summerfest 2011 program

SUMMERFEST 2011June 18 - July 3

GREGORY VAJDA, Artistic Director, Conductor

Summer_June2.indd 1 6/2/11 5:36 PM

“Music produces a kind of pleasure which human nature cannot do without.”

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Dear Friends,

I Wish You A Very Happy Birthday! What? You didn’t know it was your birthday? Well, we are celebrating Music in the Mountains’ 30th Anniversary of great concerts and education programs. And, since you are part of our family, it’s your celebration too! Please join us in blowing our own horn for all that we’ve done for the community. And congratulate yourself for the part you have played by attending concerts, performing on our stage, or supporting the cause with countless volunteer hours and contributions.

I’ve designed these SummerFest 2011 concerts to include many of your all time favorites. For instance, 30 years ago our very first concert (before the debut of the Summer Festival) included the block-buster Carmina Burana by Carl Orff. And we are playing it again this summer, this time with returning Metropolitan Opera baritone, Richard Zeller joining our own Festival Chorale. Our longtime friends, Concertmaster Robin Mayforth and Principal Cellist Janet Witharm, join forces with our orchestra for the gorgeous Double Concerto by Brahms. Young musicians are playing side by side with our professional musicians in Bernstein’s Candide Overture. We are playing Beethoven’s Symphony #5

for the first time in our history. The “All That Brass” concert is back by popular demand. And we’ve even engaged the fantastic circus artists of Cirque de la Symphonie to do juggling, aerial acts, ribbon dance and a magic act with the help of our Conductor – that would be me! Believe me, you don’t want to miss this concert… in fact, you don’t want to miss any of our concerts!

It’s my second season with Music in the Mountains, and I’m going to celebrate like I’ve been here for 30. Please join me in wishing Happy Birthday to Music in the Mountains, Happy Birthday to the USA, Happy Birthday to all of us!

Yours,

Gregory VajdaArtistic Director, Conductor

Ah, the weather is warmer, the birds are feeding their young, the children are out of school – it’s time for another SummerFest!.

Just another SummerFest? No, this one is very special – for two major reasons: it is Music in the Mountains’ 30th anniversary year and Music in the Mountains is here because it survived a very difficult 2010.

It took some guts and innovative thinking for Paul Perry and Terry Brown to leave the thriving San Francisco musical scene and come to our beautiful little community. And a community is what they found. A group of locals worked hard to grow the seed that became MIM. Those of us who have the pleasure of being a part of the organization - enjoying the San Francisco-quality performances, watching our youth grow through our education programs and attending fun events like the Design for Living Home Tour - need to thank all the folks who made it happen…donors, sponsors, musicians, staff, volunteers, and, of course, our audience.

And now about 2010. Most of you know the story: too much bank debt, a poor economy that depleted our overly optimistic ticket sales plan, a loss of our Executive Director, an extensive amount of overhead – the “Perfect Storm” - that we were able to ride out and survive……due to ALL of you. Yes, we were in big trouble, and the MIM community stepped up and said, “Not on my watch! This organi-zation must continue!” Everyone in the MIM family helped in whatever way he or she could – through donations of time, talent, treasure – to create a smaller, more resilient organization. We are very focused on our mission: “ to enhance the quality of life in Nevada County by presenting outstanding performances of predominantly classical music and by offering exceptional educational opportunities for youth and adults in music appreciation, performance and composition.”

THANK YOU! And welcome to this special SummerFest! I know you will enjoy all our special offerings.

Sherry BartolucciMIM Board President


2 MUSIC IN THE MOUNTAINS SUMMERFEST 2011 ** In case of an emergency evacuation, please note all exits from the building.

About Music in the MountainsMusic in the Mountains’ concerts and education programs are funded in part by grants from the William & Marian Ghidotti Foundation, the Sacramento Bee, Carol Franc Buck Foundation and the Getty Foundation.

Music in the Mountains is an active member of ASCAP, BMI, Chamber Music America, League of American Orchestras and Association of California Symphony Orchestras.

Music in the Mountains is a non-profit tax-exempt corporation and all contributions are tax deductible as allowed by law.

Music in the Mountains Office530 Searls Avenue, Nevada City, California 95959

Business Office: 530-265-6173Box Office: 530-265-6124 or 800-218-2188 Tuesday-Friday, 12pm - 4pmWebsite: www.musicinthemountains.orgEmail: [email protected]

MIM Staff

Gregory VajdaArtistic Director/Conductor

Ryan MurrayChoral Director

Chrissie MarshallOffice Manager

Nancy DonahueBox Office Manager

Mark VanceEducation Coordinator

CELEBRATING OUR 30th SEASON

Marguerite Blickenstaff - Advertising SalesKaren Brown - Festival Program EditorTerry Brown - ProducerMaya Chensue - Social Media CoordinatorJennifer Dahlgren – Festivals Marketing Chair

Bev Erickson - HistorianRich Mapes - Production ManagerRandi Soule - Music LibrarianKevin Windrem - Sound EngineerGreg van der Veen - Stage Manager

Adjunct Staff


MUSIC IN THE MOUNTAINS SUMMERFEST 2011 3

1 Gregory Vajda and Sherry Bartolucci Welcome2 Staff3 Board of Directors4 Gregory Vajda, Artistic Director & Conductor Ryan Murray, Chorale Director5 Past Board Members6 A Short History of Music in the Mountains7 Music in the Mountains Alliance8 Educational Programs9 Golden Clef Circle10 Donor/Investor Levels Concert Sponsorship Benefits11 Donors/Investors 14 Thirty Years of Marvelous Music and Fabulous Fun

16 Dinner Divertimento, June 18th18 The 30th Anniversary Concert, June 23rd 20 Cirque de la Symphonie, June 2522 Orchestra Masterworks, June 26th24 All That Brass, June 28th26 Carmina Burana and More, June 30th28 Young Composer’s Concert, July 1st29 Family Concert, July 2nd30 Happy Birthday USA!, July 3rd 32 Festival Chorale33 Festival Orchestra34 Artist Biographies44 Coming Events Index of Advertisers

Contents

Mike BloebaumAileen JamesReilly RaabE. Frank SantosHazel Shewell

Thank You 2010 Retiring Directors

Board of Directors

Program Design and SummerFest 2011 graphics by Stephanie Camp Design

The Volunteer Board of Directors:

Back Rows, Left to right: Jack Roberts; Jerry Biagini; Norm Westmore; Jeffrey Leiter; Judith Ciphers; Mark Strate; Corinne Pryor; Terry Brown, Vice-President; Barbara Swisher; Lynn Kerby, Vice-President; Ginny Rifffey, MIM Alliance; Dan Halloran, Vice-President; Gail Fox; Bill Kinney, Vice President; Ed Robinson, Secretary; Ersel Edwards

Front Row, Left to right: Jennifer Dahlgren, Chorale representative; Liesel Shuholm, Youth member; Barbara Belmer; Sherry Bartolucci, President; Betty Hahn; Hindi Greenberg

Not pictured: Kim Zwick, Treasurer; Kent Riffey; Peter Nowlen, Orchestra representative


4 MUSIC IN THE MOUNTAINS SUMMERFEST 2011

Gregory Vajda, recently appointed Music Director and Conductor of the Huntsville Symphony Orchestra,Alabama, is becoming one of the most sought-after conductors on the inter-national scene. Vajda’s 2009/10 season began with a stint at the Hungarian Radio Symphony, followed by his first return to the Hungarian State Opera since emigrating to the US. In January 2010 his new work, Gulliver in Faremido,

was commissioned and premiered by Third Angle New Music Ensemble in Portland, Oregon. In his adopted country he led subscription concerts with the Oregon Symphony Orchestra, debuted with the Seattle, Grand Rapids and Memphis Sym-phony Orchestras, and returned to the San Antonio Symphony Orchestra and Symphony Silicon Valley. His recording of Péter Eötvös’s As I Crossed a Bridge of Dreams was nominated for the MIDEM Classic Prize.

After completing his tenure as assistant conductor of the Milwaukee Symphony Orchestra in 2005, Mr. Vajda took over as resident conductor of the Oregon Symphony Orchestra at the start of the 2005-06 season. In 2009 he was appointed Artistic Director and Conductor of Music in the Mountains in California. Season 2008/09 marked Vajda’s introduction to the Salzburg Festival as assistant conductor to Peter Eötvös. He conducted the final performance of Bartok’s Bluebeard’s Castle with the Vienna Philharmonic and Vienna State Opera Chorus before returning to the Atlanta Opera to lead La Cenerentola.

In past seasons Vajda has conducted the Toronto Symphony Orchestra, Montreal Symphony Orchestra, the Philadelphia Orchestra, the Atlanta Opera Company, the St. Paul Chamber Orchestra, and the Ensemble Intercontemporian among many other U.S and Canadian symphonies. Some of the festivals he has conducted are the Avignon and Strasbourg, France festivals, the Spring and Autumn Festivals of Budapest, the Lanaudiére Festival in Quebec, the Grant Park Festival in Chicago, the Round Top Festival in Texas and the Mostly Mozart Festival in Lincoln Center, New York City. Previously, he also recorded his one-act opera, Barbie Blue, and his orchestral composition, Duevoe, for the Hungarian Radio, conducted the premiere of his chamber opera, The Giantbaby, at the Puppet Theatre in Budapest, and his concert music for the silent film The Crowd was performed twice at the Auditorium of the Louvre.

Born in Budapest, the son of renowned soprano Veronika Kincses, Gregory Vajda studied clarinet and conducting at the Franz Liszt Academy of Music, the latter under Professor Ervin Lukács. He was also a conducting and composition pupil of well-known composer and conductor, Péter Eötvös.

Ryan Murray is quickly gaining a reputation as one of the top choral conductors in northern California. He joined Music in the Mountains in 2008 as Choral Conductor and has generated rave reviews from audiences and singers. Murray is also the Princi-pal Conductor of the Townsend Opera Players in Modesto, which has seen significant growth since he joined the organization.

Recently Murray added two more prestigious appointmentsto his professional calendar. He has joined the faculty of Sacramento State University as an associate professor, starting in the 2010/2011 academic year, and he was retained as Faculty Conductor by the Bay Area Summer Opera Theater Institute, a nationally acclaimed, intensive summer program for pre-professional opera singers. In this position he works with conductors and voice teachers who have experience at top opera companies throughout California as well as the Vienna State Opera and the Metropolitan Opera.

Murray is also the Director of Vocal Activities with the Vocal and Instrumental Teaching Academy (VITA) in Sacramento. He previously served as the Assistant Director of Vocal Activi-ties for the Academy of All Hallows orchestra and chorus in Sacramento.

Ryan is a summa cum laude graduate of California State Uni-versity, Sacramento, with degrees in voice performance and bassoon. While completing his studies at CSUS, he served as assistant conductor of the orchestra and opera programs and performed as guest soloist.

Gregory Vajda, Conductor Ryan Murray, Choral Director



Past Board Members

Jerry Ames, 1981-94Sherry Bartolucci, 2000-02Elizabeth Bennett, 1992-94Marguerite Blickenstaff, 1983-97Mike Bloebaum, 2005-2010Michael Bodourian, 1993-99David A. Breninger, 1984-88P. Scott Browne, 1993-2005John Casey, Jr., 1983-84Kathryn Clauset, 1981-93Pat Cobler, 1981-83Helen Conrey, 1996-2000Seanne Courtney, 2003-05Jacque Cowgill, 2004-06Terry Crane, 1993-95Jack Crombie, 1992-95Tom Cross, 2000-02Heidi Cunningham, 1999-2000Helen “Hank” Daggett, 1988-2001Suzie Daggett, 1984-89, 92-93John Darlington, 1985-89Ken Dean, 1988-89Betty Deane, 1981-91Gayle Denney, 1985-92Chris Dickman, 1981-98Madelyn DiMugno, 1994-2005Polly Dodds, 1983-94, 2002-05Jan Doting, 2001-2003Jean Brook Dunning, 1993-95Charles Dusenbury DDS, 1984-90Larry Elliott, 2001-2004Beverly Erickson, 1981-95Doris Felts, 2003-04Geraldine Flaherty, 1989-90Christine Foster, 1997-2000Roberta Frank, 1996-97Scott Fritz, 2001-02Elizabeth Fry, 1983-92

Marian Gallaher, MD., 1988-93, 1998-2007Michael Good, 1983-84Larry Goodfriend, 1994-2001Mary Grayeb, 1996-2002William Griffin, 1988-90David Griswold, 1992-2001David Heppe, 1993-96Judy Hess, 1992-93MacKenzie Hild, 2008-09Michael Hill-Weld, 1999-2001Kathy Hillis, 1991-2006Herbert Inskip, 1983-86Aileen James, 2002-05, 2007-2010Rev. Richard O. Johnson, 1987-93Sarah Johnson, 2004-05Dieter Juli, 2002-07Joseph M. Kandell, 1998-2001Nancy Kendrick, 1984-87Laura Keranen, 1997 -2007James F. King, 1984-85Holly Kraemer, 1994-99Norman Label MD, 1990-92Dennis Lance MD, 1986-92Don Lawson, 2004-06Robert Libutti, 2003Sue Longan, 1986-90Anthony Loughran, 1981-87Jean Loughran, 1981-89Del Lunde, 1991-98Hank Mack, 1990-96Linda Marschall, 2001-07Jim Maxwell, 1994-99, 2002Robin Mayforth, 2008-09Bob McAfee, 2008-09Terence K. McAteer, 1998-2001Arch McPherson (Honorary)Jo McProud, 1981-84Clarence McProud, 1981-84

Dorla Menmuir, 1983-86Wendell Meyer, 2000-02Beth Moorhead, 1987-90Adrienne Morrish, 1983-84Vince Mutascio, 2005-2008Mark Narveson, 1995, 1998-2001Allen Ostrofe, 1991-96Ladell Payne, 2000-01Paul Perry, 1981-82Wayne Pittenger, 1999-2001, 2002-07Corinne Pryor, 1982-84, 87-92Gay Pryor, 1982-84 Reilly Raab, 2009-2010Beverly Riddle, 2004-2006Diane Robertson, 2001-2006Lois Robinson, 1983-85, 1997-99Jo Lynn Samuelson, 1981-83Roger Sanford, 2004-09Keith Schoendoerfer, 2001-04Hazel Shewell, 2005-2010Mac Small, Jr, 2006-07William Smith, 1995-98Betty Stiving, 1997-99Morgan Stoltz, 1991-94, 2002Connie Stone, 1983-86, 90-96James Stradinger, 1985-92Mark Strate, 2002-07Chris Stritzinger, 1982-83Fran Stritzinger, 1982-84Barbara Swisher, 2007-2009Bill Tuttle, 1984-85John van der Veen, 1981-92Judy van der Veen, 1981-83Sue Vardon, 2000-01Pat Vixie, 1987-88Sarah Wagster, 1996-99Josephine Ward, 1981-83Bill Wetherall, 1983-88

Dick Wiebe, 1998-2001, 2003-04Ann Wilder, 2001-04Helen Williamsen, 1981-82John Woodford, 1996-2001Annie Wright, 1993-2001

Past Presidents, Board of Directors

Jeffrey S. Leiter, 2007-2009Wayne Pittenger, 2004-2006Hazel Shewell, 2003Madelyn DiMugno, 2000-2002P Scott Brown, 1999-2000Jack Roberts, 1996-1999Helen ‘Hank’ Daggett, 1994-96Marguerite Blickenstaff, 1991-94James Stradinger, 1989-1991John van der Veen, 1986-89Kathryn Clauset, 1984-86Beverly Erickson, 1981-84

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A Short History of Music in the Mountains

The first Music in the Mountains Summer Festival took place in June of 1982 after 14 months of planning. Originally operating under the auspices of City Opera, a nonprofit Corporation founded in 1978 in San Francisco by Paul Perry and Terry Brown to perform little known works of opera, the purpose of City Opera was changed to produce a Summer Festival called Musicin the Mountains (MIM). Utilizing the local volunteer chorus, the Golden Chain Chorale, already under the direction of Paul Perry, as the core of the Festival, professional musicians were hired from orchestras throughout the United States.

In 1985, the corporate name was changed from City Opera to Music in the Mountains, and the Golden Chain Chorale was renamed the Festival Chorale. In the 1994-95 season, the chamber concerts were consolidated into two

“mini-fests” – two series, in Fall and Spring. The Holiday Choral concerts were always a part of the schedule presented in December. In 2009, our new Artistic Director and Conductor, Gregory Vajda, combined the Fall and Holiday concerts to present a WinterFest series in December.

MIM is governed by an all-volunteer Board of Directors. The volunteer support group, Allegro Alliance, responsible for hospitality and benefit events, was founded in 1987. In January 2011 the name of this important support group was changed to Music in the Mountains Alliance. With founding Artistic Director and Conductor Paul Perry’s retirement in August 2008, an extensive search process that included past and present board members, orchestra principals, chorus and audience input overwhelmingly chose Gregory Vajda as MIM’s new Artistic Director and Conductor in July 2009. MIM currently is in the process of an extensive search for the position of Executive Director.

