Grantors
CES is supported in part by the Maryland State Arts Council (msac.org) and by the City of Frostburg and the Allegany Arts Council.
The engagement of Crys Matthews is funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts. The engagements of Ghost-Note and Veronica Swift are made possible through the Jazz Touring Network program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts.
The presentation of Maryland Symphony Orchestra is supported by the Community Trust Foundation’s Iris and Peter Halmos Community Fund and the FSU Foundation.
The creation of the CES 2019–20 season brochure is supported by an Allegany County Tourism Marketing Reinvestment grant. SPONSORS The presentation of Maryland Symphony Orchestra is sponsored by corporate signature donor, First Peoples Community Federal Credit Union; individual signature donors Mr. Douglas Schwab and Mrs. Betsey Hurwitz-Schwab; and by Matthew J. Allaway, D.O. and Ms. Kelli L. Allaway, Mrs. Bernice A. Friedland, Ms. Janice S. Keene, the Honorable Mary Beth Pirolozzi, Mr. Victor S. Rezendes and Mr. John E. Minnich, Ms. Sandra K. Saville, and Mr. Nicholas J. Scarpelli and Ms. Tama S. Scarpelli. CES is supported in part by the Maryland State Arts Council. On the web at msac.org. CES is supported in part by the City of Frostburg.
The presentation of Cirque FLIP Fabrique is sponsored by Thomas Cumberland Subaru Hyundai.
The presentation of Russian National Ballet is sponsored by Dr. Julianne K. Ferris and Mr. Daniel F. McMullen.
The engagement of Terry Barber is sponsored by the Enordo “Moose” Arnone family.
The performance of Cirque Mei is sponsored by Terry Murphy.
The engagements of the Brubeck Brothers Quartet and Veronica Swift are sponsored by Dr. and Mrs. Peter Halmos.
CES Arts for Enrichment and Offstage with WFWM programs are sponsored by Gonzaga Health.
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 1 An Evening with Jo Dee Messina Saturday, October 19 | 7:30 PM Alice R. Manicur Assembly Hall, Lane University Center
The irrepressible spirit of country music has been Female Vocalist award, the CMA Horizon award in Jo Dee Messina’s DNA since her childhood in and the nod for Most Played Country Female of Holliston, Mass. She was first attracted to country 1999 from Billboard. The Burn album entered the in the music of Alabama and Hank Jr., as well as Country Albums chart at No. #1, went platinum Loretta Lynn, Dolly Parton and Reba McEntire. She and earned two Grammy nominations. Hits appeared in local plays and musicals as a girl, and like “Lesson in Leavin,’” “Because You Love Me,” by 16 she had a band that included her sister on “Downtime,” “Bring On the Rain,” “That’s the Way” bass and her brother on drums. She performed in and “My Give a Damn’s Busted” would cement clubs throughout the Northeast, booking shows her reputation as one of country’s most loved and and hauling gear, with a work ethic she inherited enduring hit-makers. Along the way, Messina from her single-parent mother. earned a well-deserved reputation as an electric live performer, becoming one of the first women of At 19, she loaded a car and headed to Nashville, country to mount a major headlining tour. where she entered talent contests and got a regular gig on Nashville’s Live at Libby’s radio Messina’s drive is evident in her personal life as show. Producer Byron Gallimore heard her and well. A dedicated runner, she has completed two introduced her to another struggling newcomer marathons and still trains. “On the road, I’ll get up named Tim McGraw. Messina was signed and then and run, and since my steel player is training with dropped by one major label before. At a backstage me, we run together,” she says. “Then I go to the meeting at Fan Fair, she met and charmed a gym and lift weights, have lunch, do the sound Curb Records executive and got a record deal on check and then my meet and greet, do the show the spot. and get to bed as early as I can. No staying up late partying!” With Gallimore and McGraw producing, Messina gained attention out of the box with “Heads Her marriage to Chris Deffenbaugh and the addition Carolina, Tails California” and “You’re Not in of their son, Noah, in January 2009 are part of a life Kansas Anymore.” Her follow-up album, I’m in which genuine comfort and happiness seem to be Alright, exploded with its back-to-back-to-back the main order of business. Balancing motherhood chart-toppers “Bye Bye” (ASCAP’s Song of the and her career is a challenge she faces head-on with Year), “I’m Alright” and “Stand Beside Me,” which a joy befitting the situation. made her a star. Messina won ACM’s Top New
2 FROSTBURG STATE UNIVERSITY | CES 2019.2020 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 3 “My guard is kind of let down a little,” she says. “I’m a little more vulnerable because I am in a safe place. And it’s not just my personal life, but me as a person. I’ve just grown. I’ve realized that I can only be who I am. I was married to my career for years,” she says. “It came first. It came before birthdays, it came before weddings and funerals, and it came before everything. A couple of years ago I said, ‘Wait a minute! This garden needs some tending. The most real thing in my life is relationships.’”
For Messina, it’s now about balance and living life to the fullest.
