of the performance.
Thank you for reviewing this information. We hope that you find it useful as you experience the delights of a live classical concert performance at the Baroque on Beaver Festival.
35 SPONSOR
36 SPONSOR Friday July 26, 7:30pm Beaver Island Community Center Opening Night Gala Concert The Lincoln Trio
Marta Aznavoorian, piano David Cunliffe, cello Desirée Ruhstrat, violin
~ All selections to be announced from the stage ~
www.lincolntrio.com
Lisa Sapinkopf Artists www.chambermuse.com
MuchiMusic www.muchimusic.com
Mason & Hamlin piano
Tonight’s concert is generously sponsored by Barb and Dan Yenglin.
37
Described by Strad Magazine as “Sensational” and “Bewitching”, and “Models of vibrancy and control” (Gramophone Magazine), the celebrated GRAMMY- nominated Chicago-based Lincoln Trio—made up of Desirée Ruhstrat, violin, David Cunliffe, cello, and Marta Aznavoorian, piano—takes its name from their Illinois home, the heartland of the United States, the land of Lincoln. The trio, formed in 2003, has been praised for its polished presentations of well- known chamber works and its ability to forge new paths with contemporary repertoire. The group's reputation as a first-rate ensemble draws an eclectic audience of sophisticated music lovers, young admirers of contemporary programs and students discovering chamber music for the first time. Bringing together performing experience spanning the globe, each member is an artist of international renown. Violinist Desirée Ruhstrat has performed throughout the US and Europe, appearing at the White House and performing on live radio broadcast heard around the world with the Berlin Radio Orchestra; cellist David Cunliffe has performed with the BBC and Royal Scottish orchestras as well as touring as a member of the Balanescu Quartet; pianist Marta Aznavoorian has garnered critical acclaim for her engagements with orchestras and concert halls worldwide including Chicago Symphony Center, John F, Kennedy Center and the Sydney Opera House. The trio has performed throughout the United States, including appearances at Carnegie's Weil Hall, Alice Tully Hall, Bryant Park Festival, Ravinia Festival, Green Center, Barge Music, Poisson Rouge, the Indianapolis Symphony Beethoven Chamber Music Series, University of Chicago, Dame Myra Hess Memorial Concert Series and in Springfield, Illinois, where the trio was chosen to celebrate the 38 Abraham Lincoln Bicentennial celebration with President Barack Obama. International engagements include performances throughout Europe, Asia and South America.
Champions of new music, the Lincoln Trio has performed numerous compositions written especially for them, including premieres of seven Trio’s by members of the Chicago Composers Consortium, an award winning work dedicated to the trio by young ASCAP winner Conrad Tao, Chamber Music America Award commission with composer Laura Elise Schwendinger and works by Stacy Garrop, Mischa Zupko, Janice Misurell-Mitchell, Ravinia commissioned works for the Lincoln Bicentennial by James Crowley, Eric Sawyer and Lawrence Dillon and most recently a commission from Colombia, South America, for a Trio by the reknowned composer Juan -Antonio Cuellar. Valuing the importance of cultural diversity in music, the trio are strong supporters of the Chinese Fine Arts Society and the Korean Sejong Cultural Society which has commissioned three works based on Korean themes to be premiered at the University of Chicago and recorded by the Lincoln Trio in 2013. The Trios extensive discography for the Cedille label includes the entire works for Strings and Piano by Joaquin Turina and their debut album "Notable Women”, which features Grammy and Pulitzer prize winning composer Jennifer Higdon, Joan Tower, Lera Auerbach, Stacy Garrop, Augusta Read Thomas and Laura Schwendinger. Their CD's have received numerous accolades including NAXOS CD of the Month, Baker and Taylor CD Hotlist, Byzantion Recording of the month, TPR Classical Spotlighted album, WQXR/Q2 Music Album of the week, UK Observer Hidden Gems and was listed on Alex Ross of the New Yorker Magazine “Nightafternight playlist for summer's end” and Fanfare magazine “Want List” Other releases on the Cedille label include "Composers In the Loft", "In Eleanors Words: Music of Stacy Garrop" and "The Billy Collins Suite". August 2016 saw the release of their latest CD “Trio’s From Our Homelands” featuring the works of Rebecca Clarke, Arno Babajanian and Frank Martin. The CD was nominated for a 2017 Grammy in the Best Chamber Music/Small Ensemble Performance Category. 2013 saw the critically acclaimed and GRAMMY-nominated release on the NAXOS label of "Annelies" based on the Diary of Anne Frank with Westminster Williamson Voices, Clarinetist Bharat Chandra and soprano Arianna Zukerman. The Midwest premiere was given at the Ravinia Festival in February 2013 with the Chicago Children's Choir and was the featured concluding event of the US Holocaust Memorial Museum's 20th Anniversary Tour of the United States in Chicago at the Harris Theatre. Winners of the 2008 Master Players International Competition in Venice, Italy and recipients of the 2011 prestigious Young Performers Career Advancement Award, the 2016-17 season will see the trio performing throughout the US and Canada and travels to Germany and South America where they will tour throughout Colombia and Ecuador performing Beethoven's Triple Concerto. Staunch proponents of music education, the Lincoln Trio has had residencies at the Music Institute of Chicago as well as San Francisco State University, University of Wisconsin Madison, and SUNY Fredonia and is currently Artist-In- Residence at the MERIT School of Music. 39 SPONSOR
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40 SPONSOR
Saturday July 27, 7:30pm Beaver Island Community Center Gala Concert Jeeyoon Kim, piano
~ All selections to be announced from the stage ~
www.jeeyoonkim.com
www.overabovebeyondproject.com
www.10moreminutesconcert.com
Namus Classics www.namusclassics.com
Mason & Hamlin piano
Tonight’s concert is generously sponsored by:
41 Jeeyoon Kim | BIO Classical pianist Jeeyoon Kim delights Jeeyoon began studying the piano when she was four years old. Her love of music audiences with her sensitive artistry, colorful and the piano propelled her through her undergraduate studies in piano performance musical expression and insightful commentary in Korea, and onto Indiana University’s renowned Jacob School of Music where she from the stage. Gordon Brown from classical earned a Master’s Degree and a Doctorate Degree in Piano Performance with a full radio station XLNC-FM writes, “She is simply scholarship, graduating with a distinction. Afterwards, she earned another Master’s a force of nature, one who lives for that special Degree in music education, Piano Pedagogy, with a full scholarship from Butler connection with a live audience . . .” University while she served as a faculty. As a recipient ‘Top Music Teacher Award’ from Steinway and Sons for 3 years in a row from 2016 to 2018, she is also an active Susan Kitterman, former Artistic Director lecturer and a piano pedagogue nationally. from New World Youth Symphony, exclaims, “Exquisite, absolutely phenomenal! She is In 2018, Jeeyoon received two gold medals in the category of ‘Emerging Artist’ and a perfect window for music to speak for ‘Best Instrumentalist’ from Global Music Awards. With her recent music video, ‘Over. itself. That is a rare gift to the world…” Above. Beyond.’ has been selected as the “Best Music Video” Platinum award and Jazz pianist, Gary Walter, commented “It an official selection of 2019 Red Wood Film Festival, Rome Independent Prisma would be criminal for the world not to Award, and Cine Fern Film festival in 2019. On October 29, 2017, Jeeyoon was hear Jeeyoon perform…” the featured soloist playing George Gershwin’s “Rhapsody in Blue” at Hilbert Circle Theatre in Indianapolis with the New World Youth Philharmonic and Symphony Jeeyoon’s album, ‘10 More Minutes’, was Orchestras, conducted by Adam Bodony. She was also back to Indiana this April released in December, 2016. The album is 2018 with the Purdue University Orchestra as a soloist. a collection of encore pieces that Jeeyoon has performed over the years when both Jeeyoon made her successful sold-out Carnegie Hall debut on December 14, 2017 the audience and the performer long for with sensational reviews. She has just launched her new album/concert project “10 more minutes” of connection before called ‘Over, Above, Beyond’ releasing on December 9th in 2018 and on a national the concert concludes. tour of ‘Over. Above. Beyond.’ currently with newly commissioned illustrations by a NY based artist, Moonsub Shin. A native of South Korea, Jeeyoon has traveled the globe with performances at “As a pianist, one of my most rewarding moments is when I feel that I am deeply venues such as Carnegie Hall in New York, connected with listeners in the very moment of sharing music. It has become clear to Chamber Music Society in San Francisco, me that this is why I make music, to lift someone’s spirits. Through this album, ‘Over. PianoForte Salon Live Series in Chicago, Above. Beyond.’, I wish to communicate a sense of hope and joy, lightness, and a appearances on classical music radio and new beginning. When I am at the piano, time and space have no limits. These pieces TV stations such as KUSI TV in San Diego of music were selected because they capture so vividly my vision of flight. Join me in and WFMT, 98.7 in Chicago, Nichols Hall this special journey, receive what music has given to us, and let’s fly together: Over in Evanston, Illinois, Graves Recital Hall in … Above … Beyond!” —Jeeyoon Columbus, Ohio, Hilbert Circle Theatre in Sign up for upcoming concerts notification newsletter via Indianapolis, and at the Mozarteum Festival in Salzburg, Austria among many others. Other recent performances include “Arts in August” concert series in Evansville, www.JeeyoonKim.com Indiana, Stradivari Society in Chicago, La Jolla Music Society Discovery Series, @jeeyoonkimpianist Captivate Artists Experience Series in San Francisco, and San Diego Symphony #OverAboveBeyondProject Chamber Music Series. As an active chamber musician, she has collaborated with other soloists including violinist Philippe Quint and cellist Johannes Moser.
