2025 Summermusik Program Book : simplebooklet.com

SUMMERMUSIK FESTIVAL 2025 | 5TABLE OF CONTENTSIntroducing the Crescendo Club...A Note from EckartA Note from Dan & EvanConductors: Eckart Preu & Daniel ParsleyCincinnati Chamber Orchestra MembersJULY 30: JOURNEY TO TÜRKIYEAUGUST 2: ADVENTURES ON THE SILK ROADAUGUST 3: VIVALDI’S VENICEAUGUST 6: LET’S DANCE!AUGUST 9: TRAILBLAZERSAUGUST 10: VISIONS FOR THE FUTUREAUGUST 12 & 13: SPEAKEASY AUGUST 14: BECOME A COMPOSER!AUGUST 16: ART DECO AT 100AUGUST 17: THE ROARING TWENTIESAUGUST 21 & 22: SUMMERCÉILÍAUGUST 23: THE SOUL OF IRELANDAUGUST 24: IRISH MUSIC WORKSHOPSOur Funders, Partners, & In-Kind ContributorsOur SupportersBoard of Trustees and StaffVenue & Parking Maps78910111214202224303436384446505658596061CONTACT USSummermusik650 Walnut StreetCincinnati, OH 45202Ticketing Office: 513.723.1182 x2info@summermusik.orgsummermusik.orgStuck in traffic? Please note thatlatecomers will be asked to remainin the lobby so as not to disturbother patrons. At an appropriatemusical break, ushers will assistlatecomers to their seats.Please turn off all cell phones,watches and other electronicsprior to the start of theperformance.The use of photographic andrecording devices is strictlyprohibited in the hall duringperformances.Smoking, including e-cigarettes, isprohibited in all performancevenues.TICKET POLICYPlease don't allow your seat to goempty! If you can't use yourtickets for an upcoming concert,you have numerous options. You can exchange your tickets foranother performance, or you canreturn them to us for a refund onticketing fees.For ticket returns and exchanges,please be sure to contact the boxoffice no later than 48 hours priorto the concert for which you holdtickets.CONCERTCOURTESYABOUT SUMMERMUSIKOUR MISSION:We create intimate, transformative experiencesthat connect the musically curious.OUR VISION:To be an incubator of musical curiosity.OUR COMMITMENT TO DIVERSITY, EQUALITY,INCLUSION AND ACCESSIBILITY:Summermusik is committed to creating an inclusiveenvironment that reflects the diversity of the community weserve. We will be a welcoming place for people of all races,ethnicities, religions, sexual orientations, gender identities,ages, abilities, backgrounds, and countries of origin. Whenwe use the terms “diverse” or “diversity,” it is our intention tobe inclusive of a broad definition of the differences amongindividuals. This commitment will be reflected in ourprogramming, audience, outreach, and all connected with thestaff, musicians, trustees and volunteers.

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Introducing the Crescendo ClubSummermusik’s brand new monthly giving program!Same as below, plus:lubcSUMMERMUSIK FESTIVAL 2025 | 7All gifts can be set up as a monthly recurring gift.513.723.1182 x1gidley@summermusik.orgsummermusik.orgJoin the Club by September 1,2025 to be entered into a raffle fora $100 Trio Bistro Gift Card! Supporting the growth of transformative experiences in our community is now easier than ever! Choose from the options below or select your own monthly amount. A minimum 12-month commitment is required for benefits.$10/Month Provides sheet music for a small ensemble performance.Personal thank you letter from Summermusik staff and personal phone call from a Summermusik board member upon enrollment$25/MonthProvides a duo performance for acommunity partner.Recognition in concert programsSame as above, plus:$50/MonthProvides a string quartet performance at a local school.Same as aboveExclusive invitations to post-concert receptions andspecial events as well as advance ticket accessRecognition on website and in annual report$100/MonthProvides a venue for a small ensemble performance.Same as above, plus:

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Dear musical friends, Welcome to this year’s musical adventure: Summermusik 2025!Summermusik is a time for discovery, entertainment, and excitement.The mission of Summermusik is to ”connect the musically curious” – andthis is exactly what we are endeavoring to do each year! In four weeks of concerts, you will hear music composed over the spanof more than 400 years - from the Renaissance to the present, includingseveral world premieres. I am excited to introduce you to orchestralmusic drawing inspiration from the Middle East and Asia. We areespecially proud to welcome the legendary Kronos Quartet as ourguests. Our opening weekend is a discovery of music along the legendary Silk Road, following in the footstepsof Marco Polo. You will relive part of Marco Polo’s journey beginning with the multi-choral music of St.Mark’s Cathedral in Venice and the ensuing journey to Israel, Turkey, Syria, Mongolia, and China. Thefantastic violinist Rachel Barton Pine will be the soloist in the live world premiere of the violin concertoby Syrian-American composer Malek Jandali. Another special highlight will be acclaimed Tuvan throatsinger and ritual artist SoRIAH. He will present music inspired by Mongolia.Our second weekend is dedicated to musical trailblazers. The Grammy Award-winning Kronos Quartethas been one of the major musical forces in the world, shaping the future of classical music for over 50years. Among the works they will perform are world premieres by Jungyoon Wie and Matt Browne,inaugural winner of our Kreitler Commission Competition. Our third weekend celebrates the 100th Anniversary of Art Deco. The sensational exhibition in Paris in1925 inspired the focus of this concert: Music from the 1920s and 1930s. We begin in America with theiconic jazz standard “Take the A Train” by Billy Strayhorn, followed by John Alden Carpenter’s jazzpantomime “Krazy Kat.” You will hear the rarely performed original jazz band version of GeorgeGershwin’s iconic Rhapsody in Blue, performed by the brilliant Terrence Wilson on piano.Summermusik is proud to be part of a consortium that commissioned Marina López to compose“Moño,” a work which explores the music from the Golden Age of Mexican Cinema.Our final concert will be a toast to the rich tradition of Irish music. The sound of the fiddle, tin whistle,and uilleann pipes evoke a world of nostalgia and celebration. Beginning with the American take onIreland with the delightful "Irish Suite" by Leroy Anderson, we will introduce you to one of Ireland'smost significant figures in Irish music, Seán Ó Riada. Our guests Liz Knowles (fiddle) and Kieran O’Hare(uilleann pipes and tin whistle) have appeared worldwide and will perform a mix of traditional andcontemporary Irish music, with some arrangements by Liz herself! At the end of this concert, I hopethat you will be dancing out of the concert hall!This is a musical month that will leave you emotionally richer, inspired, and happier.I am glad that you join us for four weekends of discovery and joyful music making!Eckart PreuMusic DirectorA NOTE FROM ECKART8 | SUMMERMUSIK FESTIVAL 2025Please take a moment to fill out thisshort audience survey so we cancontinue to improve theSummermusik experience!WIN A $100 GIFT CARD TOEMBERS RESTAURANT!

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Summermusik is about connecting the musically curious, and to thatend, we encourage you to join us in the lobby before Mainstage concertsfor surprise guests and exhibitors as well as after Mainstage concerts toenjoy a complementary dessert courtesy of Cora’s Cakery with MusicDirector Eckart Preu, our musicians, and the fantastic guest artists. Wealso hope that you will take advantage of Eckart’s outstandingpreconcert talks, which take place 45 minutes prior to each Mainstageconcert in the Mayerson Theater.We also are looking forward to our two chamber music series: A LittleAfternoon Musik and Chamber Crawls, which feature five venues new tous, including two in Northern Kentucky! We hope that you will inviteyour friends to these engaging, interactive performances led by our ownmusicians which also include a few special surprises.Beyond the festival, we continue to expand our program offerings,presenting more than 50 public and private small ensembleperformances annually. Our 5th annual We Are One festival in Spring2026 will highlight traditional African music as well as orchestral musicwritten by African composers.Thank you for being a part of the Summermusik family. We hope you willsay hello to the person next to you, leave this performance inspired, andshare your curiosity and love of music with those in your life.Sincerely,A NOTE FROM DAN & EVANSUMMERMUSIK FESTIVAL 2025 | 9Evan GidleyExecutive DirectorDaniel PfahlBoard PresidentWelcome to the 2025 Summermusik festival! Our talented musicians and world-renowned guest artistsare ready to present another season of amazing music to our community as we create intimate,transformative experiences. The 2024 festival was our largest to-date, and we look forward to anotherrecord-breaking summer! Thank you, our loyal patrons, for helping us grow!WE ARE ONE: ROOTSCOMING MARCH 2026!Featuring the “HipHopera Guy,”classical-trained baritoneBabatunde Akinboboye!babatundebaritone.com@babatunde_hiphopera

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ECKART PREU | MUSIC DIRECTOREckart Preu is Music Director of the Long Beach Symphony, the Portland Symphony, andSummermusik (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 ofthe American Symphony Orchestra (NY). In Europe, Mr. Preu was Music Director of the OrchestreInternational de Paris from 1993-1995. His guest conducting engagements have included concerts with the the Jerusalem Symphony (Israel),Auckland Philharmonia (New Zealand), Philharmonic Orchestra of Jalisco (Mexico), PhilharmonicOrchestra of Bogotá (Columbia), State Orchestra in Halle (Germany), Christchurch Symphony (New Zealand), and multiple appearances with the Symphony Orchestra of Chile and theSymphony Orchestra of Tenerife (Spain). A sought-after guest conductor in the US he has appearedwith 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 firstcommercial recording of the world premiere of “Letters from Lincoln”, a work commissioned by theSpokane 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 masters degree in conducting from the Hochschule für Musik inWeimar studying under Gunter Kahlert. He also studied under Jean-Sebastien Bereau at theConservatoire National Supérieur de Musique de Paris in France. Mr. Preu’s education was madepossible by scholarships from the Herbert von Karajan Foundation, the Konrad Adenauer Foundation,and the French Ministry of Culture. Daniel Parsley enjoys an active career as a conductor, educator, scholar,and professional chorister. He is elated to continue as AssociateConductor of Summermusik, where he leads the We Are One series andother special events such as Walk with Amal project.Daniel serves as Director of Choral Activities at the historic School ofMusic at Boston University, the oldest degree-granting music institution inthe United States. At BU, Daniel serves as Chair of Graduate Conductingprograms where he oversees the comprehensive MM, MSM, and DMAconducting programs; teaches graduate conducting and choral literature;and leads the BU Chamber Choir, Symphonic Chorus, Treble Chorus, andTenor-Bass Chorus. Daniel was most recently the Director of ChoralActivities at Thomas More University in the Cincinnati region andassociate conductor at the Cincinnati Youth Choir, Ensemble-in-Residenceat the University of Cincinnati College-Conservatory of Music. Daniel has enjoyed a wide breadth of diverse professional experiences ranging from roles as a researchfellow in Ghana with the Edward Brueggeman Center for Dialogue to conducting engagements withthe National Chorus of Korea in Seoul. He has recently guest conducted professional symphonic andchoral ensembles including the Portland Symphony Orchestra (ME), Coro Volante (Cincinnati), and theSeraphim Singers (Boston) in concert. In addition to professional work abroad, Daniel previouslyserved as assistant conductor and choral conducting fellow for the Cincinnati May Festival, where heprepared choruses for the Cincinnati Symphony Orchestra and Cincinnati Pops. DANIEL PARSLEY | ASSOCIATE CONDUCTOR10 | SUMMERMUSIK FESTIVAL 2025CONDUCTOR BIOGRAPHIES

