2023 Summermusik Program Book : simplebooklet.com

2 | SUMMERMUSIK FESTIVAL 2023110th Recital Series Season in 2023–2024!Matinée Musicale Cincinnati presents its A season filled with talented artists from every part of the globe! Tickets: MemorialHallOTR.orgor 513-977-8838 MatineeMusicaleCincinnati.orgRobert MolliconePIANOSunday, April 21, 2024 “Pati surprises…one of the most beautiful tenor voices of the moment...”—Christophe Rizoud, Forum Opera“Edris…A magnetic presence.”—Opera NewsSunday, September 17, 2023 “She created transﬁxing poetry.”—e Washington PostSara DaneshpourPIANOChangYong ShinPIANOSunday, November 19, 2023 “One of best ﬂutists in the history of music”—Sinﬁni MagazineJasmine ChoiFLUTEDonna LoewyPIANOSunday, March 3, 2024 Won First Prize in the Brass Category at the 2019 International Tchaikovsky Competition Yun ZengFRENCH HORNPene Pati & Amina EdrisTENOR and SOPRANOMarika BournakiPIANOSunday, October 29, 2023 “Schwarz’s deep tone shoots straight to the heart of a listener.”—Shepherd ExpressJulian SchwarzCELLOCINCINNATIDEBUTCINCINNATIDEBUTAMINA EDRISCINCINNATIDEBUTUSDEBUTAll recitals at 3 PM

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SUMMERMUSIK FESTIVAL 2023 | 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 Us15 Beethoven Reconstructed22 Sound of Silence24 Howlin' Winds27 The Bachs: A Musical Dynasty35 Sons of Bach36 Sweet or Tart? 38 Return of Chamber Rock41 A Night in Havana48 Afro-Cuban Afternoon50 Film Screening: Buena Social Vista Club 51 Fiddlin' Folk53 Americana59 Our Sponsors and Partners60 Our Benefactors61 Board of Trustees, Honorary Trustees, Emeritus Board and Staff 62 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 by transferring your digital ticket—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 2023Dear Friends,Welcome to Summermusik 2023!This Summer festival holds a very special place in my heart because of all the wonderful people getting together who make and enjoy music. It is also a place to explore and experience music we have never heard before, enriching and educating us in an entertaining way. I am very proud to be sharing the adventures of our 2023 Summermusik season with you. Our ﬁrst weekend is dedicated to the genius of Beethoven and the idea that ingenuity is the result of tireless work. The famous masterpieces did not fall into Beethoven’s lap - he worked hard to develop his musical ideas. We will explore this process by performing his Symphony No. 5 as well as two works he did not complete: Piano Concerto No. 6 and Symphony No. 10. The works have been reconstructed by Beethoven experts and highlight the stages Beethoven went through to reach the high level of his works. The myth of his Symphony No. 10 is legendary. Completions of the piano concerto exist in dierent versions. As an additional layer, we will dedicate our A Little Afternoon Musik performance to the issue of deafness while being a composer. The completions of Beethoven’s works as well as understanding the role deafness played in his life will make us listen with critical ears and question our understanding of Beethoven the person and Beethoven the composer.The second weekend will examine the role genetics may - or may not - play in the creation of a musical dynasty that lasted centuries - the Bach family. Is there a music gene, or a “gift” that is passed on from generation to generation? Centered around the arguably greatest composer in Western classical music, Johann Sebastian Bach, we will explore his ancestors, contemporaries, and progeny. Four of his sons represent an astonishing musical bridge spanning the Baroque tradition with the dawning Classic style. How would music history have turned out without this musical dynasty? The featured solo will be the ﬂute - an instrument that Bach loved and prominently featured in his music. Mimi Stillman will perform the Ohio premiere of the ﬂute concerto by Grammy-nominated composer Zhou Tian. Inspired by the rich musical and cultural history of Cuba, we present “A Night in Havana”. Its traditions compelled visitors like George Gershwin and Silvestre Revueltas to create colorful masterworks full of rhythm. We also will discover Cuban composers of the past (Ernesto Lecuona) and present (Grammy-nominated composer Tania León). We are thrilled to present 10-time Grammy Award Winner Arturo Sandoval, one of the world’s most acknowledged jazz trumpet and ﬂugelhorn players as well as a renowned classical artist and composer who will perform his own virtuosic Trumpet Concerto No. 2.Our ﬁnal program, Americana, explores the American musical melting pot with its incredibly diverse musical styles. From ragtime, musical, jazz, to bluegrass music, this program will highlight some of the most recognizable genres that make American music unique. Grammy-nominated violinist Tessa Lark is a highly recognized violinist as well as a specialist in bluegrass music. I know you will enjoy the diverse and entertaining programs of our series - Mainstage, A Little Afternoon Musik, and Chamber Crawls. We are here to entertain, to surprise, and to spread the joy of music!Thank you for joining us! Eckart PreuMusic Director

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SUMMERMUSIK FESTIVAL 2023 | 7Welcome to Summermusik 2023! As we celebrate the 49th anniversary of the Cincinnati Chamber Orchestra – and the 9th annual Summermusik festival – our talented musicians and world-renowned guest artists are ready to present another season of amazing music to our community as we create intimate, transformative experiences that connect the musically curious. Music Director Eckart Preu, winner of the 2022 Vytautas Marijosius Memorial Award in Orchestral Programming from the American Prize, has designed another award-worthy season! A hallmark of CCO programming, we are excited to be collaborating with numerous local arts organizations including The Children’s Theatre of Cincinnati, Collegium Cincinnati, Cincinnati Contemporary Jazz Orchestra, and Revolution Dance Theatre, among others. Our Mainstage series features a world premiere, a CCO co-commission, and a trip to Havana, Cuba with 10-Time Grammy Award Winner Arturo Sandoval! We encourage you to join us in the lobby after our Mainstage concerts to enjoy a complementary dessert courtesy of Cora’s Cakery with Eckart, our musicians, and the fantastic guest artists. We are also anticipating our two chamber music series: A Little Afternoon Musik and Chamber Crawls, which feature six venues new to the CCO! We hope that you will invite your friends to these engaging, interactive performances led by our own musicians.Beyond Summermusik, we look forward to welcoming Little Amal to Cincinnati on Friday, September 22 as the lead presenting organization for one of 35 stops on her United States tour! We also will present our 2nd annual We Are One festival October 22-25, which will feature a variety of performances and important conversations. Both events will promote hope for those living in our community as immigrants, refugees, or displaced persons.We would like to extend a warm thank you for your loyal support 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. See you in 2024 for our 50th Anniversary!Sincerely,Daniel Pfahl Evan GidleyBoard President Executive DirectorAUDIENCE SURVEY - SUMMERMUSIK 2023Thank you for joining us! Please take a moment to ﬁll out this short survey. It will provide important information to us and our funders.

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8 | SUMMERMUSIK FESTIVAL 2023Eckart 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 Bogotá (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, 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 | ASSOCIATE CONDUCTORDaniel Parsley enjoys an active career as a conductor, educator, scholar, and professional chorister. He is elated to continue as associate conductor at the Cincinnati Chamber Orchestra, where he leads the We Are One series and other special events such as Walk with Little Amal project.Daniel is the newly appointed Director of Choral Activities at the historic School of Music at Boston University, the oldest degree-granting music institution in the United States. At BU, Daniel serves as Director of Graduate Conducting programs where he oversees the comprehensive MM, MSM, and DMA conducting programs. Daniel was most recently the Director of Choral Activities at Thomas More University and associate conductor at the Cincinnati Youth Choir. Daniel has enjoyed a wide breadth of diverse professional experiences throughout the world including roles as a research fellow in Ghana with the Edward Brueggeman Center for Dialogue to engagements with the National Chorus of Korea in Seoul. Upcoming events and residencies include the Hochschule für Musik und Theater München, University of British Columbia, and the Universität für Musik und darstellende Kunst Wien. He has served as faculty for the Kentucky Institute of International Studies (KIIS) Salzburg Program and Cooperative Center for Study Abroad (CCSA) London summer study abroad since 2013. In addition to professional work abroad, Daniel was most recently the assistant conductor and choral conducting fellow for the Cincinnati May Festival, where he prepared choruses for the Cincinnati Symphony Orchestra and Cincinnati Pops.

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SUMMERMUSIK FESTIVAL 2023 | 9ORCHESTRA MEMBERSVIOLINS Celeste GoldenConcertmasterRebecca Bolce & Keith Wood, 2023 SponsorsAmy KiradjieffAssociate ConcertmasterMary Jane Mayer, 2023 SponsorSujean KimAssistant ConcertmasterSusan Esler & Steven Skibo, 2023 SponsorsManami WhitePrincipal SecondRuth Schwallie &. Mark Silbersack, 2023 Sponsorsw Jacquie FennellJohn & Patsy Kreitler, 2023 Sponsorsw Sarah Gannonw David Goist w Gyusun HanVIOLABelinda Reuning Burge*Carol Kruse, 2023 SponsorStephen Goist*Rebekah Edewards*Caterina Longhi*CELLO Patrick BinfordSchlachter Family Principal Cello ChairNat Chaitkin*Tony Cole, 2023 SponsorTom Guth*Max Reif, 2023 SponsorBASSDeborah TaylorPrincipalFLUTEAnnie Darlin GordonBushman Family Principal Flute ChairSusan Magg §The Vicki Reif Memorial Fund, 2023 SponsorOBOEJessica SmithornPrincipalAllison & Brett Evans, 2023 Sponsors Bonnie FarrCLARINETJohn KurokawaPrincipalDan & Lin Domis, Gary Shinn, and Karen Hartman, 2023 SponsorsMiriam CulleyBASSOON Hugh MichiePrincipalEric J. Allen, 2023 SponsorAmy PollardFRENCH HORNBrooke Ten NapelEd Lyon, 2023 SponsorTRUMPETAshley Hall-TighePrincipalCliff Goosmann, 2023 SponsorECKART PREU, MUSIC DIRECTORDANIEL PARSLEY, ASSOCIATE CONDUCTORLinda Holthaus & Richard Zinicola, 2023 Sponsorsw designates alphabetical listing of players who rotate between violin 1 and violin 2* designates rotating player | § designates leave of absenceA VERY SPECIAL THANK YOU TOROBERT & DEBRA CHAVEZFOR SPONSORING SUMMERMUSIK 2023!