42 www.jeeyoonkim.com Jeeyoon Kim | BIO Classical pianist Jeeyoon Kim delights Jeeyoon began studying the piano when she was four years old. Her love of music audiences with her sensitive artistry, colorful and the piano propelled her through her undergraduate studies in piano performance musical expression and insightful commentary in Korea, and onto Indiana University’s renowned Jacob School of Music where she from the stage. Gordon Brown from classical earned a Master’s Degree and a Doctorate Degree in Piano Performance with a full radio station XLNC-FM writes, “She is simply scholarship, graduating with a distinction. Afterwards, she earned another Master’s a force of nature, one who lives for that special Degree in music education, Piano Pedagogy, with a full scholarship from Butler connection with a live audience . . .” University while she served as a faculty. As a recipient ‘Top Music Teacher Award’ from Steinway and Sons for 3 years in a row from 2016 to 2018, she is also an active Susan Kitterman, former Artistic Director lecturer and a piano pedagogue nationally. from New World Youth Symphony, exclaims, “Exquisite, absolutely phenomenal! She is In 2018, Jeeyoon received two gold medals in the category of ‘Emerging Artist’ and a perfect window for music to speak for ‘Best Instrumentalist’ from Global Music Awards. With her recent music video, ‘Over. itself. That is a rare gift to the world…” Above. Beyond.’ has been selected as the “Best Music Video” Platinum award and Jazz pianist, Gary Walter, commented “It an official selection of 2019 Red Wood Film Festival, Rome Independent Prisma would be criminal for the world not to Award, and Cine Fern Film festival in 2019. On October 29, 2017, Jeeyoon was hear Jeeyoon perform…” the featured soloist playing George Gershwin’s “Rhapsody in Blue” at Hilbert Circle Theatre in Indianapolis with the New World Youth Philharmonic and Symphony Jeeyoon’s album, ‘10 More Minutes’, was Orchestras, conducted by Adam Bodony. She was also back to Indiana this April released in December, 2016. The album is 2018 with the Purdue University Orchestra as a soloist. a collection of encore pieces that Jeeyoon has performed over the years when both Jeeyoon made her successful sold-out Carnegie Hall debut on December 14, 2017 the audience and the performer long for with sensational reviews. She has just launched her new album/concert project “10 more minutes” of connection before called ‘Over, Above, Beyond’ releasing on December 9th in 2018 and on a national the concert concludes. tour of ‘Over. Above. Beyond.’ currently with newly commissioned illustrations by a NY based artist, Moonsub Shin. A native of South Korea, Jeeyoon has traveled the globe with performances at “As a pianist, one of my most rewarding moments is when I feel that I am deeply venues such as Carnegie Hall in New York, connected with listeners in the very moment of sharing music. It has become clear to Chamber Music Society in San Francisco, me that this is why I make music, to lift someone’s spirits. Through this album, ‘Over. PianoForte Salon Live Series in Chicago, Above. Beyond.’, I wish to communicate a sense of hope and joy, lightness, and a appearances on classical music radio and new beginning. When I am at the piano, time and space have no limits. These pieces TV stations such as KUSI TV in San Diego of music were selected because they capture so vividly my vision of flight. Join me in and WFMT, 98.7 in Chicago, Nichols Hall this special journey, receive what music has given to us, and let’s fly together: Over in Evanston, Illinois, Graves Recital Hall in … Above … Beyond!” —Jeeyoon Columbus, Ohio, Hilbert Circle Theatre in Sign up for upcoming concerts notification newsletter via Indianapolis, and at the Mozarteum Festival in Salzburg, Austria among many others. Other recent performances include “Arts in August” concert series in Evansville, www.JeeyoonKim.com Indiana, Stradivari Society in Chicago, La Jolla Music Society Discovery Series, @jeeyoonkimpianist Captivate Artists Experience Series in San Francisco, and San Diego Symphony #OverAboveBeyondProject Chamber Music Series. As an active chamber musician, she has collaborated with other soloists including violinist Philippe Quint and cellist Johannes Moser.
www.jeeyoonkim.com 43 SPONSOR
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Founding partners: Matthew Thomas and Bryan Smith
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44 SPONSOR Monday July 29, 4:30pm Whiskey Point Lighthouse Brass on the Grass
Metallurgy Matthew Thomas, Matt Taton, trumpets; Kurt Civilette, horn; Joseph Radtke, trombone; Bryan Smith, tuba
A resident ensemble of Baroque on Beaver since 2010, Metallurgy is the chamber ensemble for New House Productions, a corporate consulting and leadership training firm. Its members perform and teach both nationally and internationally but reconvene on Beaver Island each summer to play at various porches, lighthouses and docks. Program to be announced on the fly.
All arrangements © Matthew Thomas.
Today’s concert is generously sponsored by:
45 Biological Station
46 Tuesday July 30, 7:30pm Gillingham Auditorium, CMU Biological Station Chamber Music, Old and New
Robert Nordling, conductor
Irish Suite arr. James Stephenson
The Irish Washer Woman The Minstrel Boy Cockles and Mussels Down by the Sally Gardens The Galway Piper
Metallurgy Matthew Thomas, Matt Taton, trumpets; Kurt Civilette, horn; Joseph Radtke, trombone; Bryan Smith, tuba
Concerto for Four Violins Op. 3 No. 4, RV 550 Antonio Vivaldi from L’estro armonico (1711) (1678 - 1741)
Andante Allegro assai Adagio Allegro
Jenna Buchner, Abderrahman Anzaldua, Batya MacAdam-Somer, Marla Smith, solo violins
Three Marches for Military Band Ludwig van Beethoven (1770 – 1827) March No. 1 in F, WoO #18 March No. 2 in F, WoO #19 March in C (Zapfenstreich), WoO #20
Quintet in E-flat major, Op. 44 Robert Schumann (1810 - 1856)
Allegro brilliante In modo d’una Marcia. Un poco largamente Scherzo. Molto vivace Allegro, ma non troppo
Jeeyoon Kim, piano; James Crawford, violin; Adam Liebert, violin; Michael Hall, viola; Andrea Yun, cello
Tonight’s concert is generously sponsored by:
47 SPONSOR
48 SPONSOR Wednesday July 31, 7:30pm Holy Cross Church The Founders Concert: Grant Us Peace
Kevin Simons, conductor Sarah Todd, accompanist
A Canticle of Peace Joseph Waddell Clokey (1890 – 1960) Festival Chorus
Four Walt Whitman Songs (1942, 1947) Kurt Weill (1900 – 1950) Oh Captain! My Captain Beat! Beat! Drums!