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Founding Board of Directors 1981 Back Row: Terry Brown; Chris Dickman, Pat Cobler, Clarence McProud. Front Row: Bev Erickson, Jo Lynn Samuelson, Jo McProud, Jerry Ames, Jo Ward, Paul Perry. Not pictured: John & Judy van der Veen, Tony & Jean Loughran, Helen Williamsen (Kay Clauset & Betty Deane, deceased)



President Ginny Riffey

VP for Benefit Events Celia Edwards

VP for Hospitality Events Desmond Knox-Gallagher

Membership Diane Swenson

SecretaryNora Kinney

Financial Advisor Bob Martin

Past PresidentJudith Ciphers

Fanfare Editor Otto Schulze

Members at Large:

Barbara BelmerKathe FreerJan KlineJack LairdPeggy LairdKent PenwardenMargo SchulzeJim SwisherKathie Valentine

Past Presidents of the Alliance:

Judith Ciphers 2008-2010Barbara Swisher 2006-2008Jacque Cowgill 2004-2006Doris Felts 2004Jan Doting 2001-2003Sue Vardon 2000-2001Helen Conrey 1996-2000

Music in the Mountains Alliance is a group of nearly 400 volunteers whose purpose is to support Music in the Mountains as they endeavor to be a major contributor to the cultural, educational and economic enrichment of the communities of Nevada County. In 2010, despite the economic problems in the county, the Alliance was able to raise $114,000 for Music in the Mountains. Previously known as Allegro Alliance, 2011 brought a change in name. This change was made to ensure that all who see and hear about us know of our affiliation with Music in the Mountains. In addition to fund raising the Alliance is the face of Music in the Mountains at all concerts and special events – assisting wherever needed. And besides working hard for the cause members have a good time. We would love to have you join us. If you are interested in being part of this dynamic group or have any questions please call our Membership Chair, Diane Swenson or our President, Ginny Riffey at the MIM office.

2011 MUSIC IN THE MOUNTAINS ALLIANCE LEADERSHIP

Music in the Mountains Alliance

May 26 Winery Dinner at Sierra Starr Winery / Chair: Celia Edwards and Jan Kline June 25 and July 3 Great Giveaway #1 – SummerFest Outdoor Concerts / Chair: Jim SwisherJune 27 Bridge, Lunch, Tunes + Games – Amaral Family Festival Center at the Fairgrounds / Chair: Margo SchulzeAugust 10-14 Beer and Wine Pavilion - Nevada County Fair / Chair: Jeanette Miller and Gary Blum August 27 BrewFest and Great Giveaway #2 – Nevada County Fairgrounds / Chair: Terry Brown September 11 Swing Along Golf Tournament – Lake Wildwood Golf Course / Chair: Don Streseman October 1 & 2 Designs for Living Home Tour – Nevada County / Chair: Ruth Hochman and Peggy Laird

Alliance Benefit Events Schedule

Friends Party

Swing Along Golf Tournament

Pre-concert party

Bridge, Lunch, Tunes


Classics for KidsFourth graders bussed to live performances.

Brummitt-Taylor Classical Music Listening ProgramOver 4000 students in Nevada County classrooms benefit from this program.

Peers Performing 4 PeersStudent musicians performing in school classrooms.

Music Live!Professional musicians performing classical music in school assemblies.

Young Musicians CompetitionStudent musicians performing for professional adjudicators and receiving valuable critiques. Also competing for cash prizes.

Young Composers ProgramStudents learning the composition process from NCCC composers with a year-end concert by professional musicians.

Family ConcertA family friendly concert during SummerFest. (formerly known as KinderKonzert)

Side by SideThe opportunity for talented young musicians to rehearse and perform with Gregory Vajda and the Music in the Mountains Festival Orchestra.

ScholarshipsDonner Mine Summer Music Camp, Jean Brook Dunning, Laura Keranen and Lucy Becker are scholarships offered in a variety of musical categories.

Youth DiscountsFree outdoor SummerFest and $5 indoor anytime concert tickets offered to students 17 and younger.

How You Can HelpUse the green SPD Coupons and Save Mart Market Shares Cards (available at the MIM office and at concerts). A percentage of your purchase supports MIM’s education programs. Keep music alive in the schools by supporting Music in the Mountains educational programs with your contributions. Together, we can ensure that the benefits of music continue to help our children get the best possible start in life.

Since 1982, Music in the Mountains has provided music education programs for young people and adults in our community. MIM’s Education Committee is composed of musicians, music teachers, school personnel and educators. They’re all volunteers who work tirelessly with local schools, teachers and administrators. MIM’s education programs include:

Music in the Mountains Education Programs



These individuals have chosen to leave a legacy to Music in the Mountains through a bequest.

LaVonne AmaralLes & Kay AtchisonBarbara BelmerHarold & Marguerite BlickenstaffMichael & Marilyn BodourianRay & Liz BoedeckerCurtis Bok & Sharon Bailey-BokTerry & Karen Hulett BrownScott Browne & Richard ToothmanMel & Judith CiphersHelen ConreyMrs. Robert DaggettDavid & Gayle DenneyJohn & Madelyn DiMugnoJim DoddsPolly DoddsMarian Gallaher, MDLarry & Nancy Goodfriend

Hindi GreenbergBetty & Brayton HahnIda HallingRobert & Carol HamiltonMarcella HardtMichael & Judith Hill-WeldMarlys HoughtonReverend Richard & Lois JohnsonDieter & Martha JuliJeffrey Shattuck LeiterMilda LeiterCarl & Linda MarschallGilbert M. MathewClarence McProudBobbi & Bob MeyerWilliam & Susan MorrisPaul PerryWayne & Janet PittengerJ. David RamseyMarge RathJack & Bobbi RobertsLowell & Diane RobertsonHazel ShewellMark Strate

Isabell ThomasButch & Virginia ThreshGrace TrotterWilliam WetherallDick & Alice WiebeAnn WilderJackie WilsonAnne E. WrightEugene & Nine Zepp

In MemoriamIrma Ione AdamsFrank AmaralGordon BettsMrs. Marjorie IngramMaryjane M. PetersenPaul ShewellClifford ThorsonJudd TrotterOrene Wetherall

The Golden Clef Circle


Thank YThank You

To all our volunteers, donors, musicians, staff and directors who have made these 30 years

so memorable and exciting.

We couldn’t have done it without you!


Applause: $25-299Our Appreciation! • Donors $100 and above, listing in the MIM Program Book

Friends: $300-599Listing in the MIM Program Book plus: • Invitation for 2 to the annual Friends Party • “Introduce 2 Friends for Free” Concert Gift Certificate

Ovation: $600-999All benefits listed above plus: • Priority ticketing and exchange privileges

Encore: $1,000-4,999All benefits listed above plus: • Gate 1 parking passes for outdoor concerts • MIM Season Highlights CD • Invitation for 2 to the Maestro Party

Bravo: $5,000-9,999All benefits listed above plus: • Early admittance to all outdoor concerts

Director’s Circle: $10,000-19,999All benefits listed above plus: • Invitation to the annual private Conductor’s Luncheon • Concierge services: Get the ultimate concert experience through our assistance with transportation, tickets, parking, beverages and more

Maestro’s Circle: $20,000 and aboveAll benefits listed above plus: • A reserved personalized parking space at all concerts

Golden Baton: $100,000 and aboveAll benefits listed above plus: • Making an enormous difference to MIM and our community!

All Business and Individual Sponsors receive the following benefits, subject to the nature of the event, the level of the sponsorship, and the timing of the sponsorship commitment:

• Sponsor Name/Logo in the ticket brochure, the concert program or event advertising, and on MIM’s web site. • Signage or Banners at the entrance to the event. • Announcement at the event of Sponsor’s name.

• Complimentary tickets, plus discount tickets for your employees (Amounts to 1 table plus 6 tickets for indoor and outdoor concerts.)

• Discount of 20% for groups of 20 or more.

• For outdoor concert sponsors, reserved, first-come Parking at Gate 1.

• Outdoor concert sponsor receives display at sponsored concerts, not to exceed 10’x10’ sized display.

• Recognition and benefits as an MIM supporter in all donor listings, according to support level.

• Visibility as a business that enhances the cultural and economic life of the community where your customers and employees choose to live.

Music in the Mountains 2011 Donor/Investor Levels

2011 Concert Sponsorship Benefits

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GOLDEN BATON($100,000 & above)Dick & Beth Landis

MAESTRO CIRCLE($20,000 & above)LaVonne AmaralSherry BartolucciBob & Carol HamiltonLynn & Camille KerbyBill & Bev Riddle Ed Robinson & Jayne Clare

DIRECTORS CIRCLE($10,000-19,999)Barbara BelmerJerry & Beth BiaginiTerry & Karen BrownCommonwealth Financial NetworkErsel & Claudia EdwardsGene & Gail FoxGhidotti FoundationBrayton & Betty HahnDan & Toni HalloranDieter & Martha JuliBill & Judy KinneyKent & Ginny RiffeyJulia Amaral & Mark StrateButch & Virginia ThreshThe UnionGene & Nina Zepp

BRAVO($5,000-9,999)AnonymousB & C True Value HardwareMarian Gallaher, MD Leo & Gayle GranucciJeffrey LeiterPaul PerryLowell & Diane RobertsonHazel ShewellOlga ThorsonJim & Carol Young, Rincon del Rio

ENCORE($1,000-4,999)AnonymousDavid BardSandra BeachJerry & Marlene BeckerRobert Berman & Jane GinsburgMike & Margaret BloebaumChuck & Carolyn Bloom

Ray & Liz BoedeckerJulie BramkampScott Browne & Richard ToothmanMel & Judith CiphersMichael ColantuonoHelen ConreyTom Cunningham Chris Dickman & Jerry Ames David & Gayle DenneyJohn & Madelyn DiMugnoDr. Al & Beverly EricksonEskaton Village Grass ValleyCathy EvilleCheri & Mike FlaniganDesmond GallagherGold Country Kiwanis ClubJerry Grant & Corinne Gelfan Hindi GreenbergGerri GriswoldHansen Brothers EnterprisesNancy T. HillTerry & Kathy HillisDavid JonesBob & Jan KlineKNCO/Star 94.1 RadioDon & Loretta LawsonRoberta LoughlinDick & Ann MentzerWendel & Sharon MeyerVince & Saundra MutascioBill & Helen NeffWayne & Janet PittengerCorinne PryorLombard & Malinda RiceJack & Bobbi RobertsRoger & Nancy SanfordFrank & Nonie SantosRalph & Doris SchaffarzickJudy SeabridgeWilbur SkaerJames & Mary StradingerJim & Barbara SwisherBarbara TannerIsabell ThomasGary & Carolyn TwingGregory VajdaBill VicarsNorm & Jan WestmoreJackie WilsonAnne WrightKim Zwick & Andy Bernadett

OVATION($600-999)Mervin & Patricia BakerBert & Julie Barker

Pat CaspersenBill & Jacque Cowgill Polly DoddsFrank & Celia EdwardsShirley & Lee FrancisGeorge & Mary GrayebMichael, Judith & Ted Hill-WeldMagdalene JaeckelRev. Earl & Darleen LangguthSteve Nicholson & Mimi VishootTom Rose & Suzanne Knott Mary Grace Tassone John & Judy van der VeenDick & Alice WiebeMahlon & Roberta Wilkes

FRIENDS($300-599)Tom BesemerCarle & Joan BumpusJohn & Valarie Bush

Stuart & Paula CampbellCathy D’s Landscape, Inc.Larry & Lois ClevelandJennifer & Eric DahlgrenJohn & Marilyn DarlingtonJames & Carolyn DeanWilliam & Angela DerrickDavid & Barbara GableMaryLou GibsonThomas & Darlene HallPhyllis & John HazelwoodSusan & Tom HopkinsSue HorneRichard & Lois JohnsonJoe & Netta KandellChris & Vivien KaneBrent KoegelMilda LeiterLisa Jackson SalonRoberta LoughlinHarry LumCarl & Linda MarschallDr. Cheryl O’Connor

DonorsGifts & Pledges Received May 1st, 2011 through April 30, 2011Music in the Mountains is truly grateful for the generous gifts to the special fundraising campaign from so many of you this past Fall. Your support has made all the difference. Thank You!

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Rosalie OppermanKaren OstergardPenn Valley RotaryRoger & Jean PoffJane PrimroseDr. Gary QuehlRobertson, Woodford & Summers, LLPPhyllis SawvellSierra Nevada Brewing CompanySierra TimberlineDr. Gabriel SotoMorgan & Donelle StoltzTom & Annabel StrausGrace TrotterBrian & Joan UnterRobert & Roberta WhitingKaren Wood

APPLAUSE($100-299)Alta Sierra Country ClubDavid AltonLance AmaralWanda AveryDavid & Gloria BakerRichard Baker & Julie Gerngross BakerArt & Ann BartaGordon Betts EstateCarl & Joann Bianco

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Harold & Marguerite BlickenstaffAndrea BolligerEdward & Lisa BubienkoAlfred & Marguerite BuhlerHoward ButlerTony & Linda ClementsGeorge & Will CobbeGeorge & Beth ComegysWilliam & Nancy CrapoSallie DiesEvelyn DonaldsonFrank and Jan DotingRobert DriscalPatricia & Deane DvoracekAnn EmersonPaul EricksonMary R. FairbanksFrederick & Eva FisherVerne & Kathe FreerAlan & Ann GainesMary Lou GibsonDanny GentileTom & Sandy GoldDavid GrundyElizabeth HammondAmy HartmanLinda HartmanGail Headstrom & Frank FishCarole & Dennis HeaneyJanice HedmanN. Lovice Hinsdale

Duke & Mary Frances HoldcroftBob & Nancy JohansenSR JonesMary C. JostesSusan Judy & J.B. MackinnaJack & Barbara KidderHelen & Paul KranzLarry & Judy KuharLake Wildwood AssociationHelen LayJames W. Lee, DMDJane LenoirTay LesleyD. Joseph & Ashley LloydFred & Gayle LossmanKevin & Heather Lucas-RossBob and Pinky MartinGill & Kathy MathewClarence McProudMichele & Binns MelanderDorla MenmuirJudith MitchellPete NowlenThomas & Judith O’TooleOstrofe FinancialConnie Parsons & Greg ArchbaldRuth PeterhansKeith & Shirley PorterProspector’s NurseryJudith J. Pruess-Mellow, PhDHolger & Linda RasmussenSheldon & Katherine RaynesCody & Elizabeth ReevesCheryl Rellstab & Kenneth HolbrookLee J. RenzCatherine RicePatricia RileyLois RobinsonDonna RussellElsa SanzoneSierra Gold Insurance, Roger Krill Sally SmithOtto & Catherine SteeleRichard StevensDon & Marilyn StresemanDenise TambascoStephen & Teresa TassoneGinny TrapaniCharles & Kathleen TuttleVolz Bros. AutomotiveDavid & Ann WallaceMuffy WeaverHoward & Marilyn WhelenMay WilliamsHoward & Barbara WilsonWalt & Aurora WilsonPhyllis K WongThomas & Sharon WulfMarilyn YerkesKeith Yettick

IN MEMORY OFMICHAEL BALTICHGeorge and Eleanor BarberHelen ConreyRonald & Joan DeiroJack & Bobbi Roberts

LUCY BECKER MEMORIAL SCHOLARSHIPKevin & Deborah AitkinDeanna AllenBarry Angell & Phyllis WongKathy BainPat BakerRoxanne Bartlett & Charlie FreyJulie BeckerAntonia BellJanet BellaviaHarold & Marguerite BlickenstaffJerry Bloom & Cynthia PiercePeter Bosma & Beth MuthDavid BowmanEdwin & Nancy BradleyTownsend & Holly BradyTim Brennan & Diane CrossMarylou BrighamCharlie & Mary B BrockThomas & Charlene BumgarnerMarc Burgraff & Simone MalboeufLewis & Shana ButlerJerry Carbone & Kathleen MaistoJohn & Margie CarrDon CasavantEunice CheeGreg Cicatelli & Geri StoutMel & Judith CiphersPeter & Rhonda ClarkKathleen CoatesJanet Cohen & Chris ScammonLuanne Cole-Weston, Ph.D.Karen CoombsPatricia CooperTerry & Mary CraneMary Jo CravattaBarbara DakinJoseph & Madeline D’AndreaNancy DonahueAl & Lynn DoverCharles DraceJames & Teresa DraceRachael Drace & Ken JohnstonRichard DracePaul & Kay DrakeWilliam Durbrow & Beverly MarksGrant Eisen & Karen Wallack-EisenTessa ElyThe Entrekin FoundationDr. Al & Beverly EricksonPaul Faahs & John Simon


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(Friends, continued)


Diane FetterlyPhyllis FettoJoan & Charles FieldLou & Vickie FinePatricia FranksBrian & Donna FryAlicia & Michael FunkMarian Gallaher, MDRon Gangemi & Jan HaggarStephen Gottlieb & Barbara van NoordJenny HaleTom & Inge HallKathleen HarrisKathleen Hattem & the BooksellerGeorge HauserEdward & Custis HaynesPhyllis & John HazelwoodClare Henkel & Phillip SneedTerry & Kathy HillisMike & Cathy HooperSarah HooperScott HuddlestonMagdalene JaeckelJoan JerneganJonelle Jerram-Parker & Tim ParkerRichard & Lois JohnsonMike & Diane JonesEric & Frances JorgensonDieter & Martha JuliMaxima KahnChris & Vivien KaneJames & Paula KarmanJack & Barbara KidderJim & Lois KingSuzanne Knott & Tom RoseSophia Koessel & Bruce Talbot