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10 | SUMMERMUSIK FESTIVAL 2023YOU 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 30,000 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/CCOCrescendo2023or 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 513.723.1182 x1 or gidley@ccocincinnati.org.Legacy Society MembersTerri and Thomas AbareDick and Mary Lu AftDeborah Campbell, In Memory of Eunice M. WolfEd LyonMichael T. Moore, Jr.Daniel PfahlM. Patricia and R. Keith RoselyRosemary and Mark SchlachterRuth Schwallie and Mark Silbersack

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SUMMERMUSIK FESTIVAL 2023 | 15Approximately 2 hours.Wine and non-alcoholic beverages will be available for purchase.LUDWIG VAN BEETHOVEN Symphony No. 10 in Eb Major recons. BARRY COOPERLUDWIG VAN BEETHOVEN Piano Concerto No. 6 in D Major(World Premiere)recons. CEES NIEUWENHUIZEN Awadagin Pratt, pianoe INTERMISSION fLUDWIG VAN BEETHOVEN Symphony No. 5 in C Minor, Op. 67 I. Allegro con brio II. Andante con moto III. Scherzo: Allegro IV. Allegro - PrestoChris Logan Carter as Ludwig van BeethovenThe Children's Theatre of Cincinnati All selections are CCO Premieres.BEETHOVEN RECONSTRUCTEDSATURDAY, AUGUST 5 | 7:30PMPrelude Talk: 6:45PM Eckart Preu, conductorConcert SponsorAwadagin Pratt SponsorFriends of SummermusikChris Logan Carter SponsorAggie Nicholas and Je BerryMusic SponsorNancy and Christopher VirgulakEvent SupporterSijie Dai and Michael MuiPost-concert Reception SponsorSUMMERMUSIK SPONSORED BYROBERT & DEBRA CHAVEZ BEETHOVEN recnsrutedMainstage Series SponsorThe Josephine Schell Russell Charitable Trust, PNC Bank, Trustee

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16 | SUMMERMUSIK FESTIVAL 2023CHRIS LOGAN CARTERAWADAGIN PRATTAmong his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras.Mr. Pratt studied at the Peabody Conservatory of Music where he became the ﬁrst student in the school’s history to receive diplomas in three performance areas – piano, violin and conducting. In 1992, Mr. Pratt won the Naumburg International Piano Competition and two years later was awarded an Avery Fisher Career Grant.Since then, he has played numerous recitals throughout the US including performances at Lincoln Center, the Kennedy Center and Chicago’s Orchestra Hall. His many orchestral performances include appearances with the New York Philharmonic and the Atlanta, Baltimore, St. Louis and Detroit symphonies among many others. Also an experienced conductor, his most recent conducting activities include play/conducting the Chamber Orchestra of Pittsburgh and conducting performances of Porgy and Bess for the Greensboro Opera.Mr. Pratt is currently a Professor of Piano at the College-Conservatory of Music at the University of Cincinnati as well as the Artistic Director of the Art of the Piano Festival. In July 2023, he joins the faculty of the San Francisco Conservatory of Music as Professor of Piano.Through the Art of the Piano Foundation and inspired by a stanza from T. S. Eliot’s Four Quartets, Mr. Pratt has commissioned seven composers – Jessie Montgomery, Alvin Singleton, Judd Greenstein, Tyshawn Sorey, Jonathan Bailey Holland, Paola Prestini and Peteris Vasks – to compose works for piano and string orchestra or piano, string orchestra and a Roomful of Teeth. Ms. Montgomery’s concerto was performed by a consortium of nine US orchestras including the St. Louis, Baltimore, Milwaukee and Indianapolis symphonies in the spring of 2022. All seven works were recorded in summer 2022 with the chamber orchestra A Far Cry for New Amsterdam Records. During the 22/23 season, Mr. Pratt performed Ms. Montgomery’s concerto with 13 more orchestras, including Boston, Chicago, Minnesota and Atlanta. Awadagin Pratt is a Yamaha artist. For more information, please visit www.awadagin.com.Chris Logan Carter was born in Hamilton, Ohio and has worked in the Cincinnati-metropolitan area as a professional actor for 9 years. He began training as a dancer with Middletown Academy of Dance Arts and Ohio Ballroom, before studying musical theatre at Wright State University. Notable performances include Lonny (Rock of Ages), Dr. Frankenstein (Young Frankenstein), and Alan Strang (Equus). Now as a Resident Artist for The Children’s Theatre of Cincinnati, he has produced and performed in two one-man shows: Bah Humbug! A One-Man Christmas Carol and The Nikola Tesla Story. He also serves as TCT’s Arts Integration Specialist, aiming to decrease the arts deﬁcit across schools in the community.

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SUMMERMUSIK FESTIVAL 2023 | 17ABOUT TCTThe Children’s Theatre of Cincinnati (TCT) has been creating lifelong memories for families with children and school audiences since 1919. The Children’s Theatre has experienced a growth of the organization in recent years, which included moving into its current home on Red Bank Road in 2015. In this state-of-the-art facility, eight classroom spaces allowed for the expansion of TCT Academy, oering performing arts instruction for children of all ages. After all, “That’s why they call it a play,” and who better to provide such instruction than a professional theatre company? According to recent evidence, the legacy of The Children’s Theatre of Cincinnati began with Helen Schuster-Martin in the Schuster-Martin School of Drama in 1919. Helen was a Junior League of Cincinnati member and brought her expertise of live theatrical entertainment for children by launching The Junior League Players as a director of their ﬁrst productions in the early 1920s, with Junior League members serving as actors, managing ticket sales, and overseeing production responsibilities until The Children's Theatre of Cincinnati launched as an independent nonproﬁt organization in 1947. The Junior League of Cincinnati continued to maintain a standing committee to provide volunteer support for many years after TCT's launch, and the two organizations have maintained a close partnership for the past 100 years. (Haley B. Elkins, Managing Director, Junior League of Cincinnati).The Children's Theatre’s mission is to educate, entertain and engage audiences of all ages through professional theatrical productions and arts education programming.

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18 | SUMMERMUSIK FESTIVAL 2023LUDWIG VAN BEETHOVEN (1770-1827)Symphony No. 10 in E-at Major (sketched 1817-27)1988 reconstruction by Barry CooperThe most famous unﬁnished musical work in the classical repertory is probably Schubert’s Symphony in B Minor; it even acquired the term as a nickname. But Beethoven scholar Barry Cooper wrote in The Beethoven Compendium, which he edited, “It is not widely appreciated that, if every independent scrap of Beethoven’s music is counted separately, many more unﬁnished compositions survive than ﬁnished ones … to take just one genre, [biographer] Gustav Nottebohm estimated that Beethoven began at least 50 symphonies altogether.”The initial impetus for one of these came in a June 1817 letter from the Philharmonic Society of London inviting him to write two symphonies for their next season, February-June 1818. But though he began to sketch ideas, work on his “Hammerklavier” sonata for piano distracted him, and the next March Beethoven wrote to the Philharmonic saying, essentially, “Nope, sorry, not this year.”By 1822 Beethoven had resumed work on the two symphonies, but he was making progress. Sketches dated from that October show that he had decided to write a choral ﬁnale for one of the symphonies—a setting of the “Ode to Joy” by Friedrich Schiller. At this time, too, the formal plan of the other symphony was taking shape. As Barry Cooper put it in his biography of Beethoven, the sketches indicate “a curious ﬁrst movement (or ﬁrst two movements) combining an Andante in E ﬂat with an Allegro in C Minor, and one sketch shows a synopsis of what might follow: a movement in G Minor, a fugue in B ﬂat Major, and a minuet-like ﬁnale in E ﬂat that incorporates a reprise of part of the opening Andante.” (Ideas for this ﬁnale became the Gratulations-Menuett of November 1822, an agreeable triﬂe written for a concert in honor of Carl Friedrich Hensler, the manager of Vienna’s Josephstadt Theater.)Again work on a large-scale piano piece intervened: the Diabelli Variations. But by the summer of 1823, Beethoven was back at work on one of the symphonies—the one with the choral ﬁnale. He decided to borrow a tune from the E ﬂat Andante, modifying it somewhat; and when you hear the original version of this tune in the Tenth, the ﬁrst theme in the winds after a very brief introduction, you might recognize a kind of sideways resemblance to the slow-movement theme of the Ninth (and to a theme in the “Pathetique” piano sonata).Now concentrating on the Ninth, Beethoven ﬁnished it in February 1824, and it was premiered in Vienna to tumultuous acclaim in May. He sent its score to London right away, and the Philharmonic played it in March 1825. That out of the way, Beethoven resumed work on the E ﬂat symphony. As Cooper describes it, “Altogether there are about 250 bars of sketches for the ﬁrst movement … and although no single sketch for the movement exceeds about 20 bars, together they form a coherent picture of it.” At this point the work was complete enough in Beethoven’s head that a friend of his, violinist Karl Holz, later remembered him playing it through on the piano, using his original concept: an Andante in E ﬂat followed by an Allegro in C Minor. Beethoven reprises the opening Andante at the end of this movement, though, instead of saving it for the minuet ﬁnale. This is just the scheme Schubert uses in the ﬁrst movement of his “Great C Major” symphony, which he was also working on in 1824-26: bringing back its opening proclamatory theme as a triumphant closing gesture. Coincidence, almost certainly; it’s highly unlikely the two Viennese composers met and talked shop, but you never know—maybe, just maybe, Schubert gave Beethoven the idea… though Beethoven’s reprise is four and a half minutes long and Schubert’s is 13 bars. (Another curious coincidence: Beethoven was working on a String Quintet in C just before he died, and Schubert was too, just before he died the following year.)PROGRAM NOTESby Gavin Borchert

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SUMMERMUSIK FESTIVAL 2023 | 19On March 18, 1827, a decade after the initial invitation, Beethoven wrote to the Philharmonic thanking him for a gift of 100 pounds they had sent him and promising to ﬁnish the E ﬂat symphony. It was his ﬁnal correspondence; he died on March 26. This conjectural completion by Cooper was premiered by the Royal Liverpool Philharmonic in October 1988, bringing the Tenth back to England (if not London). (The rest of the Tenth was “completed” by artiﬁcial intelligence in 2021, based on the tiny scraps of ideas Beethoven left for the other movements, including the Gratulations-Menuett. A synthesized recording is on YouTube, if you must.)Piano Concerto No. 6 in D Major, Hess 15 (1815) World premiere of reconstruction by Cees Nieuwenhuizen1815 was not a particularly productive year for Beethoven; the year’s most important work, from July and August, are the two cello sonatas op. 102. For the remainder of the year he turned out only a couple of lesser occasional pieces. But he had spent the winter and spring on a piano concerto, turning out 30 pages of score—182 bars, some of it fully orchestrated, for other passages only a sketch of the piano part. It’s unclear why he abandoned “one of the longest and most developed of Beethoven’s unﬁnished works,” biographer Lewis Lockwood calls it; unlike with the Symphony no. 10, no more absorbing project interrupted his work. Most likely his growing deafness made it gradually but unavoidably clear that he would never be able to perform the concerto himself.A ﬁrst performing version of what Beethoven left was made in 1989 by Nicholas Cook and Kelina Kwan of Hong Kong University, and Hermann Dechant contributed to a revision of this version in 2015. Recently a new attempt was made by Dutch musicologist Cees Nieuwenhuizen, who has made completions of several other Beethoven fragments, including an oboe concerto and a piano trio. Of this work, he has written: “The score, as Beethoven left it to us, is not a musical reduction but rather a rough ‘concept.’ Beethoven made such concepts at a very early stage, capturing the most important information about the entire part: key, modulation, form, dramatic twists, solo parts, etc. Such a rough concept cannot be turned into a playing version without a proper degree of additional input; it needs some additional composing. Therefore, we prefer not to speak about a ‘reconstruction,’ but rather about a ‘playable work based on material from Beethoven.’ All of Beethoven’s material is used unaltered; the rest is completion.”One word of advice if you are moved to seek out this work: Two dierent works have been known as Beethoven’s “Piano Concerto no. 6 in D.” Beethoven arranged the solo violin part of his Violin Concerto for piano, and the result (which is also in D Major) has been sometimes called his Sixth Piano Concerto. But that has a dierent opus number, 61a, and is a complete work; whereas this torso was given the number Hess 15 by Willy Hess, who in the 1950s compiled a catalog of Beethoven’s fragments.Symphony No. 5 in C Minor, Op. 67 (1808)The wonderful dramatic irony of the launch of Beethoven’s Symphony No. 5 is that though it’s the most famously assertive and attention-getting opening gesture in the symphonic repertory—the archetypal classical “hook”—it’s completely ambiguous rhythmically and harmonically. Unlike nearly all previous symphonies by anyone, which solidly establish a key and meter with their opening musical ideas, Beethoven’s doesn’t; you can’t tell by hearing the ﬁrst bars alone that the movement will be in C Minor and in 2/4. The opening’s power lies partly in its combination of strength and mystery; it grabs you by the lapels but leaves important questions unanswered.Scan to watch Bernstein discuss Symphony #5