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Jacquie Fennell *Patsy Meyer Kreitler, 2025 SponsorSUMMERMUSIK FESTIVAL 2025 | 11CINCINNATI CHAMBERORCHESTRA MEMBERSECKART PREU, Music DirectorDANIEL PARSLEY, Associate ConductorLinda Holthaus & Richard Zinicola, 2025 SponsorsVIOLINCeleste Golden AndrewsConcertmasterRebecca Bolce & Keith Wood, 2025 SponsorsDavid GoistAssociate ConcertmasterMary Jane Meyer, 2025 SponsorSujean KimAssistant ConcertmasterSusan Esler & Steve Skibo 2025 SponsorsManami WhitePrincipal Second ViolinRuth Schwallie, 2025 SponsorRose Brown ºAssistant Principal Second ViolinNancy Stemen, 2025 SponsorCassidy Franzmeier *Gyusun Han *Mari Lunde *ºVIOLAStephen GoistPrincipalBelinda Reuning Burge *Carol Kruse, 2025 SponsorCaterina Longhi * §CELLOSamantha PowellSchlachter Family Principal Cello ChairNat Chaitkin *Tony Cole, 2025 SponsorTom Guth *BASSDeborah TaylorPrincipal* designates rotating player (violins rotate between violin 1 and violin 2)§ designates leave of absenceº designates new memberFLUTEAnnie Darlin Gordon §Bushman Family Principal Flute ChairSusan MaggThe Vicki Reif Memorial Fund, 2025 SponsorOBOEJessica SmithornPrincipalBonnie FarrCLARINETJohn KurokawaPrincipalDan & Lim Domis, Gary Shinn, and Karen Hartman, 2025 SponsorsMiriam CulleyBASSOONHugh MichiePrincipalAmy Pollard §HORNMargaret TungPrincipalBrooke Ten NapelEd Lyon, 2025 SponsorTRUMPETAshley Hall-TighePrincipalCliff Goosmann, 2025 SponsorStephen C. Campbell ºTIMPANI & PERCUSSIONDaniel FrankPrincipalJoe & Suzy Hickey, 2025 SponsorsThe 2025 Brass Section is sponsored by Cliff Goosmann:

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TÜRKIYEjourney toMemleketimdenMedley: Micidiye Marşi / Yörük AliSinfonia a 3 in C major “Turcaria”, K. 331Piano Sonata No. 11 in A major, K. 331III. Rondo alla turcaNazende SevgilimKeçe KurdanWind Quintet Op. 35 “Alevi Fathers at the Raki Table”Medley: Izmir Marşi / Ístiklâl MarşiÒSCAR SALAMANCA ALARCÓNSULTAN ABDÜLMECID / TOLGA ÇANDARarr. Óscar Salamanca AlarcónJOHANN JOSEPH FUXWOLFGANG AMADEUS MOZARTarr. Ray ThompsonREŞID BEHUBUDOVarr. Óscar Salamanca AlarcónŞIVAN PERWERarr. Óscar Salamanca AlarcónFAZIL SAYMUSTAFA NERMI / OSMAN ZEKI ÜNGÖRarr. Óscar Salamanca AlarcónApproximately 1 hour and 15 minutes | No intermission.Sweets from Dean’s Mediterranean & additionalbeverages available for purchase.WEDNESDAY, JULY 30 | 7:30pmRHINEGEIST CLUBHOUSE EVENT SPACESusan Magg, co-curator, fluteÓscar Salamanca Alarcón, co-curator, CEO of La FórmulaCHAMBER CRAWLSERIES SPONSOR12 | SUMMERMUSIK FESTIVAL 2025

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Óscar is an extremely talentedmusician, educator, composer,writer, conductor, andaudio/video producer thatcomes from Colombia. Inshort, Óscar is a man of manytalents! Included in hiseducation are an Associates inMusic Technologies and aBachelor of Arts in MusicEducation. In addition, Óscaris currently pursuing amaster’s degree in Musical JOURNEY TO TÜRKIYECURATOR BIOGRAPHIESSusan Magg, second flutist and piccolo player, has been a member of theCincinnati Chamber Orchestra since 1995.From 1992 to 2011, she frequently appeared as a substitute with theCincinnati Symphony Orchestra, including performing with them on tourin Europe and Asia and participating in several of their recordings. Shewas principal flutist of the Kentucky Symphony Orchestra from 1993 to2015, and is the former piccolo player of the Ohio Valley Symphony andthe Richmond (IN) Symphony.Susan served as Acting Principal Flutist of the South Bend SymphonyOrchestra from 2001 to 2002, and has also been a member of the SUSAN MAGG | fluteAmerican Institute of Musical Studies Festival Orchestra in Graz, Austria. During the summers of 2006to 2008, she was on the staff of, and performed in, the Opera Theatre and Music Festival of Lucca,Italy. Since moving to Florida in 2011 Susan has been very active in the Southeast, performing with suchorchestra as the Hilton Head Symphony, the Jacksonville Symphony, and the Charleston Symphony, aswell as touring with the orchestras of Teatro Lirico D’Europa, Il Volo, and Zelda.Susan was the faculty flute instructor at the College of Mount St. Joseph from 1995 to 2011, and hasalso taught on the faculties of Wright State University and Marshall University. She and her husband,retired CSO flutist Kyril Magg, have played many chamber music concerts together, in which the twoflutists were featured in combination with a variety of other musicians.When she’s not playing the flute, Susan loves taking long walks on the beaches and through themaritime forests, and traveling with her husband.ÓSCAR SALAMANCA ALARCÓNCEO of La Fórmula Creation, New Technologies and Traditional Arts. Óscar hasperformed in numerous musical settings in both Colombiaand the United States, in addition to offering his expertise asa music educator. One of his most recent projects is that ofCEO of La Fórmula Music Productions, where Óscar andmore than 40 other art educators produce events thatshowcase the beauty of Latin American culture. Óscarcurrently lives in Cincinnati with his wife, Nadide.SUMMERMUSIK FESTIVAL 2025 | 13THANK YOU TO OUR SUPPORTERSCONCERT SPONSOR Jeanne & Christopher BarnesLA FÓRMULA SPONSOR Terri & Tom AbareCURATOR SPONSOR Mary Jane Meyer

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14 | SUMMERMUSIK FESTIVAL 2025SILK ROADadventures on theCanzon à 13 “La Monteverde”TanyaderasConcerto for Violin and OrchestraI. Allegro moderatoII. AndanteIII. AllegrettoRachel Barton Pine, violinPIETRO LAPPIAVNER DORMANMALEK JANDALISymphony No. 1, Op. 29I. AllegroThe Realm of Tengri & the Chedi Khan (7 Kings)SoRIAH, Tuvan throat singer & igilChinese Folk Dance SuiteII. YangKoRachel Barton Pine, violinSinfonia SacraeNo. 2 Canzon Septimi Toni à 8No. 13 Canzon Septimi Octavi Toni à 12No. 14 Canzon Noni Toni à 12AHMET ADNAN SAYGUNSoRIAHarr. Alba TorremochaCHEN YIGIOVANNI GABRIELIINTERMISSIONItaly:Israel:Syria:Turkey:Mongolia:China:Back to Italy:Approximately 1 hour and 45 minutes with intermission.Wine and nonalcoholic beverages available for purchase.Rachel Barton Pine, violinSoRIAH, Tuvan throat singer, igilJared Joplin of Ensemble Theatre, Marco Polo

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SUMMERMUSIK FESTIVAL 2025 | 15SUMMERMUSIK SPONSORED BY ROBERT & DEBRA CHAVEZCONCERT SPONSOR Gale & Dave BeckettRACHEL BARTONPINE SPONSORTrish & Glenn LarsenTHANK YOU TO OUR SUPPORTERSMUSIC SPONSOR Marjorie DaviesSoRIAH SPONSORDoug & Dawn BruestleENSEMBLE THEATRE SPONSORSijie Dai & Michael MuiEVENT SUPPORTERFriend of SummermusikRECEPTIONPARTNERSATURDAY, AUGUST 2 | 7:30pmSCHOOL FOR CREATIVE &PERFORMING ARTSCORBETT THEATERBARPARTNERPRECONCERT ACTIVITIES6:30-7:30pm | LobbyVisit Ten Thousand Villages in the lobby to viewethically crafted goods from along the Silk Road thatcelebrate global culture and age-old art forms. Everypurchase supports dignified income opportunities forartisans—many of them women—working in safe,sustainable environments. Cool down with chilledsamples of flavorful teas from across Asia as youperuse their handmade items.6:45-7:15pm | Mayerson TheaterPrelude TalkJoin Eckart Preu and guests from tonight’sperformance for a brief conversation exploring themusic you are about to hear!MAINSTAGESERIES SPONSORJOHN A. SCHROTHCHARITABLE TRUST,PNC BANKRESTAURANTPARTNERS

