· jonathan kreisberg, guitar, byron landon, drums 2017 nea jazz master, dr. lonnie smith is an...

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The Cultural Events Series is supported by a grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive.

The CES 60th Anniversary season is supported in part by the City of Frostburg and the FSU Foundation.

The engagement of Troker is funded in part by a Southern Exposure grant from the Mid Atlantic Arts Foundation and the National Endowment for the Arts.

The engagements of Gravity & Other Myths and Cyrille Aimée are funded through the Mid Atlantic Tours program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts.

The engagement of Dr. Lonnie Smith is made possible through the Jazz Touring Network program of Mid Atlantic Arts Foundation with support from the National Endowment for the Arts.

The engagement of the Mystical Arts of Tibet is supported in part by an award from the National Endowment for the Arts.

CES is a program of Student and Community Involvement, which builds community and empowers students to achieve personal and academic excellence through distinctive co-curricular programs, services and experiential learning opportunities.

Grantors

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BROCK MCGUIRE BAND Named “Traditional Irish Band of the Decade” by the Irish American News, multi-award winning Brock McGuire Band is fronted by two of Ireland’s most celebrated traditional musicians: button accordionist and melodeonist Paul Brock and fiddler Manus McGuire. The band also includes multi-instrumentalist Dave Curley (banjo, mandolin, bodhran, vocals and dance) and acclaimed pianist, composer and arranger Denis Carey.A beacon of passion and precision, integrity and diversity, Brock McGuire Band is steeped in the Irish musical tradition yet seamlessly incorporates elements from American old time, bluegrass, French-Canadian, and other Celtic traditions to create something accessible, recognizable, beautiful, and entirely unique. This ability is exemplified in the band’s most recent album “Green Grass Blue Grass,” featuring with 14-time Grammy Award winner Ricky Skaggs. American music critic Bill Margeson has hailed the collaboration as a “masterpiece”.

PAUL BROCKA multiple All-Ireland champion born in Athlone, County Westmeath, and now residing in Ennis, County Clare, Paul pursued a solo career through the 60’s and 70’s by mastering the single-row, two-row, three-row, and five-row button accordions. His collaborations with fiddle player Frankie Gavin during the 70’s and 80’s culminated in their 1986 Gael-Linn classic recording, “A Tribute to Joe Cooley,” regarded by critics and fellow musicians as one of the outstanding traditional albums of the modern era.

Paul’s solo album, “Mo Chairdin” (Gael-Linn ), was described in the Rough Guide to Irish Music as “a modern masterpiece of accordion music”. In May 1989, Paul co-founded the group Moving Cloud with Manus McGuire. This Clare-based band produced two albums for Green Linnet Records, including their 1994 self-titled release that was selected by well-known U.S.

music critic Earle Hitchner as the best Irish traditional album of that year. Paul’s CD collaboration “Humdinger” (Compass Records, COM 4455) with Enda Scahill was voted “Irish Music Album of the Year” by the Irish Times and “Instrumental Album of the Year” by the Irish American News. Paul has appeared as a special guest of the Chieftains on various occasions.

Paul’s illustrated lecture “Irish Traditional Music in America – The Golden Era” has been widely acclaimed. Paul F. Wells, Director, Center for Popular Music, Middle Tennessee State University said “Paul Brock’s lecture, ‘Irish Traditional Music in America: The Golden Era,’ was a terrific adjunct to the performance by the Brock McGuire Band. Concise, authoritative, and engagingly-presented, it was a wonderful survey of a vastly important period in the history of Irish music.”

www.paulbrockmusic.com

About Brock McGuire Band


MANUS McGUIREWith captivating rhythm, melodic grace, depth and precision, Manus McGuire’s fiddle technique demonstrates both his versatility and legacy, showcasing his mastery of Irish and other North Atlantic fiddle traditions.

As a child growing up in Sligo Town, Manus was raised on the music of legendary Sligo fiddlers such as Michael Coleman, James Morrison, Paddy Killoran, and James “Lad” O’Beirne. His musical aptitude soon became apparent when he won Sligo’s prestigious Fiddler of Dooney competition at the age of fourteen.