Thaddaeus Bourne, baritone
Dirge for Two Veterans
Karen Cook, soprano
Come Up from the Fields, Father
Erika Lawson-Morrison, alto
“When I am Laid in Earth” from Dido and Aeneas Henry Purcell (1685 – 1759)
Rachel Edwin, mezzo-soprano
INTERMISSION
The War Prayer by Mark Twain (1983) Steven Mark Kohn (b. 1957)
Madalyn McHugh, soprano
Grant Us Peace Felix Mendelssohn (1809 – 1847)
Down by the Riverside Traditional arr. John Rutter
Requiem aeternam Giacomo Puccini (1858-1924)
Festival Chorus & Orchestra
Tonight’s concert is generously sponsored by:
49 Henry Purcell (1659 – 1695) | When I am laid in Earth from Dido and Aeneas
Henry Purcell was an English composer, organist and bass and countertenor singer. As a boy, he sang in the chorus in the Chapel Royal. Boys in the Chapel Royal choir were encouraged to compose; Playford’s Catch that Catch Can, or The Musical Companion of 1667 includes a three-part song, Sweet Tyranness, which is attributed to him. This would seem to be corroborated by the publication by him eleven years later of the same song for solo voice, in a collection titled New Ayres and Dialogues.
In 1673, young Purcell’s voice broke at what was then considered an early age, making him less useful to the Chapel Royal choir. He was then appointed as an unpaid assistant to John Hingeston, who was caretaker of the king’s keyboard and wind instruments, with the prospect of eventually succeeding him as keeper. Having acquired the necessary experience, he became employed at Westminster Abbey, first as organ tuner and copyist, and gradually he began to make his way up the musical ladder at that venerable institution. In 1677, he was appointed ‘composer-in-ordinary’ for the violins in succession to Matthew Locke, and in 1679 he succeeded John Blow as organist of Westminster Abbey. This was significant, as it was a position that entitled him not only to a salary but also provided him with the rent of a house.
Over time and while occupying various posts, Purcell continued to compose, displaying a remarkable range of invention and gradually building an impressive body of work which included songs, solo works and orchestral/ensemble pieces. His dramatic works have a different course of evolution, as they are not operas in the usual sense, rather more like theatre works with a considerable amount of incidental music, including sung parts. Opera as it was known on the continent was not readily welcomed, as it was simply not feasible without substantial financial resources and a facility for training singers. Roger North has referred to Purcell’s ‘semi-operas’, a designation which would include Dioclesian, The Fairy Queen, The Tempest, The Indian Queen and King Arthur.
Dido and Aeneas is an exception in Purcell’s output of dramatic music as it features a libretto by Nahum Tate which is set to music in its entirety. It was written to be performed ‘by young gentlewomen’ at Josias Priest’s boarding school at Chelsea in 1689 and even though it comprises three acts, it lasts little more than an hour. The parts of Aeneas and a sailor were written for tenors, and there are parts in the chorus for tenors and basses, so the work cannot have been intended to be performed entirely by young women. Even though the
50 opera is a miniature, it covers a wide range of emotions; however, it also suffers a bit from its brevity, as at times the drama moves a bit too quickly for the individual episodes to make their full effect, and Aeneas barely has enough time to establish himself as a character. Be that as it may, the richness of Purcell’s invention, on so many levels, is undeniable, and everywhere the music triumphs over a relatively ordinary libretto.
The story of Dido and Aeneas is based on the fourth book of Virgil’s Aeneid. It tells of the love of Dido, Queen of Carthage, for the Trojan hero Aeneas and of her devastation when he leaves her at the command of Jupiter.
Recitative Thy hand, Belinda, darkness shades me, On thy bosom let me rest, More I would, but Death invades me; Death is now a welcome guest.
Aria When I am laid, am laid in earth, May my wrongs create No trouble, no trouble in thy breast; Remember me, remember me, but ah! Forget my fate. Remember me, but ah! Forget my fate.
Chorus
With drooping wings ye Cupids come, (4 times) And scatter roses Scatter, scatter roses on her tomb. Soft, soft, And gentle as her Heart, Keep here Here your watch Keep here Keep here your watch and never, never, never part, and never, never, never part.
51 Giacomo Puccini (1858 – 1924) | Requiem aeternam
Giacomo Puccini was probably the most celebrated member of the Puccini musical family and is generallyWolfgang considered Amadeus to Mozart be the (1756 greatest – 1791) Italian | Piano opera Concerto composer No. after 23 inVerdi. A major, He was K. 488the fifth of seven childrenIn 1781, and 25 -wasyear just-old overWolfgang five years Amadeus old when Mozart his made father a momentousMichele died. decision It was expected: having served that he for would nine followlong, theunhappy family years tradition as court as organist musician and to choirmaster the Archbishop at San of Martino;Salzburg, to Mozart make thisdecided possible, – against leaders the ofwishes his hometown of his controlling of Lucca fatherissued – ato decree give up that his posthis uncle, and move Fortunato to Vienna Magi, as shoulda freelance occupy musician the post – a untilhighly young unusual Giacomo move was at old the enough time, especially to assume for it. one with a young family. From then on until his death in 1791, Mozart made his living by giving music lessons, playing concerts and recitals, selling When he was ten, Giacomo joined the choirs of San Martino and San Michele and four years later he his works to publishers and writing operas for the stage. began his career as organist at these churches, as well as others in the area. By the age of seventeen heDuring was already the winter composing of 1785, music, Mozart, writing his wife organ Constanze improvisations and their which son Karl incorporated, had taken upto theresidence surprise at ofNo. his 846congregation, Schulerstrasse bits inof Vienna.Tuscan Mozart’sfolk songs father as well Leopold as excerpts paid them from a visit operas in February such as andIl Trovatore, wrote to Rigolettohis daughter: and La “You Traviata, may gatherwhich hewhat had a comefine apartment to know through your brother his teacher, has from Angeloni. the fact A performanthat he paysce offour Aïda hundred at Pisa in and 1876 sixty made florins such rent a huge (about impression $230) per upon year.” Puccini This may that nothe decidedhave been to breaka huge with sum the of familymoney, tradition but it was and more become than an any operatic member composer. of the music He- makingfelt that Mozart this performancefamily had been had accustomed “opened a musicalto paying window” for lodgings for him,. but at the same time, he knew that in order to follow his dream he could not remain in Lucca. Milan was where he needed to be, with its conservatory and more importantly, theThis opera was house a happy La Scala. time for Mozart. He was almost thirty and was approaching the height of his powers; annual Lenten concerts that he himself organized provided enough extra income to allow Fourhim years a comfortable were to pass apartment before andhis wishtemporary would relief be realized. from financial Meanwhile, concerns; during he those had recently years in become Lucca, hea continuedfather; his workingown proud on father his craft, was visitingwriting anda Preludio witnessing Sinfonico his son’s (1876) success as welland, asmost several important churchly, works.the fickle With Viennese the aid ofpublic a scholarship were impressed founded by hisby geniusQueen andMargherita were attending and financial his concerts support. from an uncle, Puccini entered the Milan Conservatory in the fall of 1880. He would remain a student there forMozart three years,completed studying the withPiano Bazzini Concerto and No.Ponchielli. 