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 3 4 FROSTBURG STATE UNIVERSITY | CES 2019.2020 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 5 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 5 Maryland Symphony Orchestra The American Symphony Elizabeth Schulze, Conductor Sunday, November 17 | 3 PM Pealer Recital Hall, Woodward D. Pealer Performing Arts Center
FANFARE OF THE FLOWER...... J. Kimo Williams
SYMPHONY NO. 1 IN E MINOR...... Florence Price
INTERMISSION
SYMPHONY NO. 9 IN E MINOR, OP. 95, “From the New World”...... Antonín Dvořák
Pre-Performance Flag Dedication Ceremony Pay tribute to military veterans and service members with a flag dedication ceremony performed by the Vietnam Veterans of America Chapter No. #172.
6 FROSTBURG STATE UNIVERSITY | CES 2019.2020 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 7 Thank You to Our Sponsors
Corporate Signature Donor
Individual Signature Donor Mr. Douglas Schwab & Mrs. Betsey Hurwitz-Schwab
Iris and Peter Halmos Community Fund
FROSTBURG STATE UNIVERSITY FOUNDATION, INC. Opportunity Grant
Individual Donors Matthew J. Allaway, D.O. and Ms. Kelli L. Allaway Mrs. Bernice A. Friedland Ms. Janice S. Keene The Honorable Mary Beth Pirolozzi Mr. Victor S. Rezendes and Mr. John E. Minnich Ms. Sandra K. Saville Mr. Nicholas J. Scarpelli and Ms. Tama S. Scarpelli
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 7 ABOUT THE COMPOSERS James Kimo Williams James Kimo Williams’ compositions have been performed by symphonies across the country. He has received numerous accolades throughout his career, including the Vietnam Veterans of America’s Excellence in the Arts Award. Along with actor Gary Sinise, he is co-founder of the Lt. Dan Band, which was created to present USO shows for active-duty service members. Williams resides in Shepherdstown, W.Va.
Antonín Leopold Dvořák Legendary Bohemian composer Antonín Leopold Dvořák achieved worldwide recognition with a style described as “the fullest recreation of a national idiom with that of the symphonic tradition, absorbing folk influences and finding effective ways of using them.” In 1892, while serving as director of the National Conservatory of Music in New York, Dvořák proclaimed that African-American and Native American music should be used as a foundation for the growth of American music; through the music of these cultures, he believed Americans would establish their own national style.
Florence Beatrice Price Born in Little Rock, Ark., in 1887, Florence Beatrice Price studied at the prestigious New England Conservatory of Music. Although her training was steeped in European tradition, her work reflects the American idiom and her Southern roots, and she frequently used blues and African-American spirituals as inspiration for her arrangements. Price’s compositions almost vanished from history until 2009, when a trove of her lost manuscripts was discovered in an abandoned house on the outskirts of Chicago.
8 FROSTBURG STATE UNIVERSITY | CES 2019.2020 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 9 COMPOSER’S NOTES FANFARE OF THE FLOWER J. Kimo Williams
As I contemplated this new music work, I wanted to compose something that would uniquely represent my concept of a “Fanfare.” The Cambridge English Dictionary defines a fanfare as “a loud, short piece of music played on brass instruments, often to announce something important.” Many composers such as Aaron Copland, begins and emphasizes their fanfares with these brass flourishes—A bombastic arrival of the subject at hand.
I thought through how I might provide a similar important announcement but to deemphasize the initial bombastic introduction. In that this work was commissioned as part of the 20th year celebration of Elizabeth Shultz has Music Director of the Maryland Symphony, I wanted to do something a little different and unique (as is Elizabeth).
To that end, my muse did not suggest the standard loud machismo entrance, and instead, I sought a more subtle muliebrity sonority as my entrance and motif.
I attended Leilehua High School in Hawaii in 1969 and what has stuck with me over all these years, is remembering the daily smell of flowers around the necks of so many of us as we attended classes. (Leilehua is translated to mean a wreath of the Lehua flower).
After High School, I joined the Army and served in Vietnam. While there, I began my passion for music. I collected melodies (that I would compose and record into a cassette player) that spoke to my experiences in Vietnam and my thoughts of home.
For “Fanfare of the Flower,” I choose one of these early motifs to express my sense of the importance of a flower in nature specifically, the monocarpic plant that flowers, seeds and die. A monocarpic plant uses all its energy to blossom and has nothing left to sustain itself. It is the ultimate of sacrifice, as this spent parent has given its life for the future of its progeny. The seeds from this flowering will land in a suitable location to germinate, and the pups will root themselves, and the whole process starts anew.
The importance of this life cycle is best represented in a poem by Emily Dickinson, which is my inspiration for this composition.
There is a flower that Bees prefer
by Emily Dickinson
There is a flower that Bees prefer — And Butterflies—desire— To gain the Purple Democrat The Humming Bird—aspire—
And Whatsoever Insect pass— A Honey bear away Proportioned to his several dearth And her—capacity—
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 9 COMPOSER’S NOTES Her face be rounder than the Moon And ruddier than the Gown Or Orchis in the Pasture— Or Rhododendron—worn—
She doth not wait for June— Before the World be Green— Her sturdy little Countenance Against the Wind—be seen—
Contending with the Grass— Near Kinsman to Herself— For Privilege of Sod and Sun— Sweet Litigants for Life—
And when the Hills be full— And newer fashions blow— Doth not retract a single spice For pang of jealousy—
Her Public—be the Noon— Her Providence—the Sun— Her Progress—by the Bee—proclaimed— In sovereign—Swerveless Tune—
The Bravest—of the Host— Surrendering—the last— Nor even of Defeat—aware— What cancelled by the Frost—
Using a pentatonic motif, I move through the life cycle of a flower, starting with a pianissimo timpani and bass ostinato, The Germination.