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20 | SUMMERMUSIK FESTIVAL 2023Contrast this with the beginning of the ﬁnale—a work of many moods, but ambiguity is not one. I challenge anyone to devise a more C-Major-y tune. Let’s all sing it together:DO-MI-SO! This move-ment is in FOUR! Yes, it IS! Yes, it IS!Beethoven began planning and sketching this symphony in 1804, but not until 1808 did he ﬁnish it, just in time for a huge concert he gave on December 22 in Vienna’s Theater an der Wien, which included: the Symphony No. 6 the concert aria “Ah, perﬁdo!” the Gloria from his Mass in C the Piano Concerto No. 4 [intermission] the Symphony No. 5 the Sanctus from his Mass in C a piano improvisation the Choral Fantasy for piano, orchestra, and chorusThis marathon lasted, reported one audience member, from 6:30 to 10:30. All these works were premieres except “Ah, perﬁdo!”; the orchestra was amateur (most of Vienna’s ﬁrst-rank players were engaged for other performances); rehearsal time had been severely limited, considering all the new pieces; Beethoven was nearly fully deaf (this was his last public performance as a pianist); and the hall was cold. All in all, it must have been an ordeal for all concerned. (Research indicates that the Cincinnati Symphony recreated this program in 2020; were any of you there?)Another irony is the rococo prose this symphony has inspired, despite its tightknit construction and punchy forward thrust. This is how E.T.A. Homann, a German writer (he wrote the short story Tchaikovsky’s Nutcracker is based on) and composer, described one passage in the ﬁrst movement, in a review he wrote in 1810 after having perused the recently published score: “They are sounds that depict the breast, constricted and arighted by presentiments of enormity, struggling for air. But like a friendly ﬁgure moving through the clouds and shining through the darkness of night, a theme now enters that was touched on by horns … in the ﬁrst half.”And the Fifth’s closing engendered this ﬂight: “Indeed for many moments after it he will be unable to emerge from the magical spirit-realm where he has been surrounded by pain and pleasure in the form of sounds.”Decades later, E.M. Forster’s novel Howard’s End includes this famous (notorious) rhapsody about Beethoven’s third movement: “The music started with a goblin walking quietly over the universe, from end to end. Others followed him. They were not aggressive creatures; it was that that made them so terrible … They merely observed in passing that there was no such thing as splendour or heroism in the world. After the interlude of elephants dancing, they returned and made the observation for the second time … Panic and emptiness!”After the thrilling transition into the ﬁnale, Forster gets purpler: “Gusts of splendour, gods and demigods contending with vast swords, colour and fragrance broadcast on the ﬁeld of battle, magniﬁcent victory, magniﬁcent death! … Any fate was titanic; any contest desirable; conqueror and conquered would alike be applauded by the angels of the utmost stars.”

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22 | SUMMERMUSIK FESTIVAL 2023SOUND OF SILENCESUNDAY, AUGUST 6 | 4PMKNOX PRESBYTERIAN CHURCHApproximately 75 minutesAWADAGIN PRATTpianoWILLIAM BOYCE Voluntary No. 1 in D MajorAshley Hall-Tighe, trumpetBEDRICH SMETANAString Quartet No. 1 in E Minor (“From My Life”)I. Allegro vivo appassionatoGABRIEL FAURÉPavane, Op. 50Ashley Hall-Tighe, trumpetLUDWIG VAN BEETHOVENPiano Sonata No. 31, Op. 110III. Adagio ma non troppoAwadagin Pratt, pianoLUDWIG VAN BEETHOVEN String Quartet No. 16 in F Major, Op. 135 IV. Der schwer gefasste Entschluss (The dicult decision)WILLIAM BOYCE"Tell Me, Lovely Shepherd” from SolomonAshley Hall-Tighe, trumpetGABRIEL FAURÉPiano Quintet No. 2, Op. 115III. Andante moderatoIV. Allegro moltoAwadagin Pratt, pianoPERFORMANCE CURATORECKART PREUmusic director Concert SponsorAwadagin Pratt SponsorLucy AllenMusic SponsorPeter Hsi and Jocelyn WangEvent SupporterFriends of SummermusikA Little Afternoon Musik Series SponsorsROSEMARY & MARK SCHLACHTERIRV & MELINDA SIMONElizabeth Whelpdale, Program ManagerCommunity Services for the Deaf, Hearing Speech & Deaf Center

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SUMMERMUSIK FESTIVAL 2023 | 23Ashley Hall-Tighe, CCO principal trumpetCCO MEMBER SINCE 2008Ashley Hall-Tighe is an internationally renowned musician, educator and certiﬁed life coach. With her exuberant and relatable approach and her passion for building authentic and meaningful connections, Ashley enjoys engaging audiences as a soloist and ensemble musician, facilitating coaching courses, working with individuals in her private coaching practice, and leading professional and personal development workshops.As an educator, Ashley combines her passion for whole-person development with a methodical approach to trumpet improvement. Her teaching on respiratory mechanics, strategic practice planning, upper register development, as well as her personal stories of growth make her one of the most sought-after guest clinicians and educators on the trumpet. She has served on the faculties of the University of Dayton, St. Olaf College, University of North Carolina School of the Arts, and the Longy School of Music of Bard College, where she was the founding director of the School’s Career Coaching Program, helping students develop careers that align with their values. Ashley is an Associate Certiﬁed Coach with the International Coaching Federation and trained with Co-Active Training Institute and Graydin. In her private coaching practice Ashley oers individual coaching sessions that empower artists to unlock their potential and align their values with their creative lives. She is a Certiﬁed Start with Heart Facilitator through Graydin and leads professional development coaching courses for institutions seeking cultural transformation.

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SUMMERMUSIK FESTIVAL 2023 | 25PERFORMANCE CURATORHugh 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 CCO since 1993 and has soloed with the ensemble twice.Zach has been charming and delighting audiences with his sharp wit, storytelling and jokes clean enough to repeat to your mother. He was the winner of the Funniest Person in Cincinnati contest as well as the winner of the Talent Search Contest at the Columbus Funny Bone. He has been featured in several comedy festivals (including the largest beer and comedy festival in America!) and has opened for Dusty Slay, Geo Tate, Mary Mack, and Brian Posehn. From a church to a dimly-lit comedy club, the conventionally unconventional Wycu will be sure to leave you laughing (or at least saying, "Well, at least he's pretty cute").ZACH WYCUFFCCO WELCOMES EIGHT NEW MUSICIANS!We are thrilled to introduce eight new members to our permanent roster:Annie Darlin Gordon, Principal FluteRebekah Edewards, ViolaBonnie Farr, OboeDavid Goist, ViolinStephen Goist, ViolaGyusun Han, ViolinCaterina Longhi, ViolaJessica Smithorn, Principal OboeThese talented musicians were selected after ﬁve auditions that were pro-moted nationally, drawing more than 125 applicants.

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SUMMERMUSIK FESTIVAL 2023 | 27Concert Sponsor Mimi Stillman SponsorThe Great-Uncle: JOHANN BACH Unser Leben ist ein SchattenThe Cousin: JOHANN CHRISTOPH BACH Ciacona FROM 'Meine Freundin, du bist schön'The Master: JOHANN SEBASTIAN BACH Sinfonia in D Major, BWV 1045The Inuenced: ZHOU TIAN Flute Concerto (CCO Co-Commission) I. Irises II. Capriccio III. Arioso IV. Toccata Mimi Stillman, utee INTERMISSION f“The London Bach”: JOHANN CHRISTIAN BACH Magniﬁcat a 4 in C MajorThe “Sensitive” Bach: CARL PHILIPP EMANUEL BACH Magniﬁcat in D Major Wq. 215 H.772 I. Magniﬁcat IV. Et misericordia eius VIII. Gloria Patri IX. Sicut erat in principioCollegium Cincinnati | Olivia Knutsen, sopranoChristopher SmithGenealogy & Local History Department, Cincinnati & Hamilton County Public LibraryAll selections are CCO Premieres.THE BACHS: A MUSICAL DYNASTYSATURDAY, AUGUST 12 | 7:30PMPrelude Talk: 6:45PM Eckart Preu, conductorSUMMERMUSIK SPONSORED BYROBERT & DEBRA CHAVEZ Approximately 2 hours.Collegium SponsorThe Wohlgemuth Herschede FoundationMusic SponsorCCO Emeritus BoardVenue SponsorDawn and Doug BruestlePost-concert Reception SponsorMainstage Series SponsorThe Josephine Schell Russell Charitable Trust, PNC Bank, Trustee

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28 | SUMMERMUSIK FESTIVAL 2023MIMI STILLMANFlutistMIMI STILLMANis an internationally acclaimed solo, chamber, and recording artist hailed by the New York Times as “not only a consummate and charismatic performer, but also a scholar. Her programs tend to activate ear, heart, and brain.” Praised for her “exquisite purity of sound and depth of emotion” (Diario de Yucatán), she has appeared as a soloist with major orchestras and as recitalist and chamber musician at prestigious venues throughout the United States and internationally. She has appeared as soloist with the Philadelphia Orchestra, Marine Chamber Orchestra of “The President’s Own” United States Marine Band,Indianapolis Chamber Orchestra, Bach Collegium Stuttgart, andOrquesta Sinfónicade Yucatán; and at venues including Carnegie Hall, the Kennedy Center, Smithsonian American Art Museum, La Jolla Music Society, Verbier Festival (Switzerland), Kol HaMusica (Israel),on Curtis On Tour’s virtualLatin American tour 2021 in Mexico, Chile, Colombia, and Peru.In 2022, she gave the world premiere of Grammy-nominated composer Zhou Tian’sConcerto for Flute and Orchestra,written for her, with the Marine Chamber Orchestra and Director Col. Jason K. Fettig. The work was commissioned with a consortium of seven American orchestras, with which she performs the concerto.MimiStillman is the founding Artistic Director of the celebrated Dolce Suono Ensemble (DSE), performing Baroque to new music in Philadelphia and on tour, in programs with high intellectual content setting music in its broadest cultural context.A leader in the new music ﬁeld, Stillman has given 66 world premieres in 18 seasons with Dolce Suono Ensemble. Some of DSE’soutstanding projects include Mahler 100 / Schoenberg 60; Women Pioneers of American Music; and APlace and a Name: Remembering the Holocaust.“All programs should have this much to say, and say it so well.” (The Philadelphia Inquirer).A Spanish speaker,Ms. Stillman created DSE’s award-winning Música en tus Manos (Music in Your Hands) project to engage Philadelphia’s Latino communities in the chamber and popular music of Latin America. DSE has been awarded grants from theNational Endowment for the Artsand other prestigious institutions.Stillman’s artistic diversity makes a unique mark on the music world, reaching a global audience as masterclass teacher and Livestream and media host. She is the host of “Tea withMimi,” her popular Livestream series initiated early in the Covid pandemic.MimiStillman has won numerous competitions and awards including Young Concert Artists International Auditions.A Yamaha Performing Artist and Clinician, she has taught masterclasses and done residencies for universities throughout the United States and internationally, including Universidad Nacional Autónoma de México (UNAM), École normale de Musique de Paris, Teatro Municipal de Santiago (Chile), and conservatories in Milan, Puerto Rico, Buenos Aires, and Bogotá.MimiStillman made the leap from child prodigy to inimitable artist. At age 12, she was the youngest wind player ever admitted to the Curtis Institute of Music, where she studied with the legendary Julius Baker and Jerey Khaner and earned her Bachelor of Music degree. She holds an MA in History from the University of Pennsylvania, and has written on music and history.She is on faculty at Temple University.Collegium Cincinnati is a vibrant arts organization serving Greater Cincinnati. It presents engaging, enlightening, and inspiring programs that include favorites like Handel's Messiah, along with masterpieces by modern composers. The musicians are the ﬁnest in the region and come from our own community. Together with the support of our patrons, Collegium Cincinnati enriches the Queen City and continue its rich and storied musical heritage.Collegium Cincinnati is artist-in-residence at Christ Church Cathedral and is committed to reaching the entire region. They have performed from bourbon bars to cathedrals and will continue to ﬁnd new and exciting ways to connect with patrons and supporters.

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30 | SUMMERMUSIK FESTIVAL 2023JOHANN BACH (1604-73)“Unser Leben ist ein Schatten” JOHANN CHRISTOPH BACH (1642-1703)“Meine Freundin, du bist schön” JOHANN SEBASTIAN BACH (1685-1750)Sinfonia in D Major, BWV 1045 (1743-46?)JOHANN CHRISTIAN BACH (1735-82)Magnicat, W E22 (1760)CARL PHILLIP EMANUEL BACH (1714-88) Magnicat, H 772, Wq 215 (1749)The entries for members of the Bach family in the most recent (2001) edition of the New Grove Dictionary of Music and Musicians number 77, from Veit Bach (c. 1555-1619) to Johann Philipp (1752-1846). Today’s concert opens with 1/3 the surviving repertory (= three motets) by Johann (#4 in Grove’s list), Veit’s grandson and the great-uncle of Johann Sebastian. Eight of the 77 were named Johann Christoph with no other distinguishing middle name, but the one who wrote this cantata (#13) was the cousin of J.S.’s father Johann Ambrosius. Grove calls him “probably the most important member of the family before Johann Sebastian.” As the chief organist in Eisenach, the town where J.S. was born, and harpsichordist at the ducal court, J.C. was likely the ﬁrst keyboard virtuoso J.S. heard as a boy. (Another Johann Christoph was J.S.’s own older brother, who raised J.S. after their parents died in 1694 and 1695.)The vocal text for his cantata 'Meine Freundin, du bist schön' is taken largely from the biblical Song of Songs; explanations of what’s happening—basically, the young marrieds are trying to meet for a tryst in a garden, despite teasing from relatives—were added to the score by Johann Ambrosius, perhaps with some family in-jokes included. If much of the music seems somber for a wedding piece, it’s deceptively so; my favorite moment is when the soprano, representing the bride, sings over and over “Ich bin krank” (“I am sick”) before she can bring herself to add “for love.” J.C. also added an ornate, skittish violin solo to this central aria, perhaps to signify her excitement for the big event (or to resemble the garden’s lush foliage, if your point of view is more prudish). These ﬁrst two works, Johann’s motet and J.C.’s cantata, were preserved by J.A. in the Altbachisches Archiv, a collection of music manuscripts, mostly by various Bachs, passed down to J.S. and then to J.S.’s son Carl Philipp Emanuel, the family’s ﬁrst genealogist (who provided invaluable information, not discoverable elsewhere, on many of those 77).Next comes a little-known work by the family’s most famous member, Johann Sebastian (#24). This brief and festive Sinfonia, with its concerto-like violin solo, is likely the instrumental overture to a cantata that was either lost or never ﬁnished. The violin part ﬂies quite high compared to Bach’s other solo violin writing, and for much of the score he wrote out only the chords, the harmonic skeleton, that he wanted the violin to play, leaving the soloist to decide how to turn the chords into idiomatic violin ﬁguration.Johann Christian Bach (#50) and Carl Philipp Emanuel (#46) were, respectively, the 11th of the 13 children of Anna Magdalena Bach, Johann Sebastian’s second wife, and the 5th child of seven of Maria Barbara Bach, J.S.’s ﬁrst wife. C.P.E. remained in Germany (ﬁrst in Berlin, where PROGRAM NOTESby Gavin BorchertJohann Christoph

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SUMMERMUSIK FESTIVAL 2023 | 31he worked at the court of Frederick the Great, then in Hamburg) for his entire career, and is best remembered for his quantity of highly idiosyncratic, rhythmically and harmonically wayward, and forward-looking keyboard and orchestral music, a major inﬂuence on Haydn and Beethoven.J.C., on the other hand, traveled: ﬁrst to Italy to study opera composition, then to London, where for 20 years he followed in Handel’s path as a popular German composer of operas in Italian for English theaters. (C.P.E. wrote no operas.) In 1764 the Mozart family visited London, where J.C. met and taught the young Wolfgang Amadeus, who adapted three of J.C.’s piano sonatas into piano concertos (given the catalog number K. 107). Through his sonatas, in fact, J.C. was fundamental in establishing the piano in London as the central popular keyboard instrument, superseding the harpsichord.Both brothers wrote a good amount of church music, though it’s not often heard today. Their father’s setting of the Magniﬁcat, a hymn in praise of Mary, is one of his most popular choral works, and J.C. (three settings, one of them unﬁnished) and C.P.E. (possibly for seeking a church job) both tried their hand with this text. (A word about the numbering: W stands for Ernest Warburton, the scholar who catalogued J.C.’s music between 1984 and 1999; Wq for Alfred Wotquenne, who did the same for C.P.E. in 1905; and H for Eugene Helm, who produced a revised catalogue for C.P.E. in 1989.)Johann ChristianCarl Philipp Emanuel

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32 | SUMMERMUSIK FESTIVAL 2023ZHOU TIAN (b. 1981)Concerto for Flute and Orchestra (2022)Irises. Capriccio. Arioso. Toccata.These are four movements that infuse the Flute Concerto, written for Mimi Stillman. From tranquil meditations to wild rituals, the concerto is empowered by tradition while exploring the diversity of musical styles through reﬂection on the ﬂute’s long and rich heritage (hence the baroque-inspired subtitles). There are hints of my musical lineage from Barber to Piston to traditional Chinese music, as I sought a coexistence of clarity of form with passionate expression, exploring the richness of orchestral timbre yet always embracing purity of line.The work begins with "Irises," a movement of mixed moods of long singing lines and airy dances. The ﬂower makes me think about the ﬂute – sensuous and yet strong. “Capriccio” is a scherzo in perpetual motion. The rapid, repeated notes and the concise form drew its inspiration from Baroque dance pieces. “Arioso” is a meditation. As the soloist joins the plush strings, dashing harp and woodwinds, the sonic color is altered frequently, masking the hinted atonality in the melody with romanticism. “Toccata,” the ﬁnale, is a virtuosic dance. An accumulation of materials sends the piece to a climax at the end.The concerto was commissioned by Dolce Suono Ensemble, Marine Chamber Orchestra of “The President’s Own” United States Marine Band, Chamber Orchestra of the Triangle, Annapolis Chamber Orchestra, Allentown Symphony Orchestra, Cincinnati Chamber Orchestra, Portland Symphony Orchestra, and Youth Orchestra of San Antonio. — Note by Zhou TianTHAT SOUNDED GREAT! TASTE OF BELGIUM SOUNDS PRETTY GOOD TOO!Join us at your favorite Taste of Belgium location and keep the celebration going! Reserve your spot today at authenticwaﬄe.com/locations.

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SUMMERMUSIK FESTIVAL 2023 | 35SONS OF BACHSUNDAY, AUGUST 13 | 4PMNORTHMINSTERMIMI STILLMANﬂutePoor GeniusWILHELM FRIEDEMANN BACH (1710–84)Sinfonia in F Major, Fk 67 (“Dissonant”)I. VivaceWorking for the KingCARL PHILIPP EMANUEL BACH (1714–88)Flute Concerto in D Minor, Wq 22, H. 425III. Allegro di moltoMimi Stillman, uteTo steal, or not to steal...ANTONIO VIVALDI (1678 –1741)Flute Concerto in G Minor, RV 439 (“La Notte”)Mimi Stillman, ute The Forgotten JOHANN CHRISTOPH FRIEDRICH BACH (1732–95)Sinfonia in D Minor WFV I:3I. AllegroThe London Bach JOHANN CHRISTIAN BACH (1735–82)Oboe Quartet in Bb Major W.B60The FatherJOHANN SEBASTIAN BACH (1685–1750)Brandenburg Concerto No. 5, BWV 1050Mimi Stillman, ute Celeste Golden, violinApproximately 75 minutesA Little Afternoon Musik Series SponsorsROSEMARY & MARK SCHLACHTERIRV & MELINDA SIMONConcert SponsorWilliam O. Purdy Jr. FoundationMimi Stillman SponsorJames and George Ann WesnerMusic SponsorDeborah CampbellEvent SupporterRossana StettlerECKART PREUperformance curatormusic directorJe HerbertHamilton County Genealogical SocietyThe Bach Family: J.S. Bach (left) with three of his sons. Artist unknown.The authenticity of this portrait is debated.

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36 | SUMMERMUSIK FESTIVAL 2023SWEET OR TART?TUESDAY, AUGUST 15 | 7:30 PMURBAN ARTIFACTApproximately 75 minutesConcert SponsorA Friend of SummermusikVenue SponsorSusan Esler and Steve SkiboMusic SponsorEvan and Sarah GidleyTom Guth SupporterFriends of SummermusikFRANZ SCHUBERT Piano Quintet in A Major, “The Trout” I. Allegro Vivace V. Allegro giustoJOHANNES BRAHMS Piano Quartet in G Minor IV. Rondo alla ZingareseGEORGE ONSLOW String Quintet, Op. 38, “The Bullet” II. Minuetto non tanto presto DoloreANTONIN DVORAK String Quintet No. 2 in G Major II. ScherzoANDRES F. MALDONADO Tango for String QuartetBILLIE HOLIDAY, ABEL MEEROPOL Strange FruitARR. EDWARD W. HARDYERVIN T. ROUSE Orange Blossom SpecialARR. MATTHEW NAUGHTINChamber Crawl Series SponsorTHE LOUISE DIETERLE NIPPERT MUSICAL ARTS FUNDDrinks will be available for purchase.

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SUMMERMUSIK FESTIVAL 2023 | 39A 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 SquarePERFORMANCE CURATORRoger Klug, guitarist and songwriterSongwriter/guitarist Roger Klug has been a ﬁxture on the Cincinnati pop music scene for years. As a solo artist, he released a series of acclaimed albums, including More Help For Your Nerves, Toxic and 15 Other Love Songs, and the 1960s tribute-hoax Where Has The Music Gone?: The Lost Recordings of Clem Comstock. His songs have been featured on nationally-syndicated radio (NPR, Undercurrents) and network television.In addition to performing live solo or with his “power trio,” Roger has enjoyed playing in a wide variety of ensembles, from pop to jazz to orchestral. Return of Chamber Rock is his sixth curated program of original arrangements for Cincinnati Chamber Orchestra in four years (following The Fab Five, Chamber Rock, Summer of Love, Woodwindstock, and The Fab Five + Friends). He designed and currently teaches popular music courses on the Beatles and Woodstock at the University of Cincinnati.“Timeless Power Pop that churns out songs so infectiously rich with hooks the CDC might think about investigating” – CityBeat“Songs of immense charm and complexity, lyrically, smart-arsed and sharp” – MOJO (U.K.)Roger plays Wright Minds guitars (Indianapolis, IN).For more information on Roger, visit his website at rogerklug.com.

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SUMMERMUSIK FESTIVAL 2023 | 41SATURDAY, AUGUST 19 | 7:30PMPrelude Talk: 6:45PM Eckart Preu, conductorA NIGHT IN HAVANAGEORGE GERSHWIN, arr. JAVIER DIAZ Cuban OvertureTANIA LEÓN ÁcanaSILVESTRE REVUELTAS Sensemayá for chamber ensemble (1938)ERNESTO LECUONA, arr. H.-P. PREU Andalucia Suite Andalucia Cordoba Guadalquivir Alhambra Gitanerias Malaguenae INTERMISSION fJOAQUÍN RODRIGO, arr. BOB BARRETT Concierto de Aranjuez II. Adagio Arturo Sandoval, trumpet ARTURO SANDOVAL, arr. GREGG AUGUST Concerto for Trumpet No. 2 Dear Diz (Every Day I Think Of You) Arturo Sandoval, trumpet All selections are CCO Premieres.SUMMERMUSIK SPONSORED BYROBERT & DEBRA CHAVEZ Approximately 2 hours.Concert SponsorThe Louise Taft Semple FoundationArturo Sandoval SponsorRobert and Debra ChavezMusic SponsorNancy and Jonathan LippincottEvent SupporterCarol and George BeddiePost-concert Reception SponsorMainstage Series SponsorThe Josephine Schell Russell Charitable Trust, PNC Bank, TrusteeWine and non-alcoholic beverages will be available for purchase.

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42 | SUMMERMUSIK FESTIVAL 2023ARTURO SANDOVALA protégé of the legendary jazz master Dizzy Gillespie, Sandoval was born in Artemisa, a small town in the outskirts of Havana, Cuba, on November 6, 1949. Sandoval began studying classical trumpet at the age of twelve, but it didn’t take him long to catch the excitement of the jazz world. He has since evolved into one of the world’s most acknowledged guardians of jazz trumpet and ﬂugelhorn, as well as a renowned classical artist, pianist and composer.He is one of the most dynamic and vivacious live performers of our time, and has been seen by millions at the Oscars, at the Grammy Awards, and the Billboard Awards. Sandoval has been awarded 10 Grammy Awards and nominated 19 times; he has also received 6 Billboard Awards and an Emmy Award.Sandoval is a founding member of the Grammy Award-winning group Irakere, whose explosive mixture of jazz, classical, rock and traditional Cuban music caused a sensation throughout the entertainment world. In 1981, he left Irakere to form his own band, which garnered enthusiastic praise from critics and audiences all over the world, and continues to do so.Arturo Sandoval’s versatility can be heard on recordings with everyone from Dizzy Gillespie, Woody Herman, Woody Shaw, Michel Legrand, Josh Groban, Tony Bennett, Bill Conti, and Stan Getz to Johnny Mathis, Frank Sinatra, Paul Anka, Rod Stewart and Alicia Keys, Pharrell Williams, Ariana Grande, and Megan Trainor amongst many others. His underscore compositions can be heard in movies including “The Mule”, “Richard Jewel”, “1001 to 1”, “At Middleton”, the soundtrack for “Havana”, “Random Heart”, “Mambo Kings”, “The Perez Family”, “61”, “Mr. Wrong”, the documentary “Oscar”, and “The Family Fuentes”, among others. He was commissioned by the Kennedy Center to compose the music for the ballet “Pepito’s Story”, “Soul Possessed”, as well as “Oman O Men”, and “The Hot Chocolate Nutcracker". He was awarded an Emmy for composing the underscore to the HBO movie based on his life, “For Love or Country”.Arturo Sandoval reaches beyond the scope of mere eort. His struggles while in Cuba and since his defection have given him more energy and strength, urging him to accomplish and surpass his childhood dreams. Filled with a virtuoso capability, he desires nothing more than to share his gift with others who feel the same intense adoration for music as he does. One frequently speaks of Arturo Sandoval’s virtuoso technical ability or his specialty in high notes, but he who has seen him on the piano, lyrically improvising a ballad, or has had the opportunity to enjoy the diversity of his music, through his compositions from the most straight ahead jazz, Latin jazz or classical, knows that Arturo Sandoval is a prominent musician, and one recognizes that Arturo is one of the most brilliant, multifaceted and renowned musicians of our time.

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44 | SUMMERMUSIK FESTIVAL 2023TANIA LEÓN (b. 1943)Ácana(2008)The last couple years have brought León, born and raised in Cuba and a resident of New York City since 1967, two of the highest honors an American composer can achieve: a Pulitzer Prize in 2021 for the orchestral work Stride, and in 2022 a Kennedy Center Honor alongsideGeorge Clooney,Amy Grant,Gladys Knight,andU2. Also active worldwide as a conductor (from Fargo to Johannesburg, Hamburg to Thailand) and administrator, she has taught at Brooklyn College since 1985.Ácanawas premiered by the orchestra of SUNY Purchase in 2008. Written for Beethoven-size orchestra plus one trombone and two percussionists handling two dozen instruments, it was inspired by “Ácana,”a poem by Cuban poet Nicolás Guillén, which was in turn an ode to the tree (Pouteria multiﬂora, familySapotaceae) of that name. “The pitchfork of my house,” Guillén calls it, referring to its wood’s use, due to its strength, as timber for homes.GEORGE GERSHWIN (1898-1937)Cuban Overture (1932), arr. Javier DiazHaving just seen the musical Of Thee I Sing through to its premiere in December 1931, Gershwin was in need of a vacation, so in February he took o for two weeks to Havana, playground of high society, with a group of friends. (Any intent to rest and recuperate was scotched: “No sleep was had,” he wrote of the trip.) Beguiled by Cuban music, Gershwin soaked up Cuban rhythms and brought back with him a suitcaseful of native percussion instruments: bongos, a gourd, maracas, claves.He used all these for the Rumba he wrote that summer, ﬁnished August 9 just in time for its premiere on an all-Gershwin concert by the New York Philharmonic on August 16. Nearly 18,000 listeners packed Lewisohn Stadium, the Philharmonic’s outdoor home, with 5,000 more showing up hoping to get in to hear Gershwin’s most popular works: the two Rhapsodies for piano and orchestra, the Concerto in F, An American in Paris, a medley of songs, and the overture and a number from Of Thee I Sing. Before Gershwin himself conducted the piece at its second performance on November 1, he changed the title to Cuban Overture. Nicolas Slonimsky brought the work back full circle, conducting its Havana premiere in 1936. Soon after, the Overture was reworked in various arrangements for jazz band, including one featuring a solo piano – presaging the special arrangement heard today, made for Arturo Sandoval by Javier Diaz.PROGRAM NOTESby Gavin BorcherttoWe are proud support600 Street, Suite 2000Cincinna, OH 45202Vine513-621-27331919ic.comBaltimore | Birmingham | Cincinnati | Houston | New York | Philadelphia | San Francisco | Vero Beach

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SUMMERMUSIK FESTIVAL 2023 | 45SILVESTRE REVUELTAS (1899-1940)Sensemayá (1937)Before he became the assistant conductor of theNational Symphony Orchestra of Mexico in 1929, Revueltas traveled widely, studying and working as a violinist in Austin, Texas; Chicago; and Mobile, Alabama. He was a pioneer in the use of indigenous Mexican folk music and folklore in concert works, weaving it into colorful orchestral works, chamber music and several ﬁlm scores.Like Tania León’s Ácana,Sensemayá was inspired by a poem by Cuban poet Nicolás Guillén, depicting the sacriﬁce of a snake in an Afro-Cuban religious cult. The use of obsessive, ritualistic, incantation-like repetition is a hallmark of both the poem and the piece, and Revueltas builds these repetitions to a brutal climax. Revueltas scored this ﬁrst version for an unorthodox ensemble – piccolo, two clarinets, bass clarinet, two trumpets, trombone, violins 1 and 2, bass, and lots of percussion – and a year later for much larger, in fact Mahlerian, orchestra.ERNESTO LECUONA (1896-1963)Suite Andalucía (c. 1927-33?), arr. H.-P. PreuA child-prodigy pianist (whose ﬁrst work, a march, was published at age 11) and founder of the popular Latin band Lecuona’s Cuban Boys, which toured from 1934 to 1975, the hugely proliﬁc Lecuona bridged the classical and pop worlds much as Gershwin and Ellington did. His list of works includes not only songs and piano miniatures but operettas and ﬁlm scores, and one source states he was a student of Ravel.This six-movement suite, originally a piano showpiece, yielded two pop hits: “The Breeze and I” was adapted from the movement “Andaluza,” and “Malagueña,” an even bigger hit, has been recorded by artists from Roy Clark (as a solo guitar showpiece) and Connie Francis to Stan Kenton and the king of “Space Age bachelor pad music,” Esquivel. Today we will hear orchestral versions of these two movements plus four more.JOAQUÍNRODRIGO (1901-99)Concierto de Aranjuez (1939), arr. Bob BarrettUnusually, if not uniquely, for a 20th-century composer, Rodrigo focused his attention on concertos, writing more music in this genre than any other. The Concierto de Aranjuez was followed by more concertos for one or multiple guitars, and for harp, cello, violin, ﬂute, and piano. Many of these were commissions from famous soloists, spurred by the popularity of the Concierto de Aranjuez – for example, harp virtuoso Nicanor Zabaleta, who in 1974 persuaded Rodrigo to arrange the guitar part for harp. Jazz and pop adaptations, too, of the of the slow movement’s memorably elegiac melody are legion. Works for solo guitar and songs for voice with piano or orchestra make up the bulk of Rodrigo’s output.

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46 | SUMMERMUSIK FESTIVAL 2023Blind from age 3, Rodrigo enjoyed a long career as a pianist, academic, and critic. As a young man he studied in Paris with Paul Dukas, composer of The Sorcerer’s Apprentice. His concerto was named for a Spanish city famed for its gardens, but the initial inspiration came from a guitarist hungry for a work for guitar and orchestra, a combination neglected throughout the 19th century. Rodrigo later remembered:“In September of 1938, I was in San Sebastián on my return to France … Itwas during a dinner organized by the Marqués de Bolarque with [guitarist] Regino Sáinz de la Maza and myself. We ate well and the wine was not bad at all; it was the right moment for audacious fantasizing … All of a sudden, Regino, in that tone between unpredictable and determined which was so characteristic of him, said: ‘Listen, you have to come back with a concerto for guitar and orchestra’– and to go straight to my heart, he added in a pathetic voice, ‘It’s the dream of my life’ … Resorting to a bit of ﬂattery, he continued. ‘This is your calling, as if you were the chosen one.’“I quickly swallowed two glasses of the best Rioja, and exclaimed in a most convincing tone, ‘All right, it’s a deal!’”In another letter, Rodrigo reminisced about the composition of the world-famous adagio melody: “I heard the complete theme of the adagio singing inside my head, all at once without any hesitation, and almost identical to that which you will hear.” And to guitarists playing the concerto, he advised, “It should sound like the hidden breeze that stirs the treetops in the parks, as strong as a butterﬂy, as dainty as averónica[a traditional bullﬁghting move].”ARTURO SANDOVAL (b. 1949)Concerto for Trumpet No. 2 (2015), arr. Gregg August“Every Day I Think of You” (2011), arr. Gregg AugustSandoval studied classical trumpet in his native Cuba but, under the mentorship of Dizzy Gillespie, embraced jazz early on and became a hugely proliﬁc recording artist, appearing as bandleader or guest artist on dozens of albums. He defected to the U.S., speciﬁcally to the U.S. embassy in Athens, in 1990, but due to his brief membership in the Cuban Communist Party was denied citizenship until 1998.“Every Day I Think of You” is the title track from the 2012 album that won theGrammy Award for Best Large Jazz Ensemble Albumin 2013, one of Sandoval’s 10 Grammy Awards. His ﬁrst trumpet concerto was featured on 1994’s The Classical Album alongside concertos by Leopold Mozart, Hummel and Alexander Arutiunian; his second received its U.S. premiere in 2018.

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48 | SUMMERMUSIK FESTIVAL 2023ALICE GOMEZ Salsa MetalicaPETE RUGULO MachitoDIZZY GILLESPIE Con AlmaGIL FULLER & CHANO POZO Tin Tin DeoDIZZY GILLESPIE MantecaCHUCHO VALDÉS Mambo InﬂuenciadoMONGO SANTAMARIA Afro Blue All arranged by Eric LechliterTRADITIONAL, arr. JAMES ACKLEY La Virgen De La MacarenaDIZZY GILLESPIE, arr. TONY BEMADE Groovin' HighTHELONIOUS MONK, arr. INGO LUIS 'Round Midnight DIZZY GILLESPIE, arr. KEITH TERRETT A Night in Tunisia Arturo Sandoval, trumpet Approximately 75 minutesAFRO-CUBAN AFTERNOONSUNDAY, AUGUST 20 | 4PMROGER BACON HIGH SCHOOLECKART PREUperformance curatormusic directorConcert SponsorKelly M. Dehan and Richard J. StaudigelArturo Sandoval SponsorRobert and Debra ChavezCCJO SponsorWilliam O. Purdy Jr. FoundationMusic SponsorTony ColeEvent SupporterGuy Wolf and Jane MisiewiczA Little Afternoon Musik Series SponsorsROSEMARY & MARK SCHLACHTERIRV & MELINDA SIMONERIC LECHLITER CCJO artistic directorPERFORMANCE BY SOUND BODY JAZZ ORCHESTRA | 3:15PM

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SUMMERMUSIK FESTIVAL 2023 | 49The Cincinnati Contemporary Jazz Orchestra (CCJO) is a 17-member ensemble dedicated to performing, preserving, and teaching Jazz as a living art form. Founded by University of Cincinnati College-Conservatory of Music professor Scott Belck in 2013, the orchestra is comprised of some of the preeminent jazz artists and educators in the Greater Cincinnati area. As an ensemble, CCJO focuses on featuring the works of contemporary composers and contributing to the jazz legacy by producing and performing its own original material while still maintaining a ﬁrm footing in the grand tradition of big band jazz. This balanced vision along with a mission to make jazz accessible and approachable for listeners of all backgrounds means that the group’s programming is often drawn from artists ranging from Duke Ellington and Charles Mingus all the way to Prince and David Bowie. The CCJO also values collaboration and has reached across musical boundaries to welcome musicians of diverse perspectives and musical persuasions to share their stage. In addition to backing up many of the world’s brightest jazz stars, the band has performed with everyone from Latin percussionists to classical string quartets to full gospel choirs. In April 2023, the band performed with multi-Grammy Award-winning composer Maria Schneider as part of the Xavier University Music Series.The CCJO’s Jazz@First series features thematic and exciting chamber jazz in an intimate setting at the First Unitarian Church. CCJO chairman and pianist Phil DeGreg leads the popular series which features the Phil DeGreg Trio alongside jazz greats from Cincinnati and around the world.In addition to maintaining its performance schedule, the CCJO has a similarly strong commitment to Jazz and cultural education. Through its two main educational programs - Collaborative Honing of Performance Skills (CHOPS) and “Let Freedom Swing,” the organization provides no-cost guest clinicians for local Jazz programs as well as educational presentations for school districts in the Greater Cincinnati area. These programs seek to inspire and provide opportunities for the next generation of Jazz musicians and listeners.

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50 | SUMMERMUSIK FESTIVAL 202350 | SUMMERMUSIK FESTIVAL 2023Grab some popcorn, sit back, and enjoy this award-winning documentary by Wim Wenders about the music of Cuba. The ﬁlm was nominated for an Academy Award for Best Documentary Feature in 2000. In 2020, both the ﬁlm and the 1997 album were selected for preservation in the United States National Film Registry and the National Recording Registry, respectively, by the Library of Congress as "culturally, historically, or aesthetically signiﬁcant.”The album Buena Vista Social Club features studio versions of the music heard in the ﬁlm. The album was awarded the 1998 Grammy Award for Best Traditional Tropical Latin Album as well as Tropical/Salsa Album of the Year by a Group at the 1998 Billboard Latin Music Awards. This ﬁlm is rated G, for grandiose! Approximately 1 hour and 45 minutes. COMMENTARY & FILM SCREENING OF BUENA VISTA SOCIAL CLUB TUESDAY, AUGUST 22 | 7:30PMESQUIRE THEATREECKART PREUcommentatormusic directorSPECIAL EVENTTICKETS AVAILABLE DIRECTLY THROUGH ESQUIRE THEATREesquiretheatre.com

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SUMMERMUSIK FESTIVAL 2023 | 51FIDDLIN' FOLKFRIDAY, AUGUST 25 6:45PM [SOLD OUT] & 8:30PMTHE BARN IN MARIEMONTApproximately 75 minutesConcert SponsorTerri and Tom AbareTessa Lark SponsorDaniel PfahlVenue SponsorRuth Schwallie and Mark SilbersackMusic SponsorLib StoneSCOTT JOPLINMaple Leaf Rag (arr. William Zinn)The Entertainer (arr. Eric Vireton)FLORENCE PRICEPiano Quintet in A Minor III. JubaTessa Lark, violin ANTONÍN DVORÁKString Quartet No. 12 in F Major, Op. 96 (“American”) I. Allegro ma non troppo III. Molto vivaceWYNTON MARSALISAt The Octoroon Balls V. Hellbound HighballTessa Lark, violin MARK O’CONNORFC's Jig Appalachia Waltz TRADITIONAL, arr. DANISH STRING QUARTETNordic Folk Tunes Jasspodspolska Gammel Reinlender fra Sønndala (Old Reinlender From Sønndala) Sekstur fra Vendsyssel: The Peat DanceTessa Lark, violin Chamber Crawl Series SponsorTHE LOUISE DIETERLE NIPPERT MUSICAL ARTS FUNDWine PartnerOakley Wines

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SUMMERMUSIK FESTIVAL 2023 | 53SATURDAY, AUGUST 26 | 4:00PMPrelude Talk: 3:15PM Eckart Preu, conductorAMERICANAAnthem:JESSIE MONTGOMERY Banner for Solo String Quartet and OrchestraRagtime:JAMES REESE EUROPE, arr. GUNTHER SCHULLER Castle House RagBluegrass: MICHAEL TORKE Sky (Concerto for Violin and Orchestra) I. Lively II. Wistful III. Spirited Tessa Lark, violine INTERMISSION fTheatre: SCOTT JOPLIN, arr. TJ ANDERSON Overture to TreemonishaJazz: LEONARD BERNSTEIN, arr. GARTH SUNDERLAND Fancy Free Revolution Dance TheatreAll works are CCO Premieres.SUMMERMUSIK SPONSORED BYROBERT & DEBRA CHAVEZ Approximately 1 hour and 45 minutes.Concert SponsorGale and Dave BeckettTessa Lark SponsorJeanne and Christopher BarnesRevolution Dance Theatre SponsorDianne and J. David RosenbergMusic SponsorWilliam O. Purdy Jr. FoundationEvent SupporterReena and Yash PatilPost-concert Reception SponsorMainstage Series SponsorThe Josephine Schell Russell Charitable Trust, PNC Bank, TrusteeWine and non-alcoholic beverages will be available for purchase.

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54 | SUMMERMUSIK FESTIVAL 2023TESSA LARKViolinist Tessa Lark is one of the most captivating artistic voices of our time, consistently praised by critics and audiences for her astounding range of sounds, technical agility, and musical elegance. In 2020 she was nominated for a Grammy in the Best Classical Instrumental Solo category and received one of Lincoln Center’s prestigious Emerging Artist Awards: the special Hunt Family Award. Other recent honors include a 2018 Borletti-Buitoni Trust Fellowship and a 2016 Avery Fisher Career Grant, Silver Medalist in the 9th Quadrennial International Violin Competition of Indianapolis, and winner of the 2012 Naumburg International Violin Competition.She solos regularly with many of the major orchestras around the world, from the Royal Scottish National Orchestra to Seattle Symphony, and has appeared in recital in such prestigious venues and series as Amsterdam’s Concertgebouw and Carnegie Hall’s Distinctive Debuts series in Weill Hall (2017).She is also a highly acclaimed ﬁddler in the tradition of her native Kentucky, delighting audiences with programming that includes Appalachian and bluegrass music, and inspiring composers to write for her - most notably Sky, a bluegrass-inspired violin concerto written for Tessa by Michael Torke which earned both a Grammy nomination for Tessa and a Pulitzer ﬁnalist distinction for Torke.Lark is a graduate of the New England Conservatory and completed her Artist Diploma at The Juilliard School. She plays a ca. 1600 G.P.Maggini violin on loan from an anonymous donor through the Stradivari Society of Chicago.While many may characterize Revolution Dance Theatre (RDT) “AS” a dance company, they like to think of themselves as “HAVING” a professional dance company. “WHO” they are is a group of creatives who use the beauty of ballet and the power of storytelling to promote equitable change in the world. Using concerts and classes, RDT creates community, connecting people through the universal power of dance.RDT's goal is to become your choice for theatre and dance that is entertaining, exceptional, and inclusive of African Americans. In its 2nd full Performing Season, the Professional Ballet Company stands as Cincinnati’s only Black Dance Company in residence at the Arono Center for the Arts and is responsible for the regions own professional African American Nutcracker experience “Hot Chocolate”. Before RDT contracted its own homegrown dancers to step into the role, it had been 16 long years since a ballet company contracted a black woman to dance professionally in Cincinnati. As a result of RDT’s idea of intentional inclusion, that sort of underrepresentation is becoming a thing of the past not just on Cincinnati stages, but within the communities as well.Revolution Dance Theatre is proud to have leveraged its resources to bring several contracts, classes, professional development opportunities, and jobs to several African American artists including dancers, vocalists, producers, audio engineers and crew.

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SUMMERMUSIK FESTIVAL 2023 | 55JESSIE MONTGOMERY (b. 1981)Banner (2014)Born in New York City, Montgomery is a violinist, composer, and educator with a graduate degree in composition and multimedia from New York University. She is a former member of the Catalyst Quartet and a collaborator touring with cellist Yo-Yo Ma’s Silk Road Ensemble. For close to 20 years Montgomery has been aliated with The Sphinx Organization, a chamber orchestra of 18 of the nation’s top Black and Latinx classical soloists. Her debut album,Strum: Music for Strings,was released in 2015 on Azica Records; one review summed up her eclectic style as follows: “The album combines classical chamber music with elements of folk music, spirituals, improvisation, poetry and politics, crafting a unique and insightful new-music perspective on the cross-cultural intersections of American history.”About her 2014 Banner for solo string quartet and string orchestra, Montgomery writes: “Banneris a tribute to the 200th Anniversary of ‘The Star-Spangled Banner,’ which was ocially declared the American national anthem in 1814 under the penmanship of Francis Scott Key. … Drawing on musical and historical sources from various world anthems and patriotic songs, I’ve made an attempt to answer the question: ‘What does an anthem for the 21st century sound like in today’s multicultural environment?’“In 2009, I was commissioned by the Providence String Quartet and Community MusicWorks to writeAnthem [as] a tribute to the historical election of Barack Obama.In that piece I wove together the theme from ‘The Star-Spangled Banner’ with the commonly named Black national anthem,‘Lift Every Voice and Sing’by James Weldon Johnson (which coincidentally share the exact same phrase structure).Banner picks up where Anthem left o by using a similar backbone source in its middle section, but expands further both in the amount of references and also in the role play of the string quartet as the individual voice working both with and against the larger community of the orchestra behind them. The structure is loosely based on traditional [march] form where there are severalstrainsor contrasting sections, preceded by an introduction, and I have drawn on the drum line chorus as a source for the rhythmic underpinning in the ﬁnale. Within the same tradition, I have attempted to evoke the breathing of a large brass choir as it approaches the climax of the ‘trio’ section. A variety of other cultural anthems and American folk songs and popular idioms interact to form various textures in the ﬁnale section, contributing to a multi-layered fanfare.“’The Star-Spangled Banner’ is an ideal subject for exploration in contradictions. For most Americans the song represents a paradigm of liberty and solidarity against ﬁerce odds, and for others it implies a contradiction between the ideals of freedom and the realities of injustice and oppression. As a culture, it is my opinion that we Americans are perpetually in search of ways to express and celebrate our ideals of freedom – a way to proclaim, ‘We’ve made it!’, as if the very action of saying it aloud makes it so. And for many of our nation’s people, that was the case: Through work songs and spirituals, enslaved Africans promised themselves a way out and built the nerve to endure the most abominable treatment for the promise of a free life. Immigrants from Europe, Central America, and the Paciﬁc have sought out a safe haven here, and, though met with the trials of building a multicultured democracy, continue to ﬁnd rooting in our nation and make signiﬁcant contributions to our cultural landscape. In 2014, a tribute to the U.S. national anthem means acknowledging the contradictions, leaps and bounds, and milestones that allow us to celebrate and maintain the tradition of our ideals.”PROGRAM NOTESby Gavin Borchert

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56 | SUMMERMUSIK FESTIVAL 2023JAMES REESE EUROPE (1881-1919)“Castle House Rag” (1914), arr. Gunther SchullerWhat Scott Joplin was to the piano rag (moderate-tempo, often bittersweet parlor music), James Reese Europe was to big-band ragtime (“hot” ragtime – snappier, with more razzmatazz), helping it morph into early jazz. Born in Mobile, Alabama, he moved to New York City as a young man and began writing theater music and songs. The orchestra he founded to disseminate Black music, the Clef Club Orchestra, grew to 125 or so members, and achieved its ﬁrst wide fame with a 1912 Carnegie Hall concert entirely of music by Black composers.In 1914 he began to collaborate with the ballroom dance stars Vernon and Irene Castle, becoming their chief composer and bandleader, and writing this rag for them among many other dance numbers. (“Castle House” was their NYC dance school.) He put together another orchestra and toured Europe, becoming popular there too and dazzling European musicians in awe of their rhythmic skill, inspiring many imitators: Debussy, Satie, Milhaud, Stravinsky.MICHAEL TORKE (b. 1961)Sky (2018)FromThe Nantucket Diary of [composer and writer] Ned Rorem, Sept. 21, 1985: “Four o’clock. Young Michael Torke with tapes of his pieces, which have such instantaneous appeal as to be quite disarming. Who else deserves these words?”Rorem was not the only one to feel the appeal of Torke’s music early on. After growing in up in Milwaukee and studying at Eastman and Yale, Torke quickly came to the attention of publishers Boosey & Hawkes and record label Argo for a series of bright, engaging, rhythmically vibrant chamber and orchestral works, becoming one of the most performed composers of his generation. This rhythmic vitality has made his music popular with dance companies, and his highest-proﬁle commission to date is probably Javelin, written for the 1996 Atlanta Olympics.A 10-orchestra consortium commissioned Sky, written for bluegrass violinist Tessa Lark, who premiered the concerto with the Albany Symphony in January 2019. Of the piece and the collaboration, Torke wrote: “Tessa is a unique artist, in that not only is she deeply immersed in the classical ﬁeld but comes from Kentucky, with a father who is a veteran bluegrass musician, and has this style in her blood. Tessa and I worked together on an earlier piece of mine, Spoon Bread – a duo for violin and piano commissioned by Carnegie Hall – and it was during that period that the idea to write a concerto for her clicked.“Banjo-picking technique given to the solo violin was the departure point in the ﬁrst movement. For the second movement my source material was Irish reels, the forerunner of American bluegrass. The template for the third movement was ﬁddle licks with a triplet feel. In each case I wrote themes of my own in these styles, and developed the ideas into a standard, ‘composed’ violin concerto. Everything is written out, nothing improvised.“Just as when one looks up and sees the open expanse of the sky, I felt an openness when writing this piece, a renewed freshness to putting notes together. I thank Tessa for opening this door and working so closely with me on this project.”

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SUMMERMUSIK FESTIVAL 2023 | 57SCOTT JOPLIN (1868-1917)Overture to Treemonisha (1910)One of the most distressing mysteries in opera history is the fate of Scott Joplin’s ﬁrst operaA Guest of Honor, which had been inspired by a very recent event,then-PresidentTheodore Roosevelt’s 1901 White House dinner for educatorBooker T. Washington. In 1903 Joplin assembled a small touring company and gave (apparently, details are lost to time) a handful of performances around the lower Midwest. During this tour – or, according to one source, later in Baltimore – Joplin was unable to pay a boarding-house bill and had to leave behind a trunk of personal items, which he never returned to collect. The score ofA Guest of Honor may have been in it.Though his piano rags had made him a famous and ﬁnancially comfortable man, Joplin craved making his mark with a more ambitious work; in one newspaper article he is quoted as working on a symphony, in another a piano concerto – and in another a third music-theater piece, intriguingly titled If. If If, or the symphony or the concerto, ever existed, they too have been lost. But undaunted after A Guest of Honor he began another opera, also to his own libretto, completed by 1907. For a full-length opera, composing is the relatively easy part, staging it is the real challenge; and Joplin spent the rest of his life struggling to getTreemonishaperformed.His publisher John Stark was not much help; though he’d made a fortune o Joplin’s rags, starting with the “Maple Leaf” in 1899, an entire opera score was seemingly too big a ﬁnancial risk, and he balked at publishingTreemonishajust as he hadA Guest of Honor. So again it was up to Joplin to scrape together an ensemble to perform the work – not only that, but he had to publish it himself as well. The 230-page piano/vocal score came out in May 1911, and he worked tirelessly to orchestrate the opera for a full production. (Joplin’s handwritten parts were apparently thrown away in 1962, a tale too depressing to repeat here; ﬁnd it online if you must.) Joplin eventually managed to pull together a barely rehearsed performance in the fall of 1911 (many Joplin sources place this later, in 1915, but this is likely wrong), but it was hardly more than a read-through. He accompanied it himself on piano; there was no money to hire any orchestra musicians. Pieces of Treemonisha also seem to have been performed in the summer of 1913, but a full staging planned for that autumn fell through. All these performances were received politely, but sparked no interest, and Joplin died not two years later with no further prospects for his opera’s production. Treemonisha sat untouched for half a century until concert performances of excerpts were presented in 1965 and 1971, followed by the world premiere staging at Morehouse College in 1972 and its ﬁrst fully professional performance by a major company, Houston Grand Opera, in 1976.In a way, Treemonisha is an American analogue to Mozart’s The Magic Flute: The theme is the importance of enlightenment over superstition, told in the form of a fanciful folk tale. In a small Black rural community in Arkansas, the title character, a young educated woman, tries to persuade her people to embrace learning and set aside the beliefs holding back their progress, promulgated not only by four conjurors but by the local preacher, Parson Alltalk. When the conjurors’ chicanery is revealed, the community turns to Treemonisha with the chorus “We Will Trust You as Our Leader, ” followed by an elegant dance ﬁnale, “A Real Slow Drag,” which thoroughly resembles one of Joplin’s sultrier piano pieces, “Solace” or “Weeping Willow.” “The opera’s traditional forms – arias, ensembles, recitative, and a snappy overture – are ﬂavored by rich chromatic harmonies (Joplin loved the diminished seventh) and the syncopations typical of ragtime."

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58 | SUMMERMUSIK FESTIVAL 2023To be fair, though, not everyone had been unencouraging during Treemonisha’s infancy. Soon after the score was published, a long appraisal in the June 24, 1911, issue of The American Musician and Art Journalexplored what made the opera a landmark masterpiece – and, presciently, what makes the score vital to this day:“Scott Joplin has proved himself a teacher as well as a scholar and an optimist with a mission which has been splendidly performed. Moreover, he has created an entirely new phase of musical art and has produced a thoroughly American opera, dealing with a typical American subject, yet free from all extraneous inﬂuence. He has discovered something new because he had conﬁdence in himself and in his mission and, being an optimist, was destined to succeed.“Scott Joplin has not been inﬂuenced by his musical studies or by foreign schools. He has created an original type of music in which he employs syncopation in a most artistic and original manner ... It has sprung from our own soil practically of its own accord. Its composer has focused his mind on a single object, and with a nature wholly in sympathy with it has hewn an entirely new form of operatic art. Its production would prove an interesting and potent achievement, and it is to be hoped that sooner or later it will be thus honored.”LEONARD BERNSTEIN (1918-90)Fancy Free (1944) Not long after dancer/choreographer Jerome Robbins joined New York City’s American Ballet Theater early in 1943, he had an idea for a ballet – a timely idea, in the midst of WWII: three sailors loose in Manhattan on a one-night shore leave. He approached composers Morton Gould and Vincent Persichetti, who both declined, but Gould suggested three composers whose work might mesh well with Robbins’ concept. Two of them: Alex North, later famous as a ﬁlm composer (A Streetcar Named Desire,Spartacus, “Unchained Melody”), and Henry Brant, visionary composer of music for large ensembles and mass spectacles.The third was Leonard Bernstein, whom Robbins met with that October. Alreadyan assistant conductor with the New York Philharmonic, Bernstein was a star on the rise, just a month away from his headline-making debut as a last-moment substitute for Bruno Walter on a nationwide radio broadcast. At that meeting in Bernstein’s apartment, he played for Robbins a tune that had popped into his head that very afternoon, which he’d jotted on a napkin, and, exploding with enthusiasm, Robbins knew instantly he’d found the right composer. As busy as Bernstein was, he managed to ﬁnd time to write the half-hour score; in addition to that debut, biographer Joan Peyser wrote, “Within a few months of saying yes to Robbins, [he] conducted the New York Philharmonic four times, premieredJeremiah[his ﬁrst symphony] in Pittsburgh, Boston, and New York, and composedFancy Free.”They were both often out of town that winter, but on those rare occasions they were both in New York, Bernstein would sit in on ballet rehearsals and improvise on the piano. The collaborators managed to have the ballet ready for its April 18 premiere, which was a smash with audiences and critics alike – such a smash that the pair decided to expand the premise into a musical,On the Town, recruiting Bernstein’s friends Betty Comden and Adolph Green to write the book and lyrics. (The major dierence: In the ballet, the sailors compete for the attention of two girls; in the show, they each go o on their own adventure.) Hearing the music forFancy Free, packed with catchy tunes, you might imagine Bernstein had thought of the concept’s singable potential from the start. MGM must have as well; the studio bought the ﬁlm rights before the show was ﬁnished. Though Bernstein reused none of hisFancy Freemusic, the trio worked at top speed and the musical premiered, unbelievably, on December 28, 1943.

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60 | SUMMERMUSIK FESTIVAL 2023The Cincinnati Chamber Orchestra wishes to thank the following individuals, corporations and foundations for their generous financial support between July 26, 2022 and July 15, 2023. 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.Champion ($25,000 and up)ArtsWaveRobert & Debra ChavezCarol Ann & Ralph V. Haile Jr. FoundationLouise Dieterle Nippert Musical Arts FundOhio Department of DevelopmentThe Josephine Schell Russell Charitable Trust, PNC Bank, TrusteePlatinum ($10,000 - $24,999)Anonymous Fund of The Greater Cincinnati FoundationAustin E. Knowlton FoundationDave & Gale BeckettCharles H. Dater FoundationNational Endowment for the ArtsOhio Arts CouncilRosemary & Mark SchlachterThe Louise Taft Semple FoundationIrwin & Melinda SimonFestival ($5,000 - $9,999)Friends of SummermusikThe Albers FoundationJeanne & Christopher BarnesMary Ann Barnes & Tom BoyleAnthony ColeKelly M. Dehan & Richard J. StaudigelFort Washington AdvisorsFriends of SummermusikGreater Cincinnati FoundationWohlgemuth Herschede FoundationLinda Holthaus & Richard ZinicolaThe Johnson FoundationThe Oliver Family FoundationWilliam O. Purdy FoundationDianne & J. David RosenbergNellie Leaman Taft FoundationMaxwell C. Weaver FoundationConductor ($3,000 - $4,999)Terri & Tom AbareRachelle Bruno & Stephen BondurantCET Susan Esler & Steven SkiboFriedlander Family FoundationDonald W. Fritz, Ph.D.Nancy & Jonathan LippincottNancy & Christopher VirgulakKaren ZauggConcertmaster ($1,250 - $2,999)19/19 Investment CounselDick & Mary Lou AftLucy AllenJeff Berry & Agnes NicholasRebecca Bolce & Keith WoodMary Ann & John BoornDoug & Dawn BruestleJohnnie & Pam CarrollSijie Dai & Michael MuiEvan & Sarah GidleyPeter Hsi & Jocelyn WangLesley Gilbertson & William HurfordJohn & Patsy KreitlerThe Lily FoundationEd LyonMatinee Musicale CincinnatiJames MayMary Jane MayerMichael T. MooreWes & Caitlin NeedhamThe Peterloon FoundationDaniel PfahlCarol & Steve ReubelMarge & Charles J Schott FoundationRuth Schwallie & Mark SilbersackKaoru SuzukiUS BankJames & George Ann WesnerOrchestra ($750 - $1,249)Eric J. AllenMalcolm & Glenda Bernstein Ryan & Kate BoggsGrant & Megan CambridgeDeborah Campbell, in memory of Eunice M. WolfJoe CarloAllison & Brett EvansKarlee HilliardJohnson Investment CounselCarol KruseKathleen LaurinThe Motch Family FoundationMarcia PhilippsRoxanne QuallsMax Reif & Melissa GallagherKathryn ShahaniElizabeth StoneGuy Wolf & Jane MisiewiczBenefactor ($250 - $749)Friends of SummermusikMarina AbantoLeanne & Matt AnklanAlejandro & Tasha AragakiDiane BabcockCarol & George BeddieMarianna BettmanAnn BinfordBuilding Healthy Lives FoundationMichael Curran & Manisha PatelThe Danaher FoundationMark DaunerMarjorie DaviesLin & Dan DomisJoyce ElkusThomas W. Filardo & Nora ZorichBJ ForemanKaren HartmanPhil & Barb HesterJohnson & JohnsonHarry KangisTrish & Glenn LarsenSusan LaufCynthia LewisBen LiJudy LucasRick MadduxSteven MassieMark McKillipChristine E. NeyerJohn OstermanReena & Yash PatilDaniel PfahlPatrick PointsAngela Powell WalkerMichael Privitera & Marcia KaplanHelen & Steve RindsbergErin & Shane StarkeyRossana & Keith StettlerPriscilla WalfordOUR BENEFACTORSThe BMW Store in Kenwood Rebecca Bolce & Keith WoodGavin BorchertCETChavez PropertiesCincinnati Arts AssociationCincinnati BoychoirEvent EnterprisesExcel EmpireSarah & Evan GidleyEd LyonOllie's TrolleyMax ReifRPI Graphic SolutionsThomas More UniversityWash.Park.Art GalleryJon & Ellen ZippersteinThe Vicki Reif Memorial FundLeAnne & Matthew Anklan Alejandro & Tasha AragakithemusicminionsKen Jordan Cindy Lewis Michael Moore Dan PfahlIn-KindEmeritus Board SponsorshipDick & Mary Lou Aft Thomas W. Filardo Christine E. Neyer Erin & Shane Starkey

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SUMMERMUSIK FESTIVAL 2023 | 61Terri Abare, Community VolunteerErica Bock, Crossroads ChurchGrant Cambridge, Event EnterprisesJoe Carlo, Johnson Investment CounselJohnnie Carroll, U.S. BankRobert Chavez, Chavez PropertiesSijie Dai, Procter & GambleSusan Esler, Community VolunteerRaven Fulton, PaloozanoireTom Guth, Orchestra RepresentativePeter Hsi, Community Volunteer Linda Holthaus, Community VolunteerEric C. Kearney, Greater Cincinnati/Northern Kentucky African American Chamber of CommerceJohn Kreitler, ComposerNancy Lippincott, Community Volunteer Ed Lyon, Tax Master Network, LLCJames May, Fidelity InvestmentsMichael Moore, WealthquestWes Needham, Duke EnergyDaniel Pfahl, PNC Bank Roxanne Qualls, Sibcy Cline RealtyMark Schlachter, Art Beyond BoundariesKaoru Suzuki, MintzManami White, Orchestra RepresentativeJessy Williams, Procter & GambleMarina AbantoMichael AbneyJames AdamsRichard N. Aft, Ph. D.Jerey AndersonBoris AuerbachWilliam BalzanoCarol BeddiePaul BernishJo Ann BobbittRyan BoggsJohn 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 OgleReena Dhanda PatilAlbert 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 TsacalisChristopher TschiederSerena 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, PresidentTerri Abare, Immediate Past PresidentMichael Moore, TreasurerNancy Lippincott, SecretaryWes Needham, Chair, MarketingPeter Hsi, Chair, FinanceSusan Esler, Chair, Inclusion, Diversity, Equity & AccessibilityLinda Holthaus, Chair, Community Engagement & EducationHonorary TrusteesMaggie Ballard, Stage ManagerLin DeGraaf, Marketing Associate Ralf Ehrhardt, Finance DirectorEvan Gidley, Executive DirectorMaureen Hickey, Production ManagerMadison Theil, Development AssociateJoshua Tuttle, Production AssociateManami White, Orchestra Personnel ManagerCCO Sta

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62 | SUMMERMUSIK FESTIVAL 2023GUIDE MAPVENUES & PARKINGSCPA Corbett Theater108 W Central Pkwy. 45202Washington Park Garage1230 Elm St. 45202Chavez Properties Parking Lot250 W Court St. 45202ABChrist Church Cathedral318 E 4th St, 45202Queen City Square Garage319 E 4th, 45202FGCEsquire Theatre320 Ludlow Ave. 45220Merchant Parking Lot330 Howell Ave. 45220The Redmoor3187 Linwood Ave. 45208Public Parking Lot3187 Linwood Ave. 45208TUKnox Presbyterian Church3400 Michigan Ave, 45208Hyde Park Elementary Lot3401 Edwards Rd, 45208VWIPQThe Barn6980 Cambridge Ave, 45227Provided Valet Parking6980 Cambridge Ave, 45227RSGo Bananas Comedy Club8410 Market Place Ln, 45242On-Site Parking8410 Market Place Ln, 45242HHilton Hotel Parking Garage 35 W 5th St. 45202Hilton Cincinnati Netherland Plaza & Orchids of Palm Court35 W 5th St. 45202DEKNorthminster Church703 Compton Rd, 45231On-Site Parking703 Compton Rd, 45231JMRoger Bacon HS Performing Arts Center4320 Vine St, 45217On-Site Parking4320 Vine St, 45217LOUrban Artifact1660 Blue Rock St, 45223Street Parking1660 Blue Rock St, 45223NLABCCentral Parkway12th StElm StRace StCourt StOTRVine StRace StW 4th StW 5th StDEFGBroadwaySycamore St.W 4th StDOWNTOWNMONTGOMERYMarket Pl LnMarket Pl LnCompton RdChristopal DrWoodview DrHollyhock DrMarket Pl LnHIFINNEYTOWNJKE Mitchell AveVine StLeonard AveST. BERNARDMOrchard StNVApple StCherry St.Turrill St.Marble St.NORTHSIDECLIFTONLudlow AveHowell AvePQClifton AveMARIEMONTMT. LOOKOUTLinwood Ave.Delta AveTUHYDE PARKCambridge AveGrace AveGrove AveRowan Hill DrOBlue Rock RdBlue Rock RdObservatory AveShaw AveMichigan AveEdwards AveWRSCUT HERE

2023 Summermusik Program Book

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