23 just During before that the time, first hisperformance experiences of had his a othergreat masterwork Le Nozze di Figaro on March 2nd, 1786. Figaro would receive its première a scant two deal in common with those of the poor, young artists he would later so vividly depict in La Bohème. months later, on May 1st. The concerto appears to have been started in either the winter of 1784/85 Shortlyor possibly before even completing earlier, in his the studies winter atof the1783/84 Milan; thisConservatory, longer gestation the music period publishing allowed Mozart house theof Eduardoopportunity Sonzogno to incorporate announced significant a competition changes for to a theone score:-act opera for example, (Mascagni’s where masterpiece early sketches Cavalleria show Rusticanaa pair of would oboes ,be the discovered finished scorein similar shows fashionthey had ju stbeen a fewreplaced years with later, clarinets. in 1889), Thr oughand withthis Ponchielli’ssubstitution encouragement, (and by omitting Puccini trumpets decided and to timpani enter )it., Mozart His librettist, creates Ferdinandoa work with Fontana, an unusually suggested dark, tomellow him a subject palette. with fantastic, supernatural features: Le Villi. While his entry wasn’t even mentioned in the competition results, Puccini ultimately won an even bigger prize: soon after, at a party at the Structurally less complex than is customary for Mozart, the 23rd Concerto is an unending flow of home of wealthy music patron Marco Sala, Puccini was overheard playing and singing from the score melody, wavering at times on the brink between joy and sadness. The first movement, Allegro, of Le Villi by none other than publisher Giulio Ricordi and influential composer Arrigo Boito. They features what is known as a double exposition: the main thematic material is presented first by the liked what they heard, had the work staged, and Ricordi (after suggesting that Puccini expand the orchestra and is then reiterated by the soloist. work to two acts) published the score. It was the break that launched his career. The second movement, an Adagio in 6/8, is a bittersweet Sicilienne in F-sharp minor and not only is Pucciniit Mozart’s wrote only the pieceRequiem in that Aeternam key; it would(which, be technically, his last slow is movementa setting of in the any antiphon minor key. to the Introit of the Mass for the Dead and not a full requiem mass) as a commission for Ricordi, to commemorate theThe fourth finale, anniversary Allegro assai of theis in death sonata of- rondoGiuseppe form Verdi and bringson January the listener 27, 1905. out A of brief, the sublimityhaunting ofwork, the scoredslow movementfor chorus and(Soprano/Tenor/Bass) ‘back to earth’ in aorgan trice. andThe viola,piano it introduces features a awarm leaping burnished theme which tone, asis thenwell astaken unexpected up by themelodic orchestra, and harmonic which then twists adds that five call additional to mind thethemes, Fauré none Requiem of which. reappears until the end. The whole movement is a non-stop adventure without a single backward glance, culminating in an unusually energetic coda.
- Guy Barast
52
“Music, once admitted to the soul, becomes a sort of spirit, and never dies.” - Edward Bulwer-Lytton
Last August, the Baroque on Beaver Music Festival lost an ardent supporter and valued member of the festival orchestra: Dan Ruggles, oboist and dear friend, passed away.
From the time that Dan first set foot on Beaver Island twelve seasons ago, he fell in love with the island. Trips to Donegal Bay and leisurely drives around the island were always at the top of his list. Relaxing evenings on the porch at the Brother’s Place with his fellow musicians were always cherished. He often spoke of the amazing beauty of the island, the numerous islanders he met and, most importantly, the beautiful music he was able to be a part of.
In addition to the BOB Festival Orchestra, Dan was the oboist for the Donegal Bay Winds, a member of the West Shore Symphony, the Grand Rapids Symphonic Band, the pit orchestra for the Grand Rapids Civic Theater and served as adjunct music faculty member at Cornerstone University. Dan’s life was filled with music. However, his gratitude and appreciation for Baroque on Beaver made the festival one of his favorite things to do. In addition to his many musical accomplishments, as a friend, Dan had a special place in the hearts of so many people.
We will miss you Dan!
53 54 Thursday August 1, 2:00pm Beaver Island Studio & Gallery Chamber Music al fresco
Donegal Bay Winds Laura Schipper, flute; Mezraq Ramli, oboe; Steve Landane, clarinet; Kurt Civilette, horn; Deanna Erwin, bassoon
Today’s concert is dedicated to the memory of our friend and colleague Dan Ruggles.
Today’s concert is generously sponsored by:
55 SPONSOR
56 SPONSOR
Thursday August 1, 7:30pm Beaver Island Community School Papas and Sons
Robert Nordling, conductor Festival Orchestra
Brandenburg Concerto No. 4, BWV 1049 Johann Sebastian Bach (1685 – 1750)
Allegro Andante Presto
Leslie Deppe and Laura Schipper, flutes; James Crawford, violin
Piano Concerto No. 23 in A major, K. 488 Wolfgang Amadeus Mozart (1756 - 1791)
Allegro Adagio Allegro assai
Jeeyoon Kim, piano
Sinfonia in D minor, F. 65 Wilhelm Friedemann Bach (1710 – 1784)
Adagio Allegro e forte
Symphony No. 104, “London” Franz Joseph Haydn (1732 – 1809)
Adagio - Allegro Andante Menuet: Allegro Spiritoso
Tonight’s concert is generously sponsored by:
E. J. HODGSON ENTERPRISES, INC.
57 Johann Sebastian Bach (1685 – 1750) | Brandenburg Concerto No. 4 in G major, BWV Wolfgang Amadeus Mozart (1756 – 1791) | Piano Concerto No. 23 in A major, K. 488 1049 In 1781, 25-year-old Wolfgang Amadeus Mozart made a momentous decision: having served for nine Johann Sebastian Bach was a German composer, organist, harpsichordist, violist and long, unhappy years as court musician to the Archbishop of Salzburg, Mozart decided – against the violinist whose collected body of work for chorus, orchestra, and solo instruments wishes of his controlling father – to give up his post and move to Vienna as a freelance musician – a represents the pinnacle of the Baroque period in music. During his lifetime, Bach’s highly unusual move at the time, especially for one with a young family. From then on until his death in 1791, Mozart made his living by giving music lessons, playing concerts and recitals, selling reputation rested mainly upon his incredible skill as a keyboard virtuoso; not until long his works to publishers and writing operas for the stage. after his death was his extraordinary genius as a composer fully understood and appreciated. During the winter of 1785, Mozart, his wife Constanze and their son Karl had taken up residence at No. 846 Schulerstrasse in Vienna. Mozart’s father Leopold paid them a visit in February and wrote to Although he had composed extended instrumental sequences for some of the cantatas, the his daughter: “You may gather what a fine apartment your brother has from the fact that he pays Brandenburg Concertos represent the first time that Bach had written purely instrumental four hundred and sixty florins rent (about $230) per year.” This may not have been a huge sum of music on such a large scale. By utilizing formal and stylistic elements of his predecessors money, but it was more than any member of the music-making Mozart family had been accustomed and adding a touch of his own genius, Bach reinvented the concept of the Concerto Grosso. to paying for lodgings.
