2024 Summermusik Program Book : simplebooklet.com

2 | SUMMERMUSIK FESTIVAL 2024Lawrence BrownleeTENORMarch 9, 2025Sensuous and soaring tenorMartin James BartlettPIANOApril 6, 2025Plays with a maturity and elegance far beyond his yearsMartin James April 6, 2025maturity and beyond his yearsDecember 1, 20245 PMHeralded regular at the Metropolitan OperaIsabelLeonardMEZZOSOPRANOIsabelMilena Pajaro-van de StadtVIOLASeptember 15, 2024One of the most sought-after violists of her generation Milena Pajaro-Hanick Hawley DuoPIANO AND CLARINETOctober 13, 2024Explore boundary-pushing music, both new and oldHANICKCINCINNATIDEBUTCINCINNATIDEBUTSeeTomorrow’sStarsToday!Our111thSeasonree Brilliant Instrumentalists and Not One But TWO Outstanding Vocal Solo PerformancesTickets: MemorialHallOTR.orgor 513-977-8838MatineeMusicaleCincinnati.orgVisit us on Facebook.All recitals at 3PM (except where noted), Memorial Hall, 1225 Elm Street, OTR

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SUMMERMUSIK FESTIVAL 2024 | 5TABLE OF CONTENTS8 A Note from Music Director Eckart Preu9 A Note from Board President and Executive Director 10 Our Conductors11 Members of the Orchestra 12 Support Us14 Notes in Neon17 Let the Trumpets Sound22 Brass Across Borders24 Tropical Tunes27 Shakespeare in Love34 Musical Poetry36 Locomotive Breath41 Many Colors of India50 Bach Meets Bollywood51 Film Screening: Lion52 Great American Songbook Revue55 Happy Birthday!63 Our Sponsors and Partners64 Our Benefactors65 Board of Trustees, Honorary Trustees, Emeritus Board and Staff 66 Summermusik Festival Map HOW TO CONTACT US: Summermusik (Cincinnati Chamber Orchestra) w 650 Walnut Street w Cincinnati, OH 45202Ticketing Office: 513.723.1182 x2 w info@ccocincinnati.org w summermusik.orgTICKETSPlease 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 Summermusik. You can exchange your tickets for another performance, or you can return them to us for a tax refund. For ticket returns and exchanges, please be sure to contact the box 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.Please turn off all cell phones, watches and other electronics 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, including e-cigarettes 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:Summermusik 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”, 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 sta, musicians, trustees and volunteers.Our Vision:To be an incubator of musical curiosity.

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8 | SUMMERMUSIK FESTIVAL 2024Dear musical friends,Welcome to the 2024 Summermusik festival!This year marks the 50th anniversary of Summermusik (Cincinnati Chamber Orchestra), and we intend to celebrate this occasion in style. Canadian Brass is the most famous brass ensemble in the world. They will open the festival with a concert that highlights the immense musical variety of this incredible group. From Vivaldi to Jazz, from New York to Memphis—this will be entertainment and musical virtuosity at its ﬁnest. I can’t imagine a better way to begin this summer of music!For the second weekend, we will premiere Symhony No. 2 by the late John Henry Kreitler, who wrote this work in celebration of our 50th anniversary. Joining us will be the Cincinnati Shakespeare Company to explore some of the composers who were inspired by the bard. Erich Wolfgang Korngold and Dmitri Shostakovich created fantastic scores as incidental music to plays by Shakespeare. Based on Romeo and Juliet, Jerome Robbins, Stephen Sondheim, and Leonard Bernstein created West Side Story, a musical that brings the story of the doomed lovers into the 20th century. With their ingenious lyrics, music, and choreography, they created an American classic. Our concertmaster Celeste Golden Andrews will perform a suite for solo violin and strings based on Bernstein’s score. Her performance will surely blow us all away.“The Many Colors of India” will be a weekend of discovery and intercultural exchange. Together with the Greater Cincinnati Indian Community Choir, Indian Dancers, Hindustani and Classical singers, and Indian and Western instruments from several centuries, we will experience intercultural conversations with music from opera, ﬁlm, and song, as well as Bach, Mozart, and Beethoven. This will be a musical weekend to remember. For our Grand Finale, we will climb the highest mountain of symphonic repertoire: Beethoven’s Symphony No. 9. This work changed the musical world and transformed the symphony forever. From its drama to its humanistic philosophy “All men shall become brothers”, it became a model for all composers for centuries. We will tackle this gigantic work with the gusto, sprit, and energy of a chamber orchestra where every member will give their all. We will be joined by a full professional choir and world class soloists to celebrate this milestone in the history of the Orchestra. The ﬁrst ﬁfty years have been a thrill. Please join us for the next ﬁfty—they will be a thrill as well!Happy birthday to us—and you!Yours truly, Eckart PreuWIN A $100 GIFT CARD TO EMBERS RESTAURANT!AUDIENCE SURVEY - SUMMERMUSIK 2024Thank you for joining us! Please take a moment to ﬁll out this short Thank you for joining us! Please take a moment to ﬁll out this short Tsurvey. It will provide important information to us and our funders.

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SUMMERMUSIK FESTIVAL 2024 | 9Welcome to the 2024 Summermusik festival and the month-long celebration of our 50th Anniversary! It is hard to believe that 2024 is also the 10th annual Summermusik festival, an annual event that has nearly doubled in size since its ﬁrst iteration in 2015! Thank you, our loyal patrons, for helping us grow, and an extra special thank you to those who have subscribed to every festival (listed on page 13 of this program book)! We also are thankful to audience members who have been attending Chamber Orchestra programs long before Summermusik, and we will have several artifacts from our 50-year history on display at selected events for a trip down memory lane.Summermusik is about connecting the musically curious, and to that end, we encourage you to join us in the lobby before Mainstage concerts for surprise guests and exhibitors as well as after Mainstage concerts to enjoy a complimentary dessert courtesy of Cora’s Cakery with Music Director Eckart Preu, our musicians, and the fantastic guest artists. We also hope that you will take advantage of Eckart’s outstanding preconcert talks, which take place 45 minutes prior to each Mainstage concert in the Mayerson Theatre.You may have noticed things look a little dierent than in previous years. We have re-branded! Summermusik has become our most popular, wide-reaching brand amongst the wider population. We wanted to capitalize on that name recognition. Instead of referring to the overall organization as the “Cincinnati Chamber Orchestra” or “CCO,” it is now known as “Summermusik.” You will still see “Cincinnati Chamber Orchestra” from time-to-time as it remains the name of our resident orchestra.Beyond the festival, we continue to expand our program oerings in the fall, which this year include a live concert version of our “American Roots” YouTube series at the National Underground Railroad Freedom Center on September 7 and a chamber music concert dedicated to local refugees as part of the FotoFocus Biennial on October 10. We also will present our 4th annual We Are One festival in Spring 2025 highlighting water and its importance in Indigenous cultures.Thank you for being a part of the Summermusik family. We hope you will say hello to the person next to you, leave this performance inspired, and share your curiosity and love of music with those in your life.Sincerely,Daniel Pfahl Evan GidleyBoard President Executive DirectorA VERY SPECIAL THANK YOU TOROBERT & DEBRA CHAVEZFOR SPONSORING SUMMERMUSIK 2024!

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10 | SUMMERMUSIK FESTIVAL 2024Eckart Preu is Music Director of the Long Beach Symphony, the Portland Symphony, and Summermusik (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 with Summermusik (Cincinnati Chamber Orchestra), where he leads the We Are One series and special events such as the 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 program since 2013. In addition to professional work abroad, Daniel was 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 2024 | 11ORCHESTRA MEMBERSVIOLINSCeleste Golden AndrewsConcertmasterRebecca Bolce & Keith Wood, 2024 SponsorsDavid GoistAssociate ConcertmasterMary Jane Mayer, 2024 SponsorSujean KimAssistant ConcertmasterManami WhitePrincipal SecondRuth Schwallie &. Mark Silbersack, 2024 Sponsorsw Jacquie FennellPatsy Meyer Kreitler, 2024 Sponsorw Cassidy Franzmeierw Sarah Gannonw Gyusun HanVIOLAStephen GoistPrincipalDonald W. Fritz, Ph.D., 2024 SponsorBelinda Reuning Burge*Carol Kruse, 2024 SponsorRebekah Edewards*Caterina Longhi*CELLOSamantha PowellSchlachter Family Principal Cello ChairNat Chaitkin*Tony Cole, 2024 SponsorTom Guth*BASSDeborah TaylorPrincipalFLUTEAnnie Darlin GordonBushman Family Principal Flute ChairSusan MaggThe Vicki Reif Memorial Fund, 2024 SponsorOBOEJessica SmithornPrincipalBonnie FarrCLARINETJohn KurokawaPrincipalDan & Lin Domis, Gary Shinn, and Karen Hartman, 2024 SponsorsMiriam Culley §BASSOONHugh MichiePrincipalAmy PollardHORNMargaret Tung Principal Wes & Caitlin Needham, 2024 SponsorsBrooke Ten NapelEd Lyon, 2024 SponsorTRUMPETAshley Hall-TighePrincipalCliff Goosmann, 2024 SponsorTIMPANI & PERCUSSIONDaniel FrankECKART PREU, MUSIC DIRECTORDANIEL PARSLEY, ASSOCIATE CONDUCTORLinda Holthaus & Richard Zinicola, 2024 Sponsorsw designates alphabetical listing of players who rotate between violin 1 and violin 2* designates rotating player | § designates leave of absenceSUMMERMUSIK WELCOMESNEW ROSTER MEMBERS!We are thrilled to introduce four new members to our permanent roster:Cassidy Franzmeier, Section ViolinDaniel Frank, Timpani & PercussionSamantha Powell, Principal CelloMargaret Tung, Principal Horn

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12 | SUMMERMUSIK FESTIVAL 2024YOU 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 https://summermusik.org/supportor call the oce at 513.723.1182 x2YOUR GIFT TODAY WILL SUSTAIN SUMMERMUSIK'S REMARKABLE MOMENTUMLegacy 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 MembersAnonymous Terri 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 2024 | 13Summermusik salutes those individuals who have subscribed to every season of the festival since its inception in 2015. Thank you for a decade of support!Marina Abanto Dick and Mary Lu AftJeanne and Christopher Barnes Robert and Debra ChavezAnthony ColeRalf Ehrhardt (sta member)Peninah Frankel Fred and Sherri HeyseRobert LeeJudy LucasMorita MarmoSandra Mingua Michael MooreWes and Caitlin NeedhamRosemary and Mark Schlachter Ruth Schwallie and Mark SilbersackWendy StoberFred and Jo Anne WarrenKaren ZauggJOIN US THIS FALL!American Roots: Songs of the Underground Railroad Live in ConcertSeptember 7 | 7:30PM | National Underground Railroad Freedom CenterFeaturing Ann Hagedorn, historian and author of Beyond the River: The Untold Story of the Heroes of the Underground Railroad; Victoria Ellington, soprano; Summermusik String QuartetAmerican Roots is an educational video series produced by Summermusik which explores the history of the Underground Railroad and the spirituals and other traditional Black folk songs that gave hope to those seeking freedom. For the ﬁrst time, this program will be presented live and will feature additional compositions by Florence Price, Margaret Bonds, Mark Lomax II, and Nkeiru Okoye.Tickets on sale August 1 | Freedom Center Members $35 | General Public $40More than Meets the Eye (A 2024 FotoFocus Biennial Program)October 10 | 6:00PM | Sawyer Point BuildingFeaturing Visual Artists Jason Al Ghussein and Michael Thompson; Speaker Wilson Mejia (Resettlement Director, Kentucky Refugee Ministries); Summermusik String QuartetBuilding upon Little Amal's September 2023 visit to Cincinnati, this program seeks to continue Little Amal’s impact by combining music, art, and storytelling in a one-hour program. Throughout this hour, you will hear from the artists that created mobile murals commemorating Amal's visit, listen to a story from a local refugee, learn more about the history of immigration in Greater Cincinnati, and enjoy a performance by a string quartet.Reservations to go live soon!VictoriaEllington[If your 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].