Ronald & Sharon KornerDick & Beth LandisBill & Barbara LarsenRobert & Corinne LarsonDavid & Lisa LawellJeffrey LeiterJane LenoirJody LewenGail Lipson & Eric RubensteinFred & Gayle LossmanChristina LundbergS. MahaffeyMary McClainClarence McProudDorla MenmuirJill Messier & John SchugrenCheryl Montague & Don WelshJo MooneyVictoria MoraDiane MusickBill & Chris NewsomDavid & Linda PalleyRobert & Helen PalmerFrank PedrickPaul PerryMatthew P. PetersonRobert & Dale PetersonPatrick & Nancy PetersonFrances PetrocelliJustin Pfaffinger, DDSNancy Piette & David UntermanPine Creek Veterinary ClinicKeith & Shirley PorterJane PrimroseElizabeth PurtellJustin & Ginny RattnerSusan Roberts

Lois RobinsonNancy & Jim RobinsonValerie RodakTed & Barbara RossNorm & Annamaria SauerLucile SchulerAlice SobySally SoperCharlotte & Larry StarnLee StipicNeil & Kathleen StradingerConstance SturmWendy ThompsonButch & Virginia ThreshBritta TiganJohn & Kerri TimmerGinny TrapaniMoses TraugotRichard & Joan TumiltyChia ValentinPriscilla van der PasJohn & Judy van der VeenBill VicarsDale & Dorothy VolkerGordon & Kathy VredenburgRuth WeillerBradlee & Elizabeth WeltonJim & Barbara WhitakerKen WhittemoreRoy & Jeanne WhittenJennifer WilkersonTed & Ruth WymerJoanna Zadra

FOR BRUMMITT-TAYLOR LISTENING PROGRAMHoward & Marilyn Whelan

IN MEMORY OF ANN COBBEDan & Toni Halloran

IN MEMORY OF ANDREW ERICKSONTerry & Mary CraneDr. Al & Beverly EricksonHindi GreenbergGerri GriswoldPaul PerryJack & Bobbi Roberts

IN HONOR OFMILDRED GRACEShirly FletcherGlenn and Alice Slanec

IN MEMORY OF LAURA KERANENAlice SobyM. Jessica BoothLaurl Littman-GothelfMartha MeredithJudith Pruess-MellowJan SeptonMac Small, Jr.Edward & Barbara Thomas

IN MEMORY OF KATHERINE RAYNESCleo Gibson

IN MEMORY OF CLIFFORD VIXIETerry & Mary Crane


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(Becker Memorial, continued)


Thirty Years of Marvelous Music and Fabulous Fun!


Terry Brown and Paul Perry, circa 1982

Blazing Brass at a Picnic and Pops concert

Greg van der Veen and son Alex practice conducting

Amaral family breaks ground at festival center.

Another magical night under the pines.



Amaral family breaks ground at festival center.

Another magical night under the pines.

Carol Sechovec, Gregory Vajda and Corinne Pryor celebrate after a concert

Chamber music in St. Joseph’s Hall

Gregory Vajda and Janet Sims

Janet Sims, Paul Perry and Robin Mayforth at the 25th Anniversary party.

Ryan Murray conducts audience at Christmas concert.

KinderKonzert


Quintet for Piano and Winds in E Major, K.452............................Wolfgang Amadeus Mozart

Largo Larghetto Rondo allegretto

Neil Tatman, oboe; Tom Rose, clarinet; Carla Wilson, bassoon;Peter Nowlen, horn; Brenda Tom, piano

Sextet op.37..........................................................................................Ernst von Dohnányi

Allegro appassionato Intermezzo Adagio 1 Allegro con sentiment Finale allegro, vivace giocoso

Gregory Vajda, clarinet; Peter Nowlen, horn; Robin Mayforth, violin; Janet Sims, viola;

Janet Witharm, violoncello; Brenda Tom, piano

This concert is generously sponsored by: Special Thank you to Miners Foundry

Wolfgang Amadeus Mozart (1756-1791)

A BIRTHDAY GIFT. His music has given the world an incredible gift and we of MIM thank you, W. A. Mozart!

A precocity of legend — playing the harpsichord at age 4, compositions by 5, a symphony at 8 and an opera by his 13th birthday. He was also a great meal ticket for his father, who was a stereotypical example of the stage parent. Leopold had little Wolfie and his sister Nannerl concertising throughout Europe for many years with all the emotional stresses and ego exercis-es such activities could create, particularly on children. As time passed, Wolfgang developed into an exceptional pianist/organ-ist and his composing continued to evolve dramatically. And now (apocryphal or not) a good story. In 1767 the Archbishop of Salzburg, Sigismund von Schrattenbach declared, “Enough!! This 11 year old Mozart could not be the prodigy as claimed.” He had the poor little chap confined in solitary for a week with nothing but food, blank staff paper and the words to a biblical text. When the door was opened a few days later a very fine oratorio had been composed. Two years later 13-year-old Mozart was appointed Court Konzertmeister – no money with the job, just bundles of prestige. Leopold was reasonably happy.

Fast forward to Vienna (see Mozart program notes June 30). It was during March of 1784 that he composed the Quintet for Piano and Winds in E flat, K.452. After the first performance Mozart wrote his father, “I myself consider it the best thing I have written in my life.” The three movement work integrates the exceptional wind parts with the intensity of the piano, making it an enjoyable and familiar listening experience.

Dinner Divertimento Saturday, June 18, 5 :15 PMMiners Foundry, Nevada City

Concert Notes


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Carla Wilson, MIM principal bassoonist, says “Mozart wrote a lot of great parts for the bassoon in his Symphonies, Piano Concertos and other chamber ensembles. I think he must have loved the bassoon for his Quintet for Piano and Winds is not technically difficult, but takes a lot of understanding and art-istry to play with the lightness, playfulness, rhythmic integrity, expansiveness and expressive, unsentimental qualities that his music calls for. I love playing this piece, and I’m hoping you enjoy it as much as I do.”

Ernst von Dohnányi (1877-1960)

A GOOD START. Recognized for his outstanding contributions in composition, conducting, teaching and piano performance, Dohnányi represented one of the last composers writing within the European Romantic tradition. In 1894 he entered the Royal Academy of Music in Budapest, to study piano. A year later he wrote the Piano Quintet in C Minor. When Johannes Brahms heard the work he praised it and immediately arranged for its premiere in Vienna. That is defined as a good start! After gradu-ation he concertized in London and in the U.S. Later he was appointed Director of the Royal Academy and then the Chief Conductor of the Budapest Philharmonic, a post he held from 1919 to 1944. In 1934 he wrote the brilliant Sextet Op.37. This four part work is symphonic in sound and scope and the first movement initially lays the foundation in the 20th century. The second movement is initially calmly introspective, then adding a solemn march. A third part is introduced by the clarinet and the finale presents a repetitive motif overlaid with touches of jazz. A great mix!!

Concertmaster Robin Mayforth says this about tonight’s Sextet, “When it comes to chamber music, I’m always curious about the combination of instruments that the composer chooses. It is quite common to hear strings and piano together, so why add the clarinet and horn? To me, it’s the timbre of the winds, the clarinet with its pure and often spunky tone and the majes-tic and mellow sound of the horn that adds such a wonderful flavor to the blend of strings and piano — so sit back and enjoy the potpourri of sounds!”

In 1949 he emigrated to the U.S. where he became Composer in Residence at Florida State University. The Seminoles football team was coached by Don Veller - Bobby Bowden hadn’t ap-peared on the scene - so the most fearsome faculty member tuned out to be Professor Ernst von Dohnányi. In his Old World formal attire, ascot tie and aristocratic manner he was quite awesome, in fact he terrified his master classes. Standing in front of these students was the man who was the protégé of the revered Johannes Brahms. This only added to the sense of awe. Dohnányi was in the words of one of his most promising students,“ completely intimidating.” That student was none other than our Artistic Director Emeritus — Paul Perry!

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Opening Birthday Gala: The 30th Anniversary Concert Thursday, June 23, 7:30 PMAmaral Family Festival Center

Happy Birthday Variations*..............................................................................John Williams

Candide Overture*.............................................................................................

Leonard Bernstein

Double Concerto for Violin, Cello and Orchestra..................................Johannes Brahms

Allegro Andante Vivace non troppo

Robin Mayforth, violin; Janet Witharm, violoncello

Intermission

Toward the Unknown Region........................................................................Ralph Vaughan Williams

Grave ma non troppo

Festival Chorale, Ryan Murray conductor

Enigma Variations...............................................................................................Edward Elgar

* Selected young musicians from our education programs are playing side-by-side with our professional instrumentalists tonight.

This concert generously sponsored by: David Jones

Dr. Al & Beverly Erickson-in memory of their son Andrew Erickson


Music expresses that which cannot be said and on which it is impossible to be silent.

~Victor Hugo

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Congratulations on thirty years of inspiring music.


John Williams (1932-)

HAPPY 30th BIRTHDAY MUSIC IN THE MOUNTAINS!!! This arrangement of the old favorite was written by the celebrated John Williams – who has scored over 80 films, won 5 Oscars, 3 Golden Globes, 17 Grammys and much, much more. He is firmly in place in the ranks of great studio composers, along with Bernard Hermann, Alfred Newman and Franz Waxman. He succeeded the iconic Arthur Fiedler as conductor of the Boston Pops and for 13 years guided this great institution. As a very special note tonight the John Williams and Leonard Bernstein numbers will feature Side by Side – where specially selected young musicians play alongside the MIM orchestral members. Enjoy!

Leonard Bernstein (1918-1990)

Promethean describes Leonard Bernstein. All forms of music received his creative and magical touch and in 1956 he wrote the Broadway hit, Candide — tonight we hear the dynamic and exciting Overture. Just one year later he took the helm of the New York Philharmonic, wrote the record breaking West Side Story, and initiated the unforgettable and award winning TV series The Young Peoples Concerts. A busy year for Lenny.

In 1974, MIM clarinet principal Tom Rose played in a revival of Candide at the Curran Theatre in San Francisco. Leonard Bern-stein personally listened and coached the singers and orchestra throughout the dress rehearsal and joined in the cast party after the opening. Tom said, “The overture of Candide has always been one of my favorites, with its clever melodies, blazing tempo and irregular rhythms. Playing it in Maestro Bernstein’s pres-ence on opening night was a special treat.”

Johannes Brahms (1833-1897)

CAUTION “You will never know what the likes of us feel when we hear the tramp of a giant like Beethoven behind us.” That’s what Brahms said. As time progressed he developed a friend-ship with the great violinist Joseph Joachim who was to help in the fingering and bowing notations for the Concerto for Violin and Orchestra. The noted Austrian music critic Eduard Hanslick said of this collaboration, “The ripe fruit of friendship.” Sadly, the ripe fruit rotted a few years later when Joachim was involved in a stressful divorce from his wife Amalie. Johannes publicly sup-ported her case — bad, bad, bad move for artistic collaboration. It gave Joachim a severe case of gas.

All was later forgiven and Johannes dedicated the Double Concerto in A Minor for Violin and Cello to Joachim and cellist Robert Hausmann. This magnificent work is, in a way, Brahms’ look back at the Baroque concerto grosso form in which more than one solo instrument is featured. Three movements, three beautifully stated, elegant themes — an Allegro with intriguing thematic interplay, the Andante that is genteel and soulful and an exuberant Vivace woven with Gypsy rhythms to conclude this masterpiece.

Janet Witharm, MIM principal cello shares these thoughts, “As a teenager I was obsessive about the Brahms Double for the way he wrote for strings! I thought it was the most beautiful, intense, romantic music I had ever heard. My one dream was too be able to play the Brahms at some point on my career, and it is a dream come true to be able to perform it not once

but twice, partnering with my very dear friends, first Mari and now Robin. It just struck me that while in Music School, during lessons, I would sit opposite the amazing Montagnan cello that Piatig-orsky recorded on (then in possession of my teacher, Orland Cole).”

Robert Schumann said, “I believe Johannes to be the true Apostle who will also write Revelations.” Ralph Vaughan Williams (1872-1958)

GOOD ROOTS – descended from the famous English Wedg-wood and Darwin families was a good start for RVW, consid-ered by many to be the quintessential British composer. One of his early major works was the contemplative and magnificent choral work of 1907, Toward the Unknown Region. The prob-ing, contemplative music brings forth the transcendental nature of Whitman’s spiritual adventure: Darest thou now, O Soul, Walk out with me Toward the Unknown Region Where neither ground is for the feet, nor any path to follow.

Music in the Mountains Choral Director, Ryan Murray, describes the path of discovery in these words,“ Our exploration of this piece has in many ways followed the wonderful text by Walt Whitman. At first the chorus was unsure of the nebulous har-monies and difficult counterpoint, but like the narrator, has become excited about exploring the “Unknown Region,” and have fully embraced the drama and excitement of this score. We are all looking forward to sharing this masterwork with you.”

Edward Elgar (1857-1934)

A RENAISSANCE “The first Progressivist in English music,” was how composer Richard Strauss described Sir Edward Elgar. It was a time of renaissance for English music and Elgar was moving it into the 20th century. Fast forward to 1899 when his first major success was premiered under the baton of Hans Richter — the Enigma Variations.

What is the Enigma? It is a theme on which 14 variations were played, as various friends might have played them. Elgar pro-vided manuscript hints and did identify the first variation as a tonal portrait of his wife and the last as his self portrait.

MIM principal second violin Rae Ann Goldberg offered this insight into the Enigma Variations,“ I love performing this piece and enjoy the way it emotionally depicts different personali-ties and events. Recently I’ve experienced Variations VIII (W.N.) and IX (Nimrod) in a different way through my music therapy training. They are included in a music program called “Posi-tive Affect,” in the Bonny Guided Imagery and Music method. Variation W.N creates a feeling of relaxation, while ‘Nimrod’ brings out deep emotions. This music can truly evoke healing imagery.”

Richard Morrison, Chief Music Critic for the London Times said it best, “Set Elgar free from the burden of ‘speaking for England’ and he could speak to the world.”

Jack Roberts

Concert Notes



Carnival Overture, Opus 92...................................................................Antonin Dvorak

Gayane - Dance of Ayshe........................................................................Aram Khachaturian

Static Silks - Kai Newstead

Carmen Suite – Danse Boheme............................................................Georges Bizet

Ring Juggling – Vladimir Tsarkov

Carmen Suite – Les Toreadors...............................................................Georges Bizet

Spinning Cube – Alexander Streltzov

Sleeping Beauty Suite – Valse................................................................Pyotr Ilyich Tchaikovsky

Contortion/Dance – Elena Tsarkova

España – Rhapsody for Orchestra........................................................Emmanuel Chabrier

Samson et Delilah – Bacchanale...........................................................Camille Saint-Saëns

Aerial Hoop – Christine Van Loo

Intermission

Swan Lake – Danse des cygnes.............................................................Pyotr Ilyich Tchaikovsky

Magic Act with Conductor - Vladimir Tsarkov, Elena Tsarkova, Gregory Vajda

Symphony No. 4 in A Major, Op.90 “Italian” – Movement 4..........Felix Mendelssohn

Gayane – Sabre Dance............................................................................Aram Khachaturian

Juggling Balls and Batons - Vladimir Tsarkov

Danse des Bouffons..................................................................................Nikolai Rimsky-Korsakov

Ribbon Dance - Elena Tsarkova

Scheherazade – Festival in Baghdad, The Sea, Shipwreck.............Nikolai Rimsky-Korsakov

Swan Lake – Valse.....................................................................................Pyotr Ilyich Tchaikovsky

Aerial Duo on Fabrics - Alexander Streltzov, Christine Van Loo

Carmen Suite – Les Toreadors...............................................................Georges Bizet

This concert is generously sponsored by: The Carol Franc Buck Foundation,

Rincon del Rio andMeyers Investment Group of Robert W Baird & Co

Cirque de la SymphonieSaturday, June 25, 7:30 PMNevada County Fairgrounds

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Cirque de la Symphonie is an exciting new production designed to bring the magic of cirque to the music hall. It is an elegant adaptation of some of the most amazing cirque performances witnessed anywhere, and it showcases many of the best artists in the world. The audience is thrilled and bedazzled by aerial flyers, acrobats, contortionists, dancers, jugglers, balancers, and strongmen. These are some of the most accomplished veterans of exceptional cirque programs from across the globe. They include world record holders, gold-medal winners of international competitions, Olympians and some of the most original talent ever seen. Their performances are uniquely adapted to stage accommodations shared with the symphony, and each artist’s performance is choreographed to the mu-sic arrangement provided by the maestro. When the artists of Cirque de la Symphonie perform in front of the full orchestra, an incredible fusion of these two great art forms takes place. The aerialists and acrobats turn the concert into a three dimen-sional entertainment extravaganza, and the orchestra seems to play with enhanced enthusiasm. Veteran concert-goers and new patrons alike are thrilled by the exhilarating cirque perfor-mances and the majesty of the live symphony orchestra.

ALEXANDER STRELTSOV is a Russian aerial artist who started working with future Cirque du Soleil choreogra-pher Pavel Brun and famed producer Valentin Gneushev when he was only twelve, performing on Broadway at the Gershwin Theater. The same year he won the gold medal in the com-petition among international cirque artists at the prestigious Festival Mondial Du Cirque De L’Avenir in Paris. His combination of natural strength, artistic expression, and grace sets his performance apart from other aerial-ists. Also known as “Sasha,” he has

performed for three Russian presidents and the Bolshoi Ballet, numerous symphonies in the US and Europe, and elaborate theater and stage productions worldwide. He has made many television appearances, such as the star-studded ABC-TV spe-cial “Christopher Reeve- A Celebration of Hope” and the PBS nationwide broadcast of the Cincinnati Symphony Orchestra’s Fourth of July Celebration. He continues be a favorite at music halls, where he soars out over the audience in a spectacular display of aerial artistry or performs his riveting spinning cube act.

CHRISTINE VAN LOO is a 7-time consecutive National Champion, Female Olympic Athlete of the Year, and Athlete of the Decade in acrobatic gymnastics. She was inducted into the USSA (acro-gymnastics) Hall of Fame and the World Acrobatics Society Gal-lery of Honor. As a professional aerialist and acrobat she has performed in the 2002 Winter Olympics, at two Grammy Awards (with No Doubt and with Ricky Martin), at the American Music Awards (with Aerosmith), the Miss Universe pageant, and Paul McCartney’s European tour. She choreo-graphed the aerials for Britney Spears World Tour and the Stars

on Ice US tour. Christine provides spell-binding performances of static silks, aerial hoop, and duo trapeze with Cirque de la Symphonie.

VLADIMIR TSARKOV provides a spell-binding performance with combinations of mime and juggling feats. A favorite of the younger members of the audi-ences, Vladimir’s Red Harlequin act features rings, balls, and batons, and he’s even been known to teach the maestro a trick or two! He is a veteran of

Circus Circus, Cirque Ingenieux, and various Cirque de la Sym-phonie performances. Vladimir graduated from Russia’s presti-gious State College of Circus and Theater Arts and won the gold medal at the Cirque de Demain International Festival in France. His performance with the symphony is pure entertainment and guaranteed to please audiences of all ages.

ELENA TSARKOVA, the “Lady in White,” is a graduate of the famed Moscow Circus School and first-place winner of the prestigious National Russian Circus Festival. From her “Master of Sports” in gymnastics, Elena developed into a unique and graceful performer with the Big Apple Circus, Switzerland’s Circus Knie, and Germany’s Circus Roncalli. Her combination of contortion, balance, and graceful dance moves has made her a major star with Cirque de la Mur in Florida and Circus Circus in Las Vegas. Elena’s experience with many major stage and theater productions offers a professional background that allows for a truly unforgettable performance with the live symphony. The “Lady in White” provides an elegant touch to Cirque de la Symphonie.

KAI NEWSTEAD began performing aerial acrobatics at the age of five. His enthusiastic and energetic per-formances have delighted audiences everywhere. Kai has studied aerial performance techniques at the École Nationale de Cirque in Montreal, and he is skilled at corde lisse and trapeze fixe in additional to aerial silks. He has developed his style under the tutelage of Blaze Birge and David Jones of Flynn Creek Circus, and his parents, Bones and Holly Newstead of CircusMecca. Kai has performed at the Power to the Peaceful Festival in San Francisco and other major events on the west coast, and he has been a performer and student instructor with the Mendocino Center for Circus Arts (Circus-Mecca.org), a non-profit organization focused on bringing circus arts education and performance to children and adultsin Northern California.

Concert Notes



The Flying Dutchman Overture.............................................................Richard Wagner

Csárdás Obstiné –hommage to Franz Liszt.......................................Gregory Vajda

Garrett Ross, piano

Piano Concerto #2 in A...........................................................................Franz Liszt

(This concerto is one single, long movement, divided into six sections that are connected by transformations of several themes) Adagio sostenuto assai Allegro agitato assai Allegro moderato Allegro deciso Marziale un poco meno allegro Allegro animato

James Dick, piano

Intermission

Symphony #5 in C minor........................................................................Ludwig van Beethoven

Allegro con brio Andante con moto Scherzo. Allegro Allegro

This concert generously sponsored by: Nevada County Composers Cooperative

and Sherman Clay

Orchestra MasterworksSunday, June 26, 2:00 PMAmaral Family Festival Center


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Richard Wagner (1813-1883)

AN EXERCISE IN HYPERBOLE Commenting on Wagner’s opera Die Meistersinger, the great pianist Ignace Paderewski called it, “the greatest work of genius ever achieved by any artist in any field of human activity.” Ferdinand Hiller, the noted German Conductor, didn’t see it that way. He said “The debauchery of Meistersinger is the maddest assault ever made upon art, taste, music and poetry.” Opinions pro and con matter not — over the years Wagner has proven himself a master of things operatic. In the overture to his second opera, The Flying Dutchman, he succeeds in evoking the atmosphere of the sea and introducing themes used later in the opera — the introduction of a leitmotif.

Gregory Vajda (1973-)

RECENT SOUNDINGS — recently written, Csárdás Obstiné, Homage to Liszt is a bright and dynamic piano concerto. About the work Vajda says, “Reading a lot about my home country got me thinking about Hungarians in general. In my piece, the Csárdás Obstiné, I was trying to capture one angle of how I see my fellow Hungarians and I more and more feel that their stubbornness has many unique sides — for one it helps you survive 1000 years in the middle of Central Europe! In any case, my piece for piano and orchestra is as much an artistic, musical picture of my countrymen as it is a fun, full-of-love homage to the great Franz Liszt.”

Vajda received his major musical education from the Liszt Academy in Budapest and further reinforced with the guidance of his mother, Veronika Kincses, a leading soprano with the Budapest Opera. With this background it’s no wonder that Gregory is a widely sought conductor throughout the U.S. and Europe.

Franz Liszt (1811-1886)

A CRITIC’S WRATH Eduard Hanslick, music critic for the influential Vienna Press single handedly derailed future perfor-mances of Franz Liszt’s Piano Concerto No 1 in 1857. It wasn’t played again for twelve years!! Why? Because he objected to the use of a triangle in the scherzo, and had the critical power to squelch the Concerto until 1869. But not to worry — Franz was hailed by the rest of the press, romantically active, socially sought after, creating a piano technique of transcendental difficulty and brilliance. When asked if he had written the history of his life, he very seriously replied, “It is enough to have lived such a life as mine” — hmmm. The Piano Concerto # 2 in A is closely allied to the feeling of a symphonic poem. It has six main movements, is unified in design and generally played without interruptions. Richard Wagner described Liszt’s work as, “Beautiful beyond conception – deep and noble.”

Ludwig van Beethoven (1770-1827)

A BROKEN MOLD — and the breaker of the mold was Beethoven. He was the innovator who was continually reshaping the “mold” that became the Romantic Period.

His music was the canvas, the frame was the historical facts and fictions, his deafness, failed or derailed romances, family struggles and illnesses. In the beginning things fell far short of an ideal childhood. His father, a dissolute court musician was convinced that his son was another Mozartian prodigy. At age eight little Ludwig made his first public appearance — but no

jackpot for father Beethoven. At eleven he become deputy court organist to the Elector of Bonn which clearly demonstrated his performing “chops.” The teen years were devoted to developing his pianistic skills and in 1792 he moved to Vienna and studied briefly with Haydn. He also took lessons in vocal composition from the Kapellmeister of the Austrian Court, an individual by the name of Antonio Saliere!

During the 1790’s Ludwig’s creative juices began to increase in octane rating, producing chamber works for winds, 2 piano concertos, 6 string quartets, piano sonatas, etc. In 1800 Symphony No. 1 was premiered in Vienna and a year later he began the very early sketches of three movements of what was to become the Symphony No.5 in C minor. This seemed to coincide with a prelude to what has been called his second period of creativity. He said, “I am making a fresh start.” New musical idioms, and tonali-ties and a deeper personal awareness of societal conflicts began to pervade his work.

In 1802 a major non-musical event in his life took place in his apartment in the village Heiligenstadt, outside of Vienna. It was here that he wrote his Heiligenstadt Testament which expresses his torment and anguish brought on by deafness. Perhaps the view from his apartment window offered him additional tran-quility — that of the serenity of St. Severin Church and of the locus sanctus, or place within the church where the Saint had once been buried. He writes, “I was on the point of putting an end to my life. The only thing that held me back was my art. For indeed it seemed to be impossible to leave this world before I had produced all the works that I felt the urge to compose.” His creative spirit seemed to offer him strength to endure his trial.

Despite his deafness, creativity prevailed — two more piano concertos, three symphonies (including the ground breaking Eroica), the opera Fidelio, the magnificent Triple Concerto and much more. Then in 1807 he returned to Heiligenstadt to put the finishing touches on Symphony No.5, in C minor, which was premiered in 1808. Beethoven’s close friend and biographer Schindler tagged the opening four notes, “Thus fate knocks at the door.” The motivation behind this symphony has been analyzed to death by musicologists, critics and just plain music lovers. The simple fact is that the opening four note motif and the work’s logical development resonate with audiences — a very tangible gift to the listener is the pleasure of recognition and familiarity – enjoy!

MIM principal horn, Pete Nowlen offers this insight into this work’s consistently high standing in the current orchestra reper-tory, “As I have, over the years, become more and more familiar with Beethoven’s Fifth Symphony, first as a listener, then as an orchestra member, and finally as a conductor, I have realized again and again that its incredible popularity truly flows from its perfection. It contains not a single wasted note or moment, nor are any missing. It is a perfectly proportioned emotional journey and I look forward to each and every performance.”Right on, Pete!

Jack Roberts

Concert Notes



The performers dedicate tonight’s performanceto the memory of Philip Zahorsky

Sonata pian’e forte....................................................................................Giovanni Gabrieli (1557-1612)

Carmen Suite..............................................................................................Georges Bizet (1838-75)

Divertimento for Brass Sextet................................................................Leonard Salzedo (1921-2000)

Achieved is the Glorious Work..............................................................Franz Joseph Haydn (1732-1809)

The Earl of Oxford’s March.....................................................................William Byrd (1540-1623)

Intermission

Fanfare for St. Edmunsbury....................................................................Benjamin Britten (1913-1976)

Sonata (1636).............................................................................................Giovanni Battista Buonamente (c. 1595-1642)

Danny Boy/Londonderry Air..................................................................traditional

Don Benham, trombone solo

Horn quartet, Two Pieces for Four Horns...........................................Alec Wilder (1907-1980)

Symphony in Brass....................................................................................Eric Ewazen (1954- )

This concert generously sponsored by: Commonwealth Financial Network

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The modern symphony orchestra has a Brass Section, usually made up of trumpet, trombone, French horn and tuba — and a number of related instruments and tones. The major difference between the “brass” and other ”wood” winds (flute, clarinet, saxophone) is the mouthpiece (all brass instruments generally have a cup shaped mouthpiece). As for the woodwinds – clari-nets are mainly wood (student ones are often metal), flutes are mainly metal (Asian and indigenous flutes are wood) and the saxophone which is always metal. OK, that brings us up to date on some of the modern “brass” — but what about a little of the history?

Expressive sound began with vocal cries and perhaps pounding on a hollow log. There are ancient wall paintings showing lutes and flute types dating to 3000 BC, and from this primitive gen-esis, music has been evolving — both in an instrumental and notational manner. “Group” music started vocally, with early liturgical chants around 800 – 1100 AD. The small instrumental chamber group made its appearance as early as 1280 and grew to orchestral size 400-500 years later. True “early music” played on original instruments must have been frightening, what with notation in its infancy, natural horns (no valves), and a general laxity in tuning.

As for brass, things just kept evolving. Horns started as just that — an animal horn cut off at the end. Then experimentation with metal tubes of various shapes and lengths gave birth, around 400 BC, to trumpet types for signaling. The trombone was one of the earliest that could change pitch — the slide part allowed the tube to be shorter or longer. The trumpet used a “crook,” a length of tubing that was attached to it, to alter the pitch. The French horn also altered its sound by “stopping” – inserting the hand in the bell. Then in 1820 the valve was invented and modern brass came to town!

Scott Macomber, MIM principal trumpet comments on to-night’s Brass concert: “I’m so energized about the return of the Brass concert. When I first began playing with MIM it was a highlight of the summer I always looked forward to. We’re all excited to get to come out front and share some of the exciting (and sometimes wacky) things that go on in the back row of the orchestra.”

Jack Roberts

The much celebrated Venetian composer Giovanni Gabrieli is the grand master of the polyphonic style of writing. Sonata piano e forte was designed to be performed from different locations inside St. Mark’s Cathedral in Venice by two or three antiphonal choirs of instruments and voices. The principal of the alternation of two groups of performers, as old as music itself, reached its pinnacle in the work of this prolific composer. The Earl of Oxford’s March, transcribed from the famous William Byrd Suite, is a tour de force for large brass ensemble. It was arranged for brass by Elgar Howarth, renowned con-ductor, composer and virtuoso trumpeter. The arrangement features the two extremes of the ensemble - piccolo trumpet and tuba. Eric Ewazen’s Symphony for Brass, composed for the Detroit Chamber Winds, is a three movement work written in a quasi-tonal idiom. The first movement is introduced by a slow theme in open harmony. The tempo quickens with syncopated figures and fast passagework in the trumpets and horns. The second movement begins with a mournful euphonium solo which be-comes a chorale theme. The rhythm becomes more fragmented, alternating triplets and quintuplets, then returns to the chorale theme. The final movement is a playful alternation of meters with occasional references to themes in the earlier movements. Alec Wilder’s music always features absolute independence of line of line and style. He wrote music of taste and quality with a personal melodic touch that was all his own. His was a unique blend of American musical traditions - jazz and popular songs- with classical European forms and techniques. Among the leading proponents of his work were Frank Sinatra and Mitch Miller. In the second part of his composing career Wilder championed exotic combinations of instruments in chamber music pieces. A child prodigy, Georges Bizet was admitted to the Paris Conservatory at the age of nine. His early collaboration with Jacques Offenbach brought success that was not matched later on with debut of his opera, Carmen, which was not initially accepted by the public. His despondency was assuaged by support from fellow composers Saint-Saëns, Tchaikovsky and Debussy. Bizet died at the age of 36, never to know that Carmen would become the most popular opera of all time. Haydn was sixty-five years of age when he undertook the great work of his life. It was begun in 1796, and finished in 1798. When urged to bring it to a conclusion more rapidly, he replied, “I spend much time over it, because I intend it to last a long time.” The first public performance was given in Vienna, March 19, 1799, Haydn’s name-day. Its sucess was immediate, and rivaled that of The Messiah. The chorus, Achieved, is a fugue of great power and joyfulness, here arranged for four trombones. Leonard Salzedo was born in London, descended of Sephardic Jews chased from Spain in the 1400’s. He worked as a violinist with the London Philharmonia before fully committing to a life of composing, concentrating on ballets and chamber music for diverse instrumentations. His Divertimento for Brass Sextet was composed in 1959 for the Phillip Jones Brass Ensemble.

Doug Thorley, Bass Trombone

Concert Notes


Overture to The Marriage of Figaro......................................................Wolfgang Amadeus Mozart

Sinfonia Concertante for Oboe, Bassoon, Violin, Cello andorchestra in B-flat Major H1./105.........................................................

Franz Joseph Haydn Allegro Andante Allegro con spirito

Neil Tatman, oboe; Carla Wilson, bassoon; Karen Shinozaki Sor, violin; Janet Witharm, violincello

Intermission

Carmina Burana.........................................................................................Carl Orff

1. O Fortuna2. Fortunae plango vulnera

3. Veris laeta facies4. Omnia sol temperata5. Ecce gratum

6. Tanz - (instrumental)7. Floret silva nobilis8. Chramer, gip die varwe mir9. Swaz hie gat umbe 10. Were diu werlt alle min

11. Aestuans interius12. Olim lacus colueram13. Ego sum abbas14. In taberna quando sumus

15. Amor volat undique16. Dies, nox et omnia17. Stetit puella18. Circa mea pectora19. Si puer cum puella20. Veni, veni, venias21. In trutina22. Tempus est iocundum23. Dulcissime

24. Ave formosissima25. O Fortuna

Festival Chorale, Ryan Murray, director; Richard Zeller, baritone; Natalie Gunn, soprano;

J. Raymond Meyers, tenor

This concert generously sponsored by:Robert and Carol Hamilton

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Wolfgang Amadeus Mozart (1756-1791)

A WRAITH-LIKE PRESENCE — or has an overactive imagina-tion taken over as we walk into the Campesino house where Wolfgang Amadeus Mozart lived, from 1784 to 1787 — some of his happiest, most musically productive and financially success-ful years of his short life. The popular image of Mozart quickly dashing off multiple masterpieces while leading a frivolous life of Viennese gaiety needs serious reworking when it come to his opera, Le Nozze di Figaro (The Marriage of Figaro) He took an active and time consuming role in developing the libretto with Lorenzo Da Ponte. Each line of words and music was painstak-ingly reworked to insure the proper message was communicat-ed. The collaboration was successful and Da Ponte become the key librettist for both Don Giovanni and Cosi fan Tutti. A slight side story — Da Ponte’s life was a novel in itself — a defrocked priest, a bordello proprietor, librettist for many composers, he later fled creditors and ended up in New York where he became the first Professor of Italian at Columbia University. He is buried in Queens.