These six concertos, which were composed for differing instrumental forces, were actually This was a happy time for Mozart. He was almost thirty and was approaching the height of his the belated fulfillment of a relatively vague request that Bach had received from Christian powers; annual Lenten concerts that he himself organized provided enough extra income to allow Ludwig, Margrave of Brandenburg, around 1719. At the time, Bach was music director at the him a comfortable apartment and temporary relief from financial concerns; he had recently become court of Leopold of Anhalt-Cöthen and there is actually ample evidence to indicate that the a father; his own proud father was visiting and witnessing his son’s success and, most importantly, the fickle Viennese public were impressed by his genius and were attending his concerts. concertos may have originally been composed for this employer, or at least, had been played in his court. When Bach put the finishing touches on the fair copy (which was dedicated to Mozart completed the Piano Concerto No. 23 just before the first performance of his other Christian Ludwig) in 1721, the passage of more than two years’ time suggests that things masterwork Le Nozze di Figaro on March 2nd, 1786. Figaro would receive its première a scant two had become less than satisfactory at Cöthen and he hoped to use the completed work as a months later, on May 1st. The concerto appears to have been started in either the winter of 1784/85 sort of entreé for employment. In any event, the Concertos didn’t seem to make much of an or possibly even earlier, in the winter of 1783/84; this longer gestation period allowed Mozart the impression on the would-be employer, as they lay untouched in Christian Ludwig’s library opportunity to incorporate significant changes to the score: for example, where early sketches show until after his death, thirteen years after Bach had presented them to him, at which time a pair of oboes, the finished score shows they had been replaced with clarinets. Through this they were inventoried as part of the estate at a value of four groschen each – a mere few substitution (and by omitting trumpets and timpani), Mozart creates a work with an unusually dark, mellow palette. cents apiece. Structurally less complex than is customary for Mozart, the 23rd Concerto is an unending flow of Happily, the works were saved and preserved by the noted music theorist and teacher melody, wavering at times on the brink between joy and sadness. The first movement, Allegro, Johann Philipp Kirnberger, one of Bach’s students, and the original scores later became part features what is known as a double exposition: the main thematic material is presented first by the of the collection of the Royal Library in Berlin. They were “rediscovered” during the revival orchestra and is then reiterated by the soloist. of Bach’s music in the 19th century and published in 1850. The second movement, an Adagio in 6/8, is a bittersweet Sicilienne in F-sharp minor and not only is Bach wrote the Brandenburg Concerto No. 4 around 1720. The work is in three movements, it Mozart’s only piece in that key; it would be his last slow movement in any minor key. marked Allegro, Andante and Presto, and features a solo violin and two solo flutes. The solo The finale, Allegro assai is in sonata-rondo form and brings the listener out of the sublimity of the violin part is quite virtuosic in the outer movements; in the second movement, the violin slow movement and ‘back to earth’ in a trice. The piano introduces a leaping theme which is then provides a bass when the concertino group plays unaccompanied. taken up by the orchestra, which then adds five additional themes, none of which reappears until Incidentally, Bach would later adapt the Fourth Brandenburg Concerto as the last of his set the end. The whole movement is a non-stop adventure without a single backward glance, of six harpsichord concertos (as the Concerto for Harpsichord, Two Recorders and Strings in culminating in an unusually energetic coda. F major, BWV 1057). It is much more than a mere transcription. As well as taking on most of - Guy Barast the solo violin’s role, the harpsichord also takes over some of the recorders’ parts in the Andante, plays a basso continuo role and occasionally adds a fourth line of counterpoint to what was originally a three-part instrumental texture.
58 Wolfgang Amadeus Mozart (1756 – 1791) | Piano Concerto No. 23 in A major, K. 488
In 1781, 25-year-old Wolfgang Amadeus Mozart made a momentous decision: having served for nine long, unhappy years as court musician to the Archbishop of Salzburg, Mozart decided – against the wishes of his controlling father – to give up his post and move to Vienna as a freelance musician – a highly unusual move at the time, especially for one with a young family. From then on until his death in 1791, Mozart made his living by giving music lessons, playing concerts and recitals, selling his works to publishers and writing operas for the stage.
During the winter of 1785, Mozart, his wife Constanze and their son Karl had taken up residence at No. 846 Schulerstrasse in Vienna. Mozart’s father Leopold paid them a visit in February and wrote to his daughter: “You may gather what a fine apartment your brother has from the fact that he pays four hundred and sixty florins rent (about $230) per year.” This may not have been a huge sum of money, but it was more than any member of the music-making Mozart family had been accustomed to paying for lodgings.
This was a happy time for Mozart. He was almost thirty and was approaching the height of his powers; annual Lenten concerts that he himself organized provided enough extra income to allow him a comfortable apartment and temporary relief from financial concerns; he had recently become a father; his own proud father was visiting and witnessing his son’s success and, most importantly, the fickle Viennese public were impressed by his genius and were attending his concerts.
Mozart completed the Piano Concerto No. 23 just before the first performance of his other masterwork Le Nozze di Figaro on March 2nd, 1786. Figaro would receive its première a scant two months later, on May 1st. The concerto appears to have been started in either the winter of 1784/85 or possibly even earlier, in the winter of 1783/84; this longer gestation period allowed Mozart the opportunity to incorporate significant changes to the score: for example, where early sketches show a pair of oboes, the finished score shows they had been replaced with clarinets. Through this substitution (and by omitting trumpets and timpani), Mozart creates a work with an unusually dark, mellow palette.
Structurally less complex than is customary for Mozart, the 23rd Concerto is an unending flow of melody, wavering at times on the brink between joy and sadness. The first movement, Allegro, features what is known as a double exposition: the main thematic material is presented first by the orchestra and is then reiterated by the soloist.
The second movement, an Adagio in 6/8, is a bittersweet Sicilienne in F-sharp minor and not only is it Mozart’s only piece in that key; it would be his last slow movement in any minor key.
The finale, Allegro assai is in sonata-rondo form and brings the listener out of the sublimity of the slow movement and ‘back to earth’ in a trice. The piano introduces a leaping theme which is then taken up by the orchestra, which then adds five additional themes, none of which reappears until the end. The whole movement is a non-stop adventure without a single backward glance, culminating in an unusually energetic coda.
- Guy Barast
59
SUZUKI PROGRAM INDIVIDUAL LESSONS Dorothy Gerber Youth Orchestra
GERBERSTRINGS.ORG
CHARLEVOIX CIRCLE OF ARTS 109 CLINTON, CHARLEVOIX, MI 49720
60 Friday August 2, 2:00pm Beaver Island Community School Kids in Koncert!
Robert Nordling, conductor Dorothy Gerber String Program, David Reimer, director
About the Dorothy Gerber Strings Program
The Dorothy Gerber Strings Program (DGSP) has a legacy of providing at no- charge beginning and intermediate strings education to schools in Northern Michigan since 2000. This service is made possible through The Cummings Fund in honor of Mrs. S. Dorothy Gerber, developer of Gerber Baby Foods. The DGSP gives instruction on the orchestral string instruments: violin, viola, cello and bass. While the emphasis of the Gerber Strings Program has traditionally focused on students from 3rd through 5th grade with upper level classes offered at a charge to the families, the DGSP will now provide string instruction from pre-kindergarten through seniors in high school under the umbrella of the Gerber program.
Today’s concert is generously sponsored by:
61 SPONSOR
WelcomeWELCOME TOto THEthe 18TH15th ANNUALAnnuAl Baroque on Beaver
111 cAptAin’s corner m-66 chArlevoix, mi 49720 MusicWWW.shopf FestivalAmilyfAre.com
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Friday August 2, 7:30pm Beaver Island Community School Mozart’s Farewell
Robert Nordling, conductor Festival Orchestra & Chorus
Overture to Act I of Saul George Frideric Handel (1685 – 1759)
Sinfonia Larghetto Allegro Andante larghetto
Dorothy Vogel, organ
Requiem, K. 626 Wolfgang Amadeus Mozart (1756 - 1791)
Introitus – Requiem Kyrie Sequenz Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa Offertorium Domine Jesu Hostias Sanctus Benedictus Agnus Dei Communio: Lux Aeterna
Karen Cook, soprano Erika Lawson-Morrison, alto Jonathon Lovegrove, tenor Thaddaeus Bourne, baritone
Festival Chorus
Tonight’s concert is generously sponsored by:
63 I. Introit: Requiem I. Introit: Requiem Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis. and let perpetual light shine on them. Te decet hymnus, Deus, in Sion, You are praised, God, in Zion, et tibi reddetur votum in Jerusalem. and homage will be paid to You in Jerusalem. Exaudi orationem meam, Hear my prayer, ad te omnis care veniet. to You all flesh will come. Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis. and let perpetual light shine on them.