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SUMMERMUSIK FESTIVAL 2024 | 15David Goist, associate concertmasterMember since 2022Chair sponsored by Mary Jane MayerDavid Goist holds Bachelor and Master of Music degrees in Violin Performance from the University of Cincinnati College-Conservatory of Music (CCM), where he studied with Timothy Lees, former Concertmaster of the Cincinnati Symphony Orchestra, and Won-Bin Yim. During his time at CCM, he was winner of the Clara and Bertha Baur Competition and a ﬁnalist in the Violin Concerto Competition.David is a member of the Dayton Philharmonic and Lexington Philharmonic and also frequently performs with the Cincinnati, Charleston, and Columbus Symphony Orchestras.During previous summers, he has been awarded fellowships with music festivals such as the Aspen Music Festival, Sarasota Music Festival, and National Orchestral Institute where he was part of a Grammy-nominated album.PERFORMANCE CURATOR

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SUMMERMUSIK FESTIVAL 2024 | 17LET THEApproximately 2 hours.Wine and non-alcoholic beverages will be available for purchase.SERGEI PROKOFIEV Symphony No. 1 in D Major, Op. 25 (“Classical”)JOHANN SEBASTIAN BACH/ANTONIO VIVALDI Concerto in D Major, BWV 972ARR. JOE BURGSTALLERJEFF TYZIK FROM New York City Scapes I. Ragtime Redux II. Tango III. Trac Jammin’e INTERMISSION fARTURO MARQUEZ Danzon No. 2 for Chamber OrchestraLARA FABIAN Je me souviensSWAN, COPELAND & GREENE High SocietyARR. LUTHER HENDERSONALEXANDROS LIVITSANOS On a BusLEONARD COHEN, ARR. BRANDON RIDENOUR HallelujahW.C. HANDY, ARR. LUTHER HENDERSON Beale Street BluesCANADIAN BRASS APPEARS BY ARRANGEMENT WITH OPUS 3 ARTISTS.LET THE TRUMPETS SOUNDSATURDAY, AUGUST 3 | 7:30PMSCHOOL FOR CREATIVE & PERFORMING ARTSPrelude Talk: 6:45PM Eckart Preu, conductorSUMMERMUSIK SPONSORED BYROBERT & DEBRA CHAVEZ Concert SponsorsGale & Dave BeckettCanadian Brass SponsorsIrv & Melinda SimonMusic SponsorsDick & Mary Lu AftTravel Sponsor Event SupporterMarianna BettmanReception SponsorMainstage Series SponsorThe Carol Ann & Ralph V. Haile Jr. Foundation

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18 | SUMMERMUSIK FESTIVAL 2024The original challenge was to develop an audience for an ensemble of brass players that, at the time, had no standing in the concert world. What set Canadian Brass apart from all other performing artists in 1970 was the relentless search for repertoire that was both loved by its performers and embraced by a growing brass audience. The musical experiences of the members along with the interests and wishes of audiences informed the programs that the group created ranging from Bach, Handel, Vivaldi, Joplin, Gershwin and Ellington, to ballet, opera and Schickele. The ensemble never ignored an opportunity to relate to its audience which brought the Brass to international attention. They were at ﬁrst criticized for talking to audiences and now take pride in seeing the entire concert world embracing engagement as a fundamental element of performance.The Brass has averaged two and a half full length recordings per year of its 52 years of existence for a total of 138 recordings. They have received a combined total of 24 Grammy and Juno nominations and won the German Echo Award for Goldberg Variations. A North American group taking Bach back to Europe and winning approval at the highest level was a crowning achievement! Most recently during the Covid era the Brass created another award-winning recording, Canadiana. The album features unique arrangements of many Canadian superstars including Joni Mitchell, k.d. lang, Bruce Cockburn, Drake and DeadMau5.Education continues to be at the forefront of Canadian Brass’ yearly activities. There are over one million Canadian Brass quintet repertoire books in the hands of students in every country with a strong brass tradition. Between Hal Leonard Music Publishing distributing its 800 unique individual brass titles and SmartMusic now making available some 76 titles for mixed ensemble use, the Brass continues to shape the future of chamber music ventures.For a comprehensive Canadian Brass biography, blend together the complete history of any random ﬁve musician ensemble and it will yield a year in the world of Canadian Brass. “We’ve created ballets, played Carnegie Hall, toured China during its 1977 reopening, and performed in front of ﬁve prime ministers, but most importantly performed for more than ten million friends, family and audiences worldwide so far. We did all this so we could play Bach,” says tubaist & founder Chuck Daellenbach. CANADIAN BRASS

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20 | SUMMERMUSIK FESTIVAL 2024SERGEI PROKOFIEV (1891-1953)Symphony No. 1 in D Major, “Classical” (1917)"I spent the summer of 1917 near Petrograd. I had been thinking of writing an entire symphony without the help of the piano. In such a piece, the orchestral colors should be more distinct. Thus arose the notion of a symphony in Haydn’s style … in that familiar milieu it was easier to embark on a dangerous voyage without the piano. It seemed to me that, if Haydn had lived into our age, he would have preserved his own style of composing, and at the same time have absorbed something from the new music. … When it began to hang together, I renamed it the Classical Symphony. … to “tease the geese,” and in the secret hope that in the end I would be the winner if the symphony really did prove to be a classic."Which it has. Most of the work on the symphony was done in the summer of 1917, “while walking through the ﬁelds,” as Prokoﬁev wrote. His technique consisted of expanding or even exaggerating the standard elements of the 18th-century symphony. The work opens with the ultimate “Mannheim rocket,” an upward-bounding arpeggio ﬁgure commonly used in Haydn’s day as a musical call-to-attention. Such a ﬁgure can be found, for example, at the beginning of the ﬁnale to Mozart’s Symphony No. 40, a striking and eective opening, but positively genteel compared to the exuberant sweep of the Classical Symphony’s opening gesture. The movement’s second theme, traditionally characterized by grace and lyricism, becomes for Prokoﬁev an opportunity for sly humor; the two-octave leaps in the otherwise delicate tune, marked con eleganza, seem to add a touch of parody.The lovely main theme of the slow movement lies high above the sta; the ethereal color of the violins’ highest register, not often exploited in the symphonies of Haydn’s time, brings an almost otherworldly feeling to the melody. Prokoﬁev then twists classical convention again by replacing the usual minuet with another dance form, the gavotte. With just a few carefully placed accidentals, the music slips in and out of various keys with an insouciance that would have startled, if not shocked, Haydn.If Haydn’s ﬁnales are often based on folk tunes, evoking the Austrian countryside, it takes just a small leap of imagination to hear Cossacks racing across the steppes in the galloping melodies of Prokoﬁev’s ﬁnale. It was his stated intent to write the ﬁnale “without any minor chords whatsoever,” and he came up with a bright boisterous whirlwind to close his symphony.PROGRAM NOTESby Gavin BorchertEndlessly interested in his compatriots’ music, Johann Sebastian Bach (1685-1750) arranged several string pieces by Antonio Vivaldi (1678-1741) for solo keyboard—in this case, the Violin Concerto, Op. 3 No. 9, from the collection of 12 concertos titled L’estro armonico (“Harmonic Inspiration”), published in 1711. In the Bach worklist it’s known as BWV 972. Canadian Brass trumpeter Joe Burgstaller further transformed it into a trumpet showpiece. Je Tyzik (b. 1951) is a trumpeter, a busy pops conductor, and a hugely proliﬁc arranger who has worked with many of the biggest stars in the brass world: Doc Severinsen, Maynard Ferguson, Allen Vizzutti, Chuck Mangione, and of course the Canadian Brass, for whom he composed New York Cityscapes, in collaboration with the Eastman Wind Ensemble, in 2008. The son of a mariachi musician and the grandson of a folk musician, Arturo Marquez (b. 1950) was born in Mexico and studied music there and in California. He’s probably best known today for a series of pieces entitled Danzón, based on a style of ballroom-dance music, tending toward the sultry and seductive, born in Cuba and also popular in Mexico. He has written nine of these pieces to date for orchestra and other instrumental ensembles; No. 2 dates from 1994.

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SUMMERMUSIK FESTIVAL 2024 | 21Belgian singer/songwriter Lara Fabian (b. 1979) got her ﬁrst major break when she represented Luxembourg in the 1988 Eurovision Song Contest, and has since become one of the most popular female singers throughout the Francophone world; her song “Je me souviens” is the closing track on her 2005 album 9. The snappy Dixieland number “High Society” was written by Dan Swan, Alan Copeland, andMort Greene, and was ﬁrst recorded by Jo Staord and Frankie Laine with Paul Weston and his orchestra in 1954. This is one of over 100 arrangements Luther Henderson (1919-2003), a proliﬁc Broadway and TV musical director, made for the Canadian Brass.Greek composer/arranger Alexandros Livitsanos (b. 1985) provides a very dierent mood with his atmospheric, somber “On a Bus” from his suite Pictureless Soundtrack, which actually was composed on a bus. Trained in both classical and jazz at the National Conservatory of Greece, Livitsanos’s work for brass began with 2016’s Circular Argument suite for quintet. Livitsanos also worked with Brandon Ridenour on the arrangement of the most popular hit by one of Canada’s greatest songwriters, Leonard Cohen (1934-2016). “Hallelujah” has been covered over 300 times, by practically every musician from compatriots Rufus Wainwright and k.d. lang to Bob Dylan, Bon Jovi, and Renee Fleming to ... well, the Canadian Brass. And ﬁnally, blues pioneer W.C. Handy (1873-1958), the “Father of the Blues,” created an early jazz standard with “Beale Street Blues,” his homage to the epicenter of the Memphis blues music scene. Luther Henderson made this arrangement, too, for the Canadian Brass.

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22 | SUMMERMUSIK FESTIVAL 2024BRASS ACROSS BORDERSSUNDAY, AUGUST 4 | 4:00PMCRESTVIEW PRESBYTERIAN CHURCH3:00PM-3:45PM CINCINNATI BRASS BANDJoshua Thompson, music directorApproximately 1 hour and 15 minutesA Little Afternoon Musik Series SponsorsROSEMARY & MARK SCHLACHTERIRV & MELINDA SIMONCanadian Brass SponsorsIrv & Melinda SimonMusic SponsorDeborah CampbellEvent SupporterMarty JohnsonConcert SponsorsKelly M. Dehan & Richard J. StaudigelWOLFGANG AMADEUS MOZART, ARR. FEN WATKIN Overture to The Magic Flute, K 6 2 0 ANTONIO VIVALDI/JOHANN SEBASTIAN BACH Concerto in D Major, BWV 972ARR. JOE BURGSTALLER JOHN LENNON/PAUL MCCARTNEY Beatles SongbookARR. CHRISTOPHER DEDRICK MICHAEL KAMEN Quintet HARRY DECOSTA, ARR. LUTHER HENDERSON  Tuba Tiger RagARTHUR PRYOR Thoughts of Love GIOVANNI GABRIELI, ARR. ARTHUR FRACKENPOHL Jubilate Deo ORLANDO DILASSO, ARR. ARTHUR FRACKENPOHL Echo TRADITIONAL, ARR. JEAN-BAPTISTE ARBAN Carnival of Venice W.C. HANDY, ARR. LUTHER HENDERSON Beale Street Blues

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SUMMERMUSIK FESTIVAL 2024 | 23Cincinnati Brass Band (CBB) was founded in 1993, and organized by William Harvey of Buddy Rogers Music; Director, Anita Cocker-Hunt; and Assistant Director, Drew Cremisio. From humble beginnings, with its ﬁrst performance at the Tri-County Mall, the CBB has gone on to national prominence. Venues include churches, schools, country clubs, festivals, and community concert series programs. A few notable performances include a televised concert for the unveiling of the refurbished historic Tyler-Davidson fountain on Fountain Square in Cincinnati, multiple performances at Cincinnati’s Riverbend and Music Hall venues with Erich Kunzel and the Cincinnati Pops, and an appearance at the Great American Brass Band festival in Danville, Kentucky. The Cincinnati Brass Band was proclaimed as the “Ocial Brass Band of Cincinnati” by the Mayor of Cincinnati in recognition of their contributions to the musical culture of Cincinnati. The CBB earned ﬁrst place at the 2018 Dublin Festival of Brass and third place in the Second Section at the 2018 NABBA championships. As Cincinnati’s ocial Brass Band, the CBB performs roughly 15 times during the year through-out the greater-Cincinnati area.Community Outreach has always been an important aspect of the band’s history, and it continues today. This year the ensemble will collaborate with other members of the Cincinnati art community including: Cincinnati’s Music Resource Center, the Cincinnati Conservatory of Music Prep Brass and the School for the Creative and Performing Arts. CBB is excited to announce a new international partnership with the Ratby Brass Band of Great Britain.The Cincinnati Brass Band is a member of the North American Brass Band Association (NABBA) which sponsors an annual competition of the member bands from across the U.S. and Canada. The Cincinnati Brass Band entered their ﬁrst NABBA competition in 1996 and has competed successfully in both the Challenge and Honors sections.Instrumentation used in the Cincinnati Brass Band is based on the British brass band tradition of mostly conical instruments rather than cylindrical ones. Hence cornets (both Bb and Eb) are used instead of trumpets, and alto horns take the place of French horns. The upper voice is completed with Flügel horns, while the bottom is composed of baritones, euphonia, trombones and tubas. A small percussion section generates additional rhythmic eects.CINCINNATI BRASS BAND1919 Investment Counsel is proud to supportCincinna Chamber OrchestraFesvalSUMMERMUSIK600 Vine Street, Suite 2000Cincinnat, OH 45202513-621-2733 | 1919ic.com

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SUMMERMUSIK FESTIVAL 2024 | 25Jessica Smithorn, principal oboeMember since 2023Jessica Smithorn is the principal oboe of the Cincinnati Chamber Orchestra, Chattanooga Symphony and Opera, and the Shippensburg Festival Orchestra and the second oboist of ProMusica Chamber Orchestra. She previously was the English hornist with the Evansville Philharmonic Orchestra and was an associate musician with the Columbus Symphony Orchestra.Equally comfortable in leadership and section roles, Ms. Smithorn has regularly appeared with orchestras such as the Bualo Philharmonic (including a NAXOS recording project), Omaha Symphony, Kansas City Symphony, Louisville Orchestra, Cincinnati Symphony Orchestra, and Cincinnati Ballet. She was also the oboist on a tour of Mexico with the Eastman Broadband Ensemble, a new music group dedicated to performing the music of Latinx composers.Jessica Smithorn studied at the Eastman School of Music with Richard Killmer; the College-Conservatory of Music with Mark Ostoich, Dwight Parry, and Chris Philpotts; and the University of Missouri-Kansas City with Barbara Bishop. When she’s not making reeds or practicing, Jessica enjoys baking, playing with her cats, and hiking.PERFORMANCE CURATOR