This crescendos with entrances by low brass, trumpets, woodwinds, and strings, builds to a triple forte fermata, Breaking Through.
The ostinato recapitulates at pianissimo, and the central motif enters. This motif is repeated with the different sections of the orchestra, once again with a crescendo to triple forte, Growth and Blossom.
A brass contrapuntal section suggests the seeds spreading and creating new life, The Seeding.
The main motif is presented at a faster tempo as the Seeding theme is superimposed on the motif representing this life cycle repeating its natural cycle.
As the composition ends, the flower dies at pianissimo with the timpani and bass ostinato returning and metaphorically reflecting a new heartbeat to begin a new life.
10 FROSTBURG STATE UNIVERSITY | CES 2019.2020 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 11 PROGRAM NOTES SYMPHONY NO. 1 IN E MINOR orchestrations for WGN Radio and even composed Florence Price popular songs under the pen name Vee Jay. Born April 9, 1887, in Little Rock, Arkansas Died June 3, 1953, in Chicago, Illinois Her big break came in 1939 when soprano Marian Anderson, who mounted an historic Lincoln This work was premiered on June 15, 1933, Memorial concert after she had been denied the use by the Chicago Symphony Orchestra conducted by of Washington’s Constitution Hall by the Daughters Frederick Stock. It is scored for two piccolos, two of the American Revolution because of her race, flutes, two oboes, two clarinets, two bassoons, performed Price’s setting of the spiritual, “My Soul’s four horns, two trumpets, three trombones, tuba, Been Anchored in the Lord.” Price lived the rest of her timpani, percussion, and strings. life in Chicago and was well known in her time as the first black female composer to garner national Born in 1887 in a racially integrated neighborhood attention, but after her death in 1953, her music in Little Rock, Florence Price (born Florence Smith) faded from memory…mostly. was the daughter of a dentist and enjoyed a happy childhood. She was precocious as a musician and Price’s orchestral music was ignored by many had her first piece published at age 12. She was important conductors. She composed four valedictorian of her senior class at Capitol Hill School symphonies of which three survive and two at age 16. It was a big step for a young African- were recently published. She wrote in a letter to American teenager to move to Boston and study Serge Koussevitzky, “To begin with I have two at the New England Conservatory, one of the few handicaps—those of sex and race. I am a woman; prestigious music schools in the country to accept and I have some Negro blood in my veins … I student without regard to race, but she jumped at would like to be judged on merit alone.” Just like the the opportunity. In Boston, she studied with the others, Koussevitzky, famed conductor of the Boston illustrious composer George Whitefield Chadwick Symphony, did not program her works. However, one and earned her degree in 1907. A few years after conductor was pleased to showcase her talent— returning home, she was offered the directorship of Frederick Stock of the Chicago Symphony Orchestra. the music department of Clark University in Atlanta where she stayed until 1912. She returned to Little In 1932 Price submitted a handful of works to Rock and married the attorney Thomas Jewell Price, Chicago’s Wanamaker Music Contest. All of them but found that the racial climate was becoming received accolades, but her First Symphony took unbearable with lynchings becoming commonplace. top honors. In the 1890s, composer Antonín Dvořák declared that the United States had all the makings In 1927 the Prices moved to Chicago. Almost of a great national musical tradition in the songs immediately after moving, she filed for divorce of Native- and African-Americans. Price’s style is from Thomas—an especially independent and somewhat conservative, but she is always inventive. bold action for the time. This was a period of Her orchestration is interesting and new. Her great musical growth for Price, as she enrolled in First Symphony is modeled after Dvořák’s famous the American Conservatory of Music and Chicago Symphony No. 9 in E minor, “From the New World.”. Musical College. She signed a publishing contract with G. Schirmer and immersed herself in music. No doubt the prize committee recognized To make ends meet, she wrote radio jingles and these features, which also appealed to Stock. played organ to accompany silent movies. She wrote He programmed the work on the Chicago Symphony
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 11 PROGRAM NOTES Orchestra’s June 15, 1933, program at the Chicago SYMPHONY NO. 9 IN E MINOR, OP. 95, World’s Fair Century of Progress Exhibition entitled “From the New World” “The Negro in Music.” Works by John Alden Carpenter, Antonín Dvořák Roland Hayes, Samuel Coleridge-Taylor, and Harry T. Born September 8, 1841, in Mühlhausen, Bohemia Burleigh also appeared on this historic program. Died May 1, 1904, in Prague, Czech Republic
Price’s Symphony No. 1 opens with a murmur in This work was premiered on December 16, 1893, the strings with a soft bassoon melody that passes by the New York Philharmonic in Carnegie Hall. throughout the woodwind section and is developed Anton Seidl conducted. It is scored for piccolo, two at length. Dvořák’s influence is pervasive, but the flutes, two oboes, two clarinets, two bassoons, result is undoubtedly American, as opposed to four horns, trumpet, three trombones, tuba, Dvořák’s completely Czech reflection on American timpani, triangle, cymbals, and strings. life. A gentler second section unfolds as a bucolic interlude before the exposition repeats. Price Antonín Dvořák had a strong affinity for the music provides a masterfully pastoral development section of common people. He collected and studied folk using all the thematic material of the exposition. music, but, paradoxically, seldom incorporated The recapitulation is nothing short of triumphant. authentic indigenous music into his works. Drawn to A brief coda begins with percussion and ends with a the simple beauty of African-American spirituals and brilliant flourish. Native-American songs, Dvořák boldly suggested that American composers needed to cultivate a The second movement features creative brass national identity in their music. ensemble writing at the opening. Price uses woodwinds and strings, in turn, in music that is Dvořák’s suggestion came on the heels of his suggestive of, but not derivative of, Dvořák’s second 1892 appointment as director of the American movement. Like the Czech master, she uses an Conservatory of Music in New York. He would spend original hymn tune. the next summer in the small Czech community of Spillville, Iowa, where he would complete his Price’s third movement is a lively dance reminiscent “American” string quartet and quintet. After only a of the West African Juba with its syncopations and few months in this country and before his summer repeated patterns. She provides several delightful trip, he began an experiment—a symphony surprises, including an imitation of the banjo by the blending stylized folk elements of his native Czech brass section. land with those of his temporary American home.
The finale is even more raucous with hemiola In the December 15, 1893, edition of the patterns between the brass and strings. It opens New York Herald—the day before the premiere with a delightful fiddle tune. Contrasting sections of the symphony—Dvořák published an essay on come and go, and many instruments are given solo national identity in music. He stated that American turns. However, different versions of the main theme composers should be aware of all indigenous music. are heard at irregular intervals. While the finale is in The composer had heard many spirituals from his a bright major key, Price reminds us at the end that student Harry T. Burleigh and found them to be this work is in E minor. beautifully expressive. Native-American melodies were familiar to him from transcriptions and a visit ©2019 Orpheus Music Prose & Craig Doolin www.orpheusnotes.com
12 FROSTBURG STATE UNIVERSITY | CES 2019.2020 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 13 PROGRAM NOTES to Buffalo Bill’s Wild West Show in New York. In the For the second movement, Dvořák once again begins essay, Dvořák wrote of the similarity of the melodies with a slow, almost prayerful, introduction. The of both cultures and suggested that there must be main theme of the Largo movement, often called some way to incorporate such truly American music “Going Home,” is reminiscent of a spiritual but is in new compositions. [In the following decade, not an original African-American melody. In short, a small musical ripple arose from the “Indianist” Dvořák’s melodic materials offer mere indications of composers, led by Arthur Farwell, who adopted American-ness, but are the inspired work of a master Dvořák’s technique of creating stylized exotic composer in taking new melodic contours and melodies as well as transcribing many authentic assimilating them to his needs. The middle section Native American songs.] of this movement is a quietly turbulent song with a decidedly Czech flavor. Dvořák’s own Symphony No. 9, “From the New World,” incorporates some of these elements The scherzo, Molto vivace, is a dazzling orchestral but retains a Czech identity throughout. It seems tour-de-force. The undulating and bustling texture somewhat like a postcard to his fellow Czech citizens infuses this music with a sense of propulsion that is from an extended vacation in America—there is very direct in its approach. A central section includes an American flavor at times but the result is purely a lighter Czech dance. Czech. As for quotations of American music in the symphony, there are none. Dvořák’s finale opens with a forceful and virile horn theme. A second theme, driven by triplets, gives way The first movement opens with a tender descending to a languid clarinet solo. The development section melody supported by meditative chords, almost like introduces new material and builds dramatic tension. a benediction before a long journey. Agitated and In the final measures, Dvořák returns to a brassy strong, the main section of this movement begins with restatement of the finale’s opening music, which an assertive horn figure that becomes the germ of the brings the symphony to a triumphant conclusion. movement. Many have pointed to the second theme of the first movement as resembling “Swing Low, Sweet ©2019 Orpheus Music Prose & Craig Doolin Chariot,” but it stops there as merely a resemblance. www.orpheusnotes.com
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 13 ABOUT THE MSO
Since its founding in 1982, the Maryland Symphony Barry Tuckwell, Music Director for the MSO’s first Orchestra’s influence and reputation has reached seventeen seasons, provided a solid foundation for far beyond Western Maryland. It is one of only four the orchestra, bringing musical masterpieces to professional symphony orchestras in Maryland and life for many who were unfamiliar with the beauty audience members from South Central Pennsylvania, of classical music. Under the artistic leadership West Virginia’s Eastern Panhandle, the Shenandoah of current Music Director Elizabeth Schulze, new Valley of Virginia and the Baltimore-Washington concerts and programs have been added and the Metropolitan area are drawn to concerts held repertoire has both broadened and deepened. By at the historic Maryland Theatre in downtown keeping in mind its mission—“to provide musical Hagerstown. Under the baton of Music Director performances and programs that educate and Elizabeth Schulze—whom the Washington Post entertain while enhancing the cultural environment calls “a superb conductor”—the MSO has become a of Western Maryland and the surrounding region”— first-class orchestra of exceptional artistic quality. the Maryland Symphony Orchestra remains one of the area’s greatest treasures. The Maryland Symphony Orchestra provides a dazzling variety of programs, from the grand “The MSO has become a cultural gem in the musical treasures of the Masterworks Series to the four-state region because of its incredibly joyful offerings of the MSO Pops! and Home for the talented orchestra members, renowned Holidays; from the glorious sentimentality of the guest artists and inspired leadership from Salute to Independence Concert at Antietam National the podium.” Battlefield to the exuberance and wonder of the Brien J. Poffenberger, President & CEO annual Citi Youth Concerts and Kinder Konzerts Series. Maryland Chamber of Commerce
14 FROSTBURG STATE UNIVERSITY | CES 2019.2020 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 15 ABOUT THE MSO Elizabeth Schulze, assistant conductor of the Buffalo Philharmonic, an Music Director appointment sponsored by the National Endowment With passion, verve for the Arts. and illuminating musicianship, Since the beginning of her career, Schulze has Elizabeth Schulze been a spirited advocate for music education. has been conducting Her far-ranging work included an association with orchestras and the National Symphony Orchestra’s Summer Music opera companies, advocating for music education, Institute (SMI). For over decade, Schulze conducted, and electrifying audiences in the States and abroad for taught and mentored dozens of young musicians more than two and a half decades. in the SMI at the Kennedy Center. She has also conducted the American Composer’s Orchestra in Recipient of the 2013 Sorel Medallion in Conducting LinkUp educational and family concerts in Carnegie for her adventurous programming, Schulze is the Hall and throughout New York City. And for six years, Music Director and Conductor of the Maryland Schulze joined her mentor Leonard Slatkin teaching Symphony Orchestra. She recently completed a nine at the NSO’s National Conducting Institute. year tenure as the Artistic Director and Conductor of the Flagstaff Symphony Orchestra. Her music education and mentoring work spans from elementary to university students. She was an In 1996 she made her European debut, leading artist-in-residence at Northwestern University and the Mainz Chamber Orchestra in the Atlantisches has guest conducted the orchestras of The University Festival in Kaiserslautern, Germany. She appeared in of Maryland, the Manhattan School of Music and Paris as the assistant guest conductor for the Paris Catholic University of America and guest lectured at Opera and has also appeared in London, Frankfurt, the Juilliard School. Amsterdam and Vienna with the National Symphony during its 1997 European tour. Her most recent Schulze’s own education includes training in international work includes conducting in Hong Europe and in the States. She graduated cum laude Kong, Jerusalem and Taipei. Her guest conducting from Bryn Mawr College and as an honors student work in the U.S. includes appearances with over 20 from Interlochen Arts Academy. She holds graduate American orchestras. degrees in orchestral and choral conducting from SUNY at Stony Brook. She was the first doctoral Schulze’s recent guest conducting in the States fellow in orchestral conducting at Northwestern includes performances with the Anchorage and University and was selected as a conducting fellow New West Symphony Orchestras. Her positions with at L’École d’Arts Americaines in France. In 1991, U.S. orchestras include an appointment as associate she was the recipient of the first Aspen Music conductor of the National Symphony Orchestra, music School Conducting Award. At Aspen, she has director and conductor of the Waterloo/Cedar Falls worked with Murry Sidlin, Lawrence Foster and Symphony Orchestra, a seven-year tenure as music Sergiu Commissiona. As a Tanglewood fellow, she director and conductor of the Kenosha Symphony has worked with Seiji Ozawa, Gustav Meier and Orchestra, principal guest conductor of the Hudson Leonard Bernstein. Valley Philharmonic, cover conductor and conducting assistant for the New York Philharmonic, and Schulze is represented by John Such Artists Management, Ltd.
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 15 16 FROSTBURG STATE UNIVERSITY | CES 2019.2020
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 19 Terry Barber Christmas Presence Wednesday, December 4 | 7:30 PM Pealer Recital Hall, Woodward D. Pealer Performing Arts Center This performance is sponsored by the Enordo “Moose” Arnone family
With an extraordinarily broad vocal range and natural In recent years, the focus of Terry’s career has been more fluency in many musical styles, countertenor Terry than 150 international solo tour performances. The first Barber has been featured on some of the world’s most and only countertenor ever to be booked in the “Live storied stages and has worked with many of the music on Stage” network, Terry was a favorite with almost 50 industry’s most prestigious figures. bookings throughout the USA in the 2013–14 season.
A voting member of the Grammy Awards, and on the His current programs include, “The Many Voices of Terry advisory committee for Nelly’s X’treme Recording Barber;” an entertaining exploration through light Institute, his voice has appeared on every major record musical theater, classical, and popular works, “Around label, with Grammy-winning artists like Chanticleer, the World in 80 Minutes”; unique arrangements by Madonna, Jewel, Chaka Khan, Cyndi Lauper, Steve Emmy and Grammy-winning composers of the world’s Smith, and many more. Whether performing classical or favorite melodies in 10 languages (with songs like popular favorites, he “breathes new life into everything Danny Boy, Besame Mucho, La Vie En Rose, Bridge he sings” and crafts what the Los Angeles Times calls Over Troubled Water) “The Music of Andrew Lloyd “performances of great vitality and verve.” Webber”—with hits from ten of his most beloved shows, and “The Christmas Presence”, a holiday program Terry’s most recent recording project, Christmas Presence, of classics, classical, and popular favorites. was released in late 2015. It was produced by seventeen- time Grammy-winning “classical producer of the year” Terry’s solo tours began with, “A Sacred Journey”, Steven Epstein (who produced albums for Wynton a history of western sacred music in song. Offering Marsalis, Placido Domingo, Bobby McFerrin, Yo-Yo Ma, Gregorian chant, sacred favorites from major composers and Idina Menzel) and includes the hit duet, “Christmas and ending with a spiritual and modern recognizable Once More,” featuring opera star Denyce Graves. songs, the tour has had over 50 performances
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 19 throughout the USA and raised thousands of dollars “Rinaldo” starring David Daniels. In summer of 2002 for community improvement programs. Mr. Barber’s he performed at the International Spoleto Festival tours were selected by the Department of Culture, in Purcell’s “Dido and Aeneas.” Terry made his debut and approved by the Senate, to represent the state of at Carnegie Hall singing the role of Orlovsky in Florida for their touring roster. “Die Fledermaus” with the National Chorale under Martin Josman. He was also featured with the Portland “A musical experience; entertaining beyond what we Baroque Orchestra in Handel’s “Messiah” under the imagined “classical” could be, and yet informative direction of Nicholas Kramer and with the New Trinity and inspiring. His use of voice challenges what we Baroque Orchestra of Pergolesi’s “Stabat Mater” (with thought possible and every performance is delivered Evellyn Tubb) which prompted the Atlanta Journal as a piece of theater. He took our audience by the hand Constitution to rave that “…his grasp of the texts and and helped them to connect with the art, resulting in elegant phrasing made for charismatic singing” and laughs, tears, and a real connection with this genuine “Barber has star quality.” artist we can’t wait to invite back. His concert was among our all-time favorites.” In 2009, Terry founded http://www.a4ac.org/, a —Julie Hassett, Executive Director, non-profit which helps visual and performing artists Colorado River Concert Association to use their talent for community improvement. His personal work with the organization includes the As a member of the multiple Grammy-winning aforementioned “A Sacred Journey” tour program as ensemble Chanticleer, Terry was hailed, “…the jewel well as “Classical for Schools” which will impact more in Chanticleer’s crown…” while performing classical, than 10,000 students this year throughout the USA and gospel, jazz and folk music in a over dozen languages Canada through a performance lecture, challenging at more than a hundred concerts around the globe. their notions about what is possible with the human voice, and recognizing the importance of arts Following incredible success at Moscow’s Svetlanov education and a classical foundation within the arts. Hall for the international “Art-November” festival, Terry was asked to entertain at the Russian Embassy in Terry received his Bachelor of Music degree in vocal Washington, D.C. for the 20th anniversary of Tretyakov performance as well as a Musical Theater Certificate Arts Magazine. A recognized language expert, he was the and Music Technology Certificate from Northwestern only entertainer asked to sing in Russian at the Library of University. He received his Master of Music degree Congress to celebrate poet, Mikhael Lermontov. in historically informed performance from London’s Trinity College of Music where Terry has worked under the baton of many of the he also received a post-graduate world’s most accomplished conductors including performance certificate with highest Armiliato, Leonhardt, Rousset, Parrot, Norrington, distinction. Immediately following Kramer, Llewellyn, Bicket, and Tilson Thomas and the completion of his degree, Terry joined the roster of the Metropolitan Opera for their was hired to teach advanced vocal staging of “Sly,” starring Placido Domingo. ensembles at Trinity College, while He made his New York City Opera debut in 2001 in simultaneously touring England “Il Ritorno d’Ulisse in Patria” and covered Daniel with the Kent Opera. Taylor in the NYC Opera’s production of Handel’s
20 FROSTBURG STATE UNIVERSITY | CES 2019.2020 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 21 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 21 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 23 Thank You
1812 BREWERY FSU MARKETING AND DESIGN THOMAS CUMBERLAND FSU OFFICE OF ENROLLMENT SUBARU HYUNDAI ALLEGANY ARTS COUNCIL MANAGEMENT Wray Blair UNIVERSITY ADVANCEMENT ALLEGANY COUNTY TOURISM Lisa Fey VIETNAM VETERANS OF AMERICA MATTHEW J. ALLAWAY, D.O. & FSU OFFICE OF COMMUNICATIONS AND CHAPTER NO. 172 MS. KELLI L. ALLAWAY MEDIA RELATIONS Liz Medcalf WFWM-FM The ENORDO “MOOSE” Ann Townsell Chuck Dicken ARNONE FAMILY Joni Smith Candis Johnson MARYLAND STATE ARTS COUNCIL CHARTWELLS FSU OFFICE OF HUMAN RESOURCES MID ATLANTIC ARTS FOUNDATION CITY OF FROSTBURG FSU OFFICE OF PRINTING SERVICES NATIONAL ENDOWMENT CLATTER CAFÉ FOR THE ARTS FSU OFFICE OF SPONSORED PROJECTS COMMUNITY TRUST FOUNDATION Sara Wilhelm CES ADVISORY BOARD David Webb Dr. Julianne K. Ferris CUMBERLAND JAZZ SOCIETY Dr. Peter Halmos FSU OFFICE OF STUDENT ACTIVITIES Janice Keene THE DRAFT SPORTS BAR & GRILLE AND FRATERNITY AND SORORITY LIFE Dr. Greg Latta Rebecca McClarran EVERGREEN HERITAGE CENTER FSU VETERANS SERVICES OFFICE Victor Rezendes Jo Wilson DR. JULIANNE K. FERRIS & FSU WOODWARD D. PEALER Alicia White (ex officio) MR. DANIEL F. MCMULLEN, JR. PERFORMING ARTS CENTER Conrad Maust CES STUDENT PRODUCTION TEAM FIRST PEOPLES COMMUNITY FEDERAL ARTIST RELATIONS CREDIT UNION FSU PRESIDENT Perry Beachum Dr. Ronald Nowaczyk Kaelan Keller MRS. BERNICE FRIEDLAND Sarah Robertson GIUSEPPE’S ITALIAN RESTAURANT FROSTBURG FIRST CUSTOMER SERVICE GONZAGA HEALTH Rebecca Bensavage FROSTBURG HOTEL GUNTER/ Haley Beck THE TOASTED GOAT DR. & MRS. PETER HALMOS Bethany Bloom Katie Pinkowski FSU APPALACHIAN FESTIVAL MS. JANICE S. KEENE Erin Mellarkey Lelia Covington FSU FOUNDATION BILL MANDICOTT & DR. LEA MESSMAN-MANDICOTT CES VOLUNTEER STAFF FSU DEPARTMENT OF MUSIC Lark Anderson TERRY MURPHY Donna Barry FSU DEPARTMENT OF STUDENT & Linda Brumage COMMUNITY INVOLVEMENT STAFF The HONORABLE JoAnn Condry MARY BETH PIROLOZZI Sharon Derlan FSU DIVISION OF STUDENT AFFAIRS Jeanette Dreibelbis PRINCESS RESTAURANT Becky Goldsworthy FSU DEPARTMENT OF THEATRE Joan Martin AND DANCE MR. VICTOR S. REZENDES & Cynthia Powers MR. JOHN E. MINNICH Mary Jo Price FSU LANE UNIVERSITY CENTER Karen Reidler CENTRALIZED TECHNICAL CREW MS. SANDRA K. SAVILLE Riitta Routhier Peggy Thomas MR. NICHOLAS J. SCARPELLI AND Alicia White MS. TAMA S. SCARPELLI Jamie Winters Pete Wotring MR. DOUGLAS SCHWAB & MRS. BETSEY HURWITZ-SCHWAB
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 23 24 FROSTBURG STATE UNIVERSITY | CES 2019.2020
26 FROSTBURG STATE UNIVERSITY | CES 2019.2020 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 27 Arts Beyond the Stage
Arts for the School Day
FSU Department of Adventures in Theatre & Dance Arts and Science I Want to Be a Better Me! Wednesday, Nov. 6 and Thursday, Nov. 7 Immediately following the performances of Dear Edwina Inspired by the play Dear Edwina, this year’s Arts and Science Festival delves into themes of resilience, creativity and teamwork. Working with teaching artists and educators from the Evergreen Heritage Center, children immerse themselves in a series of fun, hands-on learning experiences that reinforce and expand upon the magic of the performance of Dear Edwina.
Music by Zina Goldrich Learning Stations Book and Lyrics by Marcy Heisler Learning Station No. 1 Mairzy Yost-Rushton, Director Emotion Motion Children use improvisation to imaginatively express Wednesday, Nov. 6 | 10 AM emotion and explore problem-solving skills. Thursday, Nov. 7 | 10 AM Learning Station No. 2 Friday, Nov. 8 | 10 AM & 12:30 PM The Power of Positive Painting Children create self-portraits that emphasize Drama Theatre positive attitudes. Pealer Performing Arts Center Learning Station No. 3 The heartwarming family musical Dear Edwina follows the Winning Together adventures of plucky advice-giver extraordinaire, Edwina Children experience the fun of teamwork in Spoonapple, as she directs the neighborhood kids in a series four science-based challenges. of buoyant production numbers for the latest edition of • Are you Left-Brained or Right-Brained? her weekly “Advice-a-Palooza.” Through clever, catchy and • Can Candy Flow Like Water? poignant songs, Edwina and her friends share wisdom on • Afterimages: The Colorful Tricks Eyes Play everything from trying new foods to making new friends. • Blowing the Best Bubbles Curriculum Connections: Writing Letters, Journalism, Space is limited. Teachers, please contact cesoutreach@ Global Salutations, Ethnic Cuisines, Currency, Social Etiquette, frostburg.edu for daytime performance reservations and I Want To Be a Better Me! participation availability. Friendship, Bullying, Conflict Resolution Dear Edwina is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MITShows.com
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 27 Arts Beyond the Stage
Arts for Enrichment
Meet the artists and experience one of our free enrichment programs. Maryland Symphony Orchestra Music Workshop Wednesday, Oct. 16 | 3 PM Pealer Recital Hall Pealer Performing Arts Center Maryland Symphony Orchestra musicians lead a master class for music students in cello and flute. Community members are welcome to observe. Space is limited; reserve space at 301.687.3137 or [email protected]. Derek Brown Music Workshop Thursday, Oct. 24 | 2 PM Pealer Recital Hall Pealer Performing Arts Center Beatbox saxophone innovator Derek Brown leads a master class for music students. Community members are welcome to observe. Space is limited; reserve space at 301.687.3137 or [email protected].
Maryland Symphony Orchestra Prélude With Elizabeth Schulze Sunday, Nov. 17 | 2 PM Pealer Recital Hall Pealer Performing Arts Center Before the Maryland Symphony Orchestra takes the stage with The American Symphony, musical director Elizabeth Schulze leads a lively discussion about the works to be performed. Vocal Master Class With Terry Barber Wednesday, Dec. 4 | 3 PM Pealer Recital Hall, Pealer Performing Arts Center Distinguished countertenor Terry Barber leads a master class for choral students. Community members are welcome to observe. Space is limited; reserve space at 301.687.3137 or [email protected].
Crys Matthews Sing Don’t Shout – An Alternative Approach Thursday, Feb. 27 | 2 PM Clatter Café, 15 S. Broadway, Frostburg When you are black, a woman, a lesbian, a preacher’s kid and in an interracial marriage in the South, difficult conversations abound. Singer-songwriter Crys Matthews shares what she’s learned during her life as “the poster child for intersectionality.” 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 29 Offstage Series With WFWM
CES joins forces with Frostburg State University’s own WFWM-FM. After select performances, WFWM station director Chuck Dicken joins the artists onstage for fun, interactive discussion with ticket holders. Post-performance Discussions
Thomas Pandolfi Ghost-Note Friday, Feb. 14 Friday, March 27
Brubeck Brothers Quartet Veronica Swift Friday, April 3 Friday, May 1 CES Arts for Enrichment and Offstage with WFWM programs are sponsored by Gonzaga Health.
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 29 Building Involvement
Stay connected to what’s happening. CES offers several ways to become more involved with the arts.
Volunteer Meet the Staff Melanie Moore • Volunteering gets you inside the world of professional Associate Director performing arts. See how things work and meet the people who make it happen. Share the experience with many others who devote their time to theatre, the arts and the community. • Volunteer opportunities include usher, ticket scanner and office assistant. Bill Mandicott • Volunteer training sessions are provided to ensure you Assistant Vice President, are comfortable with your duties. Student and Community • Volunteer applications are available at the Involvement Lane University Center Box Office or online at ces.frostburg.edu/volunteer. Donna Briner Customer Service/ Staying in Touch Box Office Manager
• Subscribe to the CES monthly newsletter for information about upcoming performances, artists and much more. • Share your thoughts and opinions on event surveys. Joel Hoover Social media sites provide several options for communicating and • Production Services sharing your arts experiences. Coordinator Like “CES at Frostburg State University” on FACEBOOK. Follow “CES at Frostburg State University” on PINTEREST. Susan Manger Subscribe to “CESatFSU” Grants and Assessment on YOUTUBE. Associate • Visit our website at ces.frostburg.edu for performance photos and updates. • Give us your email address to receive information regarding parking suggestions, restaurant options, traffic conflicts and other relevant Email us at: updates prior to each performance. [email protected] [email protected] Student & Community Involvement CES is a program of Student & Community Involvement Student & Community Involvement builds community and empowers students to achieve personal and academic excellence through distinctive co-curricular programs, services and experiential learning opportunities.
30 FROSTBURG STATE UNIVERSITY | CES 2019.2020 1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 31 2019–2020 Members and Donors
Thank you for your support! Updated 10/4/2019
DONORS Bill Mandicott & ADVISORY BOARD Benjamin & Donna Barry Lea Messman-Mandicott Dr. Julianne K. Ferris Yvonne Beal Ruth Maxfield Dr. Peter Halmos Thomas & Nancy Bowling Michael & Anne Murtagh Janice Keene Jim & Donna Briner Mary Jane O’Rourke Dr. Greg Latta Angelo Bucchino Sherri Passarell Dr. Rommel Gonzaga Corlista Crowe Shirley Peskin Rebecca McClarran Chuck & Natalie Durney Marty & Mary Jane Plummer Victor Rezendes David & Eileen Geremia Lawrence & Cynthia Powers Jo Wilson Rommel Gonzaga Scott Riley & Janet Hendershot Lee Ann O’Brien FSU FOUNDATION LIAISON David & Donna Keech Sharon Robinson Lynn Ketterman James Kirk Riitta Routhier James Kirk Janet Knisley John Short & Clara Porcello Robert & Susan Larivee Brian & Kristine Wilson CES STAFF OVERSITE Bill Mandicott Melanie Moore
DID YOU KNOW? • Ticket sale revenue accounts for only 20% of the shows’ costs. • Thousands of area school children experience CES programming each year. • Educational programs like master classes and lectures are presented free of charge to the community. • Students gain valuable hands-on experience working with professional touring artists.
GIVE TODAY! • www.frostburg.edu/GiveCES • Complete the donor card
Support CES today and you will have the satisfaction of knowing that you play a vital role in keeping the arts thriving in Western Maryland and the tri-state region. As a generous donor to CES, you may enjoy opportunities to meet the artists, show-day “thank you” events and special surprises throughout the year that build your excitement and enthusiasm for CES programs.
1.866.TIXX.CES (1.866.849.9237) OR 301.687.3137 | CES.FROSTBURG.EDU 31 32 FROSTBURG STATE UNIVERSITY | CES 2019.2020 EMERGENCY EXIT NOTICE: For your own safety, look for your nearest exit. In the event of an emergency, walk, DO NOT RUN to the nearest exit.
FSU is committed to making all of its programs, services and activities accessible to persons with disabilities. To request accommodation through the ADA Compliance Office, call 301.687.4102 or use a Voice Relay Operator at 1.800.735.2258.
Frostburg State University is a smoke-free campus.