In the years that followed, he has recorded eleven albums, including two solo albums—Saffron and Blue (Green Linnet) and Fiddlewings (Shelly River Music)—as well as recorded and toured extensively with the bands Buttons and Bows, Moving Cloud, and Brock McGuire Band.Among Manus’ recognitions and awards is the title of “Male Musician of the Year” from Irish American News, and Trad Magazine’s “Bravo Award”. In addition to teaching regularly at American universities, Manus has taught at a number of music camps, including Gaelic Roots at Boston College, the Swannanoa Gathering in Asheville, NC, and O’Flaherty Retreat in Midlothian, TX.

www.ManusMcGuireMusic.ie

DENIS CAREYA native of Newport, Co. Tipperary, Denis is a musician/composer/arranger with a diverse musical background from Irish traditional to classical, jazz and pop. He has performed and recorded with leading international artists.

His compositions have been performed by various international groups and orchestras, including Symphony Nova Scotia and the Scottish National Orchestra.

Denis runs his own Academy of Music based in imerick. His album of his own compositions “Moving On” (FL08-013) features some of Ireland’s leading musicians. A book of his compositions is available from Five Line Music.

www.deniscarey.com

DAVE CURLEYAs a versatile and dynamic multi-instrumentalist, dancer, singer, and songwriter, Galway-native Dave Curley stands out among professional Irish traditional musicians of his generation. His youthful energy on stage is enriched with a musical maturity and depth beyond his years.

Since graduating from the University of Limerick’s BA in Irish Music and Dance, Dave has been touring across the US and Europe with the award winning Irish bands Slide, Runa, and Brock McGuire Band. He regularly performs with Grammy Award winner Moya Brennan of Clannad, and has recorded with eminent producer Donal Lunny, as well as Grammy Award winners Ron Block, Jeff Taylor and Buddy Greene.

His most recent solo album, A Brand New Day (2014) marks a new beginning in his musical career. It showcases his voice and song writing, skillfully melding contemporary sensibility with traditional values.

www.davecurleymusic.com

About Brock McGuire Band

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DR. LONNIE SMITH TRIOfeaturing Dr. Lonnie Smith, Hammond B3 organ, Jonathan Kreisberg, guitar, Byron Landon, drums

2017 NEA Jazz Master, Dr. Lonnie Smith is an unparalleled musician, composer, performer and recording artist. An authentic master and guru of the Hammond B-3 organ for over five decades, he has been featured on over seventy albums, and has recorded and performed with a virtual “Who’s Who” of the greatest jazz, blues and R&B giants in the industry. Consequently, he has often been hailed as a “Legend,” a “Living Musical Icon,” and as the most creative jazz organist by a slew of music publications. Jazz Times magazine describes him as “a riddle wrapped in an enigma wrapped in a turban!” Always ahead of the curve, it is no surprise Dr. Smith’s fan-base is truly worldwide.

Born in Buffalo, New York, Lonnie was blessed with the gift of music. Through his mother, he was immersed in gospel, blues and jazz at an early age. In his teens, he sang in several vocal groups including his own–the Supremes–formed long before Motown’s eventual iconic act of the same name. Lonnie also played trumpet and other instruments at school and was a featured soloist. In the late ‘50s– with the encouragement of Art Kubera, who owned a local music store that he would visit daily–young Lonnie was given the opportunity to learn how to play a Hammond organ. By completely immersing himself in the records of organists such as Wild Bill Davis, Bill Doggett and Jimmy Smith, as well as paying rapt attention to the church organ, a young Lonnie began to find his musical voice. “Even though I didn’t know how, I was able to play right from the beginning,” Dr. Smith reflects. “I learned how to work the stops and that was it. It’s a passion for me, so everything else came naturally.” Because of Mr. Kubera’s kindness, Dr. Lonnie often refers to Art as his “angel.”

The Doctor’s first gigs were at Buffalo’s hottest jazz club, the Pine Grill, where he rapidly garnered the attention of folks like Jack McDuff, Lou Donaldson, George Benson and the booking agent Jimmy Boyd. George Benson was looking for an organist for his quartet and enlisted Lonnie. The group soon relocated to New York City, where they quickly established a reputation as innovators in Harlem clubs and throughout the area. After appearing on several Benson albums, Lonnie went on to make his first recording as a leader—Finger Lickin’ Good–for Columbia Records in 1966. Shortly thereafter, Smith was scooped up to record by saxophonist Lou Donaldson, for whom Lonnie would appear on several epic Blue Note LPs, including the million-seller, Alligator Boogaloo. Blue Note clearly liked what they heard and inked the organist to his own recording contract, a deal which would produce the soul jazz classicsThink!, Turning Point, Move Your Hand, Drives and Live at Club Mozambique (released many years later).