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SUMMERMUSIK FESTIVAL 2024 | 27SHAKESPEARE IN LOVESATURDAY, AUGUST 10 | 7:30PMSCHOOL FOR CREATIVE & PERFORMING ARTSPrelude Talk: 6:45PM Eckart Preu, conductorSUMMERMUSIK SPONSORED BYROBERT & DEBRA CHAVEZ Approximately 2 hours.Celeste Golden Andrews SponsorsRebecca Bolce & Keith WoodCincinnati Shakespeare Company SponsorMarjorie DaviesMusic SponsorsSusan Esler & Steve SkiboEvent SupportersFriends of SummermusikReception SponsorMainstage Series SponsorThe Carol Ann & Ralph V. Haile Jr. FoundationWine and non-alcoholic beverages will be available for purchase.ERICH KORNGOLD Incidental Music to Much Ado About Nothing, Op. 11 I. Overture II. Maiden in the Bridal Chamber III. Dogberry and Verges - March of the Watch IV. Scene in the Garden V. Masquerade - HornpipeJOHN HENRY KREITLER Symphony No. 2, "The Voices of God" I. Love’s Ferocity: Creation II. Point Vierge III. She Who Sings The Blues IV. Inﬁnite Love Made Intimate V. Love’s Deﬁance: ExaltationSummermusik Commission, World Premieree INTERMISSION fDMITRI SHOSTAKOVICH Suite FROM Incidental Music for Hamlet, Op. 32LEONARD BERNSTEIN West Side Story Suite for Violin and StringsARR. PAUL BATEMAN Celeste Golden Andrews, violinCincinnati Shakespeare Company featured throughout.I. Introduction and Night WatchII. Funeral MarchIV. HuntingVIII. FeastIX. Ophelia’s SongXI. RequiemXIII. March of Fortinbras

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28 | SUMMERMUSIK FESTIVAL 2024Celeste Golden Andrews became concertmaster of Summermusik (Cincinnati Chamber Orchestra) in 2017 and debuted as guest artist during the 2018 Summermusik festival.The second associate concertmaster of the Saint Louis Symphony Orchestra, Celeste began her musical studies at three years of age. When she was nine years old, she became a student of Arkady Fomin, violinist in the Dallas Symphony, and at ﬁfteen, Celeste was accepted into the Curtis Institute of Music, studying with Jaime Laredo and Ida Kavaﬁan. She completed her Bachelor of Music degree at Curtis in 2005, and in 2007, she received a Master of Music degree from the Cleveland Institute of Music where she studied with David Cerone and Paul Kantor.Celeste is a laureate of several national and international competitions. Most notably, she was the Bronze Medalist at the International Violin Competition of Indianapolis in 2006. Celeste has appeared as soloist with numerous symphony orchestras around the world, including the St. Louis Symphony, the Latvian Chamber Orchestra in Riga, Latvia, the Dallas Symphony Orchestra and the Indianapolis Symphony Orchestra. As a chamber musician, she has appeared in series and festivals such as the Jupiter Symphony Chamber Players, the Festival de San Miguel de Allende, the Chamber Music Festival of Lexington, the Innsbrook Institute Music Festival, the Aspen Music Festival and School and the Marlboro Music Festival.Celeste was the concertmaster of the New York String Orchestra Seminar in 2005 with concerts at Carnegie Hall. She also performed as concertmaster for the Orchestra of St. Luke’s in the New York City premiere of John Adams’ opera, “A Flowering Tree” at Lincoln Center in 2009.Cincinnati Shakespeare Company is a professional theatre company dedicated to bringing Shakespeare and the classics to life for all. In the summer of 2017, the theater relocated to the Otto M. Budig Theater, a brand new facility in historic Over-The-Rhine. CSC’s repertoire is made up of the works of William Shakespeare, literary adaptations, and contemporary classics. CSC performs on a Small Professional Theatre contract with Actors’ Equity Association. Cincinnati Shakespeare is a member of the Theater Communications Group and the Shakespeare Theatre Association.The ﬁrst season consisted of ﬁve productions in multiple venues; today, CSC presents more than 250 performances of nine productions annually in its downtown theatre and through touring productions across the region. Each year, Cincinnati Shakespeare Company’s Education and Outreach Programs reach over 50,000 young people and underserved community members each season by taking Shakespeare into schools, parks, community centers and by hosting educational matinees of mainstage productions.In 2015, CSC was proud to become one of the ﬁrst ﬁve theaters in the United States to “Complete the Canon” by producing all 38 plays by William Shakespeare. Cincinnati Shakespeare Company is proud to be Cincinnati’s stage for the classics!CELESTE GOLDEN ANDREWS

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SUMMERMUSIK FESTIVAL 2024 | 29ERICH KORNGOLD (1897-1957)Incidental music for Much Ado About Nothing (1916)Of history’s four most astonishing child-prodigy composers—Mozart, Mendelssohn, Saint-Saens, and Korngold—Korngold had one other thing in common with Mozart, a pushy father. Julius Korngold was a protégé of late 19th-century Vienna’s ﬁercest music critic, Eduard Hanslick, and himself took on that role after Hanslick retired. Knowing everyone who was anyone in that world opened doors for his son, but proved problematic as well; resentment, envy, and antisemitism led to vicious gossip that Korngold’s music—lush, intricate, harmonically bewitching, sophisticated far beyond his years, and praised by Mahler and Richard Strauss—had actually been composed by his teacher Alexander von Zemlinsky and bankrolled by his father.The boy composer set his sights on the stage early: a ballet at 11, a theater-inspired orchestral overture at 14, two one-act operas at 17. It was after a performance of that ballet that he met innovative and inﬂuential theater director Max Reinhardt—“Korngold’s ﬁrst encounter with the man who would later eectively save his life,” wrote biographer Jessica Duchen. After the rise of the Third Reich drove Reinhardt to California, one of his most successful projects was a staging of A Midsummer Night’s Dream at the Hollywood Bowl. Its success, ﬁnancial and artistic, led Jack Warner, head of the Warner Bros. studio, to invite Reinhardt to direct a ﬁlm version, and in 1934 Reinhardt summoned Korngold from Vienna to devise a ﬁlm score out of the incidental music Felix Mendelssohn had written for the play nearly a century earlier. Persuaded to stay in America, Korngold quickly became the jewel in the crown of Warner’s music department, soon winning two Oscars for his stirring, unprecedently eective ﬁlm music: Anthony Adverse(1936) andThe Adventures of Robin Hood(1938).But this was not Korngold’s ﬁrst Shakespeare project. A fan of the playwright, in 1920 he had been thrilled to be asked to write incidental music for a production of Much Ado About Nothing (Viel Lärmen um Nichts), turning out 18 numbers, ﬁve of which he chose for an orchestral suite which became one of his most popular works. It became a popular piece of chamber music, too; the production’s run lasted so long that the orchestra that had been hired to accompany performances was eventually not available, so Korngold arranged the complete music, and the suite too, for piano and violin.JOHN HENRY KREITLER (1948-2024)Symphony No. 2, "The Voices of God" (2024)10-time Emmy-winning composer, John Henry Kreitler, was raised by his mother, a Lutheran Church organist and piano teacher. He studied classical violin for 16 years, which sparked a life-long passion for orchestral music. Kreitler earned a Bachelor’s of Music Composition from Lewis & Clark College and a Master’s in Composition from University of Cincinnati College-Conservatory of Music. Through his long career as a working composer, he wrote and produced music in nearly every genre, composing for opera, ﬁlm, TV, advertising, and theater. For the last ten years of his life, he returned to writing classical music, his ﬁrst love. Together with the virtuosic violinist, Karen Bentley-Pollick, he co-founded Virtuosos de Cámara, a professional chamber music group in Puerto Vallarta, Mexico. Kreitler composed numerous concert and choral works, including his Symphony No. 1 for choir and orchestra based on the Psalms. Faith was a deep river in Kreitler’s life. In his symphonic works, he sought to give form, texture, and color to the mystical and mysterious, to capture something of the sublime and unknowable. When he was commissioned to write a piece for CCO’s 50th Anniversary, he PROGRAM NOTESby Gavin Borchert

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30 | SUMMERMUSIK FESTIVAL 2024turned again to that contemplative well, in collaboration with poet and Lutheran pastor, Elaine Hewes. The genesis of the piece was a title: “Seven: The Voices of God.” Elaine eventually wrote ﬁve poems (not seven), each one inspiring a movement of the symphony. In the midst of their work, Kreitler was diagnosed with terminal cancer. He was compelled to keep writing, and he completed the symphony just two weeks before he died in January. He was a friend of CCO, and we celebrate, with gratitude, this gift of his ﬁnal opus.—Chelsea Marie Davis1. Love’s Ferocity: Creation Cry Crimson!Cry crescendo!Cry D against E until the strings catch ﬁre,Cry the ﬂash of the bow ablaze with desire. Cry agony!Cry ecstasy!Cry the ache and the arch of improvisation,Cry the wild feral wail at the heart of creation. Cry mystery!Cry alchemy!Cry cacophony and harmony.Cry the pulse of photosynthesis,The primal chord of coupled bliss. Cry tiger!Cry stars!Cry below with above.Cry the sound of God’s longing, The ferocity of Love. 2. Love’s Longing: Point ViergeDarkness, stillness.Darkness, silence.Shroud-like death.Absent breath. All hope gone.No-thing’s won. Nada. Nothing. Voiceless, voiceless Vacuous void. But…Wait… Shhh…From the virgin pointOf emptiness,Of nothingness, Of mourning,Of morning, just before the ﬁrst bird sings…Just before… 3. Love’s Rending: She Who Sings the BluesShe who sings the BluesGives birth to song in breach;Knows the thrust of things immenseIntent on breaking forth Through slender space.She cannot hold it back,But opens up herself in placesWhere there are no easy Seams or folds.Bending low,She takes the wild and bloody thing,And lifts its arched and wailing formInto the night. 4. Love’s Bending: Inﬁnite Love Made Intimate It all comes down to the small things…this moment,this place, this now,this here,this song,this poem,this blossom,this gesture, skin to skin,bone to bone,this hand reaching for yours. The immensity of love made particular,ventricular,perpendicular,down-ward and ground-ward bound. Ten thousand possibilities for manifestationonly made real through incarnation. It all comes down to the small things.And every moment counts.

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SUMMERMUSIK FESTIVAL 2024 | 31DMITRI SHOSTAKOVICH (1906-75)Suite From Incidental Music to Hamlet, Op. 32a (1932)Shostakovich wrote copious quantities of incidental music for plays and ﬁlms his entire career—in fact, his ﬁrst musical job was as a pianist accompanying silent ﬁlms. Especially during the dark decades of the 1940s and ‘50s, ﬁlm scores paid the rent, and work on an ocially approved ﬁlm (propaganda pieces with titles like The Young Guard or The Unforgettable Year 1919) helped ingratiate him with the Soviet authorities when his concert works, with harsher harmonies or provocative texts, raised eyebrows.Shostakovich was invited to write music for a Moscow production of Hamlet late in 1931. The director, one Nikolai Akimov, had some controversial notions for his staging. As remembered by one of the theater violinists, Akimov described his vision thus: “Nobody in this turbulent age of ours is interested in the philosophical ponderings of the Danish prince ... The contemporary theatergoer doesn’t wish to languish from boredom during the abstruse, time-worn monologues. The adventurous element of the tragedy holds much greater interest ... Ophelia will not be the usual pale, weak-minded girl, but a seductive beauty, dissolute in her behavior ... our Hamlet will be a hearty young rake and a good fencer. We will have hunts and spectacular battle scenes. Horses will charge across the stage ridden by knights in shining armor. The audience will gasp at the sight of the royal banquet. We will ﬁll our Hamlet with music—music that is sharp-edged, brilliant and witty, and full of innovation.”And Shostakovich provided just that: an irreverent sequence of fanfares and marches and manic galops. Soon afterward he chose 13 of the movements, none longer than two and a half minutes, for a concert suite. Much of this music was revived for a 1954 production of Hamlet directed by Grigori Kozintzev. But for Kozintzev’s ﬁlm version of Hamlet in 1964, Shostakovich chose not to reuse any of his stage music, and with his usual fecund craftsmanship produced 34 entirely new numbers (his Op. 116).Later, in his (disputed) memoir, Testimony, Shostakovich (allegedly) reﬂected on this experience: “To this very day, that scandalous production is a nightmare for Shakespearian scholars. They blanch at the mention of the production, as though they’re seeing the Ghost. Incidentally, Akimov got rid of the ghost. I think that this must have been the only version of Hamlet without him. The production had a materialistic base, so to speak ... It was a bad period in general. And Akimov kept after me ... [He] was a very vitriolic man, and persistent, and he kept seducing me with tales about how scandalous his Hamlet would be. The point is that in those days, Hamlet was banned by the censors ... In general, our theatre has had trouble with Shakespeare, particularly with Hamlet and Macbeth. Stalin could stand neither of these plays. Why? It seems fairly obvious. A criminal ruler—what could attract the leader and teacher in that 5. Love’s Deﬁance: Exultation Sing resistance!Sing insistence!Sing the wail of Mahalia,(a rich, suering elation),In the key of deﬁance,Sing exaltation!Sing passion!Sing Passion!Sing as boots strike the pavementIn strict strident time,Sing the songs that will ravish,Unbind, undermine. Sing beauty!Sing beauty!Sing as wars rage and roarAnd as worlds are ending.Sing singing from ashes,The phoenix ascending.Sing always. Sing forever. Sing even in winterAnd in the face of death.Sing music still rising,Lift your head, take a breath…