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Marin Alsop, Daniel Barenboim, Semyon Bychkov, Neeme Järvi, Christoph Eschenbach, Erich Leinsdorf,Nicholas McGegan, Zubin Mehta, Tito Muñoz, and John Nelson. As a chamber musician, Pine hasperformed with Jonathan Gilad, Clive Greensmith, Paul Neubauer, Jory Vinikour, William Warfield,Orion Weiss, and the Pacifica and Parker quartets.Highlights of Pine’s 2024–25 season included the Chicago Symphony Orchestra premiere of JoséWhite’s Violin Concerto in F-sharp Minor; a tour of Israel with the Tel Aviv Soloists Ensemble; Lalo’sSymphonie Espagnole with the Puerto Rico Symphony Orchestra; the world premiere of Haralabos[Harry] Stafylakis’ Violin Concerto with the Winnipeg Symphony; Billy Childs’ Violin Concerto No. 2with the Rhode Island Philharmonic; and the French premiere of Earl Maneein’s violin concertoDependent Arising with the Orchestre National de Bretagne. Over the season, Pine also performedconcertos by Brahms and Sibelius, in addition to other notable works by Wynton Marsalis, JessieMontgomery, and Mark O’Connor, among other living composers.She performs on the “ex-Bazzini, ex-Soldat” Joseph Guarnerius “del Gesù” (Cremona 1742), on lifetimeloan from her anonymous patron.ADVENTURES ON THE SILK ROADGUEST ARTIST BIOGRAPHIESThe acclaimed American concert violinist Rachel Barton Pine thrillsinternational audiences with her dazzling technique, lustrous tone, andemotional honesty. With an infectious joy in music-making and a passionfor connecting historical research to performance, Pine transformsaudiences’ experiences of classical music. She is a leading interpreter ofthe great classical masterworks as well as groundbreaking contemporarymusic.Pine performs with the world’s foremost orchestras, including thePhiladelphia Orchestra, the Royal Philharmonic Orchestra, CamerataSalzburg, and the Chicago, Vienna, and Detroit symphony orchestras. She has worked with renowned conductors that include Teddy Abrams, SoRIAH is the stage persona of Enrique Ugalde, an internationally-acclaimed throat singer and ritual artist who generates experimentalsoundscapes where ancient traditions are revealed through the lens ofmodern experience. Birthed in one of the most historically isolated locations on the planet,Tuvan throat singing is a musical sound like no other. Mysterious,primordial, and awash in a deeply visceral drone, it invokes the full rangeof the natural world – from deep mountain roots to the whistle of birdsin flight.SoRIAH weaves Tuvan throat singing, pre-Columbian sounds, classicalIndian raga, and modern Western styles, looping and processing hisvoice and traditional instruments into lush sonic tapestries.RACHEL BARTON PINE | violinSoRIAH | Tuvan throat singer, igilHis lyrics are often written in the language of Nahuatl (Mexica/Aztec) or Tuvan, preserving andexpressing cultural mysteries with reverence and wonder.Alba S. Torremocha is an award-winning composer, conductor, and multi-instrumentalist whose music—rooted in classical tradition yet with cinematic wings—has been performed worldwide and acclaimedacross film, video games, and VR. Photo by Lisa-Marie MazzuccoENSEMBLE THEATRENoted for its intimacy and celebrated for its dedication to bring socially conscious and thought-provoking contemporary theatre to the region, Ensemble Theatre is nestled in the heart of Cincinnati’shistoric Over-the-Rhine neighborhood and maintains a steadfast belief in the transformative power ofthe arts to create vibrant, sustainable communities. Their vision is A thriving urban arts communitythat is accessible to everyone.16 | SUMMERMUSIK FESTIVAL 2025

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“I first learned about tanyaderas from an article by Cia Sautter in the Shalvi/Hyman Encyclopedia ofJewish Women. To paraphrase Sautter, tanyaderas were Sephardic Jewish women who led singing anddancing during life celebrations, particularly at weddings. They typically played a frame drum(somewhat like a tambourine, but without metallic jingles) while singing, and they performed balladsand upbeat songs in Ladino. Most of our knowledge of tanyaderas comes from ethnographic studies of SUMMERMUSIK FESTIVAL 2025 | 17ADVENTURES ON THE SILK ROADPROGRAM NOTESPIETRO LAPPI (c. 1575-1630)Canzon à 13 “La Monteverde” (published 1618) The title page of this 1618 publication tells us Lappi was master of music at the church of Santa Mariadella Gratie in the Italian town of Brescia. Though of course Lappi must have therefore written a lot ofreligious vocal music, the collection this piece comes from is of instrumental music (no texts), and the22 canzoni are written for four to 13 separate parts. No specific instruments are given; the 13 parts inthe score of this largest of the pieces are grouped into three choirs of four, four, and five lines, and therange of the parts in each of the three groups can be played by two hands at a keyboard, so this workmay have been played by three organs. 13 separate brass instruments, though, make a glorious sound.Each of the 22 pieces is given a fanciful title, presumably names; “La Monteverde” may refer to Lappi’sslightly older composer colleague from nearby Venice, Claudio Monteverdi. AVNER DORMAN (b. 1975)Tanyaderas (2023) Born in Tel Aviv, Dorman studied at Juilliard with John Corigliano and returnedto Israel to earn a triple degree: music, musicology, and physics. He has beenon the music faculty of Pennsylvania’s Gettysburg College since 2010. OfTanyaderas, he writes: “When the Rochester Philharmonic Orchestra contactedme to write a celebratory piece for the 75th anniversary of the State of Israel, Iwanted to add a unique perspective on musical celebration in Jewish tradition. 19th- and 20th-century Sephardic communities.Tanyaderas were central to Jewish life in Sephardiccommunities in medieval Spain and later in theBalkans, Turkey, and Morocco.“My piece uses a few musical elements that weknow, with some level of certainty, would typicallyhave been present in many tanyadera performances.The first of these is the use of the frame drum andhand-clapping, and having the percussion and therhythm act as the driving force of the piece, which itdoes almost throughout the whole composition.“The other has to do with specific rhythms andmeters. For much of the piece, there are alternationsof duple and fast triple meters (e.g., 2/4 and 3/8,which together create a double-measure totalingseven eighth notes). This free alternating of dupleand triple is common in the music of the Balkans,Turkey, and elsewhere in the Mediterranean region.One can find it in much Jewish dance music fromSephardic and Mizrahi sources (all the way fromMorocco to the Caucasus).“My piece also blends the above elements withallusions to Jewish musical traditions from aroundthe world, including brief bits from a few well-knowntraditional Israeli songs and dances.Photo by Felix GrünschloßUnless otherwise noted, all program notes by Gavin Borchert

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Among this prolific pianist/composer’s works are eight symphonies, sevenconcertos (including the one receiving its performance premiere on thisconcert), four string quartets, and much chamber music, all driven by a desireto preserve the musical legacy of his homeland, Syria. Born in West Germany,Jandali’s studies took him from Damascus to Moscow to North Carolina, wherehe currently serves as composer-in-residence at Queens University of Charlotte.As an activist, he is the founder and CEO of Pianos for Peace, a nonprofit ADVENTURES ON THE SILK ROADPROGRAM NOTES18 | SUMMERMUSIK FESTIVAL 2025“The piece is structured in one movement with a broad ABA form. The entire composition is energetic,with a more expressive and lyrical middle section. The piece features several short themes, similar towhat I imagine would be the case in a traditional tanyadera performance, yet they are all connectedthrough motivic relationships. All in all, the work celebrates the past, the present, and the future of thewider Jewish community in Israel and beyond.” - Avner DormanMALEK JANDALI (b. 1972)Concerto for Violin and Orchestra (2023) Photo by Dan Carmodyorganization dedicated to building peace through music and education, and he embraces young talentfrom all over the world through the annual Malek Jandali International Youth Piano Competition.Jandali says, “In my musical journey I have had the opportunity to learn from a wealth of differentmusical voices—from the immense compassion and grace of Beethoven’s piano sonatas, to the ancientmusic of Ugarit, to the rich folk melodies and interesting rhythms of my homeland Syria. … [My] worksare an attempt to present and preserve [this] rich musical heritage ... I have always felt that musiceloquently expresses the inherent connection between the past and the present. In all culturesthroughout history it has served as a humanizing force, which is common to all.” In some ways, Saygun’s path as a composer was quite typical for musiciansoutside a major European musical center: early studies with a local pianist; ascholarship to study in Paris; a return to his homeland to teach; research intoregional folk music, which he incorporated into his concert music; a long careeras a beloved grand old man and hero of his country’s arts scene, along the wayattracting the attention of Leopold Stokowski, the Juilliard Quartet, and Yo-YoMa; statues and streets named for him. His music is often cast in traditional AHMET ADNAN SAYGUN (1907-1991)Symphony No. 1, Op. 29 (1953)genres: five symphonies, five operas, concertos, piano pieces, chamber music. And the format andorchestration of this symphony is discreetly classical, the traditional four movements for a Beethoven-size orchestra—not even that big, in fact: one flute and no trumpets or percussion.But what makes all this and his work unusual and interesting is that Saygun was the first Turkishcomposer to do it. The drama, darkness, and intensity he wrings from that modest ensemble isremarkable, almost as if he were setting himself a challenge to write the boldest work possible withthe most judicious forces.Embark with us on an exhilarating adventure along the Silk Road, delving into The Realm of Tengri andthe Seven Kings. This 3-movement composition employs music and sound to evoke the landscape andcultures of Central Asia, retracing our caravan’s route westward from China. Our odyssey begins in thedesolate and merciless Gobi desert, where the expanse of endless dunes and mirages deceive thepsyche as our caravan slowly trods through the sand, wind, and dust. Climbing the Altai Mountains, weare met with the ominous sound of thunder, escalating in intensity as we are thrust into the midst ofTengri's wrath, the powerful sky deity, accompanied by flashes of lightning and the clamor of swords,evoking the storied history of the great Genghis Khan's ancient kingdom. Upon traversing the storm,we're suddenly immersed in a gentle rain, the sun breaks through the clouds as luminous spokesrevealing an ancient melody leading our caravan into a vast, green steppe stretching before usbeckoning us onward. SoRIAH, arr. Alba TorremochaThe Realm of Tengri & the Chedi Khan (7 Kings)

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Gabrieli was born in Venice, and in 1585 succeeded his uncle Andrea as organist at St. Mark’s Basilica,writing music to match its grandeur. The Cathedral’s two choir lofts, facing each other, naturallysuggested echo or stereo effects, and Gabrieli became a pioneer in the use of groups of instrumentsor of voices in opposition, separated by physical space, for dramatic/acoustic effect, rather than in asingle blended consort. It seems like a simple idea now, but it was a radical reconceptualization ofmusic—inspired by the spatial uniqueness of one building—that led to the development of later formsof music built on the idea of opposition, for example the concerto. SUMMERMUSIK FESTIVAL 2025 | 19ADVENTURES ON THE SILK ROADPROGRAM NOTESCHEN YI (b. 1953)Chinese Folk Dance Suite (2000)Chen Yi’s studies took her from the Central Conservatory of Music in Beijing(where she was the first woman to receive a master’s in composition) toColumbia. Her Chinese Folk Dance Suite is basically a concerto for violin,Chen’s own instrument. Flanked by two energetic and driving movements,“YangKo” is by contrast a serene, flowing melody for solo violin set against theaccompaniment of an orchestra doing something it very rarely does. Chenwrites: “Originated in northern China, it’s a major folk dance form in massperformance popularized in the country. In YangKo performance, people always play rhythmic patternson the drums hung around their waists while singing and dancing. In my second movement, I haveimagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and graciousmelodic line while all members in the orchestra sing the non-pitch syllables in different layers as thesobackground, to imitate the percussion sound which produces the evergoing pulse.”GIOVANNI GABRIELI (c. 1554-1612)Sinfonia Sacrae (1597)The Cathedral Basilicaof the AssumptionCathedral SquareCovington, Kentuckywww.covcathedral.com859-431-2060

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VIVALDI’S20 | SUMMERMUSIK FESTIVAL 2025veniceSinfonia Sacrae No. 1 Canzon Prima Toni à 8Laudate pueri Dominum, Psalm 112. Primi toniConcerto for viola d'amore in D major, RV392I. AllegroII. LargoIII. AllegroCrucifixus à 8The Carnival of VeniceConcerto in A minor for Two Violins, Op. 3, no. 8III. AllegroJauchzet dem Herren, alle Welt from Psalmen DavidsO Maria from Sacri Musicali Affetti, Op. 5MagnificatI. MagnificatII. Et exultavitIII. Et misericordiaIV. Fecit potentiamV. DeposuitVI. EsurientesVII. Suscepit IsraelVIII. Sicut locutusIX. GloriaGIOVANNI GABRIELIADRIAEN WILLAERTANTONIO VIVALDIANTONIO LOTTINICCOLO PAGANINIANTONIO VIVALDIHEINRICH SCHÜTZBARBARA STROZZIANTONIO VIVALDIApproximately 1 hour and 30 minutes | No intermission.SUNDAY, AUGUST 3 | 3pmCATHEDRAL BASILICA OF THE ASSUMPTION, COVINGTONEckart Preu & Daniel Parsley, co-curators | Summermusik ChorusRachel Barton Pine, violin & co-curator | Erin Keesy, sopranoCommunity Chorus in partnership with Young Professionals Choral CollectiveA LITTLE AFTERNOONMUSIK SERIESCO-SPONSORSIRV & MELINDA SIMONROSEMARY & MARKSCHLACHTER

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VIVALDI’S VENICEGUEST ARTIST BIOGRAPHIESSoprano Erin Keesy is currently based in Cincinnati, OH. She has beenpraised for her musicality, artistry and sensitivity. She has a diverseperforming resume including professional solo and choral engagements.Recent 2024-25 engagements include performing with Teddy Abrams,Composer and Conductor of MAMMOTH, a new work performed by theLouisville Orchestra and Louisville Chamber Choir at Mammoth Cave in aonce in a lifetime performance with Yo-Yo Ma honoring our nationsNational Parks. She was also featured in the stage premiere of a newopera called The Knock with Cincinnati Opera. More recently, sheperformed the title role in Tchaikovsky’s Undina with Queen City Opera,Zerlina in Cincinnati Opera’s season opener of Don Giovanni in 2024, ERIN KEESY | sopranoPamina in an exciting new production of The Magic Flute depicting Mozart’s beloved cast ascharacters from well known video games, and was the soprano soloist in Carmina Burana with theGrammy Winning Louisville Orchestra. Upcoming engagements include 2025 appearances with theColumbus Indiana Philharmonic, Cincinnati’s Vocal Arts Ensemble, and Cincinnati Song Initiative.for biographies of Eckart Preu & Daniel Parsley, see page 10 | for a biography of Rachel Barton Pine, see page 16CONCERT SPONSOR Christopher & Nancy VirgulakRACHEL BARTON PINE SPONSOR Guy Wolf & Jane MisiewiczEVENT SUPPORTER Marina AbantoTHANK YOU TO OUR SUPPORTERSSUMMERMUSIK CHORUS SPONSOR John & Molly KermanMUSIC SPONSORJames & George Ann WesnerSUMMERMUSIK FESTIVAL 2025 | 21Young Professionals Choral CollectiveYPCC was formed at Below Zero Lounge in Cincinnati’s Over-the-Rhine neighborhood in November2011 and is now comprised of a roster of more than 1,200 volunteer singers who live and workthroughout greater Cincinnati. Founded by KellyAnn Nelson, YPCC quickly found a niche in the vibrantarts community of downtown Cincinnati and has pioneered a choral model gaining national attention.Singers and audiences alike connect during YPCC’s unique, high-quality concert presentations atunforgettable locations like the Cincinnati Museum Center, Memorial Hall, and The Carnegie andthrough arts partnerships with arts organizations including the Cincinnati Opera, MUSE, the CincinnatiPops, Pones, Cincinnati Shakespeare Company, and more.

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A native of Cincinnati, Jeaunita Ìfẹ́wándé Château Weathersby Olówè has beena dancer and an athlete since age 5 and a professional dancer, choreographer,teaching artist and athlete for the past 30 years in African, Ballet, Jazz, Modern,Ballroom, Latin dances and Zumba®. She's performed, taught and touredthroughout the US, Canada, Africa, and Asia since 1994 and performed for theUS/NATO military in Europe and Mediterranean. Jeaunita was one of the 7talented artists that traveled to perform in Europe during 2003- 2005 visitingGermany, The Netherlands, Norway, Belgium and England for the United StatesLET’S DANCE!CURATOR BIOGRAPHIESViolinist Sujean Kim has been widely praised for her dynamism as aconcertmaster, chamber musician, and soloist. Since she was ten years old, shehas appeared on television programs such as Johnny Carson’s “The TonightShow” and “That’s Incredible!” and has played in concert venues such asCarnegie Hall, Weill Recital Hall, the Kennedy Center, the Shrine Auditorium inLos Angeles and at the White House. She has worked under the batons ofDaniel Barenboim, Pierre Boulez, Valery Gergiev, Mariss Jansons, Zubin Mehta,Sir Georg Solti, and Hugh Wolff, and has performed for audiences throughoutNorth America, as well as in Austria, Denmark, Germany, Russia and Korea.SUJEAN KIM | violin23Ms. Kim is the concertmaster of the Springfield (Ohio) Symphony and the assistant concertmaster ofthe Cincinnati Chamber Orchestra. A passionate educator in settings ranging from private teaching toMontessori school to community groups to university classes, Sujean works at MYCincinnati as StringsTeaching Artist and Marketing & Development Coordinator. Originally from Los Angeles, she lives inOver-the-Rhine with her family and loves to explore the local parks and food scene.Jeaunita Château Olówè | dance instructorand United Nations Armed Forces military families. She is a certified Zumba® fitness instructor in B1,B2, Core, Glutes and Toning and AFAA Group Fitness instructor.Photo by Phil Groshong

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24| SUMMERMUSIK FESTIVAL 2025trailblazersGwely MernansI Have Seen the FutureI. Darwin Among the MachinesII. RobbieIII. Supertoys Last All Summer LongIV. I Have No Mouth, and I Must ScreamV. All Watched Over by Machines of Loving GraceKreitler Commission Competition WinnerThe Sands (1991)I. The SandsKronos Quartet, string quartetAPHEX TWINarr. Ken ThomsonMATT BROWNETERRY RILEYINTERMISSIONApproximately 2 hours with intermission.Wine and nonalcoholic beverages available for purchase.Kronos Quartet, string quartetMatt Browne, composer-in-residenceSPECIALSymphony No. 1 in C major, Op. 21 I. Adagio molto – Allegro con brioII. Andante cantabile con motoIII. Menuetto: Allegro molto e vivaceIV. Adagio – Allegro molto e vivaceStarlingsKronos Quartet, string quartetSummermusik Co-CommissionLUDWIG VAN BEETHOVENJUNGYOON WIEFor the legal and physical safety of the artists and for the comfort of the audience, cameras andother recording devices are not permitted in the theater during the performance.Booking direction by David Lieberman - Artists RepresentativesPost Office Box 10368 Newport Beach, CA 92658 info@dlartists.com

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TRAILBLAZERSGUEST ARTIST BIOGRAPHIESDavid Harrington, violinGabriela Díaz, violinAyane Kozasa, violaPaul Wiancko, cello For over 50 years, San Francisco’s Kronos Quartet has reimagined whatthe string quartet experience can be. One of the most celebrated andinfluential groups of our era, Kronos has given thousands of concertsworldwide, released more than 70 recordings, and collaborated withmany of the world’s most accomplished composers and performersacross many genres. Kronos has received more than 40 awards,including three Grammys and the Polar Music, Avery Fisher, and Edison Colorado-based composer Matt Browne (b. 1988) strives to createmusic that meets Sergei Diaghilev’s famous challenge to Jean Cocteau:“Astonish me!”, through incorporating such eclectic influences as thetimbral imagination and playfulness of György Ligeti, the shocking andhumorous polystylism of Alfred Schnittke, and the relentless rhythmicenergy of Igor Stravinsky. His music has been praised for its “unbridledhumor” (New Music Box) and described as “witty” (The Strad) and“beautifully crafted and considered” (What’s On London).Dr. Browne has had the honor to collaborate with such ensembles as theMinnesota Orchestra, Alarm Will Sound, PRISM Quartet, Albany KRONOS QUARTET | string quartet26| SUMMERMUSIK FESTIVAL 2025Klassiek Oeuvre Prizes. In 2024, Kronos' Pieces of Africa album was inducted into the NationalRecording Registry at the Library of Congress. Through its nonprofit organization, Kronos Performing Arts Association (KPAA), Kronos hascommissioned more than 1,100 works and arrangements for quartet. KPAA also manages Kronos’concert tours, local performances, recordings, and education programs, and produces an annualKronos Festival in San Francisco. In its most ambitious commissioning effort to date, KPAA hasrecently completed Kronos Fifty for the Future. Through this initiative, Kronos has commissioned—anddistributed online for free—50 new works for string quartet designed for students and emergingprofessionals, written by composers from around the world.MATT BROWNE | composerSymphony, Milwaukee Symphony, and the Eastman Wind Ensemble. His music has received honorssuch as the ASCAP Foundation Rudolf Nissim Prize, an ASCAP Morton Gould Young Composersaward, and a BMI Student Composer award.He received his DMA from the University of Michigan. Previous teachers include Michael Daughertyand Carter Pann.Photo by Danica TaylorSummermusik has partnered with the Chamber Orchestra of Pittsburgh, Chamber Orchestra of theTriangle (NC), and Reno Chamber Orchestra to create the Kreitler Commission Competition. This blindcompetition is open to composers of any nationality and age with the winner receiving a $10,000grand prize and four performances of their new work. The winner of the second annual competition isSimon Rivet, who was selected out of 296 applications from 26 countries! His work will be premieredat the 2026 Summermusik Festival.The competition is in memory of composer John Henry Kreitler who was passionate about providingopportunities for emerging composers. The Kreitler Commission Competition is supported by PatsyMeyer-Kreitler, Mike & Beth Dempsey, Ann & Harry Santen, Mary Ann Barnes & Tim Boyle, Kari &Jonathan Ullman, and In Memory of John Henry Kreitler.ABOUT THE KREITLER COMMISSION COMPETITION

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This piece draws inspiration from multiple, yet interconnected, sources. First and foremost, I’ve longwanted to create music that pays homage to the film and television scores of the late ’50s through the’60s – works by composers like Bernard Herrmann, early Jerry Goldsmith, Alex North, Quincy Jones,and Marius Constant. The scores of that era had a bold, brash dissonance and a raw, unpolished edge,punctuated by lush melodies and bizarre textures. Compared to the grand, sweeping orchestrations ofearlier decades, they carried a grittier, more pulpy sensibility.Another key inspiration came from a museum exhibit on the 1939 World’s Fair in Flushing, NY. Amongthe artifacts was a simple pinback button with the phrase “I Have Seen the Future” printed on it. I’vealways been fascinated by how past generations envisioned the future – and how often their boldestpredictions ended up being wildly off the mark.Structurally, this piece is designed like a 1960s science fiction short story anthology. Each movement isinspired by historical writings on Artificial Intelligence and Robotics – topics more relevant now thanever. These writings range from the existential to the dizzyingly optimistic to the outright apocalyptic.By weaving these perspectives together, the piece underscores a single, fundamental truth: that noone really knows what comes next. - Matt BrowneTRAILBLAZERSPROGRAM NOTESAPHEX TWIN (b. 1971), arr. Ken ThomsonGwely Mernans (published 2001) Aphex Twin is one of the many pen names used by electronic composer Richard D. James. “GwelyMernans” (James grew up in Cornwall, and some of the fanciful titles for his hundreds of electronicmusic tracks come from the Cornish language) is a track from drukQs, the fifth of his six studio albumsto date. This arrangement for chamber orchestra was made by Ken Thomson for the multifacetedcontemporary music ensemble Alarm Will Sound. MATT BROWNE (b. 1988)I Have Seen the Future (2025) Unless otherwise noted, all program notes by Gavin BorchertOften bracketed with Philip Glass and Steve Reich as a pioneer of minimalism,Riley certainly helped establish California as a much more important center ofAmerican musical innovation than the East Coast. He was living and working inthe Bay Area when in 1964 he wrote his best-known and most-performed piece,In C, called by composer/critic Kyle Gann “my generation’s Rite of Spring.” Riley’s The Sands for small orchestra and solo string quartet (designed for hisfrequent collaborators the Kronos Quartet) is cast in four movements.TERRY RILEY (b. 1935)The Sands (1991) Photo by Chris FelverDescribing what inspired it, the composer writes:“First of all let me say that I don’t believe that going to war ever solves our disputes. Especially, inthese times when it is mostly rich aging white men who send tender young lives into the slaughter. Weno longer live in the age of heroic leaders who fearlessly led the charge down the slopes of battle.Instead we have the chickenhawks in their protected war rooms pressing the buttons causingmutilation, mental illness, and death on all sides. With the bombing of Iraq, I had a premonition that wewould be at war in the Middle East for years. Unfortunately, that is what has played out and it hasgotten worse. The launching of the war over 20 years ago brought on a saddening mental state that Iwas only able to alleviate with music. Since I spontaneously improvised this music, I feel it is very closeto the emotional state and sense of dread I was experiencing at the time. I could not have foreseenhow brutally this would be played out in the succeeding administrations, especially of Cheney andBush the Lesser, acknowledged war criminals who still walk free.“The first movement is written for strings and timpani and alternates between somewhat anguished,insistent Middle Eastern motives and scales with areas of peaceful C Lydian passages. A kind ofmetaphor for what the people of a small Middle Eastern country might be feeling when under a savageair attack from the world’s mightiest military. First the explosions, and then the eerie silence.”SUMMERMUSIK FESTIVAL 2025 | 27

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TRAILBLAZERSPROGRAM NOTES28 | SUMMERMUSIK FESTIVAL 2025LUDWIG VAN BEETHOVEN (1770-1827)Symphony No. 1 in C major, Op. 21 (1800)Just as Brahms, feeling the weight of Beethoven’s nine masterpieces, waited until he was 43 to put thefinishing touches on his First Symphony, so Beethoven may have been intimidated by Haydn intoholding off on his First until the ripe old age of 29. Beethoven had already published popular pianosonatas, piano trios, and string trios, and was making a name for himself in Vienna as a pianist. But afew early attempts at string quartets and a symphony were abandoned; he does seem to have been alittle more cautious, more exacting, in trying his hand at these two genres in which his teacher Haydnhad so conspicuously excelled.He took the symphonic plunge in early 1800, the occasion being the first concert he’d ever organizedfor his own benefit (at the Burgtheater, April 2). Just as conductors still do today, Beethovenprogrammed familiar pieces to cushion the blow of the new music: On the program was a symphonyby Mozart and an aria and duet from Haydn’s Creation; one of Beethoven’s piano concertos (no. 1 in Cor no. 2 in B-flat, we’re not sure which); his Septet, op. 20; and his Symphony no. 1.The catchy Septet (called by critic Irving Kolodin “almost excessively inoffensive”) won the popularityprize that evening, and became, to Beethoven’s irritation, one of his most beloved works. But thesymphony was graciously received, too. One reviewer at the premiere praised its “art, novelty, andwealth of ideas,” but criticized Beethoven for excessive use of the wind instruments. A Philistine,unable to recognize and appreciate an innovation of genius? Well, don’t blame him too quickly. Thisreviewer saved his strongest invective for the sloppy, lifeless wind playing, and asked, “What significanteffect can even the most excellent composition achieve?” A Beethoven First with off-pitch, off-the-beat winds must have been painful indeed.The very first bars of the symphony are given to the wind choir—and the harmonies are ratheraudacious, too. Instead of opening with a solid, key-confirming C major triad, Beethoven added a B-flat, making the first chord a seventh chord in the key of F. The second bar suggests A minor, the thirdand fourth G major. Now imagine these completely unexpected chords played out of tune, as theysurely were. Imagine young Beethoven on the podium, trying to control his rage, cursing the playersfor getting the first performance of his first symphony off to such an excruciating start. Imagine thelisteners wondering what on earth was going on with this weird new piece: No wonder the reviewerthough the winds were overused.JUNGYOON WIE (b. 1990)Starlings (2025)Photo by Christopher YehBorn in Seoul, South Korea, Jungyoon Wie is a composer, educator, and pianist based in San Francisco.Themes of identity, family, and personal story have been the center of her compositional journey. Hermost recent works include A Prayer for Peace (2024) for string orchestra exploring different emotionalprogressions in her journey of immigration and Starlings (2025) for the Kronos String Quartet andstring orchestra. For the 2025-26 season, her ongoing projects include a new work for the Del SolString Quartet inspired by her experience of pregnancy and motherhood. - Jungyoon WieWhen I go for a walk, sometimes I find a beautiful sight of birds travelingtogether. Their flocking behavior creates cloud-like shapes that are constantlymoving and transforming, which takes my breath away. In Starlings, I try tocapture this moment. A three-bar melody is repeated at different speeds over10 minutes by different sections of the orchestra. This phasing effect imitatesthe shape of bird travel. Harmonies are formed depending on where each partis at the melody.

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FOR THEFUTURE30 | SUMMERMUSIK FESTIVAL 2025visionsAt the Purchaser’s Option with variations (2016)Knock (2016)sweeter than wine (2015)I. SouvenirII. PostscriptSummermusik QuartetOnly Ever UsKronos Quartet and Summermusik musiciansRHIANNON GIDDENSarr. Jacob GarchikJOAN JEANRENAUDKEN BENSHOOFPAUL WIANCKOApproximately 2 hour and 15 minutes | No intermission.SUNDAY, AUGUST 10 | 3pmUNIVERSITY OF CINCINNATI, COLLEGE-CONSERVATORYOF MUSIC, CORBETT AUDITORIUMKronos Quartet, string quartet & co-curatorsEckart Preu, co-curator | CCM Prep StudentsA LITTLE AFTERNOONMUSIK SERIESCO-SPONSORSIRV & MELINDA SIMONROSEMARY & MARKSCHLACHTERSPECIAL3pm: CCM Prep Student Recital4pm: Kronos Quartet & SummermusikKRONOS QUARTET SELECTIONS TO BE ANNOUNCED FROM THE STAGEQuartet SatzKronos Quartet, Summermusik musicians,and CCM Prep musiciansPHILIP GLASSAll pieces listed below were commissioned for Kronos Fifty for the Future, a project of the KronosPerforming Arts Association. The score and parts are available for free at kronosquartet.org.

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VISIONS FOR THE FUTUREGUEST ARTIST BIOGRAPHIESCCM Prep offers a wide variety of programs in music, dance and theatre arts for people of all ages andabilities — including classes for adults, young children, teens and pre-professional students preparingfor a future in the performing arts. The music department provides a variety of experiences forstudents of all ages and abilities in instrumental music, voice and music theory, including privatelessons, ensembles and group classes.The Suzuki Method, developed by Dr. Shinichi Suzuki, is based on the evidence that talent is a productof environment rather than heredity. The learning process is broken down into small steps so that thechild achieves accomplishment at every level and learns at their own pace. Parents are critical to thelearning process with this method and attend every lesson. The CCM Preparatory Suzuki programoffers Suzuki classes in piano and strings for children ages 4 and older. CCM Prepfor a biography of Eckart Preu, see page 10 | for a biography of Kronos Quartet, see page 26CONCERTSPONSORRebecca Bolce & Keith WoodKRONOS QUARTET SPONSORWilliam O. Purdy, Jr. Foundation Fundof Greater Cincinnati FoundationMUSIC SPONSORRuth SchwallieVENUE SPONSORAngela Crovetti & Mary HealyTHANK YOU TO OUR SUPPORTERSSUMMERMUSIK FESTIVAL 2025 | 31

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named for the Liberty Dance Orchestra, a 1920s Cincinnati society band. Recent performancehighlights include Transatlantic crossings aboard the Queen Mary 2, featured vocalist with the MauiPops Orchestra, and appearances in the latest Scorsese picture, ‘Killers Of The Flower Moon’. In hisnative Dallas he founded the Jazz Age Sunday Social, a lawn party centered around the wonderfulmusic of the Roaring Twenties. With a collection of over 6,000 band arrangements, hundreds of 78 rpm records, and notable artifactsincluding Adrian Rollini’s bass saxophone, he doubles as an archivist to further the preservation ofAmerica’s treasured musical past. Matt makes his home in Cincinnati, Ohio, sharing his 1890 Victorian with his wife Danielle and a 1952Kaiser Deluxe. For more information on Matt, his bands, and his music, please visitwww.MattTolentino.com.SPEAKEASYCURATOR BIOGRAPHY“Multi-Instrumentalist, Band Leader, Vocalist, Preservationist, MusicHistorian…”Sharing his birthday with Fred Astaire, Matt Tolentino was born May 10,1985. For nearly two decades he has worked to perform and preserveragtime, hot jazz, and the roots of swing for today’s modern audience.A true multi-instrumentalist, he plays accordion, piano, clarinet,saxophone, banjo, guitar, tuba, and vibraphone. As a vocalist, Matt hasbeen praised for capturing the flavor and spirit of the 1920s and 1930swith sincerity and authenticity. His ensembles include small combos andmultiple large ensembles including The New Liberty Dance Orchestra, MATT TOLENTINO | multi-instrumentalist 35

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for a biography of Marina López, see page 4036 | SUMMERMUSIK FESTIVAL 2025WORKSHOP:THURSDAY, AUGUST 14 | 6-7pmPRICE HILL LIBRARYwith Marina Lópezbecome a composer for a day Picture a musical composer. What comes to mind? Probably a man with a powdered wig who lived Summermusik guest composer Marina López presentsan interactive talk weaving together a brief walkthrough history, her artistic process, and a shortcomposition lesson at the end of which audiencemembers will be able to write a short piece. Membersof Summermusik will then take turns interpreting yourmusical creations. You’ll hear your music played outloud!Don’t read or write music? No problem! This programis designed with non-musicians of all ages in mind.Just bring your creativity and curiosity, and we willprovide the paper, colors, and crayons.Intended audience: non-musicians of all ages, specialemphasis on elementary school-aged children.centuries ago. But did you know there are composers living and working today? In fact, anyone canbe a composer… even you!Register herefor free!

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SUMMERMUSIK FESTIVAL 2025 | 39CONCERT & TERRENCEWILSON SPONSORMUSIC SPONSOR Dick & Mary Lu AftSATURDAY, AUGUST 16 | 7:30pmSCHOOL FOR CREATIVE &PERFORMING ARTSCORBETT THEATERPRECONCERT ACTIVITIES6:30-7:30pm | LobbyVisit the Queer Birders of Cincinnati in the lobby forthe opportunity to get a close-up look at real avianstudy specimens, featuring birds you might spot rightin your own backyard, balcony, or local park.Merchandise will be available for purchase.6:45-7:15pm | Mayerson TheaterPrelude TalkJoin Eckart Preu, guest composer Marina López, andUniversity of Cincinnati Associate Professor at theSchool of Architecture Jeffrey Tilman, Ph.D., for abrief conversation exploring the Art Deco movementand the music you are about to hear!MAINSTAGESERIES SPONSORJOHN A. SCHROTHCHARITABLE TRUST,PNC BANKIrv & Melinda SimonSUMMERMUSIK SPONSORED BY ROBERT & DEBRA CHAVEZTHANK YOU TO OUR SUPPORTERSRECEPTIONPARTNERBARPARTNERRESTAURANTPARTNERS

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ART DECO AT 100GUEST ARTIST BIOGRAPHIESAcclaimed by the Baltimore Sun as “one of the biggest pianistic talentsto have emerged in this country in the last 25 years” pianist TerrenceWilson has appeared as soloist with the symphony orchestras of Atlanta,Baltimore, Cincinnati, Dallas, Detroit, Houston, Washington, DC (NationalSymphony), San Francisco, St. Louis, and with the orchestras ofCleveland, Minnesota, and Philadelphia and the Saint Paul ChamberOrchestra. Conductors with whom he has worked include ChristophEschenbach, Alan Gilbert, Neeme Järvi, Jesús López-Cobos, LawrenceRenes, Robert Spano, Yuri Temirkanov, Stanislaw Skrowaczewski,Gunther Herbig and Michael Morgan.An active recitalist, Terrence Wilson made his New York City recitalTERRENCE WILSON | piano40 | SUMMERMUSIK FESTIVAL 2025Photo by Danica TaylorMARINA LÓPEZ | composerMarina López is a Pittsburgh-based composer, educator, and buddingwriter. She seeks to challenge borders between musical genres andbetween art forms, to create immersive experiences that subvertaudience’s preconceptions. Born and raised in Mexico City, she has adeep interest in exploring the psychological, ethnomusicological, andphysical roots of her musical heritage. Ultimately, her goal is to breakdown the barriers between the Western musical canon and the music ofthose who have been previously excluded from it.Her music has been performed by Transient Canvas, the ChamberOrchestra of Pittsburgh, the Carnegie Mellon University ContemporaryEnsemble, Counter)inductions ensemble, the Carnegie Mellon UniversityPhilharmonic, Kamratōn ensemble, and Boston's White Snake Project, amongst others. She has beenawarded multiple fellowships, such as the 50th Anniversary Fellowship at the Virginia Center for theCreative Arts (Amherst, Virginia) and the Bahlest Eeble Fellowship with the Gabriela Lena FrankCreative Academy of Music. She has participated in reading sessions with the Pittsburgh Symphony Orchestra under maestroLeonard Slatkin, as well as with the Houston Symphony Orchestra under Maestra Yue Bao. InSeptember of 2024 the Grand Rapids Symphony premiered her Orchestration of Clara Schumann’sThree Romances for Violin and Piano under maestro Marcelo Lehninger. She is one of the currentVirginia B. Toulmin Orchestral Commission grantees, with her piece 'Moño' set top be performed byfive orchestras around the country.marinalopezcomposer.comdebut at the 92nd StreetY, and his Washington, DC recital debut at the Kennedy Center. An avidchamber musician, he performs regularly with the Ritz Chamber Players. Festival appearances includeAspen, Blossom, Grant Park, Tanglewood, Wolf Trap.The 2024-2025 season takes Wilson to perform with Symphony Tacoma as well as the SymphonyOrchestras of Roanoke and Toledo among others. The season will also include recital appearances inBrookings, OR and chamber music performances with the Escher Quartet in New Orleans andMontréal.Committed to education, Wilson serves as a member of the piano faculty at the Brevard Music Center(BMC) Institute and Festival in Brevard, NC for three weeks each summer. He is also a frequent guestteacher, lecturer and adjudicator in numerous international piano competitions. Terrence Wilson is agraduate of The Juilliard School, where he studied with Yoheved Kaplinsky. He has also enjoyed theinvaluable mentorship of the Romanian pianist and teacher Zitta Zohar. A native of the Bronx, heresides in Montclair, New Jersey. In March 2021, Wilson was appointed to the piano faculty at BardCollege Conservatory of Music.

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The ever-trenchant composer/critic Virgil Thomson described Carpenter as “animpressionist composer of superficial but perfectly real charm.” Theimpressionism can be heard in the colorful, France-tinged harmonies, sparklingorchestration, and picturesque descriptiveness of his best-remembered works:two ballet scores, this one and 1926’s Skyscrapers, and his once-popularorchestral suite Adventures in a Perambulator. ART DECO AT 100PROGRAM NOTESDUKE ELLINGTON (1899-1974) & BILLY STRAYHORN (1915-1967)Take the “A” Train (1939) The longest route in the New York City subway system, the A train runs from JFK International Airportin Queens all the way up to the northern tip of Manhattan. Possibly the only mass transit routeimmortalized in song, this jazz standard was inspired literally by directions to his house in Harlemgiven by Duke Ellington to composer Billy Strayhorn; the two met in 1938 when Ellington and hisorchestra were performing in Pittsburgh, where Strayhorn was living at the time. Ellington invited himto visit and bring some of his work (“When you get into Manhattan, go down in the subway and …”). The timing of the meet was fortuitous, because a dispute between radio networks and ASCAP, theAmerican Society of Composers Authors and Publishers, led to a broadcast ban on all ASCAP-licensedsongs starting in 1941. As an ASCAP member, Ellington thus had to build practically a new repertoryfrom scratch, and Strayhorn, beginning with the tune that became not only a hit but Ellington’sorchestra’s theme song, was able to do just that. There began a collaboration that led to some ofEllington’s best-known recordings, including the soundtrack to the film Anatomy of a Murder and his1960 arrangement of Tchaikovsky’s Nutcracker. As Ellington himself once said. “Billy Strayhorn was myright arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine.”JOHN ALDEN CARPENTER (1876-1951)Krazy Kat (1921)Unless otherwise noted, all program notes by Gavin BorchertBorn in the Chicago suburb of Park Ridge, Carpenter studied music at Harvard and was later able totravel to England to take a few lessons with Elgar. Like Charles Ives, an independent income as abusinessman enabled him to live comfortably and compose in his spare time and after he retired fromthe family shipping company. He was one of the earliest composers to incorporate in his works theidioms of popular music (jazz, ragtime, Tin Pan Alley tunes), but his interest in pop culture went evenfurther: He wrote a ballet score (choreography by Adolph Bolm) based on George Herriman’s belovedsurrealist comic strip Krazy Kat (1913-44). Herriman himself devised the scenario, and designed the set,costumes, and the cover of the published piano score, which contains an outline of the actionincorporating the strip’s classic elements: Ignatz Mouse, Officer Pupp, and, yes, a thrown brick all makean appearance.MARINA LÓPEZMoño (2025)‘Moño’ means ‘bow’ in Spanish. It is a meditation on the music of my grandparents’youth: Damaso Perez Prado’s Mambo in Mexico Cityduring the 50s … the music from the Golden Age ofMexican Cinema during the 30s and 40s — pastoralidyllic movies about rancheros and mariachis, and theurban films with cabarets and ficheras.It combines Sonata form with a loose interpretationof Mambo dance form. It reconciles my grandparents’music with an 18th-century classical form — ourcollective Western canon's grandparents’ music. - Marina LópezSUMMERMUSIK FESTIVAL 2025 | 41

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ART DECO AT 100PROGRAM NOTES42 | SUMMERMUSIK FESTIVAL 2025OTTORINO RESPIGHI (1879-1936)Gli uccelli (The Birds) (1928)Respighi’s two prime fingerprints as a composer: dazzlingly colorfulorchestration and a strong strain of nostalgia, with a great deal of his workeither based on music, or inspired by scenes, from earlier centuries. He freelyused Renaissance church modes (q.v. his Concerto gregoriano for violin andorchestra); repurposed lute and keyboard works into three suites of AncientAirs and Dances; reworked Rossini and honored Botticelli; and of course, histhree most popular showpieces for full orchestra evoke the grandeur of ancientRome and its fountains, pines, and festivals.For his suite The Birds, he drew on music by two French composers, Jacques de Gallot and Jean-Philippe Rameau, plus an anonymous English composer, to follow a strutting marchlike Prelude by hiscompatriot Bernardo Pasquini (1637-1710). Choreographers could not help themselves from borrowingsuch picturesque music for their dances, and this suite has been used for several ballets.Machine-age perpetual-motion figuration and bluesy jazz tunes and harmonies,with hints of Gershwin, in the first movement and slapstick silent-film chasemusic, with hints of a Sousa march, in the finale: Ravel’s concerto is packed withso many markers of America, as it was seen in France at the time, that it’s notsurprising to learn Ravel had conceived it for himself to play in the Americasduring a world tour, planned to follow up on the huge popularity of Bolero afterits November 1928 premiere. These plans fell through—firstly because Ravel, in MAURICE RAVEL (1875-1937)Piano Concerto in G major (1930-31) early 1929, received a commission for a piano concerto for someone else, the one-armed pianist PaulWittgenstein, resulting in what turned out to be the greatest one-hand piano work ever. Ravel had health difficulties, too, which eventually led him to offer the two-hand concerto to yetanother pianist, Marguerite Long. “I am composing a concerto for you. Do you mind if it endspianissimo and with trills?” she recalled him asking her one night at dinner. Long later reminisced:“Negotiations took place for a first performance … But the news came that Ravel was ill and the workcould not be ready. It was far from being finished and Ravel had great trouble in completing it ... Ravelhad always wished to play his concerto, and in much rehearsing he exhausted himself in the effort toreach virtuoso level. The long hours spent on the studies of Chopin and Liszt greatly fatigued him anddeprived him of moments of fruitful inspiration ... It was only when pressed by his friends that herealized the difficulties confronting him.”The pianissimo trills ended up at the end of the ravishing slow movement. “I told Ravel one day howanxious I was ... to be able to maintain the cantabile of the melody on the piano alone during such along slow flowing phrase,” Long continued. “‘That flowing phrase!’ Ravel cried. ‘How I worked over itbar by bar! It nearly killed me!’” Rarely has a work of art betrayed less its agonized creation than thisdreamy movement with its eternally unspooling waltz accompaniment in the left hand and filigree inthe right. Both concertos, as it happened, were premiered in January 1932; Ravel conducted thepremiere of this concerto with Long (who’d had less than two months to learn it) as soloist. It provedso popular that Ravel was able to tour with it after all, but only in Europe with himself as conductor. GEORGE GERSHWIN (1898-1937)Rhapsody in Blue (1924)George Gershwin first learned of his own Rhapsody in Blue, so to speak, via an item in the January 4,1924, New York Tribune, pointed out to him by his brother Ira, announcing a concert by the PaulWhiteman Orchestra devoted to the theme “What Is American Music?” “George Gershwin is at work ona jazz concerto,” it read. A few words had passed between the up-and-coming young bandleader andthe up-and-coming young songwriter about a collaboration, but with no firm commitment. Thisnewspaper item was the first Gershwin had heard of the idea.

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43ART DECO AT 100PROGRAM NOTESWhiteman’s plan was an ambitious one: to present his popular Palais Royal Orchestra in a concerttracing the brief but rapid evolution of jazz, from the earliest instrumentals (for this concert, 1917’s“Livery Stable Blues”) to examples of “symphonic jazz” written especially for the occasion by Gershwinand Victor Herbert. With just over a month to work, and with last-minute touches to his latest show, Sweet Little Devil,opening January 21, to deal with, Gershwin was glad of Whiteman’s suggestion to enlist his arrangerFerde Grofe for the orchestration. Gershwin worked on a two-piano sketch for the Rhapsody—one forthe solo part, one for the orchestra—and Grofe literally took each page from Gershwin as it wasfinished to work on the orchestra score, completing it on February 4. Ideas came to Gershwin fromvarious sources: from old melodic scraps from his notebooks, from his knowledge of the talents ofWhiteman’s musicians, even from the rolling clackety-clack rhythms of the trains he rode back andforth to Sweet Little Devil rehearsals in Boston.The box-office manager later said he could have sold out the concert 10 times over, so wild was thedemand for tickets that snowy afternoon. In the audience: Rachmaninoff, Stokowski, Kreisler, Heifetz,John Philip Sousa. The concert was a long one. “An Experiment in Modern Music” was Whiteman’s newtitle, and the program moved with great earnestness through specimens of “Recent CompositionsWith Modern Score” and “Adaptations of Standard Selections to Dance Rhythm.” The audience wasbecoming restless as Gershwin stepped onstage for the Rhapsody, the second-to-last work.During rehearsals, Ross Gorman, Whiteman’s clarinetist, had improvised on the Rhapsody’s opening,turning Gershwin’s simple upward scale into the gesture we now know, a startling glissando climaxingin a raucous, bluesy wail as it melted into the sultry first theme. Gershwin loved it. And now Gorman’sglissando electrified the audience, Gershwin’s piano playing dazzled them, his unforgettable melodiesswept them along, and they exploded in torrents of applause at the work’s close. Whiteman later reported that he, on the podium, had wept with joy through the whole performance.The piece was a smash, heard by thousands over radio broadcasts, and Whiteman’s orchestra played it84 times in 1924 alone. It was that premiere of Rhapsody in Blue, as much as any other moment, thatdefinitively declared America’s musical independence from Europe.

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THEROARING44 | SUMMERMUSIK FESTIVAL 2025twentiesString QuartetI. ModéréII. IntermèdeIII. Final. VifGolliwogg’s CakewalkFive ImpromptusCastle House RagString Quartet in G major (1929)I. AllegroII. Andante moderatoThree PreludesAllegro ben ritmato e decisoBlue LullabySpanish PreludeShanghai HoneymoonA Song of India from SadkoEllington Fantasy for String QuartetI’m Beginning to See the LightSophisticated LadyTake the “A” TrainMood IndigoGERMAINE TAILLEFERRECLAUDE DEBUSSYFRANCIS POULENCJAMES REESE EUROPEarr. Gunther SchullerFLORENCE PRICEGEORGE GERSHWINarr. Michael PubligSHOCKLEY, HAUSMAN, AND MELROSENIKOLAI RIMSKY-KORSAKOVarr. Fritz KreislerDUKE ELLINGTONarr. Paul ChiharaApproximately 1 hour and 15 minutes | No intermission.SUNDAY, AUGUST 17 | 4pmCINCINNATI MUSEUM CENTER, REAKIRT AUDITORIUMTerrence Wilson, co-curator, pianoSamantha Powell, co-curator, celloA LITTLE AFTERNOONMUSIK SERIESCO-SPONSORSIRV & MELINDA SIMONROSEMARY & MARKSCHLACHTERSPECIAL

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classical music”. Samantha has been involved with various chamber groups in her career including apiano trio, which won first prize at the CCM Chamber Ensemble Competition in 2022 and a string duothat provided concerts and workshops for classical music enthusiasts in the Cincinnati and NorthCarolina area.Samantha received her Bachelor in Music in cello performance from The Cleveland Institute of Music.There, she studied with the Associate Principal Cellist of The Cleveland Orchestra, Richard Weiss.Festivals where she has been a participant include the Chautauqua Symphony Orchestra, SpoletoMusic Festival Orchestra, American Institute of Musical Studies in Austria, and National SymphonyOrchestra Summer Institute, and she received a fellowship with the National Orchestra Institute.THE ROARING TWENTIESCURATOR BIOGRAPHYSamantha Powell is a Cello Fellow at the New World Symphony. Shegraduated with an Artist Diploma from the College-Conservatory ofMusic (CCM) at the University of Cincinnati where she was a DiversityFellow with the Cincinnati Symphony Orchestra. There, she studied withAlan Rafferty and mentor Ilya Finkelshteyn. Samantha also was a fellowwith the Chautauqua Symphony Orchestra in the summer of 2021.As a soloist, Samantha was featured in concert with the CincinnatiChamber Orchestra and has been awarded the Cleveland Cello Society-Agnew Price for Best Bach. A highlight in her career, Samantha wasinterviewed and featured on Dr. Quinton Morris’s Unmute The Voices, aradio show and podcast dedicated to “celebrating BIPOC artistry in SAMANTHA POWELL | cellofor a biography of Terrence Wilson, see page 40CONCERT & TERRENCE WILSON SPONSOR Irv & Melinda SimonTHANK YOU TO OUR SUPPORTERSMUSIC SPONSORDeborah CampbellVENUE SPONSORSusan Esler & Steve SkiboSUMMERMUSIK FESTIVAL 2025 | 45Photo by Phil Groshong

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46 | SUMMERMUSIK FESTIVAL 2025summerApproximately 1 hour and 15 minutes | No intermission.Beverages available for purchase.THURSDAY, AUGUST 21 | 7:30pmFRIDAY, AUGUST 22 | 7:30pmIRISH HERITAGE CENTER OF GREATER CINCINNATILiz Knowles, co-curator, fiddle, hardangerKieran O’Hare, co-curator, uilleann pipes, flute, whistleRandy Clepper, guitar, bouzouki | John Skelton, bombard, flute, whistleErickson Academy of Irish Dance | Riley School of Irish MusicCHAMBER CRAWLSERIES SPONSORTHANK YOU TO OUR SUPPORTERSCONCERT SPONSOR Friends of the Riley School of Irish MusicVENUE SPONSOR Friendly Sons of St. Patrick FoundationLIZ KNOWLES SPONSORJohnson Investment Counsel KIERAN O’HARE SPONSORKelly Dehan & Richard StaudigelCÉILÍOpening: The Dawn From Munster to AustraliaA Lament/The Factory SmokeA Trip to BrittanyIn March TimeFiddler’s FollySoft Shoe SetKinyon’s Jig and Reel The Whistler’s StepsOld Irish Lullaby SetFinale: One for the RoadIRISH TRADITIONALarr. Liz Knowles & Kieran O’HareFor this Chamber Crawl, Liz Knowles and Kieran O’Hare have personally curated a performance of the verybest of Irish traditional music, dance, and song. They and their friends will bring to you a celebration of therichness of the unbroken traditions of our Irish heritage, and the pure joy of music in motion.6:30-7:30pm Musicians from the Riley School of Irish Music perform in the pubMUSIC SPONSOR Family Wealth Advisory Group

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SUMMERCÉILÍGUEST ARTIST BIOGRAPHIESLiz Knowles’ fascination with music has always been rooted in how onecan arrive, land, and leave a note. Her early foundations were in classicalmusic but her discovery of Irish music connected the dots betweenmemories of her grandfather’s singing, a lifelong exploration of modalmelodies in Early music, and the “InBetween”, a life theme for Liz thatilluminates the challenge and vitality of the liminal places in life andmusic. Liz has established herself as a dynamic performer and recording artistas soloist on the soundtrack for “Michael Collins,” fiddler with“Riverdance,” Broadway’s “The Pirate Queen,” and “The Green Bird”,soloist with the New York Pops, and featured artist for the Ireland 100 Kieran O’Hare is a highly respected and sought-after performer oftraditional Irish music on the uilleann pipes, concert flute, and tin whistle.He was educated at Trinity College in Dublin, Ireland, where hecontinued the process of learning the tradition of uilleann piping frommaster pipers.In 1994, Kieran received the honor of being the first American-bornplayer of Irish music invited to perform in the annual “Ace and Deuce ofPiping” concert, held in Ireland’s National Concert Hall. Since then, hehas made countless appearances at festivals and concerts acrossEurope, North and South America, Japan, and China. In 2002, Kieran appeared in a musical role in the Sam Mendes film “Roadto Perdition.” In 2006-2007, Kieran was the featured uilleann pipes andKIERAN O’HARE | uilleann pipes, tin whistleLIZ KNOWLES | fiddle, hardangerFestival at the Kennedy Center. She was music director and producer for several stage shows andrecording projects that toured Europe, Asia, and South America. Her compositions and arrangementsof tunes and songs have been recorded by John Whelan, Flook, Chicago’s Metropolis SymphonyOrchestra, Liz Carroll, Beolach, Bachue, J.P. Cormier, Michael Black, John Doyle, and Ensemble Galilei.In addition to serving on the faculty at the New England Conservatory, she has an active onlineteaching schedule of lessons, seminars, and presentations on various topics, some of which have beenpresented by organizations such as New York’s Irish Arts Center, Music Network Ireland, and is ahighly sought after teacher in the Irish music world both here in the United States and abroad.Liz has composed and produced music for two exhibits featuring Irish art first at the Art Institute inChicago as well as two commissioned pieces for Notre Dame’s Snite Museum and for a book releaselater this year. She and Liz Carroll produce a podcast called “The Lizzes Podcast.” She currently tourswith her trio Open the Door for Three, The String Sisters, The Martin Hayes Quartet, and a new triowith Niall Vallely and Niwel Tsumbu. tin whistle player on Broadway for the new musical “The Pirate Queen,” written by Alain Boublil andClaude-Michel Schönberg, and produced by John McColgan and Moya Doherty of Riverdance. In 2007-8, Kieran was a featured performer on the PBS special presentation “Celtic Origins” with the Irishchoral group ANÚNA. He made his Carnegie Hall debut in 2010 as a soloist with the New York PopsOrchestra under the baton of Steve Reineke.Kieran is a staunch advocate for and master teacher of Irish traditional music. Since 2007, he hascollaborated with his wife, the fiddle player Liz Knowles, to compose, arrange, and perform the musicfor large-scale European-based productions integrating traditional and contemporary Irish music withdance and song. Kieran performs with the trio Open the Door for Three, along with Liz Knowles andDublin-born bouzouki player and singer Pat Broaders. Their fourth album together, A Prosperous Gale,was released in spring 2024.SUMMERMUSIK FESTIVAL 2025 | 47

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SUMMERCÉILÍGUEST ARTIST BIOGRAPHIESMulti-instrumentalist Randy Clepper is in demand as an accomplishedplayer of Irish and other traditional music on Irish bouzouki, fingerstyleacoustic guitar, tenor banjo, and hammer dulcimer. Equally adept at allof these, his playing has been described as “magnificent,” “strong andconfident” (Dulcimer Players News) – “a Celtic guru” (Wood ‘N Strings).Randy performs solo and in an Irish instrumental duo with acclaimedfingerstyle guitarist John Sherman. Their latest album of Irish traditionaltunes on bouzouki, guitar and tenor banjo, Finally Tuned (2013), wasvoted #3, #2 and #10 "Top Fave Instrumental Album," "Top FaveTraditional Album," and "Top Fave Instrumental (Behind the Haystack...)of 2013," respectively, by Folk Festival host Lilli Kuzma, on 90.9FM RANDY CLEPPER | guitar, bouzouki John Skelton is probably best known to American audiences from hiswork with The House Band, with whom he has recorded 5 albums on theGreen Linnet label. He has also released a solo album, One at a Time, onPan Records, Holland’s leading acoustic music label. John has performedat all the major folk festivals in North America and Europe and has givenconcerts in over 20 countries. He is also an experienced flute teacherand has taught at summer schools in North America, Europe, and Africa.He joined The House Band in 1987 and since then has been a centralfigure in that band’s success. He has toured the world with them, and onstage his marvelous introductions and stories of life on the road havebecome central to their concerts, with one American newspaper going JOHN SKELTON | bombard, flute, whistleWDCB Public Radio, Chicago, and was hailed as "a remarkably accomplished recording..." and "a fineand finely tuned album that is intricate in its arrangement and delivery" (Tony Lawless,TradConnect.com, Ireland).as far as to refer to him as “the English Garrison Keillor!” He is, however,better known as an accomplished and distinctive flute player.Formed in 1998, Erickson Academy’s goal is to teach Irish step dancing in a positive and fun way.Children are grouped by age in small classes for personal attention. They foster friendships in arespectful learning environment and nurture talent to achieve success on every level — recreationally,socially, and competitively! All head instructors are certified by An Coimisiún Le Rincí Galeacha andhave years of experience working with dancers.ERICKSON ACADEMY OF IRISH DANCEFounded in 1996 by Susan Cross Gilligan, The Riley School of Irish Music is a community of children,teens, and adults dedicated to the pursuit of Irish traditional music. Small class sizes provide arewarding and effective way for students to experience the history, camaraderie, and joy of playingtraditional Irish music. RILEY SCHOOL OF IRISH MUSIC48 | SUMMERMUSIK FESTIVAL 2025

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50 | SUMMERMUSIK FESTIVAL 2025the soul ofIrish SuiteI. The Irish WasherwomanII. The Minstrel BoyIII. The Rakes of MallowOverture OlynthiacTheme from Angela’s AshesMorning Dew SuiteMolly of the Ringlets / Morning Dew / Reel Gan Ainm Liz Knowles, fiddleLEROY ANDERSONSEÁN Ó RIADAJOHN WILLIAMSIRISH TRADITIONAL arr. Liz KnowlesINTERMISSIONApproximately 2 hours with intermission.Wine and nonalcoholic beverages available for purchase.Liz Knowles, fiddle | Kieran O’Hare, uilleann pipes, tin whistleMcGing Irish Dancers | Friendly Sons of St. Patrick Glee ClubRiverdance: A Symphonic SuiteIV. The Countess Cathleen - Women of SidheXI. Cloudsong - RiverdanceThe Brendan Voyage for Uilleann Pipes and OrchestraII. Brendan ThemeX. Newfoundland Kieran O’Hare, uilleann pipesMná na hÉireann (Women of Ireland) from Barry Lyndon Kieran O’Hare, tin whistleToss the Fiddles / Rumble Thy Bellyful McGing Irish DancersMay We Never Have to Say Goodbye Laney McCormick, soprano Friendly Sons of St. Patrick Glee ClubBILL WHELANSHAUN DAVEYSEÁN Ó RIADAarr. Paul BatemanIRISH TRADITIONALarr. Liz KnowlesSHAUN DAVEYIRELAND

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THE SOUL OF IRELANDGUEST ARTIST BIOGRAPHIES52 | SUMMERMUSIK FESTIVAL 2025for biographies of Liz Knowles & Kieran O’Hare, see page 47Laney McCormick is a versatile vocalist and multi-instrumentalist with adeep-rooted love for performance and education. She holds a Master ofMusic Education from Bowