2022 Program Book : simplebooklet.com

2 | SUMMERMUSIK FESTIVAL 2022For subscription series tickets: MemorialHallOTR.orgor 513-977-8838 code freeparkcco for free parkingCatch These Rising Stars Before the Rest of the World Catches OnMatineeMusicaleCincinnati.orgSunday, October 2, 2022 7 PMMemorial HallChristina NamVIOLINFriday, October 28, 2022 7:30 PMMemorial HallSteven BanksCLASSICAL SAXOPHONESunday, February 19, 2023 3 PMMemorial HallAlexandre KantorowPIANOCINCINNATI DEBUT CINCINNATI DEBUTSunday, May 7, 2023 3 PMFirst Unitarian ChurchSilver-GarburgPIANO DUOSunday, March 26, 2023 7 PMMemorial HallValerie EickhoMEZZOSOPRANOUSA DEBUTFor 108 years Matinée Musicale Cincinnati has oered recitals by classical musicians destined for worldwide fame. Tickets for these ﬁve remarkable rising-star performances—with free parking—are just $100. That works out to only $20 per performance. ank you, Louise Nippert, for making that possible.

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SUMMERMUSIK FESTIVAL 2022 | 3TABLE OF CONTENTS6 A Note from Music Director Eckart Preu7 A Note from Board President and Executive Director 8 Our Conductors9 Members of the Orchestra 10 Support Us13 Tales of Two Countries18 Tango Amor20 Battle of the Bands: Rematch23 Harp Fantastique 29 Stories for Strings30 Clarinet on the Rocks31 Film Screening: Chocolat 35 The Power of the Muse41 Kissed by the Muse42 Soundwaves44 Bossa Nova47 Sounds of Waters51 Our Sponsors and Partners52 Our Benefactors53 Board of Trustees, Honorary Trustees, Emeritus Board and Staff 54 Summermusik Festival Map HOW TO CONTACT US: Cincinnati Chamber Orchestra w 650 Walnut Street w Cincinnati, OH 45202Ticketing Office: 513.723.1182 x2 w info@ccocincinnati.org w www.ccocincinnati.orgTICKETS Please don't allow your seat to go empty! If you can't use your tickets for an upcoming concert, you have numerous options. We encourage you to give them to a friend—it's a great way to introduce others to the CCO. You can exchange your tickets for another performance. Or you can return them to the CCO for a tax refund. For ticket returns and exchanges, please be sure to contact the office no later than 48 hours prior to the concert for which you hold tickets.CONCERT COURTESY Stuck in traffic? Please note that latecomers will be asked to remain in the lobby so as not to disturb other patrons. At an appropriate musical break, ushers will assist latecomers to their seats.Rrring... Please turn off all watches and cell phones prior to the start of the performance.The use of photographic and recording devices is strictly prohibited in the hall during performances. Concerts are recorded professionally for archival purposes only.Smoking is prohibited in all performance venues.Our Mission:We create intimate, transformative experiencesthat connect the musically curious.Our Commitment to Diversity, Equality, Inclusion and Accessibility:The Cincinnati Chamber Orchestra (CCO) is committed to creating an inclusive environment that reﬂects the diversity of the community we serve. We will be a welcoming place for people of all races, ethnicities, religions, sexual orientations, gender identities, ages, abilities, backgrounds, and countries of origin. When we use the term “diverse” or “diversity” in this plan, it is our intention to be inclusive of a broad deﬁnition of the dierences among individuals. This commitment will be reﬂected in our programming, audience, outreach and all connected with the CCO—sta, musicians, trustees and volunteers.Our Vision:To be an incubator of musical curiosity.

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6 | SUMMERMUSIK FESTIVAL 2022We are back in full force, and live! We have been waiting for this moment for two years and are excited to welcome you back to all our performances.This summer we oer four concert weekends, each centered around themes that aim to discover, reﬂect, and inspire.The ﬁrst week of Summermusik will begin with music that is guaranteed to bring passion and joy – music from South America. Grammy Award winner and bandoneon virtuoso, Hector Del Curto, will play Astor Piazzolla’s Bandoneon Concerto. World Argentine Tango Champion Fernanda Ghi and her partner Silvio Grand will turn up the musical and emotional heat as we explore the unique passion that inhabits the tango.Our second weekend will explore the “fantastical” side of the human experience: the supernatural, the dream state of our minds. György Ligeti’s Concerto Romanesc is fantastic in many ways and is inspired by folk music from Romanian mountains and villages. In his Concerto for Harp, Mascaras (“Masks”), Arturo Marquez creates music that is full of rhythm, color, and melody. Virtuoso harpist Ina Zdorovetchi is a fearless master of the instrument, tackling one of the most challenging concertos for the harp. Finally, French composer and arranger Arthur Lavandier takes Hector Berlioz’s Symphonie Fantastique on a wild ride. This is a unique opportunity to discover a familiar masterpiece in a new light – a fantastical new sound scape.The act of artistic creation is a miracle. In the third week, Summermusik explores what inspires artists. We explore the lives and legacies of the muses that inspired legendary composers. Clara Schumann was a muse, ﬁerce music critic, and virtuoso pianist all in one. Pianist Vijay Venkatesh will perform Clara’s piano concerto, tailored by the composer to her own extraordinary technical prowess. Soprano Victoria Okafor will be the soloist in the Finale of Gustav Mahler’s Fourth Symphony, celebrating “The Heavenly Life" - inspired by his muse and wife, Alma Mahler. As we will show this weekend again and again: Even a genius needs a muse.Water is often viewed as the most valuable resource – and source of life itself. It has also been a source of inspiration for many composers for centuries. The ﬁnal concert of Summermusik opens with the most famous waltz of all time, composed by the "Waltz King" Johann Strauss II, himself: The Blue Danube Waltz. This music features some of the most iconic and memorable melodies of all of music history. The shimmering textures of water are masterfully depicted in Claude Debussy’s masterwork La Mer. With it, Debussy translated French impressionism into music, introducing a new sound world. Chinese-born composer Tan Dun writes music that is evocative, emotional, and colorful. In his Water Concerto, Tan Dun used water itself as a musical instrument. Multi-percussionist Yuri Yamashita plays many styles – from classical to contemporary, from Latin and Brazilian percussion to Tina Turner. She will bring unlimited imagination to her audiovisual performance of this unique work.I am more than excited about this season! Thank you for joining us in person for the incomparable experience of live music. Let’s celebrate the return of a full Summermusik season!Dear friends of the CCO, It is a great joy and privilege to welcome you to our 2022 Summermusik! (photo by Michael Wilson)Audience Survey - Summermusik 2022T hank you for joining us! Please take a moment to ll out this short survey. It will provide important information to the CCO and our funders.

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SUMMERMUSIK FESTIVAL 2022 | 7A VERY SPECIAL THANK YOU TOROBERT & DEBRA CHAVEZFOR SPONSORING SUMMERMUSIK 2022!Welcome to Summermusik 2022! As we celebrate the 48th anniversary of the Cincinnati Chamber Orchestra – and the 8th anniversary of Summermusik – our talented musicians and world-renowned guest artists are ready to present another season of amazing music to our community. Music Director Eckart Preu, now in his 6th season with the CCO, has created his most robust season to date with numerous CCO premieres in an eort to create intimate, transformative experiences that connect the musically curious!Known for his imaginative programming, Eckart has curated a multi-dimensional Mainstage Series as we make a grand return to our home venue, the School for Creative & Performing Arts. From a tour of Peru and Argentina, to a North American Premiere, to a celebration of female inspiration, to the images and sounds of water, Summermusik 2022 oers a collaborative and musically thrilling summer at SCPA.We encourage you to join us in the lobby after our Mainstage concerts to have a drink and free light bites courtesy of Ollie’s Trolley with Eckart, our musicians, and the fantastic guest artists.We are also excited for the return of our indoor chamber ensemble series: A Little Afternoon Musik and Chamber Crawls. We hope that you will invite your friends to these engaging, interactive performances led by our own CCO musicians.We are proud of our impact in the Greater Cincinnati community through our year-round musical and educational programming, which is made possible by your loyal support. We would like to extend a warm thank you as without you, we could not bring the beauty and joy of music to so many of your friends and neighbors and reach so many others in our diverse community.Thank you for being a part of the CCO family. We hope you will say hello to the person next to you, leave this performance inspired, and share your curiosity and love of music with those in your life!Sincerely,Daniel Pfahl Evan GidleyBoard President Executive Director(photo by Michael Wilson)

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8 | SUMMERMUSIK FESTIVAL 2022Eckart Preu is Music Director of the Long Beach Symphony, the Portland Symphony, and the Cincinnati Chamber Orchestra. Previously, he held positions of Music Director with the Spokane Symphony (WA), Stamford Symphony (CT), and served as Associate Conductor of the Richmond Symphony (VA), and Resident Conductor of the American Symphony Orchestra (NY). In Europe, Mr. Preu was Music Director of the Orchestre International de Paris from 1993-1995. His guest conducting engagements have included concerts with the Jerusalem Symphony (Israel), Auckland Philharmonia (New Zealand), Philharmonic Orchestra of Jalisco (Mexico), Philharmonic Orchestra of Bogota (Columbia), State Orchestra in Halle (Germany), Christchurch Symphony (New Zealand), and multiple appearances with the Symphony Orchestra of Chile and the Symphony Orchestra of Tenerife (Spain). A sought-after guest conductor in the US, he has appeared with the Knoxville Symphony, Eugene Symphony, Memphis Symphony Orchestra, Delaware Symphony, Duluth Superior Symphony, Fairfax Symphony Orchestra, Wichita Symphony, and others. Career highlights include performances at Carnegie Hall, the Sorbonne in Paris, and his ﬁrst commercial recording of the world premiere of “Letters from Lincoln”, a work commissioned by the Spokane Symphony from Michael Daugherty, featuring baritone soloist Thomas Hampson. He has collaborated with internationally renowned soloists including Sarah Chang, Pepe Romero, Stephen Hough, Evelyn Glennie, Anne Akiko Meyers, Jeremy Denk, Horacio Gutierrez, Leila Josefowicz, Louis Lortie, and Richard Stoltzman and many others.A native of Germany, Mr. Preu earned a master's degree in conducting from the Hochschule für Musik in Weimar studying under Gunter Kahlert. He also studied under Jean-Sebastien Bereau at the Conservatoire National Supérieur de Musique de Paris in France. Mr. Preu’s education was made possible by scholarships from the Herbert von Karajan Foundation, the Konrad Adenauer Foundation, and the French Ministry of Culture. ECKART PREU | MUSIC DIRECTORDANIEL PARSLEY | ASSISTANT CONDUCTORDaniel Parsley enjoys an active career in the Midwest as an educator, conductor, scholar, church musician and professional chorister. Daniel currently serves as the Director of Choral Activities and program head for the music department at Thomas More University. At Thomas More, Daniel directs three choruses that include over 125 singers and teaches music history and music theory. He also serves as faculty for the Kentucky Institute of International Studies (KIIS) Salzburg study abroad program where he teaches conducting, music history, opera scenes and choral ensembles. Daniel served on the faculty with the Cooperative Center for Study Abroad (CCSA) London summer study abroad program in 2021.Daniel was most recently the Music in Worship Chair for the Ohio Choral Director’s Association. He serves as Director of Music at St. Timothy Episcopal Church in Cincinnati and also served as Associate Conductor for Cincinnati’s Music Sacra from 2017-19. Daniel is an active member of ACDA, ChorusAmerica, AGO and NAfME.Parsley has studied conducting under Robert Porco, Earl Rivers, Brett Scott, Mark Munson, and Tom Merrill, and has appeared in recent conducting masterclasses with Duain Wolf, John Alexander, David Hayes, Eric Whitacre, Rodney Eichenberger, and Cesar Leal. Daniel’s passion for choral arts extends beyond conducting: He has performed with many choruses himself as a professional singer, including the Cleveland Orchestra Chorus, Cincinnati May Festival Chorus and Youth Chorus, Toledo Opera, Tuscia Opera Festival (Viterbo, Italy), and Berkshire Choral Festival. As a conductor of symphonic choral literature, Parsley has most recently prepared choruses for John Morris Russell, Gerhardt Zimmermann, James Meena, and Giordano Bellincampi.(photo by Michael Wilson)

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SUMMERMUSIK FESTIVAL 2022 | 9(photo by Michael Wilson)ORCHESTRA MEMBERSVIOLINS Celeste GoldenConcertmasterRebecca Bolce & Keith Wood, 2022 SponsorsAmy KiradjieffAssociate ConcertmasterSujean KimAssistant ConcertmasterSusan Esler & Steven Skibo, 2022 SponsorsManami WhitePrincipal SecondRuth Schwallie &. Mark Silbersack, 2022 Sponsorsw Kiki Bussell §w Jacquie FennellJohn & Patsy Kreitler, 2022 Sponsorsw Sarah Gannon VIOLAHeidi L. Yenney §PrincipalBelinda Reuning Burge*Carol Kruse, 2022 SponsorWendy VanderMolen §CELLO Patrick BinfordSchlachter Family Principal Cello ChairNat Chaitkin*Tony Cole, 2022 SponsorThomas Guth*Max Reif, 2022 SponsorBASSDeborah TaylorPrincipalWes & Caitlin Needham, 2022 SponsorsFLUTERebecca Tryon AndresBushman Family Principal Flute ChairSusan MaggThe Vicki Reif Memorial Fund, 2022 SponsorOBOEChristopher Philpotts PrincipalAllison & Brett Evans, 2022 Sponsors CLARINETJohn KurokawaPrincipalDan & Lin Domis, Gary Shinn, and Karen Hartman, 2022 SponsorsMiriam CulleyTom & Margaret Osterman, 2022 SponsorsBASSOON T. Hugh MichiePrincipalEric J. Allen, 2022 SponsorAmy Pollard §FRENCH HORNBrooke Ten NapelLucy Allen, 2022 SponsorTRUMPETAshley Hall TighePrincipalCliff Goosmann, 2022 SponsorEckart Preu, Music DirectorDaniel Parsley, Assistant Conductorw designates alphabetical listing of players who rotate between violin 1 and violin 2* designates rotating player | § designates leave of absence

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10 | SUMMERMUSIK FESTIVAL 2022YOU KEEP THE MUSIK PLAYING!Invest in intimate and transformative experiences to connect the musically curious.YOUR GENEROUS SUPPORT OF THE ANNUAL CRESCENDO CAMPAIGN • develops the next generation of classical music lovers • keeps world-class programming aordable and accessible for all • supports over 50 multi-disciplinary and innovative collaborations annually • brings music to over 50,000 people annually in the Greater Cincinnati region • provides over 3,000 hours of music education annuallyHELP COMPOSE CINCINNATI’S MUSICAL FUTURE!online at http://tinyurl.com/CCOCrescendo2022or call the oce at 513.723.1182 x2YOUR GIFT TODAY WILL SUSTAIN SUMMERMUSIK'S REMARKABLE MOMENTUMCCO Legacy SocietyWe invite you to support the Orchestra and forever beneﬁt future generations of the musically curious with a gift of any amount to the Orchestra's endowment.For information about endowing a musician's chair or including the Orchestra in your estate planning, please contact Executive Director Evan Gidley at gidley@ccocincinnati.org or 513.723.1182 x1.Legacy Society MembersTerri and Thomas AbareDick and Mary Lu AftDeborah and Eunice M. WolfMichael T. Moore, Jr.Daniel PfahlM. Patricia and R. Keith RoselyRosemary and Mark SchlachterRuth Schwallie and Mark SilbersackCarnival of the Animals: RemixA reworking of Saint-Saëns's work in honor of Barbara Bushmanwith arrangements and new compositions by Nami Melumad for children ages 3-8October 8 and 9 | 3:00pmSchool for Creative and Performing ArtsFree Admission | Online Reservation RequiredFriends of the CCODick & Mary Lu AftBushman Family FundDeborah Campbell Robert & Cynthia Conway FundJohn & Liz DyeFort Washington Private Client GroupFlorette HoffheimerAndrew Jergens Foundation Robert A. & Marian K. Kennedy Charitable Trust Jonathan & Nancy LippincottCharles Moerlein FoundationNational Endowment for the Arts Louise Dieterle Nippert Musical Arts Fund Ohio Arts Council ArtsNEXTOliver Family FoundationHelen & Steve RindsbergRosemary & Mark SchlachterMarge & Charles J. Schott FoundationIrv & Melinda SimonSummerfair CincinnatiWohlgemuth Herschede FoundationBoth events will be filmed for broadcast Starring Noah Hawes from Elementz | Kevin Locke, Native American flute | Annie Zhang, erhu | Cincinnati Ballet | Samantha Powell, cello | Drums for Peace | Miami University Steel Drum Band Narrated by: Burgess Byrd & Deondra Kamau MeansArtistic Direction by Eckart Preu & Rachel Kramer Directed by Colin ScianambloSponsored by

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SUMMERMUSIK FESTIVAL 2022 | 11Carnival of the Animals: RemixA reworking of Saint-Saëns's work in honor of Barbara Bushmanwith arrangements and new compositions by Nami Melumad for children ages 3-8October 8 and 9 | 3:00pmSchool for Creative and Performing ArtsFree Admission | Online Reservation RequiredFriends of the CCODick & Mary Lu AftBushman Family FundDeborah Campbell Robert & Cynthia Conway FundJohn & Liz DyeFort Washington Private Client GroupFlorette HoffheimerAndrew Jergens Foundation Robert A. & Marian K. Kennedy Charitable Trust Jonathan & Nancy LippincottCharles Moerlein FoundationNational Endowment for the Arts Louise Dieterle Nippert Musical Arts Fund Ohio Arts Council ArtsNEXTOliver Family FoundationHelen & Steve RindsbergRosemary & Mark SchlachterMarge & Charles J. Schott FoundationIrv & Melinda SimonSummerfair CincinnatiWohlgemuth Herschede FoundationBoth events will be filmed for broadcast Starring Noah Hawes from Elementz | Kevin Locke, Native American flute | Annie Zhang, erhu | Cincinnati Ballet | Samantha Powell, cello | Drums for Peace | Miami University Steel Drum Band Narrated by: Burgess Byrd & Deondra Kamau MeansArtistic Direction by Eckart Preu & Rachel Kramer Directed by Colin ScianambloSponsored by

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14 | SUMMERMUSIK FESTIVAL 2022HECTOR DEL CURTOPraised by theNew York Timesas a "splendid player," Grammy-winning musician, composer, recording artist and educator Hector Del Curto is one of the world’s most sought–after bandoneonists. He has performed with many renowned artists across musical genres, and appeared with the world’s leading orchestras, including the Metropolitan Opera Orchestra, Dallas Symphony Orchestra, National Symphony Orchestra, Saint Louis Symphony, Orpheus Chamber Orchestra and Rochester Philharmonic Orchestra.Mr. Del Curto’s recent engagements include a recorded performance of Piazzolla’s bandoneon concertoAconcaguawith the Boston Symphony Orchestra and Maestro Thomas Wilkins, a performance of Piazzolla’sFour Seasons of Buenos Aireswith the Indianapolis Chamber Orchestra, and a performance with the Portland Symphony Orchestra, which included Del Curto’s composition,Paris to Cannes. His 2021-2022 season highlights include performances with the Bualo Philharmonic Orchestra and Hilton Head Symphony Orchestra and a world premiere performance of his newly commissioned work for Apollo Chamber Players.Buenos Aires-born Del Curto is a fourth-generation bandoneonist who won the title “Best Bandoneon Player Under 25” in Argentina at age 17, and was subsequently invited to join the orchestra of the legendary Osvaldo Pugliese, the “Last Giant of Tango”. In 1998, Mr. Del Curto became music director ofForever Tango, a Broadway hit that continues to tour the world. Soon after, he founded the Eternal Tango Orchestra, a ten–piece ensemble that debuted at New York’s Lincoln Center, as well as the Hector Del Curto Tango Quintet. Both are featured on his self-produced albums,Eternal PiazzollaandEternal Tango, which were proﬁled by BBC News and Public Radio International.Mr. Del Curto has appeared on recordings with such artists as Osvaldo Pugliese, Astor Piazzolla, Paquito D’Rivera, Tito Puente, and Plácido Domingo. As part of the Pablo Ziegler Trio, he received a 2018 Grammy award forJazz Tango.Dedicated to the education, outreach, and the preservation of tango, Mr. Del Curto co-founded the Stowe Tango Music Festival in 2014, and continues to serve as its artistic director. The premier tango music festival in the United States, it draws the most talented tango musicians and dancers, as well as fans, from all over the globe. He also produced the festival’s awarding-winning album:Live at the 2016 Stowe Tango Music Festival.Fernanda Ghi is a true legend in the world of Argentine tango. Celebrated for her elegant style, unique interpretation, creative choreography, and powerful command of the stage, she has toured internationally for over two decades.Ghi performed in countless shows and exhibitions and became the World Argentine Tango Champion IDO in 1999. Ghi and her partner were the ﬁrst non-Asians ever invited to perform at the Imperial Theater in Tokyo and were the feature dancers on the PBS special ‘Tango Magic’ with Pablo Ziegler and the Orpheus Orchestra. Ghi has performed in concert with several Symphony Orchestras (New Mexico, Long Beach, Costa Mesa) and was commissioned the creation of a tango ballet for the Tulsa Ballet Dance Company.In 2017 and 2018, Ghi served as a judge at the ‘Tango Mundial,’ the World Competition for Argentine Tango. Ghi is the founder of the Fernanda Ghi Dance Company which creates a fusion between Argentine Tango and other art forms, such a theater, visual arts, opera and other styles of dance. The company houses the Fernanda Ghi Dance Academy, a school that trains amateur and professional dancers. Both are based out of Boston, MA.FERNANDA GHI

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SUMMERMUSIK FESTIVAL 2022 | 15SILVIO GRANDBorn in Buenos Aires, Silvio Grand grew up in the neighborhood ofParque Chacabuco. Silvio is the godson ofCarlos Marchi, an Argentine actor and graduated from theUniversidad Argentina John F. Kennedyin Commercial Communication. During his school years, he began to learn drama with Susana Rivero, an Argentine theater director and Leandro Rossati, a comedian. Francisco Santapa and Noemi Lertora were his ﬁrst Tango teachers. Silvio was strongly inﬂuenced by dance teachers Gerardo Litvak, Sonia Rubba, Noemi Coelho, Fernando Galera, and Roberto Herrera, and the Shakespearean drama specialist director Monica Maa.Silvio ﬁrst appeared on TV at the age of 12 in the program, Sin Condena. His ﬁrst dance performance on stage was in 1997, at the Astral Theatre. He collaborated with Hilda Salcedo and won ﬁrst prize in the Feria Exposicion Internacional del Tango competition held in Buenos Aires. As the winning prize, he became member of the cast of theSan Telmo’s Cafe Concert Bar Sur. At the Bar Sur, he met Naoko Yoyimura, who invited him to teach inJapan.Silvio was a cast member of the TV program, Especial Punta Y Tango (2001), Esquina Carlos Gardel (2001-7), and the Juan Carlos Copes company (2002-3). Between 2001 and 2011, his dance partner was Mayra Galante. The duo had starring role in the musicalDreams About Tangoat The State Komedy Theatre of St. Petersburg and were dancers or choreographers inMelico Salazarof Costa Rica,Teatro Nacional de Republica Dominicana, Nacional ofGuatemala, Fransico Saybe ofHonduras, Ruben Dario of Nicaragua, Teatro municipal Viña del Mar, Chile, Teleton of Santiago, Teatro Diana and Teatro Degollado of Guadalajara, Santa Ursula of Lima, Metropolitan of Mexico Distrito Federal, Peruano Japones of Lima, Capella Concert Hall of Saint Petersburg, Teatro Nacional of Puebla, Teatro Nacional Manuel Doblado of Leon, Teatro de la Paz of San Luis Potosí, Teatro Liceo of Buenos Aires,Estadio Luna Parkin Buenos Aires, Teatro de las Americas of Cordoba in Argentina, among others.

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16 | SUMMERMUSIK FESTIVAL 2022Astor Piazzolla (1921-92)Tango del Diablo w Romance del Diablo w Vayamos al Diablo (1965)Concerto for Bandoneon and Orchestra, "Aconcagua"(1979)More than once, Argentina’s Astor Piazzolla has been compared to George Gershwin: As Gershwin brought the sounds of jazz and Broadway into the concert hall, Piazzolla did the same with the songs and dances of Argentina’s tango tradition. His own upbringing reﬂected this duality. Born in Argentina, he lived from age 4 to 16 in New York City. He studied with Alberto Ginastera and later, in Paris, Nadia Boulanger, doyenne to generations of Old and New World composers; it was she who encouraged Piazzolla to embrace and explore the tango tradition. He worked for years as a nightclub bandleader and bandoneon virtuoso. Piazzolla’s innovative style, which he called nuevo tango, was controversial, drawing on jazz, classical methods from the baroque passacaglia to 12-tone organization, generous helpings of dissonance, extended instrumental techniques, and improvisation. He recorded Gabriela Lena Frank (b. 1972) Elegía Andina (2000)Like Béla Bartók and Zoltán Kodály, who traveled throughout Hungary recording (on paper and acoustically) Magyar folk songs, Frank has researched folk music ﬁrst-hand during her travels in South America. Born in Berkeley, she has observed of her musical upbringing: “As children of a multicultural marriage (our father being Lithuanian-Jewish and our mother being Chinese-Peruvian-Spanish), our early days were ﬁlled with Oriental stir-fry cuisine, Andean nursery songs, and frequent visits from our New York-bred Jewish cousins. As a young piano student, my repertoire included not only my own compositions that carried overtones from Peruvian folk music but also rags of Scott Joplin and minuets by the sons of Bach. It is probably inevitable then that as a composer and pianist today, I continue to thrive on multiculturalism.” Later Frank studied at Rice University in Houston and the University of Michigan. While working on her doctorate there, she wrote this Elegía Andina; it was premiered on December 10, 2000, by the Albany Symphony Orchestra led by David Alan Miller. Of the piece, she has written: “Elegía Andina is dedicated to my older brother, Marcos Gabriel Frank.[It] is one of my ﬁrst written-down compositions to explore what it means to be of several ethnic persuasions, of several minds. It uses stylistic elements of Peruvian arca/ira zampoña panpipes (double-row panpipes, each row with its own tuning) to paint an elegiac picture of my questions.“The inspiration for Elegía Andina came in the summer of 2000 in the midst of my ﬁrst visit to Peru, my mother’s birthplace. Although I thought myself no distant stranger to Peruvian culture, having grown up listening to its music and eating its food (albeit behind United States borders), my initiation into the real Peru threw into relief my complex status as an American-born mestiza. My feelings were startlingly out of my control as I vacillated wildly between alienation and homecoming in this Andean country. Elegía Andina … fuses elements of non-Western folk music of Peru with music from the classical Western canon… a well-known folk tune, ‘El Cholito,’ is quoted in the brasses.”PROGRAM NOTESby Gavin Borchert

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SUMMERMUSIK FESTIVAL 2022 | 17dozens of albums, scored dozens of ﬁlms, and composed concert works, a piece for the Kronos Quartet, and a chamber opera, Maria de Buenos Aires. The three tangos arranged here for strings and solo violin by Iain Farrington all date from 1965 and make up a ﬂavorful fast/slow/fast suite with a very dreamy, creamy center.The bandoneon is thought to have been invented by a German musician, Heinrich Band, around 1840, but there is controversy over whether he merely manufactured, sold, and popularized them. At any rate, he named the instrument after himself, and it became a foundation stone of Argentinian and Uruguayan popular music. Among the ﬁrst music Piazzolla learned to play on it (he got his ﬁrst one when he was 8) was Bach, which is echoed in this concerto’s second movement, built from long melodies that sound a bit Baroque in their slow unfolding over a steady rhythm. The nickname of this concerto came from Piazzolla’s publisher, Aldo Pagani; Aconcagua is South America’s highest mountain peak, and Pagani said, “This is the peak of Astor’s oeuvre.” The concerto backs up the solo instruments with an ensemble of strings, piano, harp, timpani, and other percussion. Osvaldo Golijov (b. 1960)Last Round (1996)Golijov was born in Argentina, studied composition at the University of Pennsylvania with George Crumb, and teaches at The College of the Holy Cross. His best-known works are probably The Dreams and Prayers of Isaac the Blind for clarinet and string quartet, reﬂecting his Jewish roots, and taken up by the Kronos Quartet; and La Pasión según San Marcos, one of four new settings of the Passion text commissioned (alongside those by composers Wolfgang Rihm,Soﬁa Gubaidulina, andTan Dun) to mark the 250th anniversary of Bach’s death in 2000.The title of Last Round has nothing to do with the musical form of the round (cf. “FrèreJacques”), or with closing time at a pub.Golijov has written of his piece: ”Astor Piazzolla, the last great tango composer, was at the peak of his creativity when a stroke killed him in 1992. He left us, in the words of the old tango, ‘without saying goodbye,’ and that day the musical face of Buenos Aires was abruptly frozen… I composedLast Roundin 1996, prompted by Geoff Nuttall and Barry Shiffman. They heard a sketch of the second movement, which I had written upon hearing the news of Piazzolla’s stroke, and encouraged me to ﬁnish it and write another movement to complement it. The title is borrowed from a short story on boxing by Julio Cortázar, the metaphor for an imaginary chance for Piazzolla’s spirit to ﬁght one more time (he used to get into ﬁstﬁghts throughout his life). “The piece is conceived as an idealized bandoneon. The ﬁrst movement represents the act of a violent compression of the instrument and the second a ﬁnal, seemingly endless opening sigh (it is actually a fantasy over the refrain of the song‘My Beloved Buenos Aires’, composed by the legendary Carlos Gardel in the 1930s). ButLast Roundis also a sublimated tango dance. Two quartets confront each other, separated by the focal bass, with violins and violas standing up as in the traditional tango orchestras. The bows fly in the air as inverted legs in crisscrossed choreography, always attracting and repelling each other, always in danger of clashing, always avoiding it with the immutability that can only be acquired by transforming hot passion into pure pattern.”Like what you heard today?Find us on Spotify at "Cincinnati Chamber Orchestra" for playlists curated for each concert.

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18 | SUMMERMUSIK FESTIVAL 2022TANGO AMORSUNDAY, AUGUST 7 | 4PMNOTRE DAME ACADEMY PERFORMING ARTS CENTERApproximately 1 hourA Little Afternoon Musik Series SponsorsROSEMARY & MARK SCHLACHTERIRV & MELINDA SIMONFERNANDA GHItango dancerSILVIO GRANDtango dancerHECTOR DEL CURTObandoneonASTOR PIAZZOLLAMichelangelo 70ANÍBAL TROILOChe, BandoneónHector Del Curto, bandoneonVICTOR LAVALLÉNVigiliaHector Del Curto, bandoneonGERARDO HERNÁN MATOS RODRÍGUEZLa CumparsitaFernanda Ghi and Silvio Grand, tango dancersISAAC ALBENIZTangoCeleste Golden, violinASTOR PIAZZOLLAVerano Porteño w Invierno PorteñoReviradoFernanda Ghi and Silvio Grand, tango dancersCARLOS GARDELPor Una CabezaPERFORMANCE CURATORECKART PREUmusic director Hector Del Curto Sponsor Tony ColeFernanda Ghi Sponsor Marcia Cury PhilippsSilvio Grand SponsorDaniel PfahlConcert SponsorsJohnnie & Pam CarrollVenue Sponsors Ruth Schwallie & Mark SilbersackMusic SponsorsMichael Mui & Sijie Dai

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SUMMERMUSIK FESTIVAL 2022 | 21Brooke Ten Napel, CCO second horn CCO MEMBER SINCE 2019Brooke Ten Napel is an active orchestral and chamber music performer in the Greater Cincinnati area, joining the CCO in 2019.Originally from Sibley, Iowa, she holds degrees from Luther College (B.A.) and University of Cincinnati CCM (M.M., A.D.). In addition to being third horn of the Knoxville Symphony Orchestra, she performs regularly with the Louisville Orchestra, Dayton Philharmonic, Lexington Philharmonic and various other ensembles. Brooke also serves as Adjunct Professor of Horn at Xavier University.Manami White, CCO principal second violin CCO MEMBER SINCE 1988Manami White has performed both nationally and internationally with orchestras, chamber ensembles, and in numerous recital settings. She is principal second violin and Personnel Manager of the Cincinnati Chamber Orchestra. In addition, she is Concertmaster and Associate Director of Cincinnati Bach Festival and Cincinnati Collegium, Concertmaster of the Kentucky Symphony Orchestra, principal second violin of Cincinnati Bach Ensemble and an associate member of the Columbus Symphony Orchestra. She has also toured internationally with the American Sinfonietta. Manami’s solo performances include appearances with the North Florida Symphony Orchestra, MUSE and the Kentucky Symphony Orchestra. In addition to performing, Manami is on faculty at Xavier University.PERFORMANCE CURATORS

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SUMMERMUSIK FESTIVAL 2022 | 23Approximately 2 hour and 30 minutes.Wine will be available for purchase.GYÖRGY LIGETI Concert RomânescARTURO MARQUEZ Concerto for Harp, Mascaras (Masks) I. Máscara Flor II. Máscara Son III. La pasión según San Juan de Letrán IV. La pasión según Marcos Ina Zdorovetchi, harpe INTERMISSION fHECTOR BERLIOZ, ARR. ARTHUR LAVANDIER Symphonie Fantastique (North American Premiere) I. Rêveries – Passions (Daydreams – Passions) II. Un bal (A Ball) III. Scène aux champs (Scene in the Fields) IV. Marche au supplice (March to the Scaold) V. Songe d'une nuit du sabbat (Dream of a Witches' Sabbath)HARP FANTASTIQUESATURDAY, AUGUST 13 | 7:30PMPrelude Talk: 6:45PM Eckart Preu, conductorToday's performance is sponsored byThe Thomas J. Emery Memorial Fund of the Greater Cincinnati FoundationPost-concert reception is sponsored bySUMMERMUSIK SPONSORED BYROBERT & DEBRA CHAVEZ

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24 | SUMMERMUSIK FESTIVAL 2022INA ZDOROVETCHIIna Zdorovetchi is an American harpist of Eastern European descent. Over the past 25 years she has been blessed with hundreds of concerto performances opportunities, from world/continental premieres to more traditional staples, appearing with numerous orchestras around the world including The Boston Pops, Westdeutscher Rundfunk Sinfonieorchester Köln, Jerusalem Symphony, Haifa Symphony, Portland Symphony Orchestra, Long Beach Symphony, Boston Modern Orchestra Project, Cincinnati Chamber Orchestra, Seattle Chamber Orchestra, Brevard Music Center Orchestra and many others. Highlights include giving the European Premiere of John Williams’ “On Willows and Birches” Harp Concerto, World Premiere of Thomas Oboe Lee’s “...bisbigliando…” Harp Concerto (dedicated to her) and being featured as one of ﬁve soloists in the American Harp Society National Conference Gala Concert alongside some of the world’s most celebrated harpists.As a recitalist and chamber musician she has been presented by Carnegie Hall, Kennedy Center, World Harp Congress, Celebrity Series of Boston, Savannah Music Festival, Rockport Chamber Music and was honored to give a solo recital at the residence of John Kerry, 68th Secretary of State of the United States, in front of a crowd of the world’s preeminent leaders.Her performances have been broadcast live on WDR Köln (Germany), Israel Broadcasting Authority, National Public Radio (USA), WGBH Radio Boston, Moldova National TV & Radio, and recorded for Sony, Naxos, Albany Records, BMOP/Sound and Portland Symphony TV, among others.Over the years, she has been privileged to receive numerous awards and honors for her work, including the Alien with Extraordinary Abilities in the Arts title from the United States government, Outstanding Music Faculty of the year from Boston Conservatory, Henry Cabot Award for Special Commitment of Talent from the Boston Symphony Orchestra, top prize and multiple special awards at the 17th International Harp Contest in Israel and second prize at Cite des Arts Competition in Paris, France.As a former faculty member at Boston Conservatory at Berklee (Department Chair and Associate Professor), Brevard Music Center (Department Director), Wellesley College, Massachusetts Institute of Technology, and New England Conservatory Preparatory Division, she takes pride in an extensive teaching output, having worked with students from across the globe who went on to be accepted to nearly all of this country’s most selective college harp programs (Juilliard School, New England Conservatory, Yale University, University of Southern California, Rice University, etc.), perform as soloists with various orchestra in USA and Europe, being featured at the World Harp Congress and win prestigious competition prizes.Educated in the USA, Romania and her native Moldova, she holds degrees from New England Conservatory, Boston University, Boston Conservatory, Bucharest University of Music and “Ciprian Porumbescu” Lyceum of Music (double-majoring in harp and piano).When not practicing, or performing, Ina Zdorovetchi enjoys spending her free time on a quiet Florida beach, voraciously reading on her favorite subjects: psychology, ﬁnancial markets and kinesics.

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SUMMERMUSIK FESTIVAL 2022 | 25PROGRAM NOTESby Gavin BorchertGyorgy Ligeti (1923-2006)Concert Românesc(1951)Ligeti is probably best known for the two works of his that Stanley Kubrick used as background music in his ﬁlm 2001: A Space Odyssey: Atmospheres for orchestra and Lux aeterna for choir. These are excellent examples of a musical texture Ligeti was particularly fond of—music that builds massive but ethereal sound-clouds from the tiniest details, a sort of musical coral reef. In a 1994 interview he described his technique thus: “You hear a kind of impenetrable texture, something like a very densely woven cobweb. I have retained melodic lines in the process of composition… but the rules of this polyphony are worked out by me… it remains hidden in a microscopic, underwater world, to us inaudible. I call it micropolyphony (such a beautiful word!).”We hear this method at the beginning of Concert Românesc’s ﬁnale, where at a dizzying tempo scurrying strings, then clarinets and bassoons, coalesce into an agitated, buzzing white noise to eerie and thrilling eect. The rest of the piece—a brief four-movement symphony, really—incorporates folk songs into a vigorously dancelike, tartly colored setting. Of his interest in folk music, Ligeti once wrote, “I grew up in a Hungarian-speaking environment in Transylvania. While the ocial language was Romanian, it was only in secondary school that I learned to speak the language that had seemed so mysterious to me as a child. I was 3 when I ﬁrst encountered Romanian folk music, an alpenhorn player in the Carpathian Mountains.” Horn calls evoke these mountain melodies, most atmospherically at the very end of the otherwise exuberant ﬁnale. Providing more background, Ligeti later wrote, “After spending some time in Romania in 1949/50, studying at the Folklore Institute in Bucharest, I participated in several trips to record partly Romanian, partly Hungarian folk music. [This piece] is based on a large number of Romanian folk tunes recorded by me, most of which exist on wax cylinders and records of the Bucharest Folklore Institute… I got to know the common harmonic idioms of Romanian peasant music which I have used in the Concert in a stylized form. This orchestral composition was one of the “camouﬂage pieces” used to evade the imposed dictatorship in the ﬁeld of arts… The piece was banned at once [after just one rehearsal, soon after he ﬁnished it] and not performed until many decades later”—speciﬁcally in 1971 at a music festival in… [wait for it]… Fish Creek, Wisconsin.Arturo Marquez (b. 1950)Concerto for Harp and Chamber Orchestra, “Máscaras” (Masks) (1998-99)The son of a mariachi musician and the grandson of a folk musician, Marquez was born in Mexico and studied music there and in California. He’s probably best known today for a series of pieces entitled Danzón, based on a style of ballroom-dance music, tending toward the sultry and seductive, born in Cuba and also popular in Mexico. He has written nine of these pieces to date for orchestra and other instrumental ensemblesMarquez explains his concerto’s subtitle: “Masks have been present in Mexican culture in all traditions, from pre-Hispanic times to the present; they have witnessed religious and secular ceremonies, which have helped to recreate endless situations,

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26 | SUMMERMUSIK FESTIVAL 2022Hector Berlioz (1803-69)Symphonie Fantastique, Op. 14(1830) arr. Arthur LavandierOne recurring issue program-note writers always need to face is how closely to interweave descriptions of the work itself with details from the composer’s biography. Some works—say, one of Bach’s “Brandenburg” Concertos—tell us nothing of the composer’s daily life or state of mind at the time of composition. At the other end of the spectrum, some works, like Berlioz’s Symphonie fantastique, reveal everything, because they were intended to.This groundbreaking work came from Berlioz’s passionate, almost unhinged, mania for an Irish actress who became for a few seasons a star of the Paris stage: Harriet Smithson. Berlioz ﬁrst saw her—her specialty was Hamlet’s Ophelia—in 1827; and, as his biographer David Cairns puts it, paraphrasing her beloved Shakespeare, “The course of true love never ran less smooth.”He became obsessed—today we’d call it stalking—and for the next ﬁve years alternately adored and loathed Smithson, all in his own head, based on her understandable disinclination to meet in person or even answer his letters. In the meantime, Berlioz’s own passion was unreliable; in 1830 he fell for and got engaged to a pianist, Marie Moke. When she broke it o, he planned to shoot her and her mother, but opted instead for a melodramatic suicide attempt in Genoa (he was studying in Italy at the time). In a letter of April 16, 1830, Berlioz wrote, “I have just written the last note,” and the Symphonie was premiered on December 5. Berlioz notes that the orchestra parts, hand-copied, totaled 2,300 pages. Smithson did not attend this performance, but she did hear it at a later joint performance of the Symphonie and its sequel, Lélio, a grandiloquently self-indulgent six-movement work (which is performed roughly 1/5,000 as often as the Symphonie fantastique) for narrator, chorus, vocal soloists, and orchestra which Berlioz wrote back in Italy in 1831. social, spiritual and even political. In 1994, Chiapas Indians rose up in arms, seeking justice for their people. The most signiﬁcant symbol of this movement was the mask that represented the oblivion and rejection of the original peoples of Mexico. “Two of the movements of my harp concerto have to do with this ﬁght. ‘Máscara Flor’ (“Mask Flower”) is in honor of the infants killed in the slaughter of Acteal in 1997, when 45 members of a paciﬁst group,Las Abejas(“The Bees”), were killed by a paramilitary group calledMáscara Roja(“Red Mask”). That year, I had a conversation with a little Indian girl from Chiapas, who told me about her attachment to nature in the form of a ﬂower. The fourth movement, ‘The Passion According to Marcos,’ is based on the text of Subcomandante Marcos, ‘Who has to ask for forgiveness and who can grant it?’Marcos addressed this manifesto to the world at large on 18 January 1994, as a rejection of the pardon that President Salinas granted to the Zapatistas of Chiapas.“The other two movements deal with two other aspects of Mexican culture... ‘The Passion According to San Juan de Letrán’ is a danzón that takes the rhythm of the Mexican son as a longing for the lost music of Mexico City. San Juan de Letrán was one of the most musical streets of the 1920s to the 1980s. ‘Máscara Son’ is about the deepest musical manifestation of Mexico: son, which resists dying and which fortunately has managed to stay at the heart of Mexico, even with all the changes it has had in recent years. Máscaras was written in 1998–99 and was premiered by the harpist Lidia Tamayo, to whom it is dedicated.”

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SUMMERMUSIK FESTIVAL 2022 | 27This monster performance of the entire diptych took place December 9, 1832, and at last, on the next night, Berlioz and Smithson met. She could no longer withstand his onslaught; on the 18th she confessed she loved him; and though both their families heartily disapproved, they did marry on October 3, 1833. She bore him a son, Louis, 10 months later. The marriage was happy, at least sometimes, or at least content, after a fashion, but no woman could possibly live up to Berlioz’s expectations, especially after she gave up acting. It sputtered out like a very slow-burning candle, and they separated in 1843. Smithson died in 1854. In the Symphonie, Berlioz recorded the seesawing emotions he experienced during his courtship of Smithson. The score is preceded by an outline—an apologia, really—and Lavandier too prefaces his free adaptation of the Symphonie with six pages of explanatory notes, instructions, and advice concerning his additions to the score: electric guitar, keyboard, tape, wind ensemble, and more. His rethinking of the Symphonie was commissioned by the commissioned by the Berlioz festival in La Côte-Saint-André and premiered there in August 2013. He explains: “This arrangement of Hector Berlioz’s Symphonie Fantastique… takes as its starting point an examination of the role of spectacle in the concert, at the time of the work’s creation as much as in the current day… The idea behind this arrangement was to imagine a contemporary means to break away from the conventions of the symphonic concert, as much as Berlioz did 185 years ago. The program of the symphony (its dramatic framework) remains the essential guiding thread in the development of the arrangement, and in particular its evolution from the normal to the bizarre.” Here, for each movement, excerpts from Berlioz’s own introduction (in Nicholas Temperley’s translation) is followed by Lavandier’s notes:1. Reveries– Passions The composer imagines that a young musician, troubled by that spiritual sickness which a famous writer has called le vague des passions, sees for the ﬁrst time a woman who possesses all the charms of the ideal being he has dreamed of, and falls desperately in love with her. By some strange trick of fancy, the beloved vision never appears to the artist’s mind except in association with a musical idea, in which he perceives the same character—impassioned, yet reﬁned and dident—that he attributes to the object of his love. [This is the idée ﬁxe, the tune ﬁrst heard alone in the violins and ﬂute; it recurs in quotations and variations throughout the symphony.]Following a dreamlike introduction, debuted by a solo violin cadenza and evolving in a strange haze in which Berlioz’s harmonies are distorted, time is stretched out, and gestures exaggerated, the ﬁrst movement is thereafter a simple transcription, remaining predominantly faithful to the score. It’s the starting point of the shift in narrative, the tangible and concrete beginning of an adventure that will culminate in the all-encompassing hallucination.2. A ball The artist is placed in the most varied circumstances: amid the hubbub of a carnival; in peaceful contemplation of the beauty of nature—but everywhere, in town, in the meadows, the beloved vision appears before him, bringing trouble to his soul.A romantic whirlwind… passes from one style to another (waltz-musette, ﬂamboyant big band, and ballroom orchestra, among others) like a succession of doors that one might open at a party, and introduces instruments that are surprising for a symphony: electric guitar and synthesizer. Such choices are intended to reinforce, or rather stimulate, the delirious festive atmosphere of the movement. In the same vein, these inclusions are coupled with musical, harmonic, and contrapuntal additions.3. Scene in the country One evening in the country, he hears in the distance two shepherds playing a ranz de vaches; this pastoral duet, the eect of his surroundings, the slight rustle of the trees gently stirred by the wind, certain feelings of hope which he has been recently entertaining—all combine to

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28 | SUMMERMUSIK FESTIVAL 2022Like what you heard today?Find us on Spotify at "Cincinnati Chamber Orchestra" for playlists curated for each concert.bring an unfamiliar peace to his heart, and a more cheerful colour to his thoughts. He thinks of his loneliness; he hopes soon to be alone no longer… But suppose she deceives him!… At the end, one of the shepherds again takes up the ranz de vaches; the other no longer answers… Sounds of distant thunder… solitude… silence… The third movement… follows the same logic of intensifcation and augmentation as the waltz. The English horn solo is replaced by an alphorn solo, the sorrowful mono-tonality of which creates a start to the movement that stands out for being distinct from the original. Sounds of nature are played, the movement morphs into a concerto for piano, then launches into American blockbuster music (with the alphorn still playing).4. March to the scaold The artist, now knowing beyond all doubt that his love is not returned, poisons himself with opium. The dose of the narcotic, too weak to take his life, plunges him into a sleep accompanied by the most horrible visions. He dreams that he has killed the woman he loved, and that he is condemned to death, brought to the scaold, and witnesses his own execution… At the end of the march, the ﬁrst four bars of the idée ﬁxe recur like a last thought of love interrupted by the fatal stroke. But the real rupture takes place during the fourth movement… a deﬁnitive toppling over from the real into shamanic experience… This entire movement is interpreted by another group of musicians (this was a wind ensemble when the adaptation was created, but it’s possible to imagine a Breton bagad, a Basque banda, or even an orchestra of 100 Alpine horns instead), who play the march while roaming around (as far as possible) within the concert hall, or outside. The macabre procession must then head towards the stage, where the two orchestras join together to break into the last movement.5. Dream of a witches’ sabbath He sees himself at the witches’ sabbath, in the midst of a ghastly crowd of spirits, sorcerers, and monsters of every kind, assembled for his funeral… The beloved tune appears once more, but it has lost its character of reﬁnement and didence; it has become nothing but a common dance tune, trivial and grotesque; it is she who has come to the sabbath… Funeral knell, ludicrous parody of the Dies irae, a sabbath dance. The sabbath dance and the Dies irae in combination.The ﬁfth movement (in which the psychedelic hallucinations change, without losing their intensity) oers the total realization of the transformation of concert into spectacle. A real witch’s farrago of Dies irae and monstrous fugues, the orchestra metamorphoses into characters, décor, and action. In the arrangement, this movement mixes the technical and expressive principles of the four preceding ones, and draws to a close in a total sonoral apotheosis, led by the strange and gigantic orchestra that emerged from the fusion of the two ensembles.One could say that this arrangement is more of a free interpretation or a re-creation of the Symphonie Fantastique, but this terminology won’t change what lies at the core of this entire operation: the immersion in a resolutely Berliozian mindset.

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SUMMERMUSIK FESTIVAL 2022 | 31John Kurokawa, CCO principal clarinet CCO MEMBER SINCE 2005John Kurokawa is the Lecturer of Clarinet at Wright State University. In addition to teaching applied clarinet, he teaches courses in woodwind chamber music, woodwind pedagogy, and music education. His performances have been praised for their “...warmth, communication, and easy virtuosity” (Cincinnati Enquirer) and “truly ﬂawless technique and intonation...a tone as smooth as silk and velvet.” (Kettering-Oakwood Times). He has presented clinics and performed at institutions across the midwest, including the University of Cincinnati College-Conservatory of Music, Penn State University, James Madison University, Viginia Commonwealth University, Bowling Green State University, the University of Evansville, the University of Arkansas-Fort Smith and many others, as well as being a frequent clinician with high schools and youth orchestras in the Cincinnati and Dayton areas.Kurokawa currently performs as Principal Clarinetist of the Dayton Philharmonic Orchestra and Cincinnati Chamber Orchestra. He has been a featured soloist with both ensembles, performing the works of Mozart, John Williams, Gerald Finzi, and John Adams. Aditional solo appearances include the WSU Chamber Orchestra and most recently, the Dayton Bach Society and the WSU Wind Symphony performing Michael Daugherty’s Brooklyn Bridge for solo clarinet and wind ensemble. In the summer Kurokawa performs as Principal Clarinetist of the Cincinnati Chamber Orchestra’s festival, ‘Summermusik’ and has also performed as guest Eb clarinetist and guest Principal Clarinetist with the Cincinnati Symphony Orchestra. An avid chamber musician, he gives educational concerts at schools all over the Miami Valley with the Dayton Phiharmonic Woodwind Quintet and is a founding member of the Prestige Clarinet Quartet, which has been a featured ensemble at the Oklahoma Clarinet Symposium, International Clarinet Association Clarinetfest, Ohio Music Education Association, and Midwest Band and Orchestra Clinic. Kurokawa has performed on the International Double Reed Society Conference, published articles in theTriad, presented at the Ohio Music Education Association Conference, and in 2013, was one of twenty faculty members recognized by Wright State University for Excellence in Teaching General Education.Kurokawa holds the B.M. in woodwind performance (specializing in clarinet, ﬂute, and saxophone) from Bowling Green State University and the M.M. in clarinet performance from the University of Cincinnati College-Conservatory of Music. His teachers include Angelo Fortini, Edward Marks, and Ronald de Kant. Mr. Kurokawa is a Yamaha Performing Artist andperforms exclusively on the Yamaha CSVR Clarinet and Yamaha Custom 881 Eb Clarinet.PERFORMANCE CURATOR

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32 | SUMMERMUSIK FESTIVAL 2022Enjoy a bite of something sweet with the CCO as we screen the Academy Award-nominated ﬁlm Chocolat. Directed by Lasse Hallström, this ﬁlm details the sweet – and bitter – story of a chocolatier and her six-year-old daughter as they settle in a small French town and attempt to open a chocolate shop. Composer Rachel Portman’s incredible soundtrack was nominated for both a Golden Globe and an Oscar for this 2000 ﬁlm. Before the show, hear commentary about the lm and about Rachel’s music from CCO music director Eckart Preu.COMMENTARY & FILM SCREENING OF CHOCOLATTHURSDAY, AUGUST 18 | 7:30PMESQUIRE THEATREECKART PREUcommentatormusic directorSPECIAL EVENTTICKETS AVAILABLE DIRECTLY THROUGH ESQUIRE THEATREesquiretheatre.comApproximately 2 hours and 15 minutesThis ﬁlm is rated PG-13.32 | SUMMERMUSIK FESTIVAL 2022A proudsponsor of themusical arts

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SUMMERMUSIK FESTIVAL 2022 | 35SATURDAY, AUGUST 20 | 7:30PMPrelude Talk: 6:45PM Eckart Preu, conductorTHE POWER OF THE MUSELILI BOULANGER D'un Matin de Printemps CLARA SCHUMANN Piano Concerto in A Minor, Op. 7 I. Allegro maestoso II. Romanze: Andante non troppo con grazia III. Finale: Allegro non troppo – Allegro molto Vijay Venkatesh, pianoe INTERMISSION fGUSTAV MAHLER, arr. KLAUS SIMON Symphony No. 4 in G Major I. Bedächtig, nicht eilen (deliberate, unhurried) II. In gemächlicher Bewegung, ohne Hast (in measured tempo, unhurried) III. Ruhevoll, poco adagio (calm, somewhat slowly) IV. Sehr behaglich (at ease) Victoria Okafor, sopranoAll selections are CCO Premieres.Today's performance is sponsored byThe Wohlgemuth Herschede FoundationVijay Venkatesh is sponsored by Jeanne & Chris BarnesVictoria Okafor is sponsored by Mr. and Mrs. Robert J. WalkerPost-concert reception is sponsored bySUMMERMUSIK SPONSORED BYROBERT & DEBRA CHAVEZ Wine will be available for purchase.Approximately 2 hour and 30 minutes

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36 | SUMMERMUSIK FESTIVAL 2022VIJAY VENKATESHHailed by the Herald-Tribune for his “dazzling pianism verging on the impossible, eortless technical command and authority with a sense of poetry and reﬁnement that belies his years,” Indian-American pianist Vijay Venkatesh has rapidly established a major international reputation as top prizewinner in the San Jose, Seattle, Zimmerli, World Piano, and Waring International Piano Competitions. He has been honored as a Davidson Fellow Laureate at the Library of Congress, Grand Prize Winner of the Los Angeles Music Center’s Spotlight Awards and featured on NPR’s “From the Top,” with host Christopher O’Riley. Vijay has appeared with the Columbus Symphony, Rogue Valley Symphony, LaGrange Symphony, Le Salon Musiques, Hollywood Chamber Orchestra, and more. Additionally, the Vieness Piano Duo with his wife and pianist, Eva Schaumkell, performed at the Lancaster Performing Arts Center, L’ermitage Foundation, the Music Guild, North SLO County Concerts, Sarasota Artists Series, Second City Chamber Series, Summer Stars Series, Tassel Performing Arts Center, and an 8-concert tour of the Midwest through Allied Concert Services and a recital tour of India through the South Asian Symphony Foundation. Mr. Venkatesh has performed extensively across the United States and Europe as soloist with the Seattle Symphony, Vienna Symphony, Sarasota Orchestra, and more collaborating with preeminent conductors such as Jerey Kahane, Ludovic Morlot, Roger Kalia, and David Lockington. Vijay has performed on Chicago’s Dame Myra Hess series, and at the Aspen, Brevard, Ban, Newport, Redlands Bowl, Sarasota, and Vienna Music Festivals. As recipient of the inaugural Parnassus Society Prize, he performed in recital at the Soka Performing Arts Center. Mr. Venkatesh holds degrees from the Colburn School, USC Thornton and the IU Jacobs School of Music receiving artistic guidance from Fabio Bidini, Norman Krieger, Jerey Kahane, Menahem Pressler and Murray Perahia. VICTORIA OKAFORPraised for her silver-voiced soprano, Ms. Okafor has sung with companies such as Cincinnati Opera, Lyric Opera of Chicago, Washington National Opera, Opera Columbus, and Opera Birmingham. A native to the Maryland/DC area, Ms. Okafor received her B.M. in vocal performance at Shenandoah Conservatory and went on to receive her M.M in vocal performance as well as her artistic diploma in opera performance at the Cincinnati College-Conservatory of Music. Roles for Ms. Okafor include Magic Flute (Pamina), Albert Herring (Miss Wordsworth), La clemenza di Tito (Servilia), Le nozze di Figaro (Barbarina).As a lover of new music, Victoria has originated roles in numerous operatic workshops such as Alesha in Blind Injustice, Wilhelmina in Gregory Spears’s Castor and Patience, and Laura in Kevin Puts’s The Hours. The Hours will premiere at The Metropolitan Opera and star Renée Fleming, Joyce DiDonato, and Kelli O’Hara. Victoria premiered the role of Alesha in Cincinnati Opera’s season in 2019 and the role of Wilhelmina in Gregory Spears’s Castor and Patience this summer. Ms. Okafor was an encouragement award recipient for the 2021 Metropolitan Opera National Council Auditions, and a 2nd Prize winner of the 2021 Lotte Lenya Competition.

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SUMMERMUSIK FESTIVAL 2022 | 37PROGRAM NOTESby Gavin BorchertLili Boulanger (1893-1918)D’un matin de printemps (1917-18)Of the composers who died before 40, which loss is the most tragic? Purcell, Mozart, Schubert, Bizet, Gershwin? If unfulﬁlled promise is the criterion, the greatest loss may be Lili Boulanger. She was born in Paris into a musical family: Her father Ernest (1815-1900) was a respected composer and teacher; her mother Raissa, an ex-student of his, was a singer. Showing early aptitude, Lili was allowed to tag along to music classes with her sister Nadia, older by six years, which must have been tremendously amusing to other pupils: harmony in 1898, organ in 1899. She learned several instruments, and played in public the violin in 1901 and Beethoven’s “Moonlight” Sonata in 1904. Even as a child she audited Gabriel Fauré’s composition classes, and met several composers of the up-and-coming generation, including Ravel.By the time Boulanger began formal music lessons in 1909, she had already determined to become a composer. At last in 1912 she was ocially admitted, by Fauré himself, into the Paris Conservatoire’s composition program. She competed for the Prix de Rome, the top prize for French composition students, ﬁrst in 1912 (when the ill health that had plagued her since toddlerhood prevented her from completing the requirements) and again in 1913, just a month before she turned 29. When she won, with the cantata Faust et Hélène, it was a news event as far away as The New York Times.She had less than ﬁve years to live.The jury, not only musicians but all voting members of the Académie des Beaux-Arts, remarked “Her work is completely superior and captured everyone even at ﬁrst hearing… such a sense of the stage, a touching musicality, turn by turn caressing and despairing, rude and supple… ” In her remaining years, Boulanger concentrated on songs, piano pieces, and choral music, but in 1917 composed D’un matin de printemps (“Of a morning in spring”)—ﬁrst for violin or ﬂute and piano; then for piano trio; then, at the beginning of 1918, orchestrated it. One saving grace is that her sister Nadia (d. 1979) became Lili’s lifelong champion, performing her works and keeping them alive while becoming the 20th century’s most inﬂuential composition teacher, mentor to generation of American composers from Copland to Glass.Clara Schumann (1819-96)Piano Concerto in A minor, Op. 7 (1833-35)Robert Schumann was a very unenthusiastic law student in Leipzig when in 1828, at 18, he began piano lessons with Friedrich Wieck. Friedrich’s daughter Clara, then 9, was a prodigy, already far more advanced musically than Robert; she was being groomed to become one of the greatest pianists of the century, and she did. (In 1831, Robert wrote of the serious student, “She speaks more sensibly than any of us.”) Clara made her formal debut at 11, began touring, met and impressed all the greatest musicians of her day, and dazzled Vienna at 16—the year she and Robert became secretly engaged.Friedrich wasn’t having it; he separated them for 18 months. He was a tyrant for whom one can ﬁnd very few kind words in the Schumann literature, but his overbearing personality and irascibility did have two positive eects: Clara got the most

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38 | SUMMERMUSIK FESTIVAL 2022Gustav Mahler (1860-1911)Symphony No. 4 in G Major (1899-1900), arr. Klaus SimonMany composers must envy the small cabin deep in the idyllic Austrian woods Mahler had specially built as a composition retreat, but not the schedule that necessitated it; he was busy conducting the Vienna State Opera most of the year, and had only summers to work. The summer of 1899 was his breaking point for trying to compose in standard vacation lodgings; he had rented a villa in the town of Altaussee for the scant six weeks he was able to get away that year. But two distractions were agony for an easily riled man like Mahler: his celebrity (incessant “Look who it is!” whispers from passersby, if not autograph requests) and the amateur orchestra that played in the central town square. Yet between hikes and bike trips to escape these irritations, he did manage to begin work on his Symphony no. 4 during his ﬁnal 10 days there, later claiming to have written half of each movement in that short time.The next summer he had the cabin built near Wörthersee (you can visit it and its small collection of memorabilia), completed in time for him to get to work, and despite the birdsong (even that distracted him) progressed steadily on the symphony, ﬁnishing it on August 5: “I was completely immersed in the Fourth, looking neither to the right nor the left,” he later wrote. The ﬁnale was a setting for soprano of “Das himmlische Leben” from Des Knaben Wunderhorn, a collection of old German folk songs and poems which he, and composers from Weber to Webern, drew on often. Mahler had orginally considered it for his Symphony no. 3, but then decided to reserve it for his Fourth. thorough musical training possible, one that sustained a 61-year performing career, and his fury at their engagement was due mostly to his determination that she keep touring and earning. (Read about Fanny Mendelssohn and Alma Mahler to ﬁnd out what usually happened to talented women with musical aspirations when they wed.) To be fair, Robert was at the time an ambitious young composer of avant-garde tastes and few prospects; his main income came from journalism. We maybe should spare a bit of sympathy for Friedrich’s adamant desire that Clara remain ﬁnancially independent and unencumbered.Eventually the dispute went to court, and the two were ﬁnally married in September 1840. Clara did continue to tour, insofar as bearing eight children between 1841 and 1854 would allow, but her composing slowed, and she stopped entirely (but for one triﬂe dashed o as a gift to a friend) when Robert died in 1856, devoting her energies to playing and proselytizing for his music from England to Russia. She became a close friend of and muse to Brahms, and, unusually for her time, kept her concert repertory focused on the piano’s least ﬂuy literature: Brahms and Schumann, Bach, Mozart, Beethoven, Mendelssohn. (Not for her showy fantasias on Italian opera melodies.) She became a professor of piano at the conservatory in Frankfurt in 1878, and retired completely in 1891.Clara’s piano concerto, like Robert’s, was planned as a one-movement piece to which she soon decided to add two more; the existing movement became the ﬁnale. The luscious slow movement pares the orchestral accompaniment down to just one cello; this Romance is sometimes detached and performed as a chamber-music piece. The piece shows o both her virtuosity as a pianist and her impeccable technical training in composition. She ﬁnished the concerto 12 days before her 16th birthday, and premiered it that November with the Leipzig Gewandhaus Orchestra. Family friend Felix Mendelssohn conducted.

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SUMMERMUSIK FESTIVAL 2022 | 39The premiere took place November 25, 1901, in Munich, led by Felix Weingarten, who took the piece on tour with his orchestra. Mahler conducted it himself in Berlin, invited by Richard Strauss. We’ve all read ridiculously negative reviews of the premieres of works that eventually became repertory standards and acknowledged masterpieces, but the invective heaped on the lovable Fourth, now perhaps Mahler’s most warmly adored symphony (in fact, among the most adored of all symphonies) now reads as truly unhinged. The stumbling block, for both critics and audiences, seems to have been the Fourth’s unexpectedness; Mahler’s epic, apocalyptic Second was by 1901 a hugely popular work (one of the reasons he was now a musical celebrity), but the Fourth was quite dierent: genial, elegant, playful, Schubertian, naïve in the best sense, and only gingerly exploring the sweeping angst in which he had so freely indulged in his three previous symphonies. Mahler himself likened the Fourth to a mosaic, unfolding “as in a kaleidoscope, as though a rainbow suddenly disintegrated into millions of dancing drops so that the whole ediﬁce seems to rock and dissolve.”This not only baed, but actually angered, nearly everyone who heard these ﬁrst performances. To cite just one example of dozens, Swiss art critic William Ritter, who had dubbed the ﬁnale of the Symphony No. 3 “perhaps the greatest Adagio written since Beethoven,” was aghast from the Fourth’s opening sleigh bells onward: “I would never have believed anyone capable of writing such shocking music… revelling in a sort of musical Black Mass… Jewish wit had invaded the domain of the symphony… it’s the continual head-down, legs-up of Salome’s dance…” More inexplicable reviews, page upon preposterous page, are quoted in Henry-Louis de La Grange’s four-volume biography of Mahler; I encourage you to look them up for a good chuckle. (Well, the anti-Semitism running through so many reviews will inspire reactions other than chuckling.) Klaus Simon’s reduction for wind quintet, percussion, harmonium, piano, and strings was made in 2007. In the 1940’s in the Terezín Concentration Camp, Jewish musicians sang Verdi’s Requiem to defy the Nazis. This performance commemorates their bravery, featuring video testimony from survivors who sang in those performances. Sunday October 23, 2022. 6.00 pm Rotunda of the Cincinnati Museum Center 1301 Western Avenue, 45203 Isaac Selya conducts, with full orchestra Tickets: defiantrequiem.brownpapertickets.com Information: queencityopera.org/defiantrequiem

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SUMMERMUSIK FESTIVAL 2022 | 41ROBERT SCHUMANN Piano Quintet in E-Flat Major, Op.44I. Allegro brillanteVijay Venkatesh, pianoCLARA SCHUMANNFROM Six Lieder, Op. 13I. ‘Ich stand in dunklen Träumen’ III. ‘Liebeszauber’ Vijay Venkatesh, pianoVictoria Okafor, soprano JOHANNES BRAHMSIntermezzos No. 2+3, Op. 118Vijay Venkatesh, pianoFANNY MENDELSSOHN HENSELString Quartet in E-ﬂat MajorIV. Allegro molto vivaceNADIA BOULANGERTwo Songs‘Cantique’ ‘Reﬂets’ Vijay Venkatesh, pianoVictoria Okafor, soprano FREDERICK CHOPINSonata No. 2 in B-ﬂat Minor, Op. 35I. Grave – Doppio movimentoVijay Venkatesh, pianoJOHANNES BRAHMSPiano Quintet in F Minor, Op. 34III. Scherzo: AllegroVijay Venkatesh, pianoApproximately 1 hour and 10 minutesKISSED BY THE MUSESUNDAY, AUGUST 21 | 4PMPLEASANT RIDGE PRESBYTERIAN CHURCHA Little Afternoon Musik Series SponsorsROSEMARY & MARK SCHLACHTERIRV & MELINDA SIMONVIJAY VENKATESHpianoVICTORIA OKAFORsopranoECKART PREUperformance curatormusic directorConcert, venue and Victoria Okafor Sponsor Donald W. Fritz, Ph.D.Vijay Venkatesh Sponsors Jeanne & Chris BarnesMusic SponsorsReena Dhanda Patil & Yash Patilwww.rpigraphic.com

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SUMMERMUSIK FESTIVAL 2022 | 43Rebecca Andres, CCO principal ﬂuteCCO MEMBER SINCE 1975Rebecca Tryon Andresis principal ﬂutist with the Cincinnati Chamber Orchestra and the Dayton Philharmonic Orchestra. She has performed regularly with the Cincinnati Ballet Orchestra and has been a regular extra musician with the Cincinnati Symphony Orchestra, Pops and May Festival. She is the ﬂutist for Cincinnati’s Broadway Across America Series.Currently on the faculties of Miami University and Northern Kentucky University, she has taught at the Cincinnati College- Conservatory of Music, University of Cincinnati, Xavier University, and the University of Dayton.A graduate of OSU, she holds a Master of Music degree in ﬂute performance from CCM, and a diploma from the Académie Internationale d’Été, Nice, France. She has studied with Jack Wellbaum, Donald McGinnis, Raymond DeMattia, Kyril Magg, and in the extended master classes of Jean-Pierre Rampal, William Bennett, James Pellerite, and Georey Gilbert. “The ﬁrst time I heard the beautiful sound of my early teacher, Raymond DeMattia, my ears and heart were opened to the tonal possibilities of the ﬂute. That’s something I have carried with me always. Discipline and technical skills came from Donald McGinnis, precision and piccolo excellence from Jack Wellbaum, musical interpretation and inspiration, desire for excellence, work ethic—signiﬁcant things came from each teacher. It is my happiness to share what I have learned with my students.”A Life Member of the National Flute Association, she has performed at numerous NFA conventions and was a winner of the Professional Performers Competition. She has served the NFA as Secretary, Copy Editor of the Flutist Quarterly, and chair of the Young Artist Competition. She wrote and appeared in the instructional videoMaestro Introduces the Flute. Her published arrangements include Mozart’s Ave Verum Corpus for ﬂute choir, and woodwind trio arrangements of music by Grieg and Joplin. She has written several articles forFlute Talkmagazine.Hugh Michie, CCO principal bassoon CCO MEMBER SINCE 1993By the sixth grade, Hugh Michie knew his career would be that of a bassoonist. After encouragement from his family, Hugh began playing the bassoon in the fourth grade under the instruction of Ferdinand Del Negro, a former member of the Philadelphia Orchestra. Hugh earned his Bachelor of Music with a Performer’s Certiﬁcate from the Eastman School of Music, where he studied with David van Hoesen; and his Master of Music from the University of Southern California, where he studied with Norman Herzberg. In the spring of 1990, Hugh was appointed second bassoonist of the Cincinnati Symphony Orchestra. He has been principal of the Cincinnati Chamber Orchestra since 1993 and has soloed with the ensemble twice.PERFORMANCE CURATORS

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SUMMERMUSIK FESTIVAL 2022 | 45Approximately 1 hour and 30 minutesA Venue Unexpected Beginning in 1928, this Art Deco landmark has been entertaining guests with its rich setting and unmistakable ambiance. Today, The Redmoor has been transformed into an ideal backdrop for weddings, corporate, social, and philanthropic events marked with distinctive style. 513-871-6789 www.theredmoor.com 3187 Linwood Ave Mt. Lookout Square AAnnootthheerr CCiinneemmaattiicc SSppeeccttaaccuullaarr!! HHoolliiddaayy CCoonncceerrtt DDeecc.. 44,, 22002222 SSuunnddaayy,, SSeepptteemmbbeerr 44,, 22002222 77::0000 ppmm SSuummmmiitt CCiittyy CChhuurrcchh,, 77::0000ppmm BBlluuee AAsshh TToowwnn SSqquuaarree,, rraaiinn ddaattee 99//55//2222 CCllaassssiicc HHoolliiddaayy SSeelleeccttiioonnss Bamso will present our favorite music from the Cincinnati Choral Society Movies including Les Miserables, ET and more. Visit our website: www.bamso.org for all Information

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SUMMERMUSIK FESTIVAL 2022 | 47SATURDAY, AUGUST 27 | 7:30PMPrelude Talk: 6:45PM Eckart Preu, conductorSOUNDS OF WATERJOHANN STRAUSS II Blue Danube Waltz*arr. WILHELM LUTZTAN DUN Water Concerto Prelude: Largo molto rubato I. Adagio molto misterioso II. Andante molto animato III. Allegro molto agitato Yuri Yamashita, percussion Percussion courtesy of Parnassus Productions Inc.e INTERMISSION fCLAUDE DEBUSSY, arr. IAIN FARRINGTON La Mer I. De l'aube à midi sur la mer (From dawn to midday on the sea) II. Jeux de vagues (Play of the Waves) III. Dialogue du vent et de la mer (Dialogue of the wind and the sea)All selections are CCO Premieres, except *.Today's performance is sponsored by Gale and David BeckettPost-concert reception is sponsored bySUMMERMUSIK SPONSORED BYROBERT & DEBRA CHAVEZ Wine will be available for purchase.Approximately 2 hour and 30 minutes

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48 | SUMMERMUSIK FESTIVAL 2022YURI YAMASHITANew York based percussionist & singer Yuri Yamashita has been performing in a wide spectrum of musical genres and was called “Brilliant” by Financial Times and “A Standout” by Los Angeles Times.Yuri has worked alongside a diverse mix of artists, ensembles, and bands, such as Duran Duran, Mono, Tyondai Braxton, David Lang, Bang On A Can’s Asphalt Orchestra, Alarm Will Sound, Wordless Music Orchestra, American Composers Orchestra, to name a few. She has worked with the Oscar winning composer Tan Dun numerous times performing on-stage interdisciplinary percussion roles with Metropolitan Opera, Santa Fe Opera, Vancouver Opera, The Opera Company of Philadelphia and other works of his with Munich Philharmonic, Accademia Nazionale di Santa Cecilia and Shanghai Philharmonic. In 2011, Yuri was featured as a soloist performing Tan Dun’s Water Percussion Concerto with Milwaukee Symphony under the baton of Edo de Waart. She has also performed in numerous Broadway musical productions and currently holds a percussion chair at TINA: The Tina Turner Musical on Broadway. Yuri has appeared on media such as The Late Show with Stephen Colbert, The Tonight Show starring Jimmy Fallon, PBS’s ALL ARTS and can be heard on contemporary classical/new music recording labels such as Nonesuch, Cantaloupe and New Amsterdam. As a singer, she was featured singing bossa nova in Rolando Morales-Matos’ Latin jazz album “Forward”.Yuri is a native of Takarazuka, Japan. She is a graduate of The Juilliard School, Mannes College of Music and Kobe College (Japan). She enjoys dancing salsa and learning Brazilian Portuguese in her free time.Bring more music into your life and get more out of it.info@lintonmusic.org | LintonMusic.org | 513.381.6868Season Tickets on Sale Now

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SUMMERMUSIK FESTIVAL 2022 | 49PROGRAM NOTESby Gavin BorchertJohann Strauss II (1825-99)On the Beautiful Blue Danube, op. 314 (1866), ed. Seredy The longstanding 19th-century rivalry between Prussia and Austria for control of Central Europe ﬂared up yet again into war in the spring of 1866 (for reasons too arcane to go into here), and ﬂared down again after Austria was defeated after only 39 days. The following February a choral festival was organized as a beneﬁt for the families of the soldiers lost. Johann Herbeck, conductor of the Vienna Men’s Choral Association, had asked Strauss for a waltz to be sung. Sources dier as to whether the words, by poet Josef Weyl, came ﬁrst, or if they were added to Strauss’s music after it was written. Sources do not dier as to whether they were ridiculous. The dopey lyrics, and the very idea of a waltz being sung at a charity concert for war dead (what was Herbeck thinking?), practically guaranteed the piece would fail. (The title did not come from the lyrics, but from a poem by Karl Isidor Beck; Strauss loved the line and kept it in reserve for a title if called on to write something patriotic.)But that April, the 1867 World’s Fair opened in Paris. Hippolyte de Villemessant, the powerful editor of daily newspaper Le Figaro, heard Strauss and his orchestra perform there and was enchanted—and also saw a way to bolster the friendship between France and Austria to counter Prussia’s growing military strength. He and his paper praised Strauss and his orchestra to the skies; “The Blue Danube” became the hit of the Fair and was launched on its mission to conquer the world’s pianos. It is said that the publishers wore out 100 copper plates printing copies to meet the demand, whereas most pieces, even the most successful, required only three.Tan Dun (b. 1957)Water Concerto (1998)Several high-proﬁle projects have made Tan Dun one of the best-known composers active today. To name just four: He won an Oscar for his score for the ﬁlm Crouching Tiger, Hidden Dragon; his opera The First Emperor was produced at the Met with no less than Placido Domingo in the title role; Google and YouTube commissioned an Internet Symphony for a virtual orchestra with global participants; he was asked to write the grand opening theme forShanghai Disney Resort.A series of concert pieces, whch he dubbed “organic music,” utilize not only non-traditional instruments but even non-traditional materials: a Paper Concerto, an Earth Concerto, a Water Passion. Of his attraction to water as a sonic element, Dun said in a 2007 interview: “What is water? Sometimes you feel water is the voice of birth, or rebirth. But now I feel water is like tears, tears of nature. Every time I travel around I feel it’s very dicult to ﬁnd clean water. Everywhere is polluted almost. So it makes me feel dicult to sing with my music…“To me, my early life, living with water, having fun with water, and playing ritualistic music with water, has become very inspiring. Somehow now, I spend so much of my time to recompose this kind of memory… to recompose this kind of experience, with the new method. In Hunan [his birthplace], water was a daily thing with our life. Every day we washed everything with the river. All the old women, they always went to river for laundry, making a beautiful sound, very rhythmic. So I transpose those memories of beautiful laundry sounds,

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50 | SUMMERMUSIK FESTIVAL 2022Claude Debussy (1862-1918)La mer (1905), arr. IainFarringtonEven though Debussy loved the sea, he began work on this musical evocation far away from it, in Burgundy, in a country house he rented from July to October 1903, and made a bit of a joke out of this in a letter: “The result could be one of those hack landscapes done in the studio! But I have innumerable memories…” Also that summer he was working half-heartedly on two operatic projects. A publisher had asked him to try to complete Briseis, which Emmanuel Chabrier had left unﬁnished when he died in 1894. Also, over his career Debussy envisioned operatic versions of two tales by Edgar Allan Poe, The Fall of the House of Usher and The Devil in the Belfry, and that summer he produced, for the latter, an outline of the libretto and three pages of music. That’s it. (At one point he’d considered adapting As You Like It; how delicious would a Debussy opera on a Shakespeare comedy be?)At the same time Debussy’s personal life was a mess. (If you hear a reﬂection of this mess in La mer’s tempestuous passages, you won’t be the only one.) His 1899 marriage to Lily Texier, with whom he had never been particularly compatible, was collapsing. In October 1903, Debussy met the beautiful, intelligent, and cultivated Emma Bardac, and ran o with her the next July. Bardac was also rich, and the suspicion that his motives were mercenary, and his maltreatment of Lily in general, lost Debussy many friends. In October 1904, Lily attempted suicide, but survived and ﬁled for divorce. Debussy ﬁnished La mer in March 1905; his divorce was ﬁnalized in May; he and Bardac escaped to England, where Debussy corrected proofs of the score, to avoid the outcry; in October his only child, jointly named Claude-Emma, was born and La mer was premiered in Paris. Two of Debussy’s original titles for its three movements he changed at the last minute. For the ﬁrst, he’d considered “Mer belle aux Îles Sanguinaires,” or “Beautiful sea at the Sanguinary Isles.” These isles are not a poetic metaphor, but an actual place: a chain of small rocks o the coast of Corsica. The third he labeled “Le vent fait danser la mer”—“The wind makes the sea dance”—before he decided to change the dance to a dialogue. Iain Farrington’s reduction for chamber orchestra is scored for single winds and brass, two percussionists, and strings.and swimming sounds, body-popping sounds, water-dancing sounds, water-teasing sounds, water-popping sounds, into my orchestrations.“Technically it’s very complex, because you have to ﬁnd the resource color, then to blend the resource color with the institutions of orchestra color, and to have those two colors be blended as one. Every day I’m struggling for what? I’m not really trying to ﬁnd unusual and never-been-used music sounds. I’m trying to ﬁnd myself. If I could ﬁnd myself, then I could ﬁnd my music… not just visual and aural, not just organic and orchestra, or not just East and West, or inside and outside, or old and new, or last and future, but all of those philosophically.”And of his work as a whole, Dun has observed. “What I want to present… is music that is for listening to in a visual way, and watching in an audio way. I want it to be intoxicating. And I hope some people will listen and rediscover life’s elements, things that are around us but we don’t notice.”

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52 | SUMMERMUSIK FESTIVAL 2022The Cincinnati Chamber Orchestra wishes to thank the following individuals, corporations and foundations for their generous financial support between July 21, 2021 and July 25, 2022. If a name has been inadvertently omitted, please contact Ralf Ehrhardt at 513.723.1182 x2, or email ehrhardt@ccocincinnati.org, so we can correct our records.Festival ($5,000 & up)A Friend of the CCOAndrew Jergens FoundationAnonymous Fund of The Greater Cincinnati Foundation ArtsWaveJeanne & Christopher BarnesDave & Gale BeckettMartin & Kim ChavezRobert & Debra ChavezRobert & Cynthia ConwayCharitable Fund Charles H. Dater FoundationFort Washington AdvisorsHamilton County FoundationCharles Moerlein FoundationNational Endowment for the Arts Louise Dieterle Nippert Musical Arts FundOhio Arts CouncilDaniel PfahlThomas J. Emery Memorial of The Greater Cincinnati Foundation Marge & Charles J. Schott FoundationIrwin & Melinda SimonRosemary & Mark SchlachterWohlgemuth Herschede FoundationConductor ($3,000 - $4,999)Terri & Tom AbareAnthony ColeKelly Dehan & Richard StaudigelSusan Esler & Steven SkiboDonald W. Fritz, Ph.D.Nancy & Jonathan LippincottDaniel PfahlNancy & Christopher VirgulakKaren ZauggConcertmaster ($1,500 - $2,999)Dick & Mary Lu AftRebecca Bolce & Keith WoodSijie Dai & Michael MuiPeter Hsi & Jocelyn WangChristopher & Beth TschiederOrchestra ($750 - $1,499)Eric J. AllenLucy AllenMalcolm & Glenda BernsteinRyan & Kate BoggsGrant CambrigdeDeborah CampbellJohnnie & Pam CarrollDuke EnergyAllison & Brett EvansClifford GoosmannFlorette HoffheimerLinda R. Holthaus & Richard ZinicolaJohnson Investment CounselJohn & Patsy KreitlerCarol KruseKathleen LaurinEd LyonAnne McAdamsMichael MooreThe Motch Family FoundationWesley H. & Caitlin NeedhamTom & Margaret OstermanMarcia Cury PhilippsRoxanne QuallsMax ReifCarol ReubelElizabeth StoneSummerfair CincinnatiUS BankBenefactor ($500 - $749)LeAnne & Matt AnklanLin & Dan DomisEvan GidleyLesley GilbertsonKaren HartmanGlenn & Trish LarsenMary Jane MayerChuck & Judy McOskerReena & Yash PatilAngela Powell WalkerHera ReinesCathy RosenbaumGary ShinnPatron ($200 - $499)Wilma & Herbert BeigelVickie & Jack GluckmanPhil & Barbara HesterMarcia Kaplan & Michael PriviteraSusan & Rich LaufDoug LillibridgeRick MadduxMark McKilipManisha Patel & Michael CurranKim SalitEdward SilbersteinRossana & Keith StettlerBlanche & Tim SullivanPriscilla WalfordGinger WarnerJim & Georgeann WesnerSupporter ($50 - $199)A Friend of the CCOBeverly BakerJack & Anne BaldwinRuth BambergerVictoria & Peter BeltramoDarla da Deppo BertoloneDoug & Dawn BruestleMark DaunerJoyce ElkusCarol & Richard FenclBarbara & John FillionBJ & Art ForemanBernard FosterPeninah FrankelSandra GeiserTrena GoodwinKarl & Connie GrahamScott LangMorita MarmoHolly McLeodChristopher NichterConnie RoeschTai SchulteMarilyn SchwiersDiana TrenkampBill & Marie TsacalisAlice Rogers Uhl Fred & Joanne WarrenJoann WieghausEmel YakaliOUR BENEFACTORSThe BMW Store in Kenwood Gavin BorchertCincinnati Arts AssociationHilton Cincinnati Netherland PlazaMax ReifWash.Park.Art GalleryWesley WoolardThe Vicki Reif Memorial FundLeAnne & Matthew Anklan Alejandro & Tasha AragakithemusicminionsKen Jordan Cindy Lewis Michael Moore Dan PfahlIn-Kind

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SUMMERMUSIK FESTIVAL 2022 | 53Terri Reyering Abare, Community VolunteerRyan Boggs, Fort Washington Capital Partners Group Grant Cambridge, Event EnterprisesJohnnie Carroll, U.S. BankRobert Chavez, Chavez PropertiesSijie Dai, Procter & GambleSusan Esler, Community VolunteerTom Guth, Orchestra RepresentativePeter Hsi, Community Volunteer Linda Holthaus, Community VolunteerEric C. Kearney, Greater Cincinnati/Northern Kentucky African American Chamber of CommerceNancy Lippincott, Community Volunteer Ed Lyon, Tax Master Network, LLCJames May, Fidelity InvestmentsMichael Moore, WealthquestWesley H. Needham, Duke EnergyDaniel Pfahl, PNC Bank Roxanne Qualls, Sibcy Cline RealtyRosemary Schlachter, 25th Hour Kaoru Suzuki, MintzChristopher Tschieder, Johnson Investment CounselManami White, Orchestra RepresentativeMarina AbantoMichael AbneyJames AdamsRichard N. Aft, Ph. D.Jerey AndersonBoris AuerbachWilliam BalzanoCarol BeddiePaul BernishJo Ann BobbittJohn R. BrooksPaul BrunnerSusan BuseKenneth ButlerMelanie ChavezBrook ChertockRebekah ChesnesMichael A. CioWilliam ClarkStephen ConatonSally ConnellyRobert Conway, Jr.Scott CookGregory CoonsJoel C. CornetteJerey CraigWilfrid DalyAmy DarrahRafael de AchaRobert EliasBettina EngelmannJerome EwersJulie FarkasThomas W. FilardoJosef E. FischerKatharine FrankDonald W. Fritz, Ph.D.Nicholas L. FryJennifer FunkLinda GoodroeDavid HabischEmily HarboldMort HarshmanColleen HauserBetsy HodgesMargaret HomanHelle Banner HoermannDaniel HoheimerRichard IsgrigCarol IwasakiPaul JakubowksiKatherine JansonPaul JetterDavid A. KlingshirnFlorence KoettersMarvin KolodzikMark KroegerRonald KuzmaErin LombardiJoanie LottsLarry S. MagnesenKaren McKimRajani MenonMichael MotchVicky MotchDean MoulasChristine E. NeyerCora OgleAlbert PeterSally Krefting PhillipsJane PopeJC PurkJoyce ReMelody Sawyer RichardsonWilliam RiggsJack RouseGeorge A. SchaeferRuth SchwallieDavid B. SchwartzThomas SchwartzArt ShribergLinda SiekmannEdward SpaethShane StarkeyCindy StarrChristopher SparksBrett StoverTimothy TepeBrian TianyRichard Tripp William TsacalisSerena TsuangKaren TullyAlice Rogers UhlSteven VamosiDenise VandersallStephanie Allgeyer VestRea WaldonJulie Washington Gail W. WellsShelby WoodNicholas YodaEmeritus BoardRichard N. Aft, Ph. D.Boris AuerbachSally ConnellyDr. G. James Sammarco Mrs. Ruthann SammarcoRuth SchwallieCCO Board of TrusteesDaniel Pfahl, President Terri Abare, Immediate Past PresidentRyan Boggs, TreasurerNancy Lippincott, SecretaryWesley H. Needham, Chair, MarketingPeter Hsi, Chair, FinanceRosemary Schlachter, Chair, DevelopmentSusan Esler, Chair, Inclusion, Diversity, Equity & AccessibilityLinda Holthaus, Chair, Community Engagement & EducationHonorary TrusteesEvan Gidley, Executive DirectorRalf Ehrhardt, Finance DirectorJenna Gripshover, Stage ManagerMaureen Hickey, Production AssociateKate Kilgus, Box Office AssociateJoshua Senger, Development AssociateNatalie Sweasy, Front of House Manager Manami White, Orchestra Personnel ManagerCCO Sta

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54 | SUMMERMUSIK FESTIVAL 2022V E N UES & P A R KINGGUIDE MAPSCPA Corbett Theater108 W Central Pkwy, 45202Washington Park Garage1230 Elm St, 45202Chavez Properties Parking Lot250 W Court St, 45202AABBCCThe Redmoor3187 Linwood Ave, 45208Public Parking Lot3187 Linwood Ave, 45208Newport Aquarium1 Levee Way, Newport, KY 41071Public Parking GarageIntersection of Dave Cowens Dr andWashington Ave, Newport, KY 41071Esquire Theatre320 Ludlow Ave, 45220Merchant Parking Lot330 Howell Ave, 45220HIJKKMPleasant Ridge Presbyterian Church5950 Mongtomery Rd, 45213Public Parking Lot5950 Montgomery Rd, 45213NO24 Distillery Way, Newport, KY 41073Public Parking Lot24 Distillery Way, Newport, KY 41073PQQFretboard Brewing 5800 Creek Rd, 45242Public Parking Lot5800 Creek Rd, 45242RSNotre Dame Academy Performing Arts Center1699 Hilton Dr, Park Hills, KY 41011Public Parking Lot1699 Hilton Dr, Park Hills, KY 41011TULCentral Parkway12th StElm StRace StCourt StDelta AveLinwood AveDelta AveHILudlow AveHowell AveNOC LIFTO NClifton AveHilton Hotel Parking Garage 35 W 5th St, 45202Hilton Cincinnati Netherland Plaza & Orchids of Palm Court35 W 5th St, 45202DD OW N TO W NVine StRace StW 4th StW 5th StDELorem M T. L OOK O U TCreek RdI-71Deerﬁeld RdRSB LUE A S HPLE A S ANTR IDG ECincinnati Art Museum 953 Eden Park Dr. 45202Public Parking Lot953 Eden Park Dr. 45202GFJN EWPORTMLPPA R K H ILLSTUE 3rd StRiviera DrRiverboat RowRT 25Montgomery RdLester RdDaveCowens DrWash. AveDave Cowens DrHilton DrEEden Park DrGilbert AveArt Museum DrFGMT. ADAMSCUT HERE

2022 Program Book

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