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32 | SUMMERMUSIK FESTIVAL 2024LEONARD BERNSTEIN (1918-90)West Side Story Suite for Violin and Strings (1957) (arr. Paul Bateman, 2019) “No one disputes that [choreographer/director] Jerome Robbins originated, planted, watered, and avidly tended and sheltered the seedling of an idea that ultimately blossomed into West Side Story,” wrote Misha Berson in her 2011 book Something’s Coming, Something Good: West Side Story and the American Imagination. The germ that led to the seedling came from Robbins’s friend/lover Montgomery Clift, who in 1948 was studying at the Actors Studio and assigned to play Romeo in a scene. As Robbins later recalled, he (Robbins) mused, “If I were to play this, how would I make it come to life?”Boy, an updating of Shakespeare sure would make a swell musical, wouldn’t it? Bernstein, with whom Robbins had just collaborated on the ballet Fancy Free and its oshoot, the musical On the Town, certainly thought so when Robbins presented the idea. In his diary, Bernstein dated their ﬁrst conversation about the show as January 6, 1949. Their initial idea was to make the fractious factions Jews and Catholics, under the working title East Side Story. Robbins suggested playwright Arthur Laurents to write the book, who signed on soon thereafter.Though eventually Bernstein, through the rose-colored glasses of hindsight, reminisced that the show worked because “we all really collaborated; we were all writing the same show. Even among the producers,“ there were disagreements early on, about tone (Bernstein found Laurents’s ﬁrst draft “too bitchy … harsh in the wrong way”) and the relative weight of the elements (Laurents objected to his book being outshone by Bernstein’s music). The last member of the quartet, the young Stephen Sondheim, was reluctant to sign on because he wanted to compose and was wary of being pigeonholed as only a lyricist, but his mentor Oscar Hammerstein practically ordered him to take the assignment for the learning experience of working with three creators who had already tasted public success. Gang violence had recently been in the news, and in August 1955 a story about riots in Los Angeles inspired the shift of milieu to white vs. Puerto Rican kids in New York City, the last conceptual decision to be made before work began in earnest. From there it was just two years to opening night, September 26, 1957; a permanent place on the very top shelf of great musicals, two brilliant movie adaptations 60 years apart, and a score that lives on as much in the world’s concert halls as on its stages. (In this sense, Laurents’s fears of being overshadowed were borne out; one hears the songs from WSS always and everywhere, but how often do you hear bits of his dialogue?)Bernstein’s own Symphonic Dances from West Side Story is the most familiar concert work extracted from the show, but in 2019 Paul Bateman put together a suite for violinist Daniel Hope, for whom he had already transformed Gershwin, Weill, and dozens of other songs into violin showpieces. He chose seven hits: “America,” “Maria,” “Tonight,” “Somewhere,” “A Boy Like That,” “I Have a Love,” and “Mambo.”theme? Shakespeare was a seer—man stalks power, walking knee-deep in blood. And he was so naive, Shakespeare. Pangs of conscience and all that. What guilty conscience? I remember how they stopped a rehearsal of Hamlet at the Moscow Art Theater ... Stalin’s word was law, and the leader and teacher didn’t even have to give a written order ... Why forbid? You might go down in history with a less-than-noble image. It’s better to merely ask, as Stalin did, ‘Why is this necessary—playing Hamlet in the Art Theater, eh?’ That was all; that was enough. The play was removed and the actor [cast as Hamlet] drank himself to death.”

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34 | SUMMERMUSIK FESTIVAL 2024MUSICAL POETRYSUNDAY, AUGUST 11 | 4:00PMWESTWOOD FIRST PRESBYTERIAN CHURCH3:10PM-3:45PM POETRY SHOWCASEKim "DuWaup" Bolden, moderatorApproximately 1 hour and 15 minutesCLAUDE DEBUSSY Prelude to the Afternoon of a Faun*ARR. BENNO SACHSRALPH VAUGHAN WILLIAMS The Lark AscendingARR. MARTIN GERIGKFRANZ SCHUBERT FROM String Quartet No. 13 in A Minor (“Rosamunde”) III: Menuetto: Allegretto – Trio FROM String Quartet No. 14 in D Minor, (“Death and the Maiden”) II: Andante con motoWILLIAM WALTON Selections FROM Facade* Thomas Dreeze, narrationCeleste Golden Andrews, violin*Eckart Preu, conductorCeleste Golden Andrews SponsorsJim & George Ann WesnerMusic SponsorDonald W. Fritz, Ph. D.A Little Afternoon Musik Series SponsorsROSEMARY & MARK SCHLACHTERIRV & MELINDA SIMONConcert SponsorsNancy & Jonathan Lippincott

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SUMMERMUSIK FESTIVAL 2024 | 35Praised for his baritone voice of wide range, ﬂexibility, warm timbre, and musicianship, Thomas has shared the stage with two generations of vocal luminaries, including Luciano Pavarotti, Placido Domingo, and, more recently, J’Nai Bridges, Janai Brugger, Stephen Costello, and Jessica Rivera. He’s worked with conductors Louis Langrée, James Conlon, Christopher Allen, Ramon Tebar, Vassily Petrenko, Andreas Delfs, Marek Janowski, among others.Thomas has sung 17 roles in 13 productions with Cincinnati Opera since his 2011 debut. October 2017 marked his debut with the Cincinnati Symphony with Louis Langrée in Pelléas et Mélisande. He previously appeared with the CCO in Amahl and the Night Visitors, as The Page, Melchior, and Balthazar. In September 2024 Thomas performs Mahler Songs with Orchestra led by Michael Palmer at the third annual Hamptons Festival of Music on Long Island.Thomas has been soloist and section leader at Knox Presbyterian Church in Cincinnati since September, 2015. In Cincinnati and regionally, he has appeared with the Cincinnati Ballet, The Butler Philharmonic, Collegium Cincinnati, Vocal Arts Ensemble, and concert:nova. He also teaches voice and coaches singers. In May 2023, Thomas was named president of the Cincinnati MacDowell Society, founded in 1913. Committed to “making a place in the world for artists because artists make the world a better place,” the CMS promotes awareness, support, and appreciation of Cincinnati’s creative contributions to architecture, art, dance, drama, ﬁlm, letters, music and sculpture through membership programs, grants to artists, and recognition and commemoration of individual member impact.Thomas is a co-founder of Evans Mirageas Consulting, which oers artistic and strategic planning for classical music organizations and musicians around the world. He was a founding member of the Dewey-Cygnet Repertoire Theatre in his hometown of Toledo, OH.In a previous life, Thomas was Events Program Manager at the Royal Botanic Gardens, Kew, London, and Events Manager at the Minnesota Landscape Arboretum.A graduate of Northern Kentucky University, author, poet, and singer/songwriter extraordinaire Kimberly "DuWaup" Bolden is an artistic powerhouse and a skilled entrepreneur. She co-owns the innovative BOLD Creative Solutions consulting ﬁrm and shines as the Executive Producer, mastermind, and charismatic host of DuWaup's Cincinnati Poetry Slam.With two decades of experience, DuWaup tirelessly brings vibrant creativity to her region and the world. In December 2021, she un-veiled her captivating ﬁrst poetry book "SINCERELY, DuWaup," ac-companied by an enchanting poetry and music project aptly named "SINCERELY, DuWaup The Soundtrack."KIMBERLY "DUWAUP" BOLDENTHOMAS DREEZE

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SUMMERMUSIK FESTIVAL 2024 | 37Roger 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.PERFORMANCE CURATORSAnnie Darlin Gordon, principal ﬂuteMember since 2023Bushman Family Principal Flute ChairA versatile performer and music educator, Annie Darlin Gordon is principal ﬂutist of the Cincinnati Chamber Orchestra, second ﬂutist of Queen City Opera, and a long-time member of the Cincinnati-based woodwind quintet Wayside Winds. She performs regularly with regional ensembles, such as Kentucky Symphony Orchestra, Richmond Symphony Orchestra, Springﬁeld Symphony, and Blue Ash Montgomery Symphony. She has also been a guest performer with the Pittsburgh Symphony Orchestra, Concert:Nova, and Opera Project Columbus.As a music educator, Annie is passionate about the cross section of music and equity. In 2015 she joined the sta at MYCincinnati, an El Sistema-inspired, after school music program that oers free, high-quality, and intensive ensemble-based music education to students living in the Price Hill neighborhood. At MYCincinnati, Annie founded the Wind Ensemble program where she is currently the Lead Teaching Artist. Through this program, her students have had the opportunity to meet and work with incredible guest musicians such as Ebonee Thomas (ﬂute), Brandon Patrick George (ﬂute), Anthony McGill (clarinet), and Titus Underwood (oboe), and have traveled to perform and spread the word about MYCincinnati to Pittsburgh, Columbus, Cleveland, and more.In addition to the traditional classical repertoire, Annie is an avid performer of contemporary repertoire. In 2013 and 2014, she was a Contemporary Ensemble Fellow at the Aspen Music Festival during which she performed dozens of new music works and collaborated frequently with the Aspen Festival’s Composition Fellows. In 2015, she was invited back to her Alma Mater, Carnegie Mellon University, to perform Kaija Saariaho’s “Terrestre” as a soloist with the Contemporary Music Ensemble. During her time at Oberlin Conservatory, she was the winner of the Honors Recital Competition and was invited to perform the Berio Sequenza at the Kennedy Center in Washington, D.C. Most recently, Annie was a guest musician with Cincinnati’s Concert:Nova ensemble, where she participated in a world premiere of a commissioned piece

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38 | SUMMERMUSIK FESTIVAL 2024A 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 Squareby composer Timo Andres.Annie is on the music faculty at Camp Encore/Coda in Southwest Maine, a sleep-away music camp for school-aged students with a passion for music. At Encore/Coda Annie is the private ﬂute instructor, a chamber music coach, theory instructor, ﬂutist and piccoloist of the faculty chamber orchestra, and conductor of the Symphonic Winds group.Annie received her Bachelor of Music in Flute Performance degree from Oberlin Conversatory and received her Master of Music degree from Carnegie Mellon University. Her principal teachers were Alberto Almarza, Jeanne Baxtresser, Alexa Still, Michel Debost, and Kathleen Chastain.When Annie is not performing or teaching music, she is the director of a non-proﬁt DIY Home Repair workshop program called Do It Yourself Darlin, which oers beginner-level home repair workshops taught by local Cincinnati craftspeople.

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SUMMERMUSIK FESTIVAL 2024 | 41PHILIP GLASS Evening Song FROM Satyagraha, Act III Jason Vest, tenorKANNIKS KANNIKESWARAN Chitrahaar OvertureREENA ESMAIL Meri Sakhi Ki Avaaz (My Sister’s Voice) Vidita Kanniks, Hindustani vocalist Jackie Stevens, sopranoe INTERMISSION fWOLFGANG AMADEUS MOZART Symphony No. 40 in G Minor, K. 550 I. Molto AllegroMUTHUSWAMI DIKSHITAR Santatam pahimamEDWARD ELGAR March of the Mogul Emperors FROM from The Crown of India Sospiri, Op. 70KANNIKS KANNIKESWARAN Selections FROM Shanti - A Journey of Peace Ashanti (The Disruption of Peace) Shiva Shakti* Chaturang Tarana*Greater Cincinnati Indian Community Choir Jim Feist, tabla *Madhavi Sudhir, Bharatanatyam dancer*Niju Baby Narakathu, dancerAnupa Mirle & Nupur Paul, Chaturang Tarana choreographersKanniks Kannikeswaran, artistic advisorSATURDAY, AUGUST 17 | 7:30PMSCHOOL FOR CREATIVE & PERFORMING ARTSPrelude Talk: 6:45PM Eckart Preu, conductorMANY COLORS OF INDIASUMMERMUSIK SPONSORED BYROBERT & DEBRA CHAVEZ Approximately 2 hours.Wine and non-alcoholic beverages will be available for purchase.Concert SponsorVocalists SponsorDancers SponsorWohlgemuth Herschede FoundationMusic SponsorArtistic Advisor SponsorTony ColeCommunity Choir SponsorEric J. AllenEvent SupporterJoe CarloReception SponsorMainstage Series SponsorThe Carol Ann & Ralph V. Haile Jr. Foundation