Since leaving the Blue Note stable in the ‘70s, Dr. Smith has recorded for a slew of record labels, including Kudu, Groove Merchant, T.K., Scufflin’, Criss Cross and Palmetto, ascending the charts many times. His unpredictable, insatiable musical taste illustrates that no genre is safe, as Lonnie has recorded everything from covers of the Beatles,

About Dr. Lonnie Smith Trio


the Stylistics and the Eurythmics, to tribute albums of Jimi Hendrix, John Coltrane and Beck–all by employing ensembles ranging from a trio to a fifteen-piece big band. Moreover, many of Doc’s recent compositions reflect dramatic ethereal qualities and orchestration that elicit movie scores or soundtracks. Dr. Smith has been amused to find himself sampled in rap, dance and house grooves while being credited as a forefather of acid jazz. When questioned about his consistent interest in music some consider outside the jazz “mainstream,” Lonnie shrugs. “Jazz is American Classical,” he proclaims. “And this music is a reflection of what’s happening at the time… The organ is like the sunlight, rain and thunder…it’s all the worldly sounds to me!”

In 2012, Dr. Smith launched his own record label Pilgrimage Inc., and in 2015, resigned with the iconic Blue Note Records label. Dr. Lonnie Smith’s latest CD has been released on Blue Note. (2016)

Many awards have followed since 1969, when Downbeat magazine named Dr. Lonnie Smith “Top Organist” of the year. 2003-2014 he was awarded “Organist/Keyboardist of the Year” by the Jazz Journalist Association. The Buffalo Music Hall of Fame and Jazz Organ Fellowship have also inducted Dr. Lonnie, and in 2015 he received the Village Music Legends Award. He received the NEA Jazz Masters Award, the highest honor in jazz, on April 3, 2017.

Guitarist Jonathan Kreisberg has been steadily building his name as one of the most compelling composer/performers in Jazz. Combining timeless melodicism with forward thinking lines and textures, His style and approach has created a strong following of fans around the world. He frequently tours worldwide and records with his own groups as well artists such as Dr. Lonnie Smith, who says of Kreisberg “He is a passionate musician with great vision, and he is constantly in fiery pursuit of innovation.”

Born in New York City, guitarist and composer Jonathan Kreisberg has fond memories of a childhood steeped in music. “I was lucky to grow up in a household that had a great and wide-ranging record collection,” he recalls, “including Coltrane’s My Favorite Things, John Williams playing the ‘Concierto de Aranjuez’ and Cream’s Disraeli Gears.”

Jonathan started playing guitar at the age of ten after moving to Miami with his family. At 16 he was admitted to the New World School of the Arts, where his jazz studies took center stage. Intensely dedicated to the instrument, he was featured in Guitar Player and DownBeat while still in his teens. He won a scholarship to the University of Miami, where he held the guitar chair in the acclaimed Concert Jazz Band, touring Brazil and performing with Joe Henderson, Michael Brecker, and Red Rodney.

Upon graduation, Jonathan began playing straight ahead jazz gigs as well as a myriad of other projects. He performed 20th century works with the New World Symphony under Michael Tilson Thomas. He also recorded a C.D. and performed extensively with the progressive rock group Third Wish. He also formed the first incarnation of the Jonathan Kreisberg Trio. Based in Miami, this electric based Trio released a C.D. and completed several U.S. East Coast tours, which included opening slots for George Benson and Steve Morse. He also began giving clinics at music schools and universities.



While still in his early 20’s, he returned to his birthplace in NYC with his focus on cutting edge acoustic jazz. “My Miami Trio was about coming up with new textures and being communicative while still playing intense musically. When I moved to New York I entered a more introspective phase, really getting deeper into melodies and harmonies.” This also coincided with a renewed interest in the jazz tradition. “I found that the deeper I got into the tradition the more possibilities I became aware of for the future.”

Since returning to New York City, Jonathan has worked in the bands of many jazz greats including Dr. Lonnie Smith, Lee Konitz, Joe Locke, Stefano Dibatista, Ari Hoenig, Joel Frahm, Don Friedman, Greg Tardy, Donald Edwards, Jane Monheit, and Yosvany Terry. He has also led groups of various instrumentations featuring artists such as Bill Stewart, Larry Grenadier, and Scott Wendholt.

Jonathan has now recorded eight CDs as a leader, including ONE, his recent all solo guitar cd, and WAVE UPON WAVE, his latest JKQ offering. On the latter he brings along alto saxophone genius Will Vinson, the incredible pianist Kevin Hays, and the young rhythm section team of Rick Rosato and Colin Stranahan and creates modern jazz that combines a respect for

the tradition with instrumental virtuosity, modern soundscapes and influences from every corner of the world (and beyond).

Although currently based in New York City, Jonathan can be seen on tour worldwide. Entering the major Jazz Festival circuit with their electrifying show at Jazz Baltica (the combined video footage is now at 300,000 YouTube hits and counting), JKQ has subsequently performed many of the major European and American festivals.

When not on tour Jonathan can be found at his steady Wednesday trio hits at Bar Next Door in NYC, as well as at the Jazz Standard and Smalls Jazz Club. He also teaches each semester in Europe at the Jazz Department of Prince Claus Conservatoire, part of Hanze University of Applied Sciences.

Drums, Byron Landon

Dr. Lonnie Smith Trio is represented by:Unlimited MylesImaginary Place, Aberdeen, New Jersey, 07747



About the Program

A FIFTH OF BEETHOVEN

Featuring Guest Artist:Yuliya Gorenman, piano

Program Highlights

Beethoven, Piano Concerto No. 5I. Allegro in E b major

II. Adagio un poco moto in B majorIII. Rondo: Allegro ma non troppo in E b major

INTERMISSION

Beethoven, Symphony No. 5I. Allegro con brio

II. Andante con motoIII. Scherzo. Allegro

IV. Allegro

Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor” Ludwig van Beethoven 1770-1827

Two of the signature aspects of Western thought are the importance of progress and individuality. Nowhere are these concepts more apparent than in the history of music, where we give special attention to innovation in form and harmony. While not always appreciated at first hearing – witness the audience riot over Stravinsky’s Rite of Spring – innovators eventually receive their due – in hindsight.

In his greatest works, Beethoven was both an innovator and an individualist who attempted to put his personal stamp on everything from harmony and musical structure to advances in piano construction. While retaining the three-movement form of the concerto, he expanded the internal structure of the individual movements, especially in the Fourth and Fifth Piano

Concertos. The dramatic use of the piano in the opening phrases of these concertos was tried only once before – by Mozart in his Piano Concerto in E-flat major, K. 271 – and did not occur again in any major piano concerto until the B-flat major Concerto of Brahms. The thunderous opening of the Fifth Concerto was without precedent, as was Beethoven’s refusal to allow the performer to improvise a cadenza.

Beethoven composed the Concerto in Vienna during the summer of 1809, under conditions hardly conducive to creativity. Following a day of heavy bombardment, Vienna surrendered to the French army under Napoleon, and those citizens who could afford to flee did so, including Beethoven’s patron and friend the Archduke Rudolph. Prices and taxes skyrocketed, food was scarce, parks were closed to the public and Beethoven remained in the city, alone and lonely. In spite of the hardships during those trying months, he managed to compose some of his greatest works: the

A Fifth of Beethoven

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Piano Sonata Op. 81a (“Les adieux”), the Quartet in E-flat, Op. 74 (the “Harp”) and the “Emperor” Concerto (the title bestowed on it by one of the publishers, without Beethoven’s approval.)

The Fifth Piano Concerto was premiered in Leipzig in 1811 to an enthusiastic reception. It was the only one of Beethoven’s piano concertos without the composer himself at the keyboard, since by that time his hearing had deteriorated too far for him to perform in public, especially with an orchestra. Two months later, however, the first performance in Vienna was a total failure, primarily because the Concerto was on the program of a Charity Society performance featuring three living tableaux on Biblical subjects – hardly a suitable milieu.

The Concerto opens with a powerful orchestral chord, followed by a sweeping cadenza-like flourish by the piano solo. Only after two more orchestral chords interrupted by the piano outbursts, does the orchestra introduce the principal theme. The movement is stormy and driving with some of the same harmonic ambiguity as in the first movement of the Fourth Concerto. At the point where traditionally one would have expected a cadenza, the pianist’s score bore Beethoven’s directive: “Do not play a cadenza!” The music that follows, however, has all the characteristics of a cadenza as if the composer wanted to be sure that his ideas, not the performer’s, would prevail.

The hymn-like lyrical second movement opens with the muted violins introducing the theme, followed by a pianissimo aria by the piano. There follow two variations, the first by the piano, the second by the orchestra. Then follows one of Beethoven’s most mysterious musical moments, the hushed transition leading without pause into the exuberant Rondo. Beethoven builds up immense tension by subtle changes in key and tempo with hints of the rondo refrain to come, until the Finale bursts out in its jubilant mood.

Symphony No. 5 in C minor, Op. 67Ludwig van Beethoven 1770-1827

The four most clichéd notes in classical music were once the most revolutionary. For the first time a rhythm, rather than a melody, became the main subject of a symphonic movement – and not merely as a first theme to be stated and picked up again for a while in the development and recapitulation sections. Beethoven wove the rhythm into the entire fabric of the first movement, and subsequently into the rest of the Symphony. The motive first appears as a repeated demand, subsequently expanded into a genuine melody in the first theme. It recurs as a throbbing accompaniment in bass and timpani in the second theme, all the way to the final cadence of the exposition.

Such an original symphonic structure did not come easily, especially to a composer who lacked the ever-ready melodic genius of a Mozart, Bach or Haydn who all produced copiously on demand. A collection of the composer’s sketchbooks bears witness to the lengthy and often painful gestation of some of his greatest music. The Fifth Symphony took four years to complete, between 1804 and 1808. But Beethoven also had to eat, and during those four years he also produced the Fourth Symphony, the Fourth Piano Concerto, the three String Quartets Op. 59, the Mass in C and the Violin Concerto.

Although Beethoven had already been at work on what was to become the Fifth Symphony, he composed the Fourth in fairly short order in 1806 on commission from Count Franz von Oppersdorff. The Count eventually paid the 500 florins agreed upon for the work and in 1807 commissioned another symphony with a down payment of 200 florins. Beethoven notified Oppersdorff in March 1808 that the Fifth Symphony was ready and that he should send the remaining 300 florins. But the Count sent only another installment of 150 florins, and by November Beethoven, in one of his less than ethical moves, apparently felt justified in selling the score to the publisher Gottfried Härtel. Upon finally paying in full, Oppersdorff received a copy.

Program Notes Program Notes

About MSO


The Symphony No. 5 was premiered at one of those monster public concerts common in the nineteenth century; on the program were premieres of the Sixth Symphony and the Fourth Piano Concerto, the aria “Ah! Perfido,” the Choral Fantasia and several movements of the Mass in C. One can only imagine the bewilderment of the audience on its first encounter in a single evening with the “Pastorale” and the Fifth.

Because the Fifth Symphony is now so familiar, it is difficult to think of it as innovative, but it was not only the integration of the four-note rhythmic motif into the entire fabric of the first movement that was new. The second movement, Andante con moto, involves its own kind of novelty. It is made up of two short juxtaposed, contrasting themes: the first in dotted rhythm in the strings, the second a slow almost military theme in the brass. Beethoven produces from the two themes a double set of variations. And it should be noted that the second theme contains within it in augmentation (in longer note values) the germinal four-note rhythm of the first movement.

Since its founding in 1982, the Maryland Symphony Orchestra’s influence and reputation has reached far beyond Western Maryland. It is one of only four professional symphony orchestras in Maryland and audience members from South Central Pennsylvania, West Virginia’s Eastern Panhandle, the Shenandoah Valley of Virginia and the Baltimore-Washington Metropolitan area are drawn to concerts held at the historic Maryland Theatre in downtown Hagerstown. Under the baton of Music Director Elizabeth Schulze—whom the Washington Post calls “a superb conductor”—the MSO has become a first-class orchestra of exceptional artistic quality.

The Maryland Symphony Orchestra provides a dazzling variety of programs, from the grand musical treasures of the Masterworks Series to the joyful offerings of the MSO Pops! and Home for the Holidays; from the

For the Scherzo, Beethoven again prominently takes up the motivic rhythm in the horns, this time in augmentation. The Trio is a fugue. The repeat of the Scherzo theme is scored for clarinet and bassoon over pizzicato strings playing pianissimo.

Symphony No. 5 has frequently been referred to as a struggle from darkness to light, but it is a commonplace that has palpable grounding in truth. Not only does the symphony begin in C minor and end in C major, but there is also the magnificent transition between the third and fourth movements, a kind of sunlight breaking through the clouds with violins stammering over the timpani as it throbs out the motto. The emergence into the triumphant Finale paved the way for the symphonic writing of the future, including Beethoven’s own Ninth Symphony, Mendelssohn’s Third (The “Scottish”) and Brahms’s First.

Program notes by:Joseph & Elizabeth [email protected]

glorious sentimentality of the Salute to Independence Concert at Antietam National Battlefield to the exuberance and wonder of the annual Citi Youth Concerts and Kinder Konzerts Series.

Barry Tuckwell, Music Director for the MSO’s first seventeen seasons, provided a solid foundation for the orchestra, bringing musical masterpieces to life for many who were unfamiliar with the beauty of classical music. Under the artistic leadership of current Music Director Elizabeth Schulze, new concerts and programs have been added and the repertoire has both broadened and deepened. By keeping in mind its mission – “to provide musical performances and programs that educate and entertain while enhancing the cultural environment of Western Maryland and the surrounding region” – the Maryland Symphony Orchestra remains one of the area’s greatest treasures.

Program Notes

About MSO


With passion, verve, and illuminating musicianship, Elizabeth Schulze has been conducting orchestras and opera companies, advocating for music education, and electrifying audiences in the United States and abroad for more than two and a half decades.

Recipient of the very first Maryland Symphony Orchestra’s Elizabeth Schulze Music Advocacy Award in 2014, and the 2013 Sorel Medallion in Conducting for her adventurous programming, Schulze is in her 16th season as the Music Director and Conductor of the Maryland Symphony Orchestra and her 7th season as the Artistic Director and Conductor of the Flagstaff Symphony Orchestra. Additionally, she is Principal Guest Conductor of the Hudson Valley Philharmonic.

In 1996 she made her European debut, leading the Mainz Chamber Orchestra in the Atlantisches Festival in Kaiserslautern, Germany. She appeared in Paris as the assistant guest conductor for the Paris Opera and has also appeared in London, Frankfurt, Amsterdam, and Vienna with the National Symphony during its 1997 European tour. Her most recent international work includes conducting the Hong Kong Philharmonic and the Jerusalem Symphony Orchestra. This fall takes her to Taiwan for appearances with Taipei’s Evergreen Symphony Orchestra.

Schulze’s recent guest conducting in the States includes appearances with the New Jersey, Detroit, San Francisco, and Chautauqua symphony orchestras. Her past positions with U.S. orchestras include an appointment as associate conductor of the National Symphony Orchestra, music director and conductor of the Waterloo/Cedar Falls Symphony Orchestra, a seven-year position as music director and conductor of the Kenosha Symphony Orchestra, cover conductor and conducting assistant for the New York Philharmonic, and assistant conductor of the Buffalo Philharmonic, an appointment sponsored by the National Endowment for the Arts.

Since the beginning of her career, Schulze has been a spirited advocate for music education. Her far-ranging work includes her ongoing association with the National Symphony Orchestra’s Summer Music

Institute (SMI). For 14 years Schulze has conducted, taught and mentored dozens of young musicians in the SMI at the Kennedy Center. She has also conducted the American Composer’s Orchestra in educational and family concerts in Carnegie Hall and throughout New York City. And for six years, Schulze joined her mentor Leonard Slatkin teaching at the NSO’s National Conducting Institute.

Her music education and mentoring work, spans from elementary to university students. She was an artist-in-residence at Northwestern University and has guest conducted the orchestras of The University of Maryland, the Manhattan School of Music and Catholic University of America and guest lectured at The Juilliard School.

Schulze’s own education includes training in Europe and in the United States. She graduated cum laude from Bryn Mawr College and as an honors student from Interlochen Arts Academy. She holds graduate degrees in orchestral and choral conducting from SUNY at Stony Brook. She was the first doctoral fellow in orchestral conducting at Northwestern University and was selected as a conducting fellow at L’École d’Arts Americaines in France. In 1991, she was the recipient of the first Aspen Music School Conducting Award. At Aspen, she has worked with Murry Sidlin, Lawrence Foster, and Sergiu Commissiona. As a Tanglewood fellow, she has worked with Seiji Ozawa, Gustav Meier, and Leonard Bernstein.

Schulze is represented by John Such Artists Management, Ltd.

Music Director Elizabeth Schulze Guest Artist


Yuliya Gorenman, Piano Award-winning Russian-born American pianist Yuliya Gorenman has rightfully been called a “pianist without fear.” Now firmly established in her performing career, Gorenman first achieved international acclaim as a prizewinner of the prestigious Queen Elisabeth Competition in Belgium in 1995. Since then she has been continually invited to perform solo, chamber, and orchestral concerts throughout the United States and in Europe, and, in the process, has earned consistent praise for her artistic fire, for her fluid and unpretentious technique, and for the lyrical honesty and generosity of her playing.

Born in Odessa (Ukraine) and raised in Kazakhstan, Gorenman began studying with her late mother, Svetlana Gorenman, an outstanding musician in her own right. Gorenman continued to shape her performance style while attending the St. Petersburg Conservatory. While still a student, she performed throughout the former Soviet Union. After emigrating to the United States in 1987, she studied first at the San Francisco Conservatory and then at the Peabody Conservatory with mentors such as Nathan Schwartz and Leon Fleischer.

When Gorenman earned her laureate at the Queen Elisabeth Competition, she characteristically did so while on a precipice, as an artist between worlds, an emigre from the Soviet Union still weeks shy of her American citizenship. Schooled in two musical traditions but wholly defined by neither, Gorenman has since freely but carefully drawn on both heritages in performances of the masterworks of the twentieth century, romantic, classical, and baroque repertoire that have stirred audiences worldwide.

After leaving the former Soviet Union, Gorenman earned a steady procession of awards and honors. She performed in numerous television and radio broadcasts throughout Europe, Russia, the Middle East, Canada,

and the United States. As a fellow at the Tanglewood Festival she appeared in a PBS educational video for Sony Classical with Seiji Ozawa and Wynton Marsalis. Also at Tanglewood Gorenman gave a joint concert with Billy Joel, performing his classical concert works, which she also arranged. The concert was broadcast nationally on NPR.

Gorenman has performed with the National Symphony Orchestra, the Baltimore Symphony Orchestra, the Royal Philharmonic of Flanders, and many other orchestras and chamber music ensembles throughout the world . She has appeared at the Kennedy Center, the Herbst Theatre in San Francisco, the Palais des Beaux Arts in Brussels, festival “L’été musical dans la vallee du Lot” (France) and many other venues.

Hailed as one of the most exciting Beethoven interpreters of her generation, Gorenman has recorded all of the Beethoven concerti live. Her sold-out performances of all the Beethoven piano sonatas were critically acclaimed. The first volume of The Gorenman Beethoven Project: Piano Sonatas 1, 2, 3, was released to universal praise.

Gorenman is an Advisor to the Board of Governors of the Washington, D.C. chapter of the Recording Academy (GRAMMY). Currently, Gorenman is professor of piano and Musician in Residence at the American University in Washington, DC.

Guest Artist

2016-2017 Orchestra


FIRST VIOLINSRobert Martin – Concertmaster, MSO Guild ChairJoanna Natalia Owen – Associate ConcertmasterHeather L. Austin-Stone – Assistant ConcertmasterLysiane Gravel-Lacombe – Thomas Marks ChairCatherine NelsonH. Lee BrewsterMauricio D. CoutoYen-Jung ChenMegan GrayHeather HaughnPetr SkopekMadeline Watson SECOND VIOLINSMarissa Murphy –Principal, J. Emmet Burke ChairAriadna Buonviri –Associate PrincipalJulianna Chitwood –Assistant PrincipalKarin KelleherRuth ErbeTeresa L. GordonSwiatek KuznikMary Katherine WhitesidesPatricia Wnek

VIOLASPhyllis Freeman –Principal, Alan J. Noia ChairMagaly Rojas Seay – Associate PrincipalDaphne Benichou – Assistant PrincipalSungah MinRachel Holaday*Stephanie KnutsenSean LyonsAlice Tung

CELLOSTodd Thiel – Principal, J. Ramsay Farah ChairOpen – Associate PrincipalKatlyn DeGraw – Assistant PrincipalAneta OtrebaMauricio BetanzoMolly JonesJessica Siegel Weaver*Open

BASSESAdriane Benvenuti Irving – Principal, Stuart Knussen ChairMichael Rittling– Associate PrincipalLee PhilipAlec HillerKimberly Parillo

FLUTESKimberly Valerio – Principal, Marjorie M. Hobbs ChairSusan MottElena Yakovleva

PICCOLOElena Yakovleva

OBOESFatma Daglar – Principal, Joel L. Rosenthal ChairDavid M. James

ENGLISH HORNDavid M. James

CLARINETSBeverly Butts – Principal, John M. Waltersdorf ChairMichael Hoover*Jay Niepoetter – Acting 2nd Clarinet