But back to our program notes — not that this opera was Wolfy’s only undertaking during this time —in fact it was the most produc-tive period of his life and included 3 piano concertos, 2 works for chorus and orchestra, a violin sonata, a monumental piano sextet, a number of smaller pieces for piano and violin and a light musical comedy. Oh yes, we shouldn’t overlook conduct-ing many performances of his opera Idomeneo and giving a number of piano recitals. The opera and its familiar Overture, opened in May 1786, with great success!!

Franz Joseph Haydn (1732-1809)

GAS LIGHTS were used in England for the first time in 1792 — and composer Franz Joseph Haydn was well settled in London on the first of his two very successful visits. His creative life was blooming, society and royalty were welcoming him and romance was in the air — or was it at the keyboard (the old ”Piano Lessons” gambit)? He was happily giving piano lessons to Rebecca Schroeter, an attractive and financially independent widow. A very slight complication — there was a Mrs. Haydn in Austria. Yes, he was married in 1760, but they were never really close. Word was that she had a dreadful disposition. Another complication was with Professional Concerts, a group that organized musical events. Through a misunderstanding, Ignatz Pleyel was scheduled to conduct the London winter concert series, not Haydn. To make matters worse, Pleyel had been a piano student of Haydn’s a few years earlier — the master was not amused. The competitive sprit reared its head and to overshadow some of Pleyel’s popular works, Haydn wrote the Sinfonia Concertante in B-flat Major, in March 1792. This famil-iar and joyously spirited work features the violin, cello, oboe and bassoon in three movements. An interesting side note: in 1795 Pleyel made a career change and founded a piano manufac-turing firm in Paris — that’s right, the famous Pleyel piano, and some superb harpsichords too!

MIM’s principal oboist, Neil Tatman says: “Written in 1792 at the request of impresario/violinist Johann Solomon (who played the violin obbligato part at the premier) Haydn’s Sinfonia Concer-tante in B-flat dates from the same period as the composer’s London Symphonies. Cast in three movements (fast-slow-fast) this work is a hybrid form that combines the elements of sonata, rondo, chamber music and symphony along with the lyrical,

virtuosic and cadenza elements of the concerto. I feel fortunate to have had five previous concert performance opportunities with the Sinfonia Concertante, roughly one performance set for each seven years of my professional life as an oboist, including an early-year festival performance at MIM. (My original pencil markings are still in my part!!)

Carl Orff (1895-1982)

EURYTHMICS — no, not the British Rock band but the art of harmonious body movement. This compelling relationship of dance and music led Carl Orff and Dorothy Gunther to found the Gunther School of Dance in 1924. He was deeply committed to the organization’s instructional and artistic principles related to youth education and he remained with the School until his death in 1982. His early music education was completed at the Munich Music Academy and composition was ever present in his life — until he wrote his publisher after Carmina Burana was performed in 1937. His message, “Everything I have writ-ten to date and which you have unfortunately printed can be destroyed — with Carmina Burana my collected works begin.” Orff’s philosophy was in the expression of spiritual realities and when they relate to Carmina, these realities seem more related to primal urges than that of loftier pursuits — however if spiri-tual health is related to vitality and dynamism, then maybe he’s on to something — Carmina Burana is vitality!!

Based on manuscripts found in an ancient Bavarian monastery, the writings are from 13th century student poems. The work begins with the chorus, O Fortuna. Translation of part of the first verse follows: “Oh fortune! Like the moon ever-changing, rising first then declining, hateful life treats us badly then with kind-ness, making sport with our desires, causing power and poverty alike to melt like ice.”

Five descriptive sections then follow:

Springtime —beginning with, Veris leta facies ( The joyous face of spring) On the Green — starting with the orchestral, Tanz (Dance) In the Tavern — beginning with Aestuans interius (Seething inside, boiling rage) Court of Love — starting with, Amor volat undique (Love flies everywhere) Blanziflor and Helena - Ave formosissima (Hail to thee, most lovely) A repeat of O Fortuna concludes Carmina Burana.

Jack Roberts

Concert Notes



Souljourn a duet for 2 Cellos..................................................................Keshava Betts, 17

Babylon Rogues for flute, clarinet, violin and electronics...............Miles Campbell, 16

A Prison, voice and piano.........................................................................Willem Cole, 13

String Quartet no. 1...................................................................................Jake Collins, 15

May Night for choir and piano................................................................Ryan Coopergard, 18

Duet for clarinet and cello.......................................................................Robin Daly, 14

String Quartet no. 2..................................................................................Phil DiLeo, 19

High School for string quartet + oboe.................................................Matthew Drake, 18

String Quartet no. 1...................................................................................Matisse Geenty, 18

Winter for violin, cello and harp............................................................Kali Hardwick, 17

Sierra Darkness for piano trio.................................................................Keaton Hild, 16

Rainbow for clarinet, cello and harp....................................................Paean Lee, 16

Piano Trio no. 1 in F...................................................................................Denny McShane, 65

Izanami and Izanagi for flute, cello, harp............................................Sage Po, 17

Words from Sinai for baritone solo, choir and violin........................Elise Rosky, 16

Lively Strings for string quartet...............................................................Allison Spencer, 18

Piano Trio no. 1..........................................................................................Tim Warren, 15

Members of the Festival Orchestra

In its eighth year, the Music in the Mountains Young Composers Program has been proud to present original works by student composers. Seventeen students will be premiering their works in this concert.

The key to the success of this innovative program is MIM professional composers who advise and motivate these talented students. This year Jerry Grant and Mark Vance, both of whom are members of the Nevada County Composers Cooperative, are their mentors.

This concert generously sponsored by:Dennis J McShane, MD and

the Honorable Richard S Gordon

Young Composers ConcertFriday, July 1, 7:30 PMAmaral Family Festival Center


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Overture to The Marriage of Figaro......................................................Wolfgang Amadeus Mozart

Simple Symphony Op. 4.........................................................................Benjamin Britten

Playful Pizzicato Frolicsome Finale

Petite Symphonie......................................................................................Charles Gounod

Scherzo

Sinfonia Concertante for Oboe, Bassoon, Violin, Cello and orchestra in B-flat Major H1./105.........................................................

Franz Joseph Haydn Allegro con spirit

Neil Tatman, oboe; Carla Wilson, bassoon; Karen Shinozaki-Sor, violin; Janet Witharm, violincello

Fanfare for a Common Man...................................................................Aaron Copland

Happy Birthday Variations*.....................................................................John Williams

Maestoso

Candide Overture* .............................................................................Leonard Bernstein

* Selected young musicians from our education programs are playing side-by-side with our professional instrumentalists today.

This concert generously sponsored by: SPD Markets

Enjoy a sampler of seven selections that will bring you highlights of the Summer Festival plus two other symphonic excerpts.

MOZART — The Marriage of Figaro Overture — a fast paced and upbeat introduction to that great comic opera. See program notes for June 30.

BRITTEN — Simple Symphony — Movement II Playful Pizzicato, Movement IV Frolicsome Finale. This work was written in 1936 by Lord Benjamin Britten and includes tunes that he wrote as a young piano student. This, along with The Young Persons Guide to the Orchestra are examples that provide insight into Britten’s ability to compose for all age groups. He wrote the ground-breaking operas Peter Grimes and Billy Budd and The Turn of the Screw, Death in Venice, and Albert Herring, all of which are in the current operatic repertory. He was truly a master musical communicator.

GOUNOD — Petite Symphonie — Movement III Scherzo. A jackpot was hit when Charles Gounod premiered Faust, one of the 12 operas he wrote. He also composed 17 Masses, oratorios, cantatas, secular choral works and songs. His most well known chamber work is the Petite Symphonie in which he demonstrated his skill in the traditional symphonic form as well as maintaining an occasional touch of the Classical period for subtle seasoning. ELDER POP QUIZ: Q: Gounod wrote the familiar March of the Marionettes — it was the theme music for what Radio/TV show? A: Alfred Hitchcock Presents.

HAYDN — Sinfonia Concertante for Oboe. Bassoon. Violin, Cello and orchestra, Movement III — see program notes for June 30.

COPLAND — Fanfare for a Common Man – This work will ring a very familiar bell in your memory - see program notes for July 3

JOHN WILLIAMS — Happy Birthday Variations (a special treat, side-by-side with young musicians) – see program notes for June 23.

BERNSTEIN — Candide Overture — Orchestra plus young musicians. See program notes for June 23.

ENJOY!

Jack Roberts

Family ConcertSaturday, July 2 , 10:00 AM, Concert starts 11:30 AMAmaral Family Festival Center

Concert Notes



The Star Spangled Banner.......................................................................Francis Scott Key

Hands Across the Sea .............................................................................John Philip Sousa

Armed Forces Salute..................................................................................Bob Lowden

To active and veteran military - Please stand when your song is played. WE HONOR YOU!

Fanfare for a Common Man....................................................................Aaron Copland

Lincoln Portrait...........................................................................................Aaron Copland

Narrated by Donna Apidone

Young Artist solo........................................................................Sage Po

Intermission

Semper Fi.....................................................................................................John Philip Sousa

Washington Post........................................................................................John Philip Sousa

Bugler’s Holiday..........................................................................................Leroy Anderson

Fiddle Faddle................................................................................................Leroy Anderson

Jazz Pizzicato..............................................................................................Leroy Anderson

Trumpeter’s Lullaby....................................................................................Leroy Anderson

The Typewriter.............................................................................................Leroy Anderson

1812 Overture..............................................................................................Pyotr Ilyich Tchaikovsky

God Bless America.....................................................................................Irving Berlin/arr. Roy Ringwald

Stars and Stripes.........................................................................................John Philip Sousa

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NATIONAL ANTHEM — After witnessing the British Navy’s bom-bardment of Ft. McHenry during the War of 1812, Baltimore poet Francis Scott Key was moved to write The Star Spangled Banner. His words were set to John Stafford Smith’s melody, To Anacreon in Heaven, the song of a London men’s club. At the urging of John Philip Sousa, President Herbert Hoover signed a proclamation in 1931 making The Star Spangled Banner our National Anthem.

SOUSA — Hands Across the Sea, Semper Fi (Marine March), Washington Post, Stars and Stripes. These great marches were written by the “March King,” John Philip Sousa. Born in Washing-ton D.C. in 1854, he was enlisted in the Marines at age 13 by his father, a trombonist in the Marine Band. With a couple of brief exceptions, he was director of the Marine Band until 1892 when he formed his own band and began giving concerts throughout the U.S. and Canada. Later he made four European concert tours and in 1910-11 made a grand tour around the world.

ARMED FORCES SALUTE — Army - The Army (Caissons) Go Rolling Along; Navy - Anchors Aweigh; Air Force – Off We Go; Marine Hymn - From the Halls of Montezuma; Coast Guard -Semper Paratus (Always Ready).

COPLAND — Fanfare for the Common Man, A Lincoln Portrait. Aaron Copland was American to his toes, a Brooklyn born creative genius who forged a powerful modern sound. His 1942 Fanfare is widely played and he later used it as the fourth move-ment theme of his Symphony No. 3. It was in that same year that he wrote the truly unique, Lincoln Portrait.

Principal violist Janet Sims has these thoughts, “This work holds a special place in my life for three reasons: 1) I am very interested in the political history of the United States and I cannot think of a more pivotal time in our history than Lincoln’s administration. Last year I read Doris Kearns Goodwin’s masterpiece, Team of Rivals, and I was reminded over and over again how lucky we are not to be living in the ‘worst of times.’ 2) I have had the honor of narrating this piece a couple of times and it is truly a powerful experience to begin with the words, ‘Fellow citizens, we cannot escape history.’ 3) There is no other composer who could cap-ture the pain of the time of Lincoln with the joy of the American folk music of that period - always a joy to perform this work.”

ANDERSON — Buglers Holiday/ Fiddle Faddle/Jazz Pizzicato/Trumpeters Holiday/ Typewriter — true signature pieces of the composer-arranger Leroy Anderson. In 1935 he joined the Bos-ton Pops as their arranger and in 1939 wrote Jazz Pizzicato which hit the top of the charts — and the Anderson band wagon was rolling!

TCHAIKOVSKY — The 1812 Overture is one of the most popular, exciting and dramatic overtures in orchestral literature. In this work Tchaikovsky paints a tone picture of Napoleon’s defeat — from the battle of Borodino to his flight from Moscow in 1812.The opposing armies of Russia and France are clearly idealized through the Czarist National Anthem and the Marseillaise — and in the premiere finale a cannon was an “active” member of the orchestra!

GOD BLESS AMERICA — written by the great composer Irving Berlin in 1918, while the young immigrant was serving in the U.S. Army. He revised it in 1938 for singer Kate Smith and it became her signature song.

Jack Roberts

Concert Notes

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Festival ChoraleChoral Director: Ryan Murray

Soprano I

Janet BellaviaMary CraneJennifer DahlgrenYvonne FullerSally HumpherysLois RobinsonNatalie StevensGinny TrapaniAnne VaalerJudy van der VeenMay WilliamsAurora Wilson

Soprano II

Julie AustinRuth BertacciniAmy ButlerPat DonnellyKay DrakeBeverly EricksonKathryn JechuraJoan MoslyGinny RobertsBetsey SevernDiane ShusterDenise Tambasco

Alto I

Joy BetzMaya ChensueJoan ClappierCathy CollingsMadeline D’AndreaMarilyn DarlingtonLinda DeMartiniMary DeWittNancy DonahueAshley LloydHeather Lucas-RossNancy MoyerRosalie OppermanJean PoffJane PrimoseBetsy WagnerPhyllis Wong

Alto II

Judith CiphersMary Frances HoldcroftAnn JohnsonHelen LayArleen LindstedtMargot SchulzeKathleen StradingerMary Grace TassoneSharon Umphress

Tenor

Marguerite BlickenstaffEvan BrienzaKaren Hulett BrownLynn CostaJohn DarlingtonAlan GainesSandy GoldKevin GuerreroRichard JohnsonFred LossmanFrank SantosAndrew SelbieJohn Simon

Baritone

Timothy AlsupHarold BlickenstaffTerry BrownJerry GrantDave MoyerStan Thomas-RoseDarrell Crawford

Bass

Terry CraneBill DerrickBrian FryDan HalloranBob KlineWilliam LewisKevin Lucas-RossClarence McProudDave OlsenNeil StradingerStephen TassoneRick TuggleBill Vicars

Accompanist

Roberta Frank

The Festival Chorale has been graciously underwritten by Robert and Carol Hamilton


Choir members in the first season of MIM. Members of the Choral Committee are in bold


Festival OrchestraGregory Vajda, Artistic Director, Conductor

Violin I

Robin Mayforth, concertmasterKaren Shinozaki Sor, assistant concertmasterMutsuko Ikenouchi TatmanEline van den EndeRon WhaleyDaniel ZuckermanNancy HillSarah WoodAnna Gendler

Violin II

Rae Ann Goldberg, principalJan SeptonBrooke AirdClaudia FountainMichelle MaruyamaRandi SouleRose-May MickelsonAnn Gaines+Ryo Fukuda^Sergi Goldman-Hull^

Viola

Janet Sims, principalTamás Strasser^David GoldMelinda RayneDavid ThorpNancy Ewing

Cello

Janet Witharm, principalMary TrueNoriko KishiEugene Sor+Dahna Rudin Adelle-Akiko Kearns^

Double Bass

Tim Spears, principal+Ted Botsford, principal*^William EverettAndy Butler+Richard Worn^

Flute

Jane Lenoir, principalCarol AdeeMonique Rance^

Oboe

Neil Tatman, principalJason Sudduth+Cindy Behmer^Jessie Barrett^

English Horn

Cindy Behmer^Jessie Barrett^

Clarinet

Tom Rose, principalGeordie Frazer

Bass Clarinet

Steve Sanchez^

Bassoon

Carla Wilson, principalKaren Gale

Contrabassoon

David Granger^

French Horn

Peter Nowlen, principalRichard BurdickCara JonesPhilip Richardson

Trumpet

Scott Macomber, principalKale CumingsMichael Meeks^John Freeman^

Trombone

Don Benham, principal+Steve Suminski, principal*^Wayne Solomon

Bass Trombone

Doug Thorley

Tuba

Tony Clements

Percussion

Matthew Darling, principalScott NeyThomas RanceDavid Gabrielson^Michael Downing^

Piano/Celeste

Brenda Tom^Aileen Chanco^Roberta Frank^

Harp

Anna Maria Mendieta^


* Acting+ Orchestra members on sabbatical

Guest musician Orchestra members in the first season.

Beginning with SummerFest 2011, the non-Principal Players in the violin, viola and cello sections will be changing seats for different pieces of music (rotating). The above listing reflects the Players’ normal seating order. To identify who is who, please refer to the photos in the performers biography section of the program.


Flutist CAROL ADEE was born in Hollywood and grew up in California, studying flute, cello and voice. Since completing her Master’s degree at the Yale School of Music she has lived in and around San Francisco. For twenty years, she was principal flutist of the Women’s Philharmonic. She has been principal flutist

with the Britt Festival Orchestra and the Tiburon Music Festival and has performed with the San Francisco Symphony, Ballet and Opera Orchestras. A champion of the living, breathing compos-er, her most recent recording is with Bellavente Wind Quintet titled Jewels of the Night. She is currently on the faculty of Dominican University and the Marin Waldorf School.

RICHARD BURDICK has been the first horn of Regina Symphony Orchestra since 2003. He is active as a chamber-music musician, performing on a variety of natural horns, and his modern instrument. He is a member of the “Electrum Brass Trio” (a horn, trombone and tuba trio), and performs occasionally with

his stepmother pianist Dora Burdick. Richard is an active studio musician recording his own works and a variety of authentic-practice classical works, and horn choir ensemble pieces. He is a prolific composer and works in a number of different styles from neo-classical to microtonal and post-avant-garde. He is also the horn instructor at the University of Regina. For more information about Mr. Burdick please visit: www.horn.pro.

BROOKE AIRD studied violin at the Manhattan School of Music with Raphael Bronstein and Ariana Bronne. He is currently a member of the Marin Symphony and freelances with many of the San Francisco area musical organizations. An accomplished soloist, Brooke has performed numerous solo recitals and has several perfor-

mances as a concerto soloist to his credit. His father, Donald Aird, was a distinguished Bay Area composer and from him Brooke inherited an interest in contemporary music. He performs as the violinist with “Sounds New,” a new music group special-izing in living American composers.

ANDY BUTLER, doublebass, holds the Bachelor of Music degree from Oberlin Conservatory and the Master of Music from the San Francisco Conservatory of Music. He is the recipient of several awards and scholarships and per-forms regularly with San Francisco Bay Area orchestras including the Oakland Symphony,

Berkeley Symphony, California Symphony, Santa Rosa Sym-phony, San Jose Symphony and Opera Orchestra. Butler has performed with the Mendocino Music Festival, Sun Valley Summer Symphony, Oregon Coast Music Festival, Aspen Music Festival, the Schleswig-Holstein Festival Orchestra and Music in the Mountains Summer Festival.

CINDY BEHMER currently serves as solo English horn and oboist for the Tucson Symphony Orchestra. Originally from Sacramento, her primary teacher has been Dr. Neil Tatman with whom she has completed her Bachelor’s, Master’s, and soon to be Doctorate of Musi-cal Arts degrees. Cindy has also studied with

Thomas Stacy of the New York Philharmonic, Carolyn Hove of the Los Angeles Philharmonic, Lindabeth Binkley and Paula Engerer. In 2010, Cindy was invited to join the Southern Arizona Symphony Orchestra as principal oboist for an exciting tour of China. Cindy recently created the Kontra-Cor Duo, who will be premiering two commissions in Seoul, South Korea in July, 2011.

JESSE BARRETT is an oboist from Pleasant Hill, California. He currently lives in Oakland and has enjoyed returning to the San Francisco bay area after finishing a master’s program at Bos-ton University’s College of Fine Arts in 2009. Before making the cross-country trip to Boston, Jesse earned his undergraduate degree in

oboe performance at the University of the Pacific’s Conservatory of Music. Jesse plays as principal oboist for Townsend Opera Players in Modesto and Veridian Symphony in Yuba City. Since moving back to the Bay Area, Jesse has loved being a freelance oboe/english hornist, playing regularly with the Berkeley Community chorus and orchestra, and has played with the Sacramento Philharmonic, San Francisco academy orchestra, Reno Philharmonic, Magik*Magik Orchestra, Bear Valley Music Festival, Verismo Opera, Basoti Orchestra, Vita Academy Orchestra, as well as a number of other local ensembles and solo opportunities. This summer, Jesse is happy to join the ranks of Music in the Mountains, Opera Institute of California Orchestra, Mendocino Music Festival, and more.

DON BENHAM is principal trombonist with the California Symphony and keeps busy as a Bay Area freelance musician, soloist and teacher. While a student at USC, he studied trombone with Robert Marsteller and composition with Hugo Friedhofer. Don has held positions with the Oakland Symphony, Hong Kong Philhar-

monic, Santa Fe Opera and San Francisco Ballet Orchestra. A member of the Music in the Mountains Festival Orchestra since 1989, Don has appeared as soloist with both the Festival Pops Orchestra and the Blazing Brass concerts.

TED BOTSFORD recently joined the Oregon Symphony as Assistant Principal Bass. He is one of the youngest recipients of the Diplome and Teaching Certificate from the Institut International François Rabbath in Paris and studied with Paul Ellison at Rice University for his Bachelor’s and Master’s degrees in bass perfor-

mance. Before moving to Portland, Oregon, Ted was a member of the Austin Symphony and also played with the Houston Grand Opera and the National Symphony Orchestra in Washington, DC. In addition to performing, he has taught at summer bass workshops in Washington DC and Kansas City, MO and has maintained a private bass studio for several years.

SummerFest Artist Biographies



Violinist CLAUDIA FOUNTAIN is a member of the San Jose, Monterey and Marin County Symphonies. She also plays periodically with the San Francisco Opera Orchestra, Western Opera, and Midsummer Mozart, as well as teaching part-time and performing in a Bay Area chamber music group. She received her

degree and teaching credential at the University of Southern California, and completed her Masters in violin at the University of Miami. While in Florida studying for her degree, she played with the Florida Philharmonic Orchestra for four seasons. She has been with the Music in the Mountains Festival since 1989.

Internationally renowned concert pianist and Steinway artist JAMES DICK was raised in Hutchinson Kansas. He received a scholarship to the University of Texas in Austin, studying with Dalies Frantz. Later, he was a Fulbright Scholar and studied with Sir Clifford Curzon in England. Dick’s early triumphs as a major

prizewinner in the Tchaikovsky, Busoni and Leventritt Interna-tional Competitions prefaced an eminent career highlighted by

GEORDIE FRAZER is a San Francisco native who is equally proficient on the clarinet and the saxophone. He performs frequently with major Bay Area orchestras: San Francisco Symphony, San Francisco Ballet, Symphony Silicon Valley, Monterey Symphony, Marin Symphony and Santa Rosa Symphony. Geordie also played

with numerous theatre orchestras in San Francisco and was a member of the former American Musical Theatre of San Jose Theatre Orchestra for over twenty years. Geordie has appeared as soloist with the Music in the Mountains Festival Orchestra. Geordie Frazer is a graduate of San Diego State University.

AILEEN CHANCO From the time pianist Aileen Chanco made her stunning debut with the San Francisco Symphony at the age of thirteen, she has continued to enthrall audiences and critics alike with her instinctive brand of virtu-osity and sensitivity. She caught the notice of then up and coming conductor, Kent Nagano

who chose her to solo with him during an engagement with the Boston Pops. After the success of this East Coast debut, Aileen was named a Presidential Scholar of the Arts and presented with a medal at the White House by the President, following which she made her debut at the Kennedy Center.

Bassist BILL EVERETT is currently an acting member of the San Francisco Symphony. He studied with Homer Mensch at The Juilliard School and with Ed Barker at Boston University. Everett has served as a member of the San Jose Symphony, and has performed with the New Century Chamber Orchestra and the San

Francisco Ballet and San Francisco Opera Orchestras. He has appeared as soloist with Music in the Mountains, Desert Foothills MusicFest, the Worn Chamber Ensemble and at events spon-sored by the San Francisco Symphony.

acclaimed recitals and concerto performances in the world’s premier concert halls, including New York’s Carnegie Hall, Alice Tully Hall, Town Hall and 92nd Street “Y”; London’s Queen Elizabeth Hall, Wigmore Hall and Purcell Room; Le Theatre du Chatelet and Salle Gaveau in Paris; the Academy of Music in Philadelphia; the Kennedy Center and the National Gallery of Art in Washington D.C.; and Orchestra Hall in Chicago. Dick has performed with the Chicago Symphony, the Philadelphia Orchestra, the National Symphony and with such conductors as Ormandy, Barbirolli, Levin, Maazel, Kondrashin, Spano, Oue, Sanderling, Hogwood, de Preist and Verrot. In chamber music, he has been guest soloist with the Cleveland, Tokyo, Parisii, Ravel, Debussy and Cassatt quartets and the Dorian and Mor-agues wind quintets, concertizing as well with Yo-Yo Ma, Regis Pasquier, Young Uck Kim, Raphael Hillyer, Rostislav Dubinsky, Martin Lovett, Andrew Marriner, Guy Deplus and Carol Wincenc.

TONY CLEMENTS, tuba, has played with the San Francisco Symphony, San Diego Sympho-ny, the Oakland Symphony, the Sacramento Symphony, the San Francisco Ballet Orchestra, The San Francisco Opera Orchestra and many free-lance orchestras in the San Francisco Bay Area. In 2000, Mr. Clements was appointed the

Conductor of the Ohlone Wind Orchestra. His teaching posi-tions include Stanford University, Cal State East Bay (Hayward) and Ohlone College, where he directs the 30-member Tuba Union of the Bay Area, a tuba ensemble comprised of local tubists. He was named Director of Bands at Ohlone College and was President of Local 153 of the American Federation of Musicians.

Violist NANCY EWING was an active free-lance violinist appearing with the Oakland, San Jose, Marin and Berkeley Symphony Orchestras as well as Western Opera Theater and The Lamp-lighters Theatre Orchestras before moving to Nevada County in 1990. She holds her bachelor of Music from the San Francisco Conservatory

of Music where she studied with Don Ehrlich, Gennady Kleiman, and Don Kobialka. She continues her private teaching in Nevada and Placer Counties and has played with valley orchestras from Chico to Modesto. Nancy is a regular performer with the Music in the Mountains Summer Festival Orchestra.

KALE CUMINGS, trumpet, is a native of Sparta, Michigan, and received his Bachelors degree from Wheaton College in Chicago, earning his Masters degree from Northwestern University. As a teacher, clinician, and free-lance musician in the San Francisco Bay Area, Cumings has performed with the Sacramento Symphony,

the San Jose Symphony, and the San Francisco Symphony. Recent summers have found Kale performing in the Pacific Music Festival Orchestra in Sapporo, Japan, the Bravo Colorado Music Festival Brass Quintet, the Grand Rapids Symphony (Michigan), and the Music in the Mountains Festival Orchestra and Brass Ensemble.

MATTHEW DARLING is a Professor of Music at Fresno State, where he has taught and headed the percussion area since 1991. In addition to teaching, Matt is principal timpanist with the Sacramento Choral Society Orchestra and principal percussionist with the Fresno based Orpheus chamber ensemble. He also actively

performs with the Fresno Philharmonic and Sacramento Phil-harmonic. In April, Matt was the percussionist for the Fresno run of the Wicked National Tour. Darling is the President of the California Chapter of Percussive Arts Society. He is most proud of his role as husband and parent of four wonderful kids. This is Matt’s 25th season with the Music in the Mountains Festival Orchestra.

MUSIC IN THE MOUNTAINS SUMMERFEST 2011 35(Artist Bios, continued on next page)



DAVID GABRIELSON is Assistant Director of Bands and Percussion at Clovis North Educa-tional Center in Fresno and has been a member of the Adjunct Faculty at California State University, Fresno since 2001. Previous teaching credits in percussion include the award winning Live Oak High School, as well as keeping a pri-

vate studio. Mr. Gabrielson also served as an elementary music teacher with the Morgan Hill Unified School District for four years, and as Assistant Director of the Summer Bands Program. Mr. Gabrielson holds BA and MA degrees from Fresno State University. Mr. Gabrielson is a member of the Sacramento Cho-ral Society Orchestra and regularly performs with the Fresno Philharmonic, Modesto Symphony, Sacramento Philharmonic, Sacramento Opera, Napa Valley Symphony and the Bear Valley Orchestra.

DAVID GOLD, viola, is returning for his 14th season with Music in the Mountains. Originally from the Bay Area, David now lives in New York City where he is Principal Violist of the Grace Church Chamber Orchestra, founding member of the chamber group, The Willow Ensemble, and was a member of the New

York City Opera National Company during its last four national tours. He has appeared regularly with the Radio City Music Hall Orchestra and in orchestras on Broadway. David has performed with Hall & Oates, Diana Krall, John Mayer, Patty Griffin, Burt Bacharach, and recorded with Tony Bennett, Norah Jones, Ray LaMontagne, Martha Wainwright and Sheryl Crow. He has also appeared on Saturday Night Live, on the PBS shows Live from the Artists Den and Soundstage, and in Lou Reed’s live perfor-mance DVD, Berlin.

RAE ANN GOLDBERG, violin, lives in the San Francisco Bay Area where she performs with Symphony Silicon Valley, Midsummer Mozart Festival, and the California Symphony. She received a BA from Mills College and an MA from the Brooklyn College Conservatory where she was a member of Itzhak Perlman’s master

class, a student of Masao Kawasaki, and the recipient of a teaching fellowship. Rae Ann is also a musician with the Living Arts Play-back Theater Ensemble, a troupe of improvisational actors and musicians who “play back” personal stories shared by audience members in ways that both honor and illuminate the original experience.

SERGI GOLDMAN-HULL grew up in San Mateo, CA. and was inspired by a violin performance in his Kindergarten class to begin his violin studies at age 5 with Noni Aiken. His primary teacher in High School was Mr. Li Lin, the former Teaching Assistant of the San Francisco Conservatory of Music Professor Emeritus, Zaven Melikian.

He received his Bachelor of Music in Violin from the Peabody Conservatory of Music of the Johns Hopkins University in Bal-timore, MD., studying primarily with Herbert Greenberg (former Baltimore and Pittsburgh Symphony Concertmaster). He is a member of Symphony Silicon Valley, Opera San Jose, Oakland East Bay Symphony, California Symphony, and Marin Symphony. Sergi also teaches young violin students privately and performs in various chamber ensembles in the Bay Area.

KAREN GALE studied the bassoon with Donald DaGrade at the University of the Pacific. Other teachers include Greg Barber, Jerry Dagg, Doug-las M. Huff and Frank Morelli. She is a member of the Sacramento Philharmonic. Her teaching affiliations have included The University of Massachusetts at Amherst, California State

University-Stanislaus and American River College. She performed with the Orquesta Mexicana de FONOPAS, the Spoleto Festival of Two Worlds, the Berkshire Music Festival at Tanglewood, the Bach Society of Amherst, the Smith College Faculty Chamber Ensemble, the Peter Britt Festival, the Joffrey Ballet, Sacramento and other major Valley musical arts groups, the San Francisco Choral Society and the Pacific Arts Woodwind Quintet. Please see: www.woodisgoodmusic.com and www.tenorclef.com

ANNA GENDLER, graduate of the Moscow Conservatory in Russia, has been a member of the Tucson Symphony Orchestra since 1991. She performed with the Phoenix Symphony, Tucson Symphony String Quartet, Flute Trio, Daystar Chamber Players, and also with her husband, Alexander Tentser, in a violin and

piano duet. In the summer she performs with the Lake Placid Sinfonietta in New York, Arizona Musicfest and Music in the Mountains Festival. Being an accomplished chamber musician she also dedicates her time to children’s musical education in Tucson. She is a teaching artist for the OMA Project (Opening Mind through the Arts), and on the Music Faculty at Pima Com-munity College in Tucson, Arizona.

Violinist RYO FUKUDA was born and raised in New York City. He received his musical training at The Manhattan School of Music where he studied with Prof. Raphael Bronstein and Ariana Bronne. He received a fellowship at UCSB as a member of the graduate string quartet where he studied with Ronald Copes,

Heichiro Ohyama and Margaret Batjer. Since moving to the Bay Area in 1998, he has performed with the San Jose Symphony, Opera San Jose, San Jose Chamber Orchestra, California Symphony, Reno Philharmonic, West Bay Opera, Monterey Symphony. Stockton Symphony and Symphony Silicon Valley. He will be starting his first season as the new conductor of the Concert Orchestra of the San Jose Youth Symphony.

JOHN FREEMAN, is a freelance trumpeter in the San Francisco Bay area. He is a member of the Oakland Symphony and also performs with groups such as the San Francisco Symphony, San Francisco Opera, Berkeley Symphony Orchestra, and the Napa Valley Symphony. John also serves as adjunct professor of

trumpet at California State University Stanislaus. Before moving to San Francisco, John was Principal Trumpet of the Charleston Symphony in Charleston, SC. He received a Bachelors and Mas-ters degree from The Cleveland Institute of Music, where he was a student of James Darling and Michael Sachs. John also enjoys training for bicycle races, roasting his own coffee and spending time with his wife, Robin.

(Artist Bios, continued)



Soprano NATALIE GUNN has been a featured soloist with leading companies, including Portland’s Columbia Symphony Orchestra, the Oregon Mozart Players, Portland Chamber Orchestra, Portland SummerFest, the Olympia Symphony, Portland Opera, and the Portland Baroque Orchestra under Monica Huggett and

Richard Egarr. Natalie has performed with the Internationale Bachakademie under the direction of Maestro Helmuth Rilling, and recently was an Adams Fellow at the prestigious Carmel Bach Festival. A truly versatile artist, her stage repertoire en-compasses numerous operatic roles, including Nannetta, Zer-lina, Blonde, Adele, Adina, and Tytania. Natalie was trained by the legendary Ellen Faull, and continues to coach with Richard Bower, Sheri Greenawald, and Maestro Dean Williamson. She holds a Master of Music degree from Portland State University, and is a member of the voice faculty at Linfield College.

Cellist NORIKO KISHI holds a B.M. from the Eastman School of Music, and a M.M. from the New England Conservatory. Her principal teachers were Irene Sharp, Robert Sylvester and Bernard Greenhouse. Ms. Kishi has ap-peared as soloist with the New World Sym-phony, Michael Tilson-Thomas conducting,

and with the Music in the Mountains Festival Orchestra. She has worked with distinguished conductors, Leonard Bernstein, Sir Georg Solti and Seiji Ozawa, and participated in master-classes and coachings with members of the Guarneri Quartet, the Cleveland Quartet and Yo-Yo Ma. Ms. Kishi can be heard on recordings with Stratos Chamber Orchestra (Warner Bros.), and with New World Symphony (Decca). She was a Fellow at Tanglewood and participated in the Aspen, Spoleto (USA, Italy), Colorado and Moab Music Festivals.

JANE LENOIR, flutist, performs regularly as a soloist, orchestral musician, chamber music artist, and jazz performer in the San Francisco Bay Area and internationally . A graduate of the Oberlin College Conservatory of Music, Jane has appeared locally with the San Francisco Opera Orchestra, San Francisco Ballet, Oak-

land Symphony, Ballet and Opera, San Jose Symphony, San Francisco Chamber Music Society and University of Califor-nia Contemporary Chamber Players. She has performed with many major jazz artists in ensemble and as a soloist and has toured with the Paul Dresher Ensemble and George Coates Performances. Ms. Lenoir has received numerous awards, including the prestigious Beckmesser Award for outstanding performance on contemporary music from the LA Times. Jane has been Principal Flute with Music in the Mountains Orchestra

Trumpeter SCOT MACOMBER is principal trumpet of the Napa Valley Symphony as well as second trumpet of the Santa Rosa Sympho-ny and the Sacramento Philharmonic. Mr. Ma-comber has performed with the San Francisco Symphony, the San Jose Symphony and the Bay Brass. An avid performer of contemporary

music, he has performed in over 25 world premieres of solo, chamber, and orchestral music. Mr. Macomber holds degrees from Northwestern University, where he studied with Vincent Cichowicz, and from the San Francisco Conservatory of Music. He has performed with the Empyrean Ensemble, the San Fran-cisco Contemporary Music Players, and Ensemble Parallel. Mr. Macomber is on faculty with the San Francisco Conservatory of Music Preparatory Division, UC Davis and San Francisco State University.

NANCY HILL, violin, received her BS and MA degrees from the Juilliard School of Music, NYC. She studied with Ivan Galamian, Dorothy Delay and Robert Mann. Hill was awarded a Fulbright Grant to study at the Hochschule in Cologne, Germany, and remained in Europe, playing for the Rhein Chamber Orchestra, and

performing contemporary chamber music. She has appeared with the San Diego Symphony and Opera, the Tulsa Philhar-monic and Opera, Los Angeles Chamber Orchestra, Pasadena Symphony, San Diego Chamber Orchestra, National Orchestra of Mexico, the Aspen Music Festival, and the Casals Festival in Puerto Rico. Hill resides and teaches in the Grass Valley area.

Hornist CARA JONES is a member of the Sacramento Choral Society Orchestra and the Merced Symphony. She also free-lances with the Sacramento Philharmonic, Sacra-mento Opera, Napa Valley Symphony, and Modesto Symphony. Cara also performs with the Arizona Musicfest and the Elk Grove Strauss

Festival. Cara is a mentoring professional with the Academy at All Hallows, whose mission is to provide ensemble training to emerging professional musicians. She enjoys teaching and coaching brass ensembles and the brass section of the Sac-ramento Youth Symphony. She lives in Elk Grove, CA with her husband Bill, son Quinn, and daughter Hannah.

ADELLE-AKIKO KEARNS A native of San Fran-cisco, Adelle-Akiko Kearns started playing the cello at the age of 11 and continued her studies at the San Francisco Conservatory of Music and the Juilliard School with Bonnie Hampton, Joel Krosnick and Sadao Harada. The recipi-ent of a prestigious Artists International Award,

Adelle made her New York recital debut at Carnegie’s Weill Hall in November of 2008. In 2006 she performed the Japa-nese premiere of the Korngold cello concerto with the Tokyo Philharmonic, and was invited back to perform the Dvorak cello concerto. Currently the assistant principal cellist of the Louisi-ana Philharmonic, Adelle has been the assistant principal cellist for the Monterey and Stockton Symphonies, and a member of the Tokyo Symphony in Japan.

DAVID GRANGER received his Bachelor of Music in 1973 and his Master of Music in 1975 from the Manhattan School of Music in New York City. He joined the faculty of the Univer-sity of California, Berkeley, in 2000. In 1983 he began teaching at the University of California, Davis, and is coordinator of the student cham-

ber music program. Mr. Granger currently holds positions as principal bassoonist of the Sacramento Philharmonic, the Napa Valley, Modesto and Fremont Symphonies, and is a member of the Oakland East Bay and the Marin Symphonies. He is director member of Passamezzo Moderno, an early music instrumental ensemble specializing in the music of the 17th century.


(Artist Bios, continued on next page)



ROBIN MAYFORTH, concertmaster, has also served as concertmaster of the Symphony Silicon Valley, San Jose Symphony, Ballet San Jose Silicon Valley; as well as for the Arizona Musicfest, Colorado Music Festival, Utah Festival Opera, San Diego Opera, Performance Orchestra of Philadelphia and the Queens Phil-

harmonia in New York. As soloist Ms. Mayforth has appeared throughout the United States. Ms. Mayforth was founding second violinist of the Lark Quartet and toured extensively with the quartet throughout the world. Among the many competi-tion prizes awarded the Lark Quartet were the Gold Medal in the 1991 Shostakovich International String Quartet Competi-tion and the 1990 Naumberg Chamber Music Award. A native of Wilmington, Delaware, Ms. Mayforth began her studies with Estella Frankel and Sylvia Ahramjian. Subsequently Ms. Mayforth received her Bachelor’s and Master’s Degrees from the Juilliard School, where she studied with Dorothy DeLay, Hyo Kang and Paul Kantor. Ms. Mayforth has served on the violin faculties of Stanford and Santa Clara Universities.

Violinist ROSE-MAY MICKELSON was born and raised in Switzerland, where she started playing the violin at the age of six. She studied at the Conservatoire de Lausanne with Rose Hem-merling and Arpad Gerecz. Prior to arriving in the United States, she performed with various orchestras and chamber ensembles in Europe. Since settling in Nevada County,in 1984, she

has been active with area orchestras and chamber ensembles. She has participated in the Festival since 1989. She also has a private teaching studio in Grass Valley.

SCOTT NEY, percussion, is Assistant Profes-sor of Music and Director of Percussion at the University of New Mexico, Albuquerque. Most recently Scott has performed with the New Mexico Symphony the Opera South West or-chestras, and continues to perform in chamber ensemble and solo recitals in Albuquerque

and Santa Fe. He holds the Doctor of Musical Arts degree from the University of Washington. Other professional engagements include work with Seattle Symphony Recording Orchestra, the Sacramento Symphony, Dionne Warwick, Marvin Stamm, Bill Conti, Burt Bacharach and Doc Severenson. Previous teaching positions include the United States Percussion camp, the Insti-tute for the Academic Advancement of Youth ( Johns Hopkins University), La Sierra Music Academy and CSU Fresno. Scott has been a member of the Music in the Mountains Chamber Orchestra since 1994.

Hornist PETE NOWLEN has been a mem-ber of the UC Davis faculty since 1988 and the California State University, Sacramento, faculty since 1990. He is an active orchestral and chamber musician performing frequently with the San Francisco Symphony, Opera, and and as Ballet orchestras; Symphony Silicon

Valley; the Sacramento Philharmonic, Opera, and Chamber Music Society; and Music Circus. In 1992 he was third-prize winner of the International Competition for Solo Horn of the Castle of Duino, Italy, and in 1994 he was a semifinalist in the prestigious American Horn Competition. Orchestral conduct-ing has included the Sacramento, Camellia, UC Davis and CSUS Symphony Orchestras and the Music in the Mountains Orches-tra. Nowlen has been Concert Band Director at UC Davis since 2002 and director of the fall quarter Wind Ensemble since 1993.

MICHAEL MEEKS After graduating from the Royal College of Music, Michael Meeks was appointed principal trumpet with the BBC. In 1981 he joined the City of London Sinfonia, a position he held for fourteen years before coming to live in America.Michael has played with all the major symphony and chamber

orchestras in the U.K., the most notable of these being the London Symphony and the Academy of St. Martin-in-the-Fields with Sir Neville Marriner. During his career in the UK Michael performed for the Queen, Prince Philip, Prince Charles, Lady Diana, and has played in music festivals around the world. He has also recorded on labels such as EMI Abbey Road, Chan-dos, Philips, Naxos, Virgin records, and has twice recorded the Vivaldi double trumpet concerto. Michael currently holds the principal trumpet position with the Sacramento Philharmonic Opera, Sacramento Choral Society and performs with Music in

ANNA MARIA MENDIETA, harpist, enjoys a busy career as a soloist, orchestral musician, recording artist and teacher. In recognition of her Spanish heritage, she has been invited to perform for the King and Queen of Spain and for concerts for National Hispanic Week in Washington, D.C. In a career that has earned

her prestigious awards and performances with many top name recording artists, Ms. Mendieta has also been invited to perform for dignitaries and heads of state. She has appeared in motion pictures, on television, and has been featured on national radio.

J. RAYMOND MEYERS, Tenor “Joe”, has sung on many stages across the country, including the opera companies of Anchorage, Tampa, Grand Rapids, Utah Festival, Toledo, San Francisco, Portland and many others. In 2009, as well as singing the role of Rodolfo in La Bo-héme with Oregon’s Rogue Opera, Mr. Meyers

made his major motion picture debut playing an opera singer in the Oscar winning movie Milk directed by Gus Van Sant and starring Sean Penn. In 2010 he sang Andres in Wozzeck with Ensemble Parallèle then reprised the role with the Astoria Music Festival this last Summer. Last April, the tenor returned to Opera San Jose to sing Prunier in the company’s premiere of La Ron-dine. Recent engagements: Carmina Burana with the Spokane Symphony. Upcoming: Lippo/Buchanan in Street Scene with Oakland East Bay Symphony.

Her albums are currently available through her website: www.AnnaMariaMendieta.com.

MICHELLE MARUYAMA began her violin studies at age 4 after seeing Itzhak Perlman on PBS’s Sesame Street. She received her Bachelor of Music degree in Violin and Master of Music degree in Chamber music from the San Fran-cisco Conservatory of Music as a student of Ian Swensen and Mark Sokol. After graduating she

participated in the Carnegie Fellows Program as a member of the Phoenix Quartet. She held a fellowship with the New World Symphony for one season and currently freelances in the bay area, Michelle has performed as Principal 2nd Violin in the Santa Rosa, Napa Valley and Stockton Symphonies and the Fresno Philharmonic and in the sections of the San Francisco, Marin and California Symphonies and the New Century Chamber Orchestra.




3rd Sunday Season and SMC concerts held at Seventh-day Adventist

Church in Grass ValleyConcerts - 2pm

with 1:15pm pre-concert forumAffordable Ticket Prices

Spencer Myer, pianoAPA Winner

Jazz on the Pond with Ken Hardin Trio

benefit concertSierra Master Chorale

Holiday Concert: 2 & 7 pm

Sierra Master ChoraleSpring Concert

Igudesman and JooA Little Nightmare Music

collaboration withThe Center for the Arts

Merling Trio

Garrick Ohlsson,piano

Lara Downes,piano

CA Rising Stars The Rose Ensemble José Luis Merlin,guitar

Violin Competition WinnerOct. 16, 2011

Sept. 18, 2011 Oct. 23, 2011Dec. 18, 2011

May 20, 2012

Nov. 20, 2011 Jan. 15, 2012 Feb. 19, 2012 Mar. 18, 2012

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THOMAS RANCE was born in Iowa and began playing percussion at the age of 10. He attend-ed the University of Iowa where he received his Bachelor of Music degree in Music Education. In the summer of 1984, he left Iowa to attend San Jose State University and study percus-sion with Anthony Cirone. He has held the

position of Principal Percussionist with the Modesto Symphony since 1985. As Principal Percussionist of the Fremont/Newark Philharmonic he was featured as a soloist on a performance of Darius Milhaud’s Concerto for Percussion and Small Orchestra. Arriving in Sacramento in 1992, he performs with the Sacra-mento Philharmonic Orchestra. Other ensembles with which he performs include: the Sacramento Opera, Sacramento Cho-ral Society, and Bear Valley Music festival. Previously, Mr. Rance was the Personnel Manager for the Sacramento Philharmonic, which also includes the Sacramento Opera and Sacramento Ballet. He is currently the Personnel Manager with the Modesto Symphony Orchestra.

MONIQUE RANCE received her Bachelor of Music degree at the University of the Pacific in Stockton, California, where she studied flute performance with Mathew Krejci and Carol van Bronkhorst. She then attended the Cincinnati Conservatory of Music and received her Master of Music degree in flute performance. She

became Instructor of Flute at Five Towns College in New York while also performing with the Inwood Opera, the New York Symphonic Arts Ensemble, the South Shore Symphony, the Massapequa Philharmonic and the Trio Con Brio ensemble. She left New York to begin an active performance career in the Sac-ramento Metropolitan area. Upon her arrival in 2004 she has performed as solo flutist with the Ukiah Symphony, freelance flutist with the Modesto Symphony, the Sacramento Philhar-monic, the Sacramento Choral Society Orchestra, Napa Valley Symphony and the Stockton Symphony. She is also Principal Flute with the Veridian Symphony. She has taught as a guest clinician in flute for the Pacific Western Concert Band Festival and serves as a flute and woodwinds coach for the Napa Valley Youth Symphony.

He is the director of the CalCap Chamber Music Workshop and artistic director of the Vocal and Instrumental Teaching Artists (VITA) Academy of Northern California, dedicated to integrat-ing and introducing classical music into underserved commu-nities while training a new generation of artist educators.


(Artist Bios, continued next page)




GARRETT ROSS is currently pursuing an MM as a student of Alexander Braginsky at the University of Minnesota. Most recently, he was a prize-winner in the national 2011 Schubert Club Piano Competition. He has performed and studied at the International Festival-Institute at Round Top, Texas; AmerKlavier Institute at

Steinway Hall, New York City; and PianoSummer at New Paltz, New York. In 2008, Ross graduated from Bethel University with a B. Mus. in Performance. There he won first prizes in the Solo and Concerto Competitions.

KAREN SHINOZAKI SOR, violinist and Assistant Concertmaster, performs with the Grammy-nominated New Century Chamber Orchestra, the Santa Rosa and Marin Symphonies, and as a regular extra in the San Francisco Opera and Ballet Orchestras. She is also a frequent chamber music collaborator, appearing with

diverse groups including the Santa Rosa Chamber Players, the Berkeley Contemporary Chamber Players, the Sor Ensemble, the Worn Ensemble, and the Adorno Ensemble. She serves on the music faculties at the University of California, Berkeley and at the Marin Music Conservatory. Karen likes to relax with her cellist husband, Eugene Sor, son Kenji, cat Bass, and indulge in her addiction to the Times crossword puzzles.

DAHNA RUDIN, cello, received her artist diploma from the Vienna Hochschule für Musik, where she worked with Wolfgang Herzer, solo cellist of the Vienna Philharmonic, and coached chamber music with members of the Alban Berg String Quartet. She also holds a bachelor of arts from Pomona College. She performs regularly

with the Atlantis Trio, and has presented numerous solo recitals throughout the Bay Area. Recent solo appearances have included a performance the Suites for Cello and Orchestra by Lou Harrison with the Palo Alto Chamber Orchestra and the Shostakovich Cello Concerto #1 with the Redwood Symphony. As an orchestral musician in the Bay Area, Ms. Rudin is principal cellist of the Capriccio chamber orchestra and has also performed with the West Bay Opera, Symphony Silicon Valley, the Midsummer Mozart festival orchestra, and the San Francisco Symphony. Visit her website: http://dsrudin.com/

STEVE SANCHEZ, San Francisco native, is cur-rently 2nd clarinet in the Monterey Symphony and Professor of Clarinet at Chabot College in Hayward, California. In February 2011, Steve was named the winner of the utility/bass clarinet audition for the San Francisco Symphony and will begin concerts in late September of 2011.

During the 2008-2009 season, Steve was principal clarinet of the Kalamazoo Symphony Orchestra and also guest principal clarinet of the Utah Festival Opera. Steve received his Master’s degree in Music as a Fellow from the University of Michigan School of Music, Theatre, and Dance, in Ann Arbor, Michigan, where he was a student of famed pedagogue, Professor Emeri-tus Fred Ormand and additionally as a student of Dan Gilbert of the Cleveland Orchestra. Away from the clarinet, Steve can be found snowboarding in Lake Tahoe during the Winter and is always searching for the perfect cup of coffee.

JAN SEPTON began studying violin at age ten in the Billings, Montana public school system. She attended Indiana University, graduated from the University of Minnesota with a degree in Music Education, and received a Master’s in Performance from Florida State University. Her teachers included Ruth Posselt and the

concertmasters of the Minnesota, Boston, and Chicago Symphony Orchestras. Before winning the audition for the Phoenix Sym-phony in 1988, she served as Assistant Concertmaster of the Oklahoma Symphony, the Oklahoma City Chamber Orchestra, and the Orquesta Sinfonica de Mineria of Mexico City. She is a founding member of the “Go For Baroque” chamber ensemble.

TOM ROSE is principal clarinet with Music in the Mountains Orchestra. He has held this position since its founding, in 1982. He has performed the Mozart and Copland clarinet concertos numerous times with the orchestra, along with other solo works. Tom is a graduate of San Francisco State University (B.A) and Mills

College (M.F.A.). His principal teachers were Earl Smith, Leon Russianoff and Rosario Mazzeo. He was Personnel Manager of the San Francisco Ballet Orchestra from 1988 until his retire-ment from the position in May 2010. He is currently an adjunct clarinet teacher at Holy Names University, Oakland, and is also very active in chamber music performance in the San Francisco Bay Area. In 2009 Tom formed TRIO BRILLANTE with pianist Betty Woo and violist Caroline Lee. In 2004 he released a CD of music for clarinet and piano with pianist Miles Graber.

PHIL RICHARDSON, French horn, received a Bachelor in Music in Horn Performance from San Francisco State University as well as a Masters in Music from the University of Cincinnati College Conservatory of Music. His career has taken him to Venezuela, Europe, Asia, and throughout the United States where he has performed with

the Cincinnati Symphony, Caracas Philharmonic, Mozarteum Orchestra of Salzburg, Basler Radio Orchestra, San Francisco Symphony, San Jose Symphony, and music festival orchestras at Aspen, Lake Tahoe, Rome, and Sun Valley. He has been prin-cipal horn and personnel manager for the Monterey Symphony Orchestra. Phil performed in the inaugural season of Music in the Mountains.

Chicago Park resident MELINDA RAYNE, violinist,became a member of the Monterey County Symphony at the age of 16. She has studied with a variety of teachers including Jascha Veissi, Andor Toth, Sr. and William Magers, her primary mentor and master teacher. She has played in numerous soundtrack

recordings for radio and television, and has recorded several CDs with the Women’s Philharmonic and San Jose Chamber Orchestras. Melinda was principal violist for the Peninsula Symphony. She is principal violist for the Western Opera Theater (San Francisco Opera touring troupe) and is also a member of the San Jose Chamber, Opera San Jose, Sacramento Opera, Sacramento Philharmonic and Sacramento Chorale Society Orchestras.




STEVE SUMINSKI is a recent product of the renowned music program at University of Southern California, where he received the Robert Marsteller Award for outstanding brass performance. He has played principal trombone with the Los Angeles Symphonic Camarata, the National Repertory Orchestra

in Colorado, the National Orchestra Institute Philharmonic in Maryland, and the Philharmonie der Nationen in Germany, as well as the Riverside Philharmonic and the Santa Monica Orchestra in Southern California. As a founding member of Brass Pacifica, he was First Prize winner of the 2001 Georgia International Brass Quintet Competition.

DOUG THORLEY, bass trombonist, moved to Colfax from the Bay Area fifteen years ago. He performs locally with the Sierra Brass Quintet, TCCA, theatre groups and the Music in the Mountains Festival Orchestra, and teaches music at Live Oak Waldorf School in Applegate. Doug also plays with Philharmonia Baroque,

the Napa Valley, Santa Cruz and Sacramento Symphonies, American Bach Soloists and San Francisco Bach Choir, and has performed at the Taos, Carmel Bach and Mendocino Summer Festivals. Mr. Thorley, born in Stoneham, MA., graduated from the San Francisco Conservatory of Music after stops at the University of Lowell, Massachusetts, a dairy farm in the Catskills and UC Santa Barbara. In his free time, Doug enjoys bicycle touring, x-c skiing, cooking and staying at home with his family.

TAMÁS STRASSER Is an avid chamber musician Tamás Strasser has been violist with The Saint Paul Chamber Orchestra since 1975. Strasser has performed with the Vienna Trio and the Muir, Moscow and Bakken string quartets and been a soloist with the SPCO, Kansas City Symphony, and the Santa Fe Opera. Strasser received his

bachelor’s degree from the Kansas City Conservatory and master’s degree from the Catholic University in Washington, D.C. His principal teachers were Andor Toth, Tiberius Klausner, Michael Rabin and Dorothy Delay. Strasser has performed as principal violist with the Wintergreen (VA) Festival, Colorado Music Festival in Boulder and the Aspen Chamber Symphony. This is his fourth year as principal violist at the Cascade Music Festival. Tam’s hobbies include chess, motorcycling, and traveling.

Violinist MUTSUKO IKENOUCHI TATMAN is a first violin of the Arizona Opera Orchestra and director of the string instruments program at St. Gregory College Preparatory School in Tucson. A graduate of the Oberlin College Conservatory, she studied with David Cerone, with further study under Warren van Bronkhorst

at the University of the Pacific where she earned her master’s degree. Mutsuko has served as concertmaster of the American Symphony Orchestra under the direction of Leopold Stokowski, and in both the Stockton and Modesto Symphony Orchestras. Additionally, she was a member of the Honolulu Symphony, the Sacramento Symphony, the Tanglewood Festival Orchestra, and the Carmel Bach Festival. Currently, Mutsuko is an active member of the Sterling String Quartet and Duo Nouveau, a violin and harp ensemble. She has appeared numerous times in perfor-mances for Music in the Mountains and the Arizona Musicfest in Carefree.

NEIL TATMAN is currently Associate Professor of Oboe at The University of Arizona, oboist of the Arizona Wind Quintet, and principal oboist of the Arizona Opera Orchestra. Originally from Kenosha, Wisconsin, he earned his Doctor of Music degree at Indiana University where his principal oboe studies were with Jerry Sirucek.

He served as principal oboist of the Sacramento Symphony Orchestra from 1978 to 1996. In addition to his thirty year association with Music in the Mountains, Neil is a regular member of the Arizona Musicfest and the Carmel Bach Festival. In 2002, he performed and recorded the world premiere of Dan Coleman’s Sonata Lamentosa with Kristina Cooper and Paul Perry at the International Double Reed Society’s annual confer-ence in Banff, Canada.

JANET SIMS, violist, is the assistant principal violist of Symphony Silicon Valley and the Ballet San Jose Orchestra. She is also a founding member of the San Jose String Quartet and San Jose Chamber Players. Aside from being the principal violist with the Music in the Mountains Festival, she is also the principal viola of the

Midsummer Mozart Festival and has been principal viola and guest soloist with the Arizona Musicfest since its premier season. Ms. Sims is an active performer in the San Francisco area, ap-pearing on the series Music at Kohl Mansion, Performances at Six, Trinity Chamber Music Series, Composers’ Inc., and the San Jose Chamber Music Society. She appears regularly as a soloist with Music in the Mountains and is a regular chamber music performer at Santa Clara University and the Community Music School. Ms. Sims is a graduate of Stanford University and is currently on faculty at Santa Clara University.

WAYNE SOLOMON is currently the bass trom-bonist with the Modesto Symphony Orchestra, Fresno Philharmonic Orchestra, and Sarasota (FL) Opera Orchestra, second trombonist with the Monterey Symphony, and has previously held positions with the Napa Valley and Santa Cruz symphonies. He performs frequently with

the Pacific Symphony Orchestra in Santa Ana, CA, and has also performed with the San Francisco Symphony, San Francisco Ballet Orchestra, Minnesota Orchestra, and San Diego Sym-phony. Wayne is also the Orchestra Personnel Manager for the Monterey Symphony and Fresno Philharmonic. He has been a member of the Carmel Bach Festival and Music in The Moun-tains Festival for ten seasons. In his spare time he enjoys playing ice hockey, backpacking, cross-country skiing and snowshoe-ing, and riding his road bicycle.

RANDI SOULE, violinist, is a Nevada County resident who plays with The Foothill Theatre Company and the Twin Cities Concert Associa-tion, as well as teaching the Suzuki Violin Meth-od in Grass Valley. She is a native of Lexington, Kentucky, and a former student of Almita Vamos at Western Illinois University. In addition to her

teaching studio Ms. Soule performs with Orchestre Panache, Apollo Orchestra, and the Three-for-All String Trio. She serves as concertmaster for the chamber ensemble in the Music in the Mountains Festival Chorale Holiday Concerts and has been with the Festival since 1984. Ms. Soule has served as adjudicator on several occasions for the Music in the Mountains Young Musicians Competition and serves as orchestra librarian.





As a high school senior, RON WHALEY, violin-ist, was selected to perform as a member of the American Youth Orchestra at a Carnegie Hall performance. He attended Indiana University as a Bachelor of Music student and studied with Urico Rossi and Franco Gulli. Ron was concertmaster of the Orquestra del Noreste

in Guadalajara, Mexico for two seasons, then served as assistant principal second violin with the Grand Rapids Symphony for five seasons. Since 1980 Ron has been with the Phoenix Symphony. He has been concertmaster of the Grand Salon Orchestra in Phoenix since 1995. Ron has been performing with Music in the Mountains Festival Orchestra since 1996.

CARLA WILSON is principal bassoonist with the Santa Rosa, Marin, Berkeley symphonies, and is a member of the California Symphony. She is a frequent performer with the San Francisco Opera, the San Francisco Symphony, Oakland Symphony and various new music ensembles. She completed a Bachelor of Music degree at

the San Francisco Conservatory of Music where she studied with Walter Green. Further studies took place at the Aspen Festival, the Tanglewood Music Festival and on scholarship in London. She has participated in the Cabrillo and San Luis Obispo Festivals, and is principal with the Midsummer Mozart Festival. She has been with Music in the Mountains since its first year.

Cellist JANET WITHARM graduated from the New School of Music in Philadelphia, where she studied with Orlando Cole of the Curtis String Quartet. Post graduate study included a six year fellowship at the Aspen Music Festival under David Finckel of the Emerson String Quartet, along with Ron Leonard of the LA Philharmonic

and Alan Harris of the Eastman School of Music. She has also worked extensively with Michael Grebanier, whom she regards as a primary influence. A member of the San Jose Symphony from 1970-2002, Janet currently performs with Symphony Silicon Valley, Ballet San Jose, West Bay Opera and Arizona Musicfest. She has served on the faculty of San Jose State University as cello and chamber music instructor, as cello faculty for Cazadero Performing Arts Camp for 10 seasons, and substituted with the San Francisco Symphony. Founding and current Principal cellist of the Music in the Mountains Festival, Janet lives in Palo Alto with a musical family: husband Greg (bass), son Alex, 16 (violin) and daughter Emma, 12 (violin).

A Nevada County native, SARAH WOOD studied with Paul Kantor and William Preucil at the Cleveland Institute of Music, where she earned her Bachelor’s and Master’s in violin performance. Previous teachers include Zaven Melikian, Robin Sharp, Nancy Hill and Nancy Ewing-Wood. From 1998 to 2001, Sarah took

first prize in the Music in the Mountains Young Musicians’ Competition and has been a member of the Festival Orchestra since 1999. She was also awarded the first Jason Pell Memorial Scholarship in 2006 in order to complete her studies in Cleve-land. Currently, Sarah is a member of the Greeley Philharmonic and the Boulder Philharmonic Orchestra in Colorado, in addi-tion to Ensemble Pearl, a Baroque performance group. Sarah is pursuing her doctorate in violin performance at the University of Colorado at Boulder, studying with Lina Bahn and Takacs Quartet violinist Karoly Schranz.

MARY TRUE is principal cellist for the Western Opera Theater Orchestra, as well as being a member of both the San Jose Symphony and the San Francisco Chamber Orchestra. She also free-lances for various chamber and orchestral groups in Sacramento and the San Francisco Bay Area. She began her studies in Berkeley

with Colin Hampton, and continued in Boston with Leslie Parnas and in Philadelphia with Orlando Cole. In 1979, she traveled to Hong Kong where she served for five years as assistant principal cellist with the Hong Kong Philharmonic. In 1984, she returned to the Bay Area. She has been with the Festival since 1987.

ELINE VAN DEN ENDE is a member of the first violin section of Symphony Silicon Valley, Ballet San Jose Orchestra, the Golden Gate Strings, Midsummer Mozart Festival Orchestra, the Music in the Mountains Festival Orchestra and the Arizona Musicfest Orchestra. Ms van den Ende was concertmaster of the American Musi-

cal Theater of San Jose, from 2001 till 2010. Ms Van den Ende is currently the second violinist of the San Jose String Quartet. Ms van den Ende has appeared as a soloist with the San Francisco Chamber Players, the San Francisco Old First Church Orchestra and the Music in the Mountains Festival Orchestra and free-lances with the major orchestras in San Francisco. Eline trained at the Sweelinck Conservatory in Amsterdam where she studied with Herman Krebbers, former concertmaster of the Royal Con-cert Gebouw Orchestra.

DAVID THORP, viola, earned a Masters in Music degree in 1978 studying with violist Lillian Fuchs at the Manhattan School of Music, New York City. He has served as principal violist of the American Philharmonic Orchestra of Carnegie Hall. In the period 1969-1976, he played in the second violin section of the Florida Gulf Coast

Symphony Orchestra. He has served as principal violist of the Apollo Orchestra, the Auburn Symphony, the North State Sym-phony and the Stockton Symphony. He teaches at the Music and More Arts Academy and the Marysville Charter Academy of the Arts.

BRENDA TOM, pianist is well known as a solo-ist and as a chamber musician. She has won numerous international and national piano competitions and has performed as soloist with the San Francisco Chamber Orchestra, the California Chamber Symphony, the Pitts-burgh Ballet Orchestra, I Solisti di Oakland, the

Sacramento Symphony, the Fort Collins Symphony, the Diablo Symphony, and the Sacramento Ballet Orchestra, among others. Ms. Tom has served as the principal pianist with the Sacramento Symphony, Symphony Silicon Valley, Monterey Symphony and Santa Cruz Symphony. She received her Bachelor of Music de-gree from the San Francisco Conservatory of Music, where she studied with Beatrice Beauregard and Mack McCray.




RICHARD WORN, bassist, holds degrees from California State University, Northridge and the New England Conservatory. He had a three year fellowship with the New World Symphony in Miami Beach, then returned to San Francisco where he performs with many ensembles includ-ing the San Francisco Symphony and Opera

Orchestras. Mr. Worn is assistant principal bass of the Marin Symphony and principal bass of the San Jose Chamber Orchestra at UC Berkeley he gives private lessons, orchestra coaching, and contracts and performs for the Berkeley Contemporary Music Players. An avid promulgator of contemporary music, he is the director of the Worn Chamber Ensemble, and performs frequently with the San Francisco Contemporary Players.

RICHARD ZELLER, one of America’s foremost baritones, is internationally acclaimed for both his concert and opera roles. He is known for his sonorous dramatic voice, a compelling stage presence and outstanding musicianship.Mr. Zeller’s opera engagements have included 12 seasons at the Metropolitan Opera, including the

title roles of many well known opera’s, e.g. Verdi’s Macbeth, Tchai-kovsky’s Eugene Onegin, and Marcello in Puccini’s La Bohème, to name a few. He also has appeared in new works such as Ernesto in Bellini’s ll Pirata with Renée Fleming, in the lead role of Eddie in William Bolcom’s opera, A View from the Bridge, based on Arthur Miller’s play and as Chorebe in Berlioz’s Les Troyens, conducted by Maestro James Levine. Mr. Zeller has sung with opera companies throughout Europe and Canada as well as in many regional opera

DANIEL ZUCKERMAN is director of The Ver-sailles Quartet and a free-lance violinist in Los Angeles. He received his BA in Music from UCLA. Zuckerman has performed throughout the West with the symphonies of Santa Barbara, Fresno, and Sacramento. Some of his past screen appearances include The Bodyguard,

The Relic, Grace of my Heart, Inspector Gadget, Red Dragon, Murder 101, and Fantasia 2000, on which he served as both Concertmaster and Contractor. More recently he appeared in Desperate Housewives, in a non-domestic role. Zuckerman has also played on recordings of The Elvis Schoenberg Surreal Lounge Orchestra, Journey to Eden, and Sleeping in the Arms of Love.

companies in the USA. He is celebrated for his interpretations of the title role in Mendelssohn’s Elijah which he has sung with the Chicago Symphony, the Cleveland Orchestra, and many others throughout the world. He has given over 100 performances each of Orff ’s Carmina Burana, Beethoven’s Ninth Symphony, and Handel’s Messiah.




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