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42 | SUMMERMUSIK FESTIVAL 2024Tenor Jason Vest is a Grammy-nominated, versatile performer who enjoys equally the challenges of opera, concert, recital, and professional choral work. He was featured with the Cincinnati Opera in their critically acclaimed performances of Richard Strauss’Ariadne auf Naxosin the role of Brighella. Vest has also appeared with Amarillo Opera, Stara Zagora and Plovdiv opera houses in Bulgaria, Billings Symphony Orchestra, the CCO, and many others. As a recitalist, Vest has performed for the Mexico Liederfest in Monterrey and the Vocal Artistry Art Song Festival in Albuquerque, as well as in recitals across the United States. His album of Richard Hundley’s songs, Evening Hours, was released through Roven Records in the fall of 2018. Vest is a member of the Grammy-award winning choral group, Conspirare, under the direction of Craig Hella Johnson, and also sings with the Vocal Arts Ensemble, Collegium Cincinnati, Bourbon Baroque, and the Bach Ensemble of St. Thomas. Jason is associate provost for academic and student aairs and a voice professor at Northern Kentucky University. He completed his Doctor of Musical Arts Degree at the University of Kentucky after earning a Bachelor of Music from Butler University and a Master of Music from Brigham Young University.Vidita Kanniks is a multi-faceted vocalist whose work primarily traverses chamber ensemble music & historical performance. With her dual background in Indian and Western classical music she aims to engage in unique, personal projects that challenge cultural and musical boundaries. Recent endeavors include her work on ‘East is East’, an artist residency and album release with Montreal-based ensemble Infusion Baroque, her collaboration with contemporary composer and drag artist Gabriel Dharmoo on his solo mixed-media show, ‘Bijuriya’, and her recording work with Earth World Collaborative’s ‘For the Humming World’. 2023-24 Season highlights include appearances with the Montreal Early Music Festival and Converging Arts Columbus. Vidita has been recognized by audiences around the globe for her collaborative work with her father, Dr. Kanniks Kannikeswaran. She has studied both within the Hindustani and Carnatic musical traditions, particularly in the Dhrupad style of vocal technique and interpretation. Her unprecedented interdisciplinary work in this area paired with her sensitive musicianship and anity for language has led her to gain attention through social media content and live performances across the United States and internationally. An avid choral singer, Vidita has performed with Grammy-nominated ensemble Seraphic Fire, Cincinnati Vocal Arts Ensemble, Cincinnati Bach Ensemble and Collegium Cincinnati. She holds Bachelor’s degrees in Vocal Performance and Music History from the University of Cincinnati-CCM (2018) and a Master’s degree in Early Music Performance from McGill University in Montreal (2020). Soprano Jackie Stevens enjoys an active performing and teaching career in the Cincinnati area, singing with ensembles such as the Cincinnati Vocal Arts Ensemble, Bach Ensemble of St. Thomas, Collegium Cincinnati, Coro Volante, Heri et Hodie, and the Queen City Sisters.Jackie teaches voice at the University of Cincinnati College-Conservatory of Music and Xavier University seeing over thirty students a week in a variety of degree programs.For many years, Jackie served as Program Administrator for SongFest and was present for the premiere of Meri Sakhi Ki Avaaz in 2019 in Los Angeles. She is thrilled to experience this stunning piece again, this time from the stage.Jackie holds a Doctor of Musical Arts and a Master of Music from the University of Cincinnati College-Conservatory of Music as well as a Bachelor of Music from Texas Tech University, all in vocal performance.

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SUMMERMUSIK FESTIVAL 2024 | 43Jim Feist began his training in tabla in 1990. He has studied with Ustad Allah Rakha and Pandit Yogesh Samsi, and he has been teachingtabla courses at the College-Conservatory of Music at the University of Cincinnati since 2011. He has been a guest lecturer at Marshall University, Rowan University, Washington University, Mount St. Joseph University, and Taylor University, to name a few.Jimhas played on dozens of albums and has performed all over the world. His music has been used in major motion pictures as well as television, and his work can be heard on the Travel Channel andNational Geographic, among others.Founded in 1994 by Dr. Kanniks Kannikeswaran, the Greater Cincinnati Indian Community Choir features community singers of Indian origin. The group’s repertoire is based on Classical Indian Ragas with lyrics largely in the Sanskrit language sourced primarily from ancient classics—clothed in choral polyphony. The Shanti Choir has performed regularly at Saengerfest Cincinnati and was also featured in the CSO Classical Roots concert at Music Hall in 2014 and in the ‘Dream of America’ concert in 2024. It has performed in collaborative, sold-out performances at the Arono Center and received two silver medals at the 2012 World Choir Games in Cincinnati. This group is at the forefront of the Indian American choral movement pioneered by Kanniks; Composer/Conductor Kanniks has built similar community choirs in more than 12 cities in the U.S. and has worked with more than 3,500 singers and artists. Kanniks Kannikeswaran is an internationally renowned composer/music educator with several productions and recordings to his credit. His extensive repertoire includes Oratoria, Kritis, Taranas, and several choral and orchestral works. His work has been performed by leading Indian artists such as Bombay Jayashri and Kaushiki Chakraborty and he is the recipient of the Ohio Heritage Fellowship, the McKnight Residency Fellowship, a Distinguished Alumnus Award from IIT Madras and various other awards. Madhavi Sudhir hails from the Karnataka state in southern India. She is the Founder/Director of Natyapriya, a dance school in Columbus, Ohio. Madhavi is versed in both Bharatanatyam and Kuchipudi Classical dance forms from India. Along with her students she has presented multiple Theatrical Dance productions in both Indian mythological and modern themes.She has conceptualized, choreographed and performed for individual classical pieces, Indian folk, and Bollywood songs. She has worked as a Choreographer for Gallery Players, Image Productions and with Cedarville University students as a part of their college project.Her recent spring production was with Converging Arts Columbus for Echoes of Tradition. It was a collaboration with western and Indian classical music and dance. An undergraduate in Bachelors of Business Management, she loves to work with dierent artistic Folks on projects which can utilize her potential to enhance each other’s work. She would like to thank her guru Dr. Sanjay Shantharam for his constant support. Niju Baby Narakathu started his journey with dance at the age of three. He is an Indian Classical Dancer trained in the Kalamandalam style. He started training in Bharatanatyam, Mohiniyattam and Kuchipudi under the guidance of Guru Kalamandalam Sunita, UAE. Then as he moved to Kerala, India he continued his journey with dance under the guidance of legendary and celebrated doyenne of Indian Classical dances Guru Smt. Kalamandalam Sumathy, Natyalaya School of dances, Perumbavoor, Kerala. He currently lives in Columbus, Ohio with his wife and 2 beautiful daughters.

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44 | SUMMERMUSIK FESTIVAL 2024HELPING INVESTORS GET WHERE THEY WANT TO BE.Let’s get started. www.fortwashington.comNupur Paul is an accomplished Kathak dancer, choreographer and teacher. She started her Dance School in Cincinnati in 2008 and since then she is dedicated to teach this beautiful North Indian classical dance form to students in age group six to adults. Academically, a Master’s Degree holder from Vidyasagar University, West Bengal, India, Nupur also holds a Bachelor’s degree (Sangit Prabhakar in Kathak Dance) from Prayag Sangeet Samiti, Allahabad, India. Nupur completed her specialization under the direct tutelage of Nritya Baridhi Guru Bela Arnab, an eminent Kathak exponent and senior disciple of Guru Pt. Shambhu Maharajji of Lucknow gharana. Nupur is still under the able guidance of Guru Vidushi Saswati Sen, an exponent in Kathak and senior disciple of Pandit Birju Maharaj. Besides presenting many Kathak solo and group performances in India and the United States, Nupur has also choregraphed and performed many Tagore dramas and other dance forms.Anupa Mirle was initiated into classical dance by her mother, Smt. Sathyavathi Rao, Anupama completed her Arangetram under Dr. Jayashree Rajagopalan's esteemed guidance, Dr. Padma Subramanyam's foremost disciple. With diplomas in Bharatanatyam and Odissi, Anupama further honed her skills, earning a Master of Fine Arts (MFA) under Dr. Padma Subramanyam.She was an invited member of the UNESCO Council of Dance in 2006, selected as the Ohio Dance Choreographer in 2004, and featured as an OSU Dance Department artist in 2007. 2013 the Ohio Arts Council honored her as an Ohio Heritage Fellow. Through Nrityarpana, she is dedicated to training the next generation of dancers, helping Indian Americans embrace and preserve their rich cultural heritage with pride.

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46 | SUMMERMUSIK FESTIVAL 2024PHILIP GLASS (b. 1937)Evening Song FROM Satyagraha, Act 3 (1980)About this work, the second of his 24 operas, Glass comments: “Satyagraha’s subtext is politics. The opera is semi-narrative in form and deals with Mahatma Gandhi’s early years in South Africa and his development of nonviolent protest into a political tool. (“Satyagraha” is a Sanskrit word meaning ‘truth force’). Each act is dominated by a single historic ﬁgure (non-singing role) overlooking the action from above: the Indian poet Ravindranath Tagore [a colleague of Gandhi] in Act 1, the Russian author Leo Tolstoy [who corresponded with Gandhi] in Act 2, the American civil rights leader Martin Luther King, Jr. [inspired by Gandhi] in Act 3.” These three historic ﬁgures, from dierent eras but each with a unique tie to Gandhi, suggest the timeliness of Gandhi’s message, alluded to in the “Evening Song” that closes the opera. In one translation from the Sanskrit, the ﬁnal verse reads:For the protection of the goodAnd the destruction of evil doers;For the sake of establishing righteousness,I come into being from age to age.Commissioned by the city of Rotterdam in the Netherlands, Satyagraha was premiered there in September 1980.KANNIKS KANNIKESWARAN (b. 1962)Chitrahaar Overture (2024)Indian ﬁlm music listenership is huge and its wide repertoire ranges from the classical ‘bandish’ inspired compositions of the pre-independence era to the popular ‘Bollywood’ beats of today. The Chitrahaar Overture, an orchestral exploration of Indian popular melodies from the 1930s through the 2020s is a magical journey through time.Featuring over 60 tunes with seamless transitions and explanatory visuals, this ﬁrst of its kind work celebrates the wide span of Indian popular music and acknowledges several composers and artists from ten decades. This overture is literally a portrait of the history of Indian popular music from the other side of the globe. Its ﬁve movements portray the changing musical paradigm over the past ten decades and evoke a sense of nostalgia amongst the diaspora.—Kanniks KannikeswaranREENA ESMAIL (b. 1983)Meri Sakhi Ki Avaaz (“My Sister’s Voice”) (2018)Currently living in Los Angeles, Esmail is one of today’s most active and acclaimed composers, celebrated for her deft and engaging combination of Western and Hindustani musical traditions. Her extensive catalog includes choral and orchestral pieces, chamber music, and works for both Western and Hindustani voices and instruments, including a sitar concerto commissioned by the Seattle Symphony, where she serves as composer in residence.Esmail describes Meri Sakhi Ki Avaaz as follows: “At its core, [it] is a piece about sisterhood. Each movement’s short text epitomizes one of the many facets of having and being a sister. It is also about what sisterhood looks like when expanded beyond a single family or a single culture—when two women from two dierent musical cultures create space for one another’s voices to be heard.The ﬁrst movement is a modern take on Delibes’s famous ‘Flower Duet’ from the opera Lakmé. In the opera, Delibes depicts two Indian women singing by a river. In 1880s France, this PROGRAM NOTESby Gavin Borchert

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SUMMERMUSIK FESTIVAL 2024 | 47orientalism was a point of entry into another culture far away. But today, that culture is easily accessible, and this is my attempt to show you what an ‘updated’ version of this duet might sound like with a Hindustani singer actually present to represent herself. So much of Western art music is about creating dialogue between the old and new, responding to our vast canon and musical tradition. And for the work I do, I couldn’t think of a better jumping-o point than this classic duet.For the second movement, I wrote a classical Hindustani bandish or ‘ﬁxed composition’ in what they call ati-vilambit—a tempo so slow that the Western metronome doesn’t even have a setting for it. While Hindustani musicians would normally stay in one key for an entire piece (and, to be honest, for their entire professional career), this movement modulates once every avartan, or rhythmic cycle, and also allows space for improvisation within a very rigid Western orchestral structure. Additionally, the singers are singing in two dierent raags—the Hindustani singer is in Charukeshi, while the soprano is in Vachaspati—and as the movement goes on, the switches between the raags get closer and closer.The third movement is about mirrors and opposites. I used two dierent raags that are actual mirror images of one another: Bhup, a light and sweet raag, and Malkauns, a dark, heavy raag. You will hear the shifts in tonality as the phrases cross from one into the other. Also embedded in this piece is a classic Hindustani jugalbandi (a musical competition) that is done completely in mirror image, and with both Indian and Western solfege systems, and it ends with both women crossing into one another’s musical cultures: the Hindustani singer begins singing phrases in English and the soprano joins in for ataranain harmony.“This piece has been almost a decade in the making. In 2009, I wrote a piece called Aria, for Hindustani vocalist and orchestra—it was the ﬁrst time I had ever attempted to put a Hindustani musician in my work, and it was the beginning of a long journey of discovery between these two musical cultures. This piece is the result of what I’ve found along that journey—an encyclopedia of sorts, of the many points of resonance I’ve discovered between these musical cultures.”WOLFGANG AMADEUS MOZART (1756-91)Symphony No. 40 in G Minor, K. 550, 1st movement (1788)The unknown origins of Mozart’s last three symphonies have become the stu of legend. Why did he suddenly dash o three masterpieces in the summer of 1788? Though no proof of their performance in his lifetime exists, Mozart had never been in the habit of writing pieces without speciﬁc performances in mind; over the years he had abandoned many half-ﬁnished scores when concert plans fell through. He also revised the wind parts of the G Minor symphony—versions with and without clarinets exist. It seems improbable, if not perverse, for Mozart to have made two versions of a work he never planned to have performed, nor did he have any spare time, that hectic summer, to reorchestrate just for the fun of it. Musicologist Neal Zaslaw suggests as the most likely motive for the symphonies’ composition a Viennese concert series scheduled for the fall. There is no particular reason to assume the series never came o; absence of evidence is not evidence of absence. G Minor always had special connotations for Mozart, a sort of harmonically audacious, aching restlessness that can also be heard in the G Minor viola quintet, piano quartet, and Symphony No. 25.MUTHUSWAMI DIKSHITAR (1776-1835)Santatam pahimamKanniks Kannikeswaran is a leading scholar of this composer,one of the major ﬁgures of India’s classical tradition. Over 450 kritis—a Sanskrit noun meaning “creation” or “work” and indicating a poem set to music—are attributed to Dikshitar. 39 of these are knowns as Nottuswara, a subgenre based on European folk tunes and reﬂecting British presence in the

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48 | SUMMERMUSIK FESTIVAL 2024EDWARD ELGAR (1857-1934)March of the Mogul Emperors FROM The Crown of India, Op. 66 (1911-12)Sospiri, Op. 70 (1914)Representing the zenith, or nadir, of British rule in India is this bombastic, triumphal(ist) march from a theatrical presentation devised to celebrate the crowning of George V and Queen Mary as Emperor and Empress of India in June 1911. That December the monarchs traveled to India for lavish ceremonies; back home, in March 1912, the event was marked with a grand stage pageant for which Elgar, at the time Britain’s most popular composer, wrote 12 pieces for alto, bass, chorus and orchestra, ﬁve of which he extracted for a concert suite. At the far opposite end of the mood spectrum is the meltingly gentle “Sospiri” (“sighs”) for harp and strings written two years later.KANNIKS KANNIKESWARAN (b. 1962)Shanti (2004)Composer, music educator, scholar and founder of Indian American choirs around the country, Chennai (India) born Kannikeswaran is a pioneer in combining Indian ragas and Western ensembles and idioms. His most extensive and most performed work is Shanti, an oratorio for large mixed choruses, Western and Indian instrumental ensembles, dancers, narration, and multimedia which, in his own words, is “a grand narrative of India” which “depict[s] the message of Universal Peace in the context of the 5,000-year-old cultural history of India with chants in Sanskrit in a raga-based music score.” Shanti, an 80-minute long production premiered in 2004 in Cincinnati to an audience of 2600 at the Arono Center for the Arts in 2006 and then with local choruses and ensembles in Allentown, PA (2006, 2008), Houston (2010), Atlanta (2014), again in Cincinnati (2014) and in the Bay Area (2016). Shanti has been hailed for its ability to build community around music. Performed here are two pivotal pieces from this production. ‘Shiva Shakti’ is a tarana in the Karnatic raga ‘Vagadisvari’, that features a pair of dissonant notes (the minor and major second); the lyrics sourced from the 1st millennium liturgical work ‘Tevaram’ describe the poet’s vision of Shiva and Shakti in all forms of living beings. ‘Ashanti’ or ‘The antithesis of peace’ is in the composer’s words “probably the most powerful piece in the entire production”. Its ﬁrst movement features Sanskrit verses from the Bhagwad Gita in the Hindustani Raga Shri (with its tri-tonal interval), and a juxtaposition of two dierent styles of singing to powerfully describe the progression of ‘attachment and greed’ to ‘delusion and ultimate destruction’. The second and third movements movingly depict this destructive impact and leave the listeners in a state of contemplative inquiry.The production goes on to envisage a world of unlimited possibility rooted in the vision of oneness, even in the face of ‘Ashanti’. In this performance we celebrate this vision of oneness with a Chaturang Tarana, (composed by Kannikeswaran in the year 2002) in the raga Charukesi; this much loved composition has been performed by ensembles all over the United States and in Canada, the Netherlands and India.—Kanniks Kannikeswaransubcontinent—in a way, a precursor of the blending of Eastern and Western traditions that Kannikeswaran himself has explored in detail. Kannikeswaran’s recent documentary ﬁlm ‘Colonial Interlude’ on this very subject has won the ‘Best Documentary Film’ award at two ﬁlm festivals in the United States. The tune “Santatam pahimam,” a hymn in praise of the goddess Parvati, is immediately recognizable.—Kanniks Kannikeswaran

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50 | SUMMERMUSIK FESTIVAL 2024BACH MEETS BOLLYWOODSUNDAY, AUGUST 18 | 4:00PMCINCINNATI HILLS CHRISTIAN ACADEMYLINDNER THEATERConcert SponsorLucy Allen Vocalist SponsorsGuy Wolf & Jane MisiewiczMusic SponsorsSijie Dai & Michael MuiA Little Afternoon Musik Series SponsorsROSEMARY & MARK SCHLACHTERIRV & MELINDA SIMONMYCHAEL DANNA Theme FROM Monsoon WeddingRAAM LAXMAN “Kabootar Ja Ja” FROM Maine Pyar KiyaA.R. RAHMAN "Jai Ho" FROM Slumdog MillionaireJOHANN SEBASTIAN BACH Sinfonia FROM Cantata, BMV 29 Et Exultavit Spiritus Meus FROM Magniﬁcat Badinerie (ARR. VIDITA KANNIKS)KANNIKS KANNIKESWARAN Raga LatangiVIDITA KANNIKS (ARR.) Raga Gurjari Todi “Ye Zindagi Usi Ki Hai” FROM AnarkaliLUDWIG VAN BEETHOVEN FROM String Quartet in E Minor, Op. 59 No. 2 ("Rasumovsky") I. AllegroKANNIKS KANNIKESWARAN Ashtanga Yoga Chaturang Tarana Greater Cincinnati Indian Community Choir Kanniks Kannikeswaran, artistic advisorVidita Kanniks, Hindustani vocalistJim Feist, tablaApproximately 1 hour and 15 minutes

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SUMMERMUSIK FESTIVAL 2024 | 51COMMENTARY &FILM SCREENINGOF "LION"TUESDAY, AUGUST 20 | 7:30PMESQUIRE THEATRESUMMERMUSIK FESTIVAL 2024 | 51KANNIKS KANNIKESWARANcommentatorStarring Dev Patel, Rooney Mara, Nicole Kidman, and David Wenham, this 2016 biographical drama tells the life story of Saroo. As a ﬁve-year-old, Saroo unwittingly winds up in Calcutta. Not understanding the local Bengali language, he begins to wander the streets of Calcutta before he is placed in an orphanage. Eventually, he is adopted by an Australian couple and 20 years later begins to trace his roots to ﬁnd his biological family. During the process, Saroo ﬁnds out that his real name is ‘Sheru’, meaning ‘Lion’.The ﬁlm earned six Oscar nominations at the 89th Academy Awards, including Best Picture, Best Supporting Actor (Patel), Best Supporting Actress (Kidman), and Best Adapted Screenplay. At the 70th British Academy Film Awards, the ﬁlm won the BAFTA Awards for Best Supporting Actor (Patel) and Best Adapted Screenplay.The ﬁlm is rated PG-13.Approximately 2 hours and 15 minutes

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52 | SUMMERMUSIK FESTIVAL 2024GREAT AMERICAN SONGBOOK REVUEWEDNESDAY, AUGUST 21 | 7:00PM [SOLD OUT] & 9:00PM828 THE TURN, NEWPORTApproximately 1 hour and 15 minutes Additional beverages available for purchase.CHAMBER CRAWL SERIES SPONSORConcert SponsorsEvan & Sarah GidleyVenue SponsorMandy Gaines SponsorElizabeth A. StoneMusic SponsorJoyce ElkusEvent SupporterMaryanne McGowan52|SUMMERMUSIK FESTIVAL 2024Selections include (in no particular order):GEORGE & IRA GERSHWIN Strike Up the Band S’Wonderful I Got Rhythm Variations Our Love Is Here to StayJIMMY VAN HEUSEN Like Someone in LoveJEROME KERN Way You Look Tonight Smoke Gets In Your EyesHENRY MANCINI Moon RiverCOLE PORTER It’s All Right with Me I’ve Got My Love to Keep Me Warm Night and Day You’d Be So Nice to Come Home HAROLD ARLEN I’ve Got the World on a String One for My Baby

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SUMMERMUSIK FESTIVAL 2024 | 53Manami Whiteprincipal, second violinMember since 1988Chair sponsored by Ruth Schwallie & Mark SilbersackManami White has performed both nationally and internationally with orchestra, chamber ensembles, and in numerous recital settings. She is principal second violin and personnel manager of the Cincinnati Chamber Orchestra. In addition, she is concertmaster and associate director of Cincinnati Bach Festival and Cincinnati Collegium, concertmaster of the Kentucky Symphony Orchestra, principal second violin of Cincinnati Bach Ensemble and an associate member of the Columbus Symphony Orchestra. She has also toured internationally with the American Sinfonietta. Manami’s solo performances include appearances with the North Florida Symphony Orchestra, MUSE and the Kentucky Symphony Orchestra. In addition to performing, Manami is on faculty at Xavier University.PERFORMANCE CURATORSMandy Gaines, vocalistMandy Gaines, a talented, versatile vocalist, and entertainer, with more than 30 years of professional experience, entertains and delights audiences throughout the world. Her performances are generally viewed as refreshing, soulful and exciting. From 1988 to the present, she continues to improve and grow through her gifted interpretations of Jazz, Pop, R&B and Soul classics as well as writing and performing her original works.Mandy has performed all over the world with various Orchestras, Big Bands, Quartets and Trios from Russia to Taiwan, France to Australia and most recently with The Cincinnati Pops performing the Mid-Century Songbook of Jazz and Blues.Recent CD recordings include, “It’s Just A Matter Of Time”, “Christmas This Year” and featured on “Introducing the Cincinnati Contemporary Jazz Orchestra”.Mandy counts her biggest accomplishment to date as being inducted into the Cincinnati Jazz Hall of Fame and continues performing in her hometown Cincinnati as well as European Concerts and Festival tours, performing and recording while entertaining audiences along the way!PROVIDING QUALITY ORCHESTRALSTRING INSTRUMENT REPAIRS,RENTALS, AND SALES SINCE 1976WWW.THELOFTVIOLINSHOP.COM4604 N. HIGH ST COLUMBUS,OH 43214614.267.7221The Loft Violin ShopEST. 1976Old World Craftsmanship, Quality, & Service@THELOFTVIOLINSHOP @LOFTVIOLINSHOP

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SUMMERMUSIK FESTIVAL 2024 | 55SATURDAY, AUGUST 24 | 7:30PMSCHOOL FOR CREATIVE & PERFORMING ARTSPrelude Talk: 6:45PM Eckart Preu, conductorHAPPY BIRTHDAY!JOHANN STRAUSS II Waltz, Op. 443, “Seid Umschlungen, Millionen”(“Be Embraced, You Millions”)GIOACHINO ROSSINI William Tell Overturee INTERMISSION fLUDWIG VAN BEETHOVEN Symphony No. 9 in D Minor, Op. 125I. Allegro ma non troppo, un poco maestosoII. Molto VivaceIII. Adagio molto e cantabileIV. Presto - Presto - "O Freunde, nicht diese Töne!" Allegro assaiKala Maxym, soprano Lauren McAllister, mezzo-sopranoJason Francisco, tenorMusa Ngqungwana, bass-baritoneSummermusik Chorus, Daniel Parsley ChorusmasterSUMMERMUSIK SPONSORED BYROBERT & DEBRA CHAVEZ Approximately 2 hours.Concert SponsorSummermusik Chorus Sponsors Jeanne & Christopher Barnes Soloist SponsorsKarlee HilliardMusic SponsorsChristopher & Nancy VirgulakEvent SupporterReena Dhanda PatilReception SponsorMainstage Series SponsorThe Carol Ann & Ralph V. Haile Jr. FoundationWine and non-alcoholic beverages will be available for purchase.