II. Kyrie II. Kyrie Kyrie, eleison. Lord, have mercy on us. Christe, eleison. Christ, have mercy on us. Kyrie, eleison. Lord, have mercy on us . III. Sequence III. Sequence 1. Dies irae 1. Dies irae Dies irae, dies illa Day of wrath, day of anger Solvet saeclum in favilla, will dissolve the world in ashes, teste David cum Sibylla. as foretold by David and the Sibyl. Quantus tremor est futurus, Great trembling there will be quando judex est venturus, when the Judge descends from heaven cuncta stricte discussurus! to examine all things closely.
2. Tuba mirum 2. Tuba mirum Tuba mirum spargens sonum The trumpet will send its wondrous sound per sepulcra regionum, throughout earth's sepulchres coget omnes ante thronum. and gather all before the throne.
Mors stupebit et natura, Death and nature will be cum resurget creatura, astounded, when all creation rises again, judicanti responsura. to answer the judgement.
Liber scriptus proferetur, A book will be brought forth, in quo totum continetur, in which all will be written, unde mundus judicetur. by which the world will be judged.
Judex ergo cum sedebit, When the judge takes his place, quidquid latet, apparebit, what is hidden will be revealed, nil inultum remanebit. nothing will remain unavenged.
Quid sum miser tunc dicturus? What shall a wretch like me say? quem patronum rogaturus, Who shall intercede for me, cum vix justus sit securus? when the just ones need mercy?
3. Rex tremendae 3. Rex tremendae Rex tremendae majestatis, King of tremendous majesty, qui salvandos savas gratis, who freely saves those worthy ones, salve me, fons pietatis. save me, source of mercy.
4. Recordare 4. Recordare Recordare, Jesu pie, Remember, kind Jesus, quod sum causa tuae viae; my salvation caused your suffering; ne me perdas illa die. do not forsake me on that day.
Quaerens me, sedisti lassus, Faint and weary you have sought me, redemisti crucem passus; redeemed me, suffering on the cross; 2 tantus labor non sit cassus. may such great effort not be in vain.
Juste judex ultionis, Righteous judge of vengeance, donum fac remissionis grant me the gift of absolution ante diem rationis. before the day of retribution.
Ingemisco, tamquam reus: I moan as one who is guilty: culpa rubet vultus meus; owning my shame with a red face; supplicanti parce, Deus. suppliant before you, Lord.
Qui Mariam absolvisti, You, who absolved Mary, et latronem exaudisti, and listened to the thief, mihi quoque spem dedisti. give me hope also.
Preces meae non sunt dignae, My prayers are unworthy, sed tu, bonus, fac benigne, but, good Lord, have mercy, ne perenni cremer igne. and rescue me from eternal fire.
Inter oves locum praesta, Provide me a place among the sheep, Et ab haedis me sequestra, and separate me from the goats, Statuens in parte dextra. guiding me to Your right hand.
64 5. Confutatis 5. Confutatis Confutatis maledictis, When the accused are confounded, flammis acribus addictis, and doomed to flames of woe, voca me cum benedictus. call me among the blessed.
Oro supplex et acclinis, I kneel with submissive heart, cor contritum quasi cinis, my contrition is like ashes, gere curam mei finis. help me in my final condition.
6. Lacrimosa 6. Lacrimosa Lacrimosa dies illa, That day of tears and mourning, qua resurget ex favilla when from the ashes shall arise, judicandus homo reus. all humanity to be judged. Huic ergo parce, Deus, Spare us by your mercy, Lord, pie Jesu Domine, gentle Lord Jesus, dona eis requiem. Amen. grant them eternal rest. Amen.
IV. Offertorium IV. Offertory I. Domine Jesu I. Domine Jesu Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, libera animas omnium fidelium liberate the souls of the faithful, defunctorum de poenis inferni departed from the pains of hell et de profundo lacu. and from the bottomless pit.
Libera eas de ore leonis, Deliver them from the lion's mouth, ne absorbeat eas tartarus, lest hell swallow them up, ne cadant in obscurum. lest they fall into darkness.
Sed signifer sanctus Michael Let the standard-bearer, holy repraesentet eas in lucem sanctam. Michael, bring them into holy light. Quam olim Abrahae promisisti et semini ejus. Which was promised to Abraham and his descendants. Quaerens me, sedisti lassus, Faint and weary you have sought me, redemisti crucem passus; redeemed me, suffering on the cross; 2 tantus labor non sit cassus. may such great effort not be in vain.
Juste judex ultionis, Righteous judge of vengeance, donum fac remissionis grant me the gift of absolution ante diem rationis. before the day of retribution.
Ingemisco, tamquam reus: I moan as one who is guilty: culpa rubet vultus meus; owning my shame with a red face; supplicanti parce, Deus. suppliant before you, Lord.
Qui Mariam absolvisti, You, who absolved Mary, et latronem exaudisti, and listened to the thief, mihi quoque spem dedisti. give me hope also.
Preces meae non sunt dignae, My prayers are unworthy, sed tu, bonus, fac benigne, but, good Lord, have mercy, ne perenni cremer igne. and rescue me from eternal fire.
Inter oves locum praesta, Provide me a place among the sheep, Et ab haedis me sequestra, and separate me from the goats, Statuens in parte dextra. guiding me to Your right hand.
5. Confutatis 5. Confutatis Confutatis maledictis, When the accused are confounded, flammis acribus addictis, and doomed to flames of woe, voca me cum benedictus. call me among the blessed.
Oro supplex et acclinis, I kneel with submissive heart, cor contritum quasi cinis, my contrition is like ashes, gere curam mei finis. help me in my final condition.
6. Lacrimosa 6. Lacrimosa Lacrimosa dies illa, That day of tears and mourning, qua resurget ex favilla when from the ashes shall arise, judicandus homo reus. all humanity to be judged. Huic ergo parce, Deus, Spare us by your mercy, Lord, pie Jesu Domine, gentle Lord Jesus, dona eis requiem. Amen. grant them eternal rest. Amen.
IV. Offertorium IV. Offertory I. Domine Jesu I. Domine Jesu Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, libera animas omnium fidelium liberate the souls of the faithful, defunctorum de poenis inferni departed from the pains of hell et de profundo lacu. and from the bottomless pit.
Libera eas de ore leonis, Deliver them from the lion's mouth, ne absorbeat eas tartarus, lest hell swallow them up, ne cadant in obscurum. lest they fall into darkness.
Sed signifer sanctus Michael Let the standard-bearer, holy repraesentet eas in lucem sanctam. Michael, bring them into holy light. Quam olim Abrahae promisisti et semini ejus. Which was promised to Abraham and his descendants.
2. Hostias 2. Hostias 3 Hostias et preces tibi, Domine, Sacrifices and prayers of praise, Lord, laudis offerimus. we offer to You. Tu sucipe pro animabus illis, Receive them in behalf of those souls quaram hodie memoriam facimus. we commemorate today. Fac eas, Domine, de morte transire ad vitam, And let them, Lord, pass from death to life, Quam olim Abrahae promisisti et semini ejus. which was promised to Abraham and his descendants.
V. Sanctus V. Sanctus Sanctus, sanctus sanctus Dominus Deus Sabaoth Holy, holy holy is the Lord God of Sabaoth Pleni sunt caeli et terra gloria tua. Heaven and earth are full of your glory. Osanna in excelsis. Hosanna in the highest.
VI. Benedictus VI. Benedictus Benedictus qui venit in nomine Domini Blessed is he who comes in the name of the Lord. Osanna in excelsis. Hosanna in the highest.