BASS CLARINETEdna Huang + – Acting Bass Clarinet



21st CENTURY AFTER SCHOOL PROGRAMGary Delaney

CES ADVISORY BOARD

CES STUDENT PRODUCTION TEAM: ARTIST RELATIONSPerry BeachumTezeta GantBrianna Puryear

CUSTOMER SERVICERebecca BensavageAndre GlennRebecca OjomuEmily Yanky

CITY OF FROSTBURG

FSU FOUNDATION

FSU DEPARTMENT OF MUSIC

FSU DEPARTMENT OF THEATRE & DANCE

FSU DEPARTMENT OF STUDENT & COMMUNITY INVOLVEMENT STAFF

FSU DIVISION OF STUDENT AFFAIRSDr. Tom Bowling

FSU LEWIS J. ORT LIBRARYMary Jo PriceLea Messman -Mandicott

FSU OFFICE OF MEDIA RELATIONSLiz MedcalfAnn TownsellJoni SmithCandis Johnson

FSU OFFICE OF PRINTING SERVICES

FSU OFFICE OF RESEARCH AND SPONSORED PROJECTSAaron HoelDavid Webb

FSU PERFORMING ARTS CENTERConrad Maust

FSU PRESIDENTDr. Ronald Nowaczyk

LANE UNIVERSITY CENTER CENTRALIZED TECHNICAL CREW

MARYLAND STATE ARTS COUNCIL

MID ATLANTIC ARTS FOUNDATION

MOUNTAIN RIDGE HIGH SCHOOL

NATIONAL ENDOWMENT FOR THE ARTS

UNIVERSITY ADVANCEMENT

VOLUNTEER STAFFDonna BarryLinda Brumage JoAnn Condry Sharon Derlan Franklin Fatkin Becky Goldsworthy Joan Martin Mary Jo Price Karen Reidler Riitta Routhier Peggy Thomas Alicia WhiteJamie Winters

WFWM-FMChuck Dicken

Thank You

1.866. T I X X . C E S ( 1.866.849.9237 ) O R 301.687.3137 | C E S . F R O S T B U R G . E D U 311.866. T I X X . C E S ( 1.866.849.9237 ) O R 301.687.3137 | C E S . F R O S T B U R G . E D U 31

FRIENDSMarsha and Cecil BellWilliam BingmanLisa BohrerBrigitte BorrorAngelo A. BucchinoSondra BuckelKaren ClisterAndy CroweSharon DiehlAndy and Sydney DuncanLaura FiscusSharon L. and Jack L. FloydLisa J. and Michael GriffithBetty HarveyDeborah KolbJeanne and Alan LaPortaDavid and Eleanor MaddenJoe and Carol McDanielBarb MetzgerSharon MikeSue PeskinRichard E. and Dorothy K. PestaUrban and Jennifer PorterEdwin Rothe and Christopher BradtFelicia SchrockThomas SigerstadJames and Mildred StricklerKathy and Romulo Villanueva, MD

ADVOCATESArthur and Yvonne BealLynelle and Michael BrantJim and Donna BrinerCorlista CroweEdge and Lorraine DeuelVivian and Gregory DiehlLee and Ken FisherGene GallMargaret Gaughan Wesley and Katherine GordonTom and Chrissie HartsuchDavid and Donna KeechRuth MaxfieldDaniel F. McMullen, Jr.Michael and Annie MurtaghLee Ann O’Brien and Scott RileyShaila PaiCynthia PowersFrancine and Howard ReynoldsPhilip and Gretchen VanNewkirkValerie VriezeBrian and Valerie Westfall

ENCOREWard and Edith HillJanice Keene and Richard SauerJanet L. KnisleyRobert and Susan Larivee

Gregory and Teddy LattaMaureen LavanDr. Ronald NowaczykVictor Rezendes and John MinnichJack and Ruby RileyRiitta RouthierJohn, Mariam and Finian StroupBrian and Kristine Wilson

DONORSArthur and Yvonne BealJo Ann CondryDavid and Beverly FellLee H. and Kenneth D. FisherPeter and Iris HalmosJanice Keene and Richard SauerJanet KnisleyWilliam and Lea Mandicott Ruth MaxfieldVictor Rezendes and John MinnichSharon RobinsonRiitta RouthierJohn ShortGary Steele, Jr.

2016-2017 CES Members and Donors Recorded as of 1/21/17



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· jonathan kreisberg, guitar, byron landon, drums 2017 nea jazz master, dr. lonnie smith is an...

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