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56 | SUMMERMUSIK FESTIVAL 2024German-born soprano Kala Maxym is equally comfortable on the concert and opera stage, having sung across the U.S., Europe, and Latin America. She has performed leading roles with Chicago Opera Theater, Opera Santa Barbara, Aspen Opera Theater Center, and Diva Opera (UK/Europe tour), among other companies. Recent concert highlights include the soprano solo in Bernstein’s Mass at the Segerstrom Center for the Arts as well as the soprano solo in Beethoven’s 9th Symphony with both the Spokane and Long Beach Symphonies under the baton of Maestro Preu.Named after the volcano, Haleakalā, on Maui, Kala is an avid performer of art song, most especially Spanish and Latin American art song, a passion she recently had the chance to showcase in a recital with pianist Dr. Vernon Snyder in Memphis. She has sung for three Presidents (including aboard a Navy ship in the middle of the Paciﬁc ocean) and regularly donates her voice to support causes near and dear to her heart.Throughout her years as a classical vocalist, Kala has also held a multitude of other professional positions, including with the Criminal Division of the U.S. Department of Justice, as a gemologist, as a college essay coach, in voter registration, in the technology sector, and now as an entrepreneur and co-founder of The Chocolate Dispensary and Tasting Room, which opened this year in Los Angeles. Lauren McAllister is a lyric mezzo-soprano based in Cincinnati. Previous appearances include the role of Vesta in the premiere of William Meneﬁeld’s opera, Fierce (Cincinnati Opera). Other recent credits include Ännchen cover with Queen City Opera, singing in recital with Catacoustic Consort as their Vocal Young Artist, joining Conspirare for their 2018-19 season, reuniting with the Lynx Project for their Autism Advocacy Project, and performing with Cincinnati Soundbox as an artist-in-residence, where she premiered works for vocal trio and for solo voice, bass, and percussion.Lauren appeared as Lazuli (l’Étoile,Sin City Opera),Melanto (Il ritorno d’Ulisse in patria,Opera Louisiane),and as the mezzo soloist for the Duruﬂé Requiem with the Cincinnati Fusion Ensemble. She also returned to the Cincinnati Vocal Arts Ensemble as the alto soloist in the Bach Ascension Oratorio, and she sang as the alto soloist for Handel’s Messiah with both Collegium Cincinnati and the Mennonite Choral Society of Berne, IN.As an avid recitalist, she debuted with the Lynx Project for their Snapshots for Every Voice concert series,and with the Cincinnati Song Initiative in their Survey of Les Six, where she sang selections by Honegger and Milhaud. She also toured in Norway with Grammy®-winning ensemble Conspirare for the 2016 St. Olav Festival. In December of 2015,Lauren took ﬁrst place in the Nebraska District of the Metropolitan Opera National Council Auditions. As a concert artist,she appeared as the mezzo soloist in the Bach B Minor Masswith the Cincinnati Vocal Arts Ensemble and with the Cincinnati Chamber Opera in a staged performance of the Pergolesi Stabat Mater.Lauren earned her Master of Music degree in Voice Performance from the University of Cincinnati College-Conservatory of Music (CCM), in the studio of Karen Lykes. While at CCM, Lauren performed as the alto soloist in a staged production of the Bach St. John Passion, sang the role of Marcellina (Le nozze di Figaro), and covered the role of Lazuli (l’Etoile). Lauren holds a Bachelor’s degree in Voice Performance from the Eastman School of Music,where she studied with Robert McIver. She performed the roles of Aunt Emma (Hin und Zurück) and Rosine (Signor Deluso), and was a ﬁnalist in the Jesse Kneisel Lieder Competition (2012).

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SUMMERMUSIK FESTIVAL 2024 | 57Tenor Jason Francisco has appeared in numerous solo roles on the concert stage with the Paciﬁc Symphony, Long Beach Symphony, Musica Angelica, the Corona Del Mar Baroque Festival, Paciﬁc Chorale, and the John Alexander Singers. Major solo roles have included performances of Beethoven’s 9th Symphony, Mozart’s Requiem, Bach’s B Minor Mass, Haydn’s Lord Nelson Mass, Mendelssohn’s Elijah, Monteverdi’s Vespro della Beata Vergine, Schubert’s Missa in G, Handel’s Messiah, Finzi’s For Saint Cecilia, Saint-Saëns’ Christmas Oratorio, Scarlatti’s Messa di Santa Cecilia, and Einhorn’s Voices of Light. Mr. Francisco has appeared as Fenton in Falsta and Demetrius in The Fairy Queen with Lyric Opera of Orange County. As a professional chorister, he has performed with Los Angeles Opera in their productions of Bizet’s Carmen, Verdi’s Nabucco, Aucoin’s Crossing, Verdi’s Don Carlo, Glass’ Satyagraha, Panella’s El Gato Montes, Aucoin’s Eurydice, and Verdi’s Aida. He has also performed with San Diego Opera in their production of Puccini’s Turandot. On the big screen, Mr. Francisco can be heard as soloist on the soundtrack of the ﬁlm 186 Dollars to Freedom.A lifelong southern Californian, Mr. Francisco enjoys documenting his travel adventures through video and photography with his partner, John, and Yorkshire Terrier Benji.The “powerful bass-baritone” (Wall Street Journal) Musa Ngqungwana, a native of Port Elizabeth, South Africa, has been lauded by The New York Times for his “rich, glowing voice and elegant legato,” while the The Arts Desk describes him as having “striking stage presence and a dignity that never falters”.In the 2023-2024 season, the “standout performer” (The Times) returns to the Royal Danish Opera for Verdi’s Aida, portraying King Amonasro, after making his house debut last season. Musa also sings Don Bartolo in two productions of Rossini’s comedic masterpiece, The Barber of Seville, ﬁrst at Pittsburgh Opera and then at North Carolina Opera. In concert, he appears with the New World Symphony in Beethoven’s Ninth Symphony.A versatile performer, Musa has been recognized for his talent in both dramatic and lighter roles, his portrayals described as being “played with anguished magniﬁcence” (The Guardian) as well as “brilliantly comedic” (Pittsburgh Post-Gazette). Musa has received particular critical acclaim for his portrayal of the title role in Porgy and Bess, appearing at the Glimmerglass Festival, Washington National, Atlanta, Grange Park, and Malmö Operas, and with the Lithuanian State Symphony Orchestra as well as the Frankfurt Radio Symphony. Financial Times praised his Porgy, writing “his rich bass-baritone plumbs depths of feeling in a moving portrayal”, while Opera Today described him as “a force of nature [...] with a voice of such jaw-dropping beauty, richness, and power”.Possessing a voice hailed as “gorgeously resonant” (Limelight Magazine), favorite highlights of recent seasons include singing Vodnik in Rusalka at Garsington Opera and Edinburgh International Festival; Lord Krishna in Satyagraha at English National Opera; Intolleranza 1960at Salzburg Festival; Fidelio at the Austin Opera; Dulcamara in The Elixir of Love at Palm Beach Opera; and I Puritani at Washington Concert Opera.Musa graduated with Honors in Performance (First Class) from the University of Cape Town and is a graduate of the Academy of Vocal Arts in Philadelphia. He is the author of the memoir Odyssey of an African Opera Singer, which was published by Penguin Random House South Africa.

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SUMMERMUSIK FESTIVAL 2024 | 59JOHANN STRAUSS II (1825-99)Waltz, “Seid Umschlungen, Millionen” (“Be Embraced, You Millions”), Op. 443 (1892)The primary aesthetic schism in 19th-century German music, any history book will tell you, was between the advocates of Johannes Brahms, the traditionalist heir of Beethoven (with Clara Schumann as his chief lieutenant), and of Richard Wagner, the modernist (with Liszt as his). Hostilities, such as there were (mostly in print), were carried out primarily by their acolytes. Not that the battle lines were ever all that clear. One thing the two composers agreed on, for example, was the genius of Johann Strauss II. Wagner once noted that Johann’s “is the most musical brain in Europe” (or, according to some sources, “… of our time”). Returning the admiration, Johann and his brother Josef both included excerpts from Wagner’s operas in their concerts, even from challenging works like Tristan und Isolde. Johann also enjoyed the company of, and encouraged, Anton Bruckner, whose symphonies displayed Wagnerian inﬂuence, making them targets of vicious attacks from the Brahms camp. (The young ﬁrebrand Mahler, at ﬁrst an admirer of Bruckner, later lost patience with both sides, calling him and Brahms “An odd pair of second-raters. The one in the casting ladle too long, the other one not long enough.”) But Brahms was the dedicatee of this waltz, which took its title from a line in Friedrich Schiller’s “Ode to Joy” that Beethoven had set in his Symphony No. 9. Conducted by Johann’s brother Eduard, the third musical Strauss brother, its premiere was March 27, 1893; it’s one of Johann’s last waltzes. Apparently there was some kerfue over the premiere and the dedication; Johann had promised it for two other events. One was a ball for a journalists’ organization; Strauss had written several waltzes for these balls in previous seasons. The other event was an international exhibition of music and theater organized by his friend and patron Princess Pauline von Metternich; but when Johann’s own orchestra was not booked for the exhibition … sorry, Princess, no waltz for you. In the end Johann entrusted the premiere to Eduard and dedicated the piece to his longtime friend Brahms. As it happened, just four years later, in March 1897, the ﬁrst night of Johann’s operetta The Goddess of Reason was the last performance the ailing Brahms was able to attend before his death a month later.One could guess that Strauss might have decided to pay further homage to Beethoven by quoting not only a line, but a bit of music too, from his Ninth. But after listening to the waltz a couple times through, one detects only a tiny and superﬁcial similarity: One of Johann’s tunes starts on the third scale degree and rises to the ﬁfth, just like Beethoven’s famous tune does. Where Beethoven has mi— fa so / so fa mi re / do, etc.Johann’s tune goes mi— mi / mi fa so / so la ti etc.Deliberate or coincidental? Your guess. Your ears might pick up subtler connections.PROGRAM NOTESby Gavin BorchertGIOACHINO ROSSINI (1792-1868)Overture to William Tell (1829)After establishing his operatic career in Italy, Rossini left there for good in the spring of 1822, aged 30, ﬁrst for a stay in Vienna, which was mad for his music—making things even more dicult for Beethoven, who had a devoted following among the city’s most serious music lovers, though not the wide popularity he deserved; and for Schubert, practically unknown, trying to establish himself. Schubert’s response to Rossini-mania was two Overtures in the Italian Style and a few perhaps ill-advised attempts to write an opera that would appeal to his hometown’s audiences. As for Beethoven, Rossini made a point of visiting him, coming away in tears after seeing the older composer’s poverty, ill health, and neglect.

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60 | SUMMERMUSIK FESTIVAL 2024LUDWIG VAN BEETHOVEN (1770-1827)Symphony No. 9 in D Minor, Op. 125 (1824) The streams that ﬂowed together to become Beethoven’s ninth and last (completed) symphony:• Sometime in the 1790s, Beethoven ﬁrst encountered the 1785 poem “An die Freude,” known in English as the “Ode to Joy,” by one of his favorite authors, Friedrich Schiller. • The idea of adding a chorus to an otherwise instrumental work ﬁrst occurred to Beethoven in the Choral Fantasy, a weird but interesting piece for solo pianist, vocal soloists, orchestra, and choir that was premiered on Dec. 22, 1808, on the same marathon concert that saw the premieres of the Fifth and Sixth symphonies, the Piano Concerto No. 4, and the Mass in C. The impetus was practical rather than idealistic; he wanted to provide the concert with a grand ﬁnale that included all participating performers. It is not known for certain who wrote the text Beethoven set for the choral apotheosis; probably his friend Christoph Kuner.After a year and half in Vienna, and one tepidly received premiere, the lengthy Semiramide, England tempted Rossini with more lucrative oers. Again, wild enthusiasm translated into only middling ﬁnancial success for his new works (same old story: his fans wanted only the greatest hits), and again he was lured to another city, Paris, where he arrived in July 1824 and got to work. His output in the following years:• The Journey to Reims, ﬁrst performed June 1825 to celebrate the coronation of Charles X.• The Siege of Corinth, a reworking of 1820’s Maometto II, fp. October 1826.• Moses and Pharaoh, a reworking of 1818’s Moses in Egypt, fp. March 1827.• Count Ory, fp. August 1828, a lightly bawdy comic opera that reused much music from The Journey to Reims, which after all was a pièce d’occasion which Rossini did not expect to be revived, and which in fact did not get a second production until 1984 [sic].But by this time Rossini had already been thinking about William Tell; already planned for it to be monumental; and already intended it to be his last opera. It’s unknown how long it took him to compose it. He was a fast worker, but it’s inconceivable he waited to begin work on this enormous canvas (four hours of music telling the story of Switzerland’s struggle for independence from Austria) until after Count Ory was behind him, since Tell rehearsals started only three months later, in November 1828. The premiere the next August was rapturously received, but very soon thereafter judicious cuts were made, and Tell to this day is almost never performed complete. The diculty of the tenor part (not even the title role, but a smaller character) also makes revivals rare.The overture, on the other hand, has been become one of the most popular and best-known concert works of all time, its ﬁnal quickstep ranking in mass-culture recognizability alongside Handel’s “Hallelujah!” chorus, the opening of Beethoven’s Fifth, and “The Blue Danube.” It’s a suite of four mini-tone poems setting the scene for the opera, depicting an Alpine dawn, a storm, a bucolic meadow with a cow-call, and the galloping of the Swiss army.Ironically, Rossini’s farewell to the stage opened a new chapter of opera history—the age of grand opera, Paris’s specialty, similarly vast historical epics that composers like Halevy, Meyerbeer, and Gounod turned into the century’s most extravagant spectacles and which inﬂuenced Verdi and, despite his Francophobia, Wagner. But Rossini had had enough. Sheer exhaustion was surely one reason; after his ﬁrst opera in 1810, he’d written 38 operas in 18 years. He was 36, and for the second half of his life he stayed in Paris as one of the city’s chief bon vivants, his only substantial compositions two sacred works and an album of piano pieces.

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SUMMERMUSIK FESTIVAL 2024 | 61• In 1812 Beethoven got the idea of adding a chorus to an overture, and this time he planned to use Schiller’s “Ode”; he soon dropped the idea, though, and ﬁnished the piece, to become known as the “Namensfeier” overture, for orchestra alone in 1815. However, one can hear, in a climactic tune in the winds near the end, a bit of a pre-echo of the famous “Ode to Joy” tune in the Ninth.• The decisive encouragement came in June 1817—a letter from the Philharmonic Society of London inviting Beethoven to visit the following January and bring with him two new symphonies. He replied quickly that he would, but for the rest of 1817 was able to jot down only a few ideas for either work. Eventually other projects got in the way, of a scale that would daunt anyone: the “Hammerklavier” piano sonata, the Missa solemnis, the Diabelli Variations for piano. (Also, he was at this time entangled in years of legal wrangling over the guardianship of his nephew Karl.) The next March, 1818, he ﬁnally got around to letting the Philharmonic know that his health made travel impossible.But he never forgot their oer. A letter to the orchestra from July 1822 asks, in eect, “Still interested?” The Philharmonic wrote back oering 50 pounds for one symphony. After Beethoven got the Variations o to his publisher in June 1823, he had ﬁnally cleared his schedule enough to concentrate on a symphony for London. Since by now he had been thinking about this commission for some years, the actual composition went smoothly. He ﬁnished the ﬁrst movement ﬁrst; it had been extensively sketched. (“Among all his scores,” his friend and biographer Anton Schindler recalled, “this one may serve as a model of neatness and clarity, and it is notable for its small number of corrections.”)The second movement, the scherzo, was done by the end of July and the slow movement around summer’s end. (Beethoven had dropped the other of the two symphonies London had originally requested, which became known as the “Tenth”; conjecturally completed by Beethoven biographer Barry Cooper, it has been recorded and was played, you may recall, by this Orchestra last summer.)Now as autumn approached, with the ﬁrst three movements settled, already longer and weightier than usual for him, Beethoven began work on the ﬁnale: choosing which sections of Schiller’s “Ode” he would use and planning how to introduce them for maximum eect. The scheme became elaborate: an attention-grabbing opening scream for winds that Wagner later dubbed a schreckensfanfare (“terror fanfare”); then a proclamatory passage “in the character of a recitative” for cellos and basses; then quotes from the ﬁrst three movements, like memories, interspersed with more cello/bass recitative; then the famous tune setting the “Ode,” but not yet sung: It’s ﬁrst heard in increasingly rich and intricate, but purely orchestral, variations. Another schreckensfanfare, followed by the cello recitative, this time given to the baritone soloist. And now, at last, on the 22nd page of the ﬁnale, the great tune is ﬁnally heard from a human voice.The symphony was mostly ready by February 1824, and now Beethoven indulged in a bit of game-playing, wondering publicly if he should stage the premiere in Berlin. This provoked a long and eusive petition, signed by 30 of his friends and patrons, begging him to present the work in Vienna; he relented, and did.After some delays, May 7 was chosen for the concert date. Also on the program were the “Consecration of the House” overture from 1822 and the Kyrie, Credo and Agnus Dei from the Missa solemnis. Beethoven was on hand, not to conduct (the previous time the nearly deaf composer had attempted to lead a rehearsal, chaos ensued) but only to set tempi at the beginning of each movement. The audience was ecstatic; after either the second or fourth movement (accounts dier), the alto soloist, Caroline Unger, tapped on the shoulder of the composer (head still obliviously in the score, unaware the musicians had ﬁnished), turning him around to face the wild crowd response he could not hear.

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64 | SUMMERMUSIK FESTIVAL 2024Summermusik (Cincinnati Chamber Orchestra) wishes to thank the following individuals, corporations and foundations for their generous financial support between July 15, 2023 and July 15, 2024. If your 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 ChavezGreater Cincinnati FoundationCarol Ann & Ralph V. Haile Jr. FoundationLouise Dieterle Nippert Musical Arts FundOhio Arts CouncilIrv & Melinda SimonPlatinum ($10,000 - $24,999)Gale & Dave BeckettRebecca Bolce & Keith WoodManuel & Cynthia ChavezMartin & Kim ChavezChavez PropertiesCharles H. Dater FoundationMichael DempseyAustin E. Knowlton Foundation John Kreitler & Patsy Meyer KreitlerRosemary & Mark SchlachterFestival ($5,000 - $9,999)Friends of SummermusikJeanne & Christopher BarnesRachelle Bruno & Stephen BondurantAnthony ColeKelly Dehan & Richard J. StaudigelFort Washington Private Client GroupKarlee HilliardLinda Holthaus & Richard ZinicolaThe Oliver Family FoundationDianne & J David RosenbergSummerfair CincinnatiNellie Leaman Taft FoundationGeraldine WarnerWohlgemuth Herschede FoundationConductor ($3,000 - $4,999)Susan Esler & Steve SkiboDonald W. Fritz, Ph.D.Cliff GoosmanWilliam Hurford & Lesley GilbertsonJonathan & Nancy LippincottJessy WilliamsKaren ZauggOUR BENEFACTORSConcertmaster ($1,250 - $2,999)19/19 Investment CounselTerri & Tom AbareMary Lu & Dick AftEric J. AllenLucy AllenAmeritasDeborah CampellCincinnati International Wine FestivalSijie Dai & Michael MuiMarjorie DaviesJoyce ElkusEvan & Sarah GidleyJohnson & JohnsonEd LyonMary Jane MayerCharles & Judy McOskerMichael T. Moore, Jr.Wes & Caitlin NeedhamDaniel PfahlChristopher & Nancy VirgulakJim & George Ann WesnerGuy Wolf & Jane MisiewiczOrchestra ($750 - $1,249)Malcolm & Glenda BernsteinGrant & Megan CambridgeAngela CrovettiThe Danaher FoundationDuke EnergyRaven FultonEverett N. Jones IIIEric & Jan-Michele KearneyNancy KeyserCarol KrusePatricia & Glenn LarsenKathleen LaurinWes & Caitlin NeedhamPatrick PointsCarol & Steve ReubelElizabeth StoneBenefactor ($250 - $749)Friends of SummermusikMarina AbantoDiane BabcockMary Ann BarnesMarja BarrettMarianna BettmanElaine & David BillmireDoug & Dawn BruestleJoe CarloRafael & Kimberly de AchaSusan & David DeyeDan & Lin DomisAllison EvansPeninah FrankelThe Gordon FamilyBarbara GouldKarl & Connie GrahamKaren HartmanPhillip & Barbara HesterKarlee HilliardMarty JohnsonKenneth JordanHarry KangisAndrea L. Kaplan Crystal KendrickPeter E. Landgren & Judith Schonbach LandgrenSusan LaufCynthia LewisJudith LucasSteven MassieMaryanne McGowanMark McKillip & Amira BeerAlan Flaherty & Patti MyersThe Patel-Curran FamilyReena PatilGary ShinnMatthew SokanyMatt & Ginny StrangePatricia StrunkSusieTweddellPriscilla WalfordStephanie Davis WallaceJoAnn WieghausThe Vicki Reif Memorial FundLeAnne & Matthew Anklan Alejandro & Tasha AragakithemusicminionsKen Jordan Cindy Lewis Michael Moore Dan PfahlThe John Henry Kreitler Memorial FundPaul AntonelliMary Ann BarnesBarbara CampbellDon ColemanSavas & Pauline DeligiorgisRob DodsonJacquie FennellFirst Christian Church of North Hollywood Elaine HewesLinda Holthaus Mary MacLachlanTahsin MertAli B OlmoDaniel PfahlGary and Karen Rich Robert RichDavid RigsbyEmily SpoonerDavid White

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SUMMERMUSIK FESTIVAL 2024 | 65The BMW Store in Kenwood Rebecca Bolce & Keith WoodGavin BorchertCETCincinnati Arts AssociationCincinnati BoychoirCincinnati Brass BandCora's CakeryChelsea Marie DavisNancy KeyserRiley School of Irish MusicRPI Graphic SolutionsRossana & Keith StettlerBrett StoverWash.Park.Art GalleryIn-Kind ContributionsBoard of TrusteesDaniel Pfahl, PresidentMichael Moore, TreasurerLinda Holthaus, Vice PresidentNancy Lippincott, SecretaryTerri Abare, Community VolunteerGrant Cambridge, Event EnterprisesJoe Carlo, Johnson Investment CounselRobert Chavez, Chavez PropertiesSijie Dai, Procter & GambleKelly Dehan, Community VolunteerSusan Esler, Community VolunteerRaven Fulton, PaloozanoireTom Guth, Orchestra RepresentativeAshley Hall, Orchestra RepresentativeLinda Holthaus, Community VolunteerPeter Hsi, Community Volunteer William Hurford, Community VolunteerEverett N. Jones III, Community VolunteerEric C. Kearney, Greater Cincinnati/Northern Kentucky African American Chamber of CommerceNancy Keyser, Riley School of Irish Music Nancy Lippincott, Community VolunteerTiffany Luckey, Ten21 Agency & Protective LifeEd Lyon, Tax Master Network, LLCMichael Moore, WealthquestWes Needham, Duke EnergyDaniel Pfahl, PNC BankCatherine Roma, World House ChoirMark Schlachter, Art Beyond BoundariesJessy Williams, Procter & GambleRichard N. Aft, Ph. D.Boris AuerbachSally ConnellyDr. G. James Sammarco Mrs. Ruthann SammarcoRuth SchwallieHonorary TrusteesMarina AbantoMichael AbneyJames AdamsRichard N. Aft, Ph. D.Eric J. AllenJerey AndersonBoris AuerbachWilliam BalzanoCarol BeddiePaul BernishJo Ann BobbittRyan BoggsJohn R. BrooksPaul BrunnerSusan BuseKenneth ButlerJohnnie CarrollMelanie 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 JetterHarry KangisDavid A. KlingshirnFlorence KoettersMarvin KolodzikMark KroegerRonald KuzmaErin LombardiJoanie LottsLarry S. MagnesenJames MayKaren McKimRajani MenonMichael MotchVicky MotchDean MoulasChristine E. NeyerCora OgleReena Dhanda PatilAlbert PeterSally Krefting PhillipsJane PopeAngela Powell WalkerJC PurkRoxanne QuallsJoyce ReMelody Sawyer RichardsonWilliam RiggsJack RouseGeorge A. SchaeferRosemary SchlachterRuth SchwallieDavid B. SchwartzThomas SchwartzArt ShribergLinda SiekmannEdward SpaethChristopher SparksShane StarkeyCindy StarrBrett StoverKaoru SuzukiTimothy TepeBrian TianyRichard Tripp William TsacalisChristopher TschiederSerena TsuangKaren TullyAlice Rogers UhlSteven VamosiDenise VandersallStephanie Allgeyer VestRea WaldonJulie Washington Gail W. WellsShelby WoodNicholas YodaEmeritus BoardLianna Bartlett, Production AssociateGabby Benedict, Development AssociateRalf Ehrhardt, Finance Director | Senior Grant WriterEvan Gidley, Executive DirectorMaureen Hickey Haitch, Production & Marketing ManagerMary Maule, Stage ManagerMy Anh Vo, Marketing Associate Manami White, Orchestra Personnel ManagerSummermusik Sta

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66 | SUMMERMUSIK FESTIVAL 2024GUIDE MAPVENUES & PARKINGSCPA Corbett Theater108 W Central Pkwy, 45202Washington Park Garage1230 Elm St, 45202Chavez Properties Parking Lot250 W Court St, 45202ABCEsquire Theatre320 Ludlow Ave, 45220Merchant parking lot330 Howell Ave, 45220The Redmoor3187 Linwood Ave, 45208Parking lot availableNOWestwood First Presbyterian Church3011 Harrison Ave, 45211Parking lot availableLMTU828 The Turn828 Monmouth St, 41071Parking across the streetRSHilton Hotel Parking Garage 35 W 5th St, 45202Hilton Cincinnati Netherland Plaza & Orchids of Palm Court35 W 5th St, 45202DEAmerican Sign Museum1330 Monmouth Ave, 45225Free valet parkingFKPirates Cove Tropical Bar and Grill4609 Kellogg Ave, 45226Parking lot availableJFABCCentral Parkway12th StElm StRace StCourt StSCPA CORBETT THEATEROVER-THE-RHINEVine StRace StW 4th StW 5th StDEORCHIDSDOWNTOWNCRESTVIEW CHURCHWEST CHESTER42GIHMonmouth St.Dayton St.Saratoga St.Orchard St.9th St.8th St.828 THE TURNNEWPORTRSAlabama AveSpring Grove AveColerain AveAMERICAN SIGN MUSEUMCAMP WASHINGTONMonmouth AvePSnider Rd.I-71E Kemper RdCINCINNATI HILLSCHRISTIAN ACADEMYHIGHPOINTTHE REDMOORMT. LOOKOUTLinwoodAve.Delta AveNOWESTWOOD CHURCHWESTWOODKling AveHarrison AveHope LaneLMPIRATES COVEEAST ENDKellogg AveJKQTApple StCherry St.Turrill St.Marble St.ESQUIRE THEATRENORTHSIDEUBlue Rock RdBlue Rock RdCrestview Presbyterian Church9463 Cincinnati Columbus Rd, 45069Parking lot availableGH IQCincinnati Hills Christian Academy Lindner Theatre11525 Snider Rd, 45249Parking lot availablePCUT HERE

2024 Summermusik Program Book

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