VII. Agnus Dei VII. Agnus Dei Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem. grant them eternal rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem. Grant them eternal rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem sempiternam. grant them eternal rest forever.
VIII. Communio: VIII. Communion: Lux aeterna Lux aeterna Lux aeterna luceat eis, Domine, Let eternal light shine on them, Lord, cum sanctis tuis in aeternum, as with Your saints in eternity, quia pius es. because You are merciful. Requiem aeternum dona eis, Domine, Grant them eternal rest, Lord, et Lux perpetua luceat eis, and let perpetual light shine on them, cum Sanctus tuis in aeternum, as with Your saints in eternity, quia pius es. because You are merciful.
65
Wolfgang Amadeus Mozart (1756 – 1791) | Requiem, K. 626
The origins of Mozart’s last, unfinished work, the Requiem, have long been shrouded in mystery. Dramatic accounts of all sorts, including stage and film, have attempted to portray the commission in a variety of ways. In one account, a dark angel of death appeared and instructed Mozart to write the work to celebrate his own impending death; in another, Mozart’s supposed archrival Antonio Salieri commissioned it from the dying composer so that he might later put his own name on the work to present it in honor of Mozart.
The truth of the Requiem’s commission may be less dramatic than the aforementioned macabre scenarios but it is still relatively unusual. In 1791, while at work on his opera Die Zauberflöte, Mozart received a commission from a stranger who asked him to compose a requiem mass, asking him to work in complete secrecy and tell no one of the commission. It was later learned that this stranger was a messenger sent by one Count Walsegg-Stuppach, who wanted the Requiem as his own memorial to his recently deceased wife and who intended to have the work recopied in his own name. Mozart initially did not even figure as its composer.
Like so much of Mozart’s church music (the C minor Mass comes to mind), the Requiem was destined to remain unfinished. Following the composer’s death on December 5th 1791, it was his widow Constanze’s mission to get the work completed – by whatever means possible – in order to present it to the count and collect the remaining commission. On Mozart’s death, Constanze (or perhaps someone acting on her behalf) gave the incomplete score to Joseph Eybler, but he did little more than to fill in the instrumentation in certain sparse sections. The task eventually fell to Mozart’s pupil and close friend in his last months, Franz Xaver Süssmayr, who was perhaps not the most gifted composer, but could keenly imitate Mozart’s style and is reputed to have had conversations regarding the shape and feel of the work with Mozart prior to his death. This being the case, it is not clear why Eybler was ever approached.
Mozart only completed the first two sections of the work; Süssmayr would later claim that the ‘Sanctus’, ‘Benedictus’ and ‘Agnus Dei’ sections were entirely of his own creation. He adapted Mozart’s music from the two opening sections for use in the ‘Lux aeterna’ and ‘Cum sanctis tuis’ sections and orchestrated the entire section from the ‘Dies Irae’ to the ‘Hostias’, for most of which Mozart had left figured bass notation and a top line in order to preserve continuity. Given the documentation that remains – Mozart’s autograph score with Eybler’s notations, Süssmayr’s additions and some miscellaneous sketches, it is unlikely that we will ever know whether Süssmayr’s claims were true or not. It was in his interest to claim authorship of the majority of the work; it was in Constanze’s interest to claim that the majority of it had been her husband’s. The completion has been criticized as clumsy and unfaithful to the spirit of Mozart by Richard Strauss, the conductor Bruno Walter and many others; several other completions of the work have been undertaken in recent years, most notably by Benjamin Britten (1970) and Franz Beyer (1971).
- Guy Barast
66 George Frideric Handel (1685 – 1759) | Overture to Act I of Saul, HWV 53
Baroque composer George Frideric Handel was born in Germany in 1685 to Georg Händel and Dorothea Taust. Handel’s father, who was sixty-three when his son was born, was an eminent barber-surgeon who had served two royal courts. Handel’s first biographer, John Mainwaring, later wrote “he had discovered such a strong propensity to music that his father, who always intended him for the study of the Civil Law, had reason to be alarmed. He strictly forbade him to meddle with any musical instrument but Handel found means to get a little clavichord privately convey’d to a room at the top of the house. To this room he constantly stole when the family was asleep.”
Though German-born, Handel had been a resident of London since 1712 and had become quite successful with the British public as a composer of Italian operas. While composer-in-residence to the Duke of Chandos from 1717 to 1719, Handel was able at last to gain some experience setting English texts to music, and among other vocal works he composed church anthems and two stage works, Acis and Galatea and Esther. Around 1731, a performance of Handel’s Esther was given in London without the composer’s participation and was well-received, so Handel decided to revise it and present it at the theatre where his Italian operas were being performed. The Bishop of London, having learned of this plan, refused to allow a drama based on a Biblical story to be presented as a stage work with actors and so the composer presented it in concert form instead, giving rise to the form that came to be known as the English oratorio. The idea caught on, and Handel composed a number of oratorios for the English public, the best known of these being Messiah (1741), with a libretto by Charles Jennens.
Handel’s three-act dramatic oratorio Saul also featured a libretto by Jennens and was premiered at the King’s Theatre in January of 1739. The story, which Jennens lifted from the First Book of Samuel, details the relationship of the first king of Israel with David, his eventual successor; and follows its course from one of admiration to envy to pure hatred, ultimately leading to the monarch’s downfall.
As this was a departure from his Italian operas, Handel felt the freedom to conceive Saul on the grandest possible scale, making use of a large orchestra with instrumental effects that were quite unusual (if not unknown) for the time: among these the use of a carillon, a specially built organ (for him to play during the work), trombones (which were not standard in orchestras of the time), kettledrums (which had to be borrowed from the Tower of London!), extra woodwinds (for the ‘Witch of Endor’ scene), and solo harp. Handel drove Jennens to distraction with what the dramatist considered to be unnecessary extravagances, quipping at one point that the composer must surely be “overstock’d with money”.
The overture to Act I of Saul is a model of Baroque balance and lightness and provides the listener with no hint of the sonic surprises that lie ahead. It is a substantial introduction to the work in four parts:
v Allegro (4/4; two oboes, strings, and pianoforte) v Larghetto (3/4; add bassoon, divide second violins and add organ, cembalo and theorbo) v Allegro (4/4; same instrumentation as the beginning, with organ) v Andante larghetto (3/4; same orchestration as the beginning)
The fourth and final section is statelier in measure and sets the tone for the drama to come.
- Guy Barast
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Saturday August 3, 7:30pm Beaver Island Community School All the World’s a Stage
Robert Nordling, conductor Peter Amster, narrator Jeffrey Nordling, narrator Festival Chorus & Orchestra
Overture to A Midsummer Night’s Dream, Op. 21 Felix Mendelssohn (1809 – 1847)
Musiques pour Le roi Lear Claude Debussy (1862 – 1918) Fanfare The Sleep of Lear
Serenade to Music Ralph Vaughan Williams (1872 – 1958)
Karen Cook, soprano Erika Lawson-Morrison, alto Jonathon Lovegrove, tenor Thaddaeus Bourne, baritone
Festival Chorus
Overture to The Fairy-Queen, Z. 629 Henry Purcell (1659 – 1695)
Suite from Henry V William Walton (1898 – 1937)
Overture: The Globe Playhouse Passacaglia: Death of Falstaff Charge and Battle "Touch her soft lips and part" Agincourt Song
A Gaelic Blessing John Rutter (b. 1945)
Tonight’s concert is generously sponsored by:
69 Felix Mendelssohn (1809 – 1847) | Overture to A Midsummer Night’s Dream
German composer Felix Mendelssohn was one of the most naturally gifted musicians of the 19th century, his talents having been developed to a considerable degree while he was still a boy. Musical talent often shows at an early age, but even among musical prodigies, some still clearly stand out above the rest. While Mozart certainly comes to mind, Mendelssohn is definitely in the same league and he enjoyed a number of distinct advantages that Mozart did not share: he grew up in a wealthy, culturally sophisticated home where artistic achievement of all kinds was valued, and he also had access to the finest teachers. Even with such a ‘head start’, the achievements of his youth and teenage years are truly remarkable and they include the string symphonies, a chamber opera, the wonderful Octet in E-flat major (that he completed in 1825 at the mere age of 16) and the Overture to A Midsummer Night’s Dream (1826).
Several of Felix’s early works were first performed at Mendelssohn family concerts, to which friends were often invited on Sundays. Here the young composer would, depending upon the program, play the viola, conduct the orchestra, and sometimes he would even provide the score. Despite being surrounded by Romantic influences, Mendelssohn’s inspiration was primarily Classical and his musical ideals were embodied in the works of Bach, Handel and Mozart rather than those of his contemporaries.
Mendelssohn’s most beloved work is without a doubt his overture (and incidental music) to Shakespeare’s A Midsummer Night’s Dream. He had already written the overture by the age of seventeen, strongly influenced by performances of the Bard’s works given during his youth (in German translation) in the Mendelssohn home. Seventeen years later, in 1843, he received a commission from Friedrich Wilhelm IV to compose incidental music to the play and he masterfully constructed a suite of thirteen numbers, using themes from his brilliant overture as leitmotivs for the various dramatic levels, in much the same fashion as Wagner used leitmotivs in his music dramas. For example, the four hushed chords which open the overture are used to herald the entry of Oberon and Titania in the finale of the incidental music. The themes in smaller rhythmic units that follow (pianissimo, in the upper strings) become the song of the spirits, elves and fairies. What about that interval of the falling 9th that you hear midway through the overture? It can only be Bottom’s ‘hee-haw’, of course.
By connecting the themes in the Overture to their appearance many years later in the incidental music makes not only for a fascinating and illuminating exercise, it also serves to illustrate Mendelssohn’s dramatic gifts and his true brilliance as a composer. That in his youth he was able to so fully and completely encapsulate the magical dream world of Shakespeare’s midsummer night into a single, scintillating overture, and so much later could make that same microcosm expand so perfectly as to fit, in every sense, the fullness of the dramatic work, is an astonishing feat.
-Guy Barast
70 JEFFREY NORDLING
Jeffrey Nordling has been acting professionally for thirty years. He received his MFA in Acting at Southern Methodist University and began his career on the stage both in New York City and at regional theatres. Jeffrey’s film and television work has spanned his entire career and includes: HBO’s multi- Emmy, Golden Globe, and SAG Award-winning Big Little Lies, Showtime’s I’m Dying Up Here, ABC’s Nashville, the feature films Sully, Tron, and Surfer, Dude as well as Home of the Brave, Flicka, Flight 93 for A&E, Arrow, Dirt, season seven of “24”, Desperate Housewives, Body of Proof, Killer Women and Rake. Other work includes HBO’s And the Band Played On and Citizen Cohn as well as War Stories, Once and Again, Ask Me Again, Providence, Apollo 11, Quiz Show, Ruby, Working Girl, Holy Matrimony, Mighty Ducks 3 and many others. On stage he was seen in the world premiere of Robert Schenkkan’s Lewis and Clark Reach the Euphrates at The Mark Taper Forum as well as Richard Greenberg’s Take Me Out at The Geffen Playhouse. His other regional credits include work at the Old Globe in San Diego and the Oregon Shakespeare Festival. Jeffrey’s work on the New York stage includes Shakespeare in the Park, The Public Theatre and CSC. Jeffrey is a proud member of the Screen Actor’s guild and Actors Equity as well as The Antaeus Company, a classical repertory company in Los Angeles.
Peter Amster has been directing and choreographing theatre and opera for 49 years. In Chicago, where he lived for 40 years, he directed and choreographed at the Goodman Theater, Court, Northlight, Apple Tree, Route 66, Live Bait, the Lyric Opera, Chicago Opera Theatre, Chicago Symphony Orchestra, and Steppenwolf. Elsewhere in the United States, he has directed at Oregon Shakespeare Festival, Utah Shakespeare Festival, American Players Theatre, Peninsula Players, Weston Playhouse, Indiana Repertory Theatre, the Maltz Jupiter Theatre, Cleveland Play House, Syracuse Stage and Laguna Playhouse. Peter has taught Theatre, Opera and Performance Studies at Northwestern University, Louisiana State University, California Institute of the Arts, Roosevelt University, and Columbia College. He has been a summer resident of Beaver Island for 35 years, and winters in Sarasota, Florida, where he is Artistic Associate and regular guest director at the Asolo Repertory Theatre, Florida’s flagship theatre.
71
MUSICIAN SPOTLIGHT
Adam Liebert is a proud native Grand Rapidian and has been a member ofClarinetist the Grand Steve Rapids Landane grew up in Bay City, Michigan in a family Symphony thatsince val 2001.ued the Adam arts. In high school, Steve was constantly involved began his musicalwith high interests school early band and choir, several county wide musical listening to theall theater records productions around every year (both on stage and in the orchestra) the house such as: Pictures at an Exhibition, Theand 1812 served overture, as principal and clarinet throughout high school in the Bay a lot of BarryYouth Manilow Symphony. - although Steve graduated from Michigan State University not so muchwith a a followerdegree inthese Instrumen tal/Choral Music Education, a Masters in days. He tookSchool piano Counseling, lessons at a and studied clarinet with Keith Stein and Elsa young age butVerdehr it wasn’t, and until was he a member of the Men’s Glee Club. He has served heard and witnessed a performanceas of a“Pictures” band and at a choirGRS director in Rockford Public Schools and has th concert for just5th completedgraders that hishe 35 year as a School Counselor in grades K-12 found his truewith calling Rockford. and chose In addition to Baroque on Beaver, he currently the violin. Afterperforms only two with years the of Grand Rapids Symphonic Band, West Michigan playing, he wonSavoyards a spot in the(Gilbert Blue & Sullivan Productions), West Michigan Lake International Youth Symphony whichEvangelical toured Germany, Choral Society, and has performed with various groups Belgium, Netherlands, and Switzerland. throughout West Michigan including the Holland Symphony. Married and living in East Grand Rapids, MI, Steve is the very proud grandfather of three beautiful grandchildren, with one more on the way in September 2018. Adam studied at Western Michigan University and was a member of the Kalamazoo Symphony during that time. Upon graduation, a strong desire to return to Europe brought him to Karlsruhe, Germany where he continued his studies at the Staatliche Hochschule für Musik. He was on hand for several CD productions with the Heidelberger Symphoniker; toured Italy, Hungary, Russia, Japan and China with the Philharmonie der Nationen; and taught English at Berlitz. Adam has participated in many music festivals including: Itu and Londrina festivals of Brazil, served as Concertmaster of the Disney Grammy All- American College Orchestra at EPCOT, performed in the Pine Mountain Music Festival in Northern Michigan, and taught and performed at the Faulkner Chamber Music Festival in Little Rock, Arkansas. He performs each summer at the Chamber Music Festival of Saugatuck as well as the Baroque on Beaver Island Festival. Adam is also often featured at venues such as the Grand Rapids Art Museum’s Sunday Classical Series and the White Lake Chamber Music Festival. In addition to being a member of the Grand Rapids Symphony, Adam is Fourth Chair Assistant Principal First Violin of the West Michigan Symphony. His major teachers include Renata Knific (Western Michigan University), Paul Kantor, Shmuel Ashkenasi (Vermeer Quartet), and Blair Milton (Chicago Symphony).
In non-musical life, Adam enjoys working out at Orangetheory Fitness, cycling, movies, TV, and a good meal with good friends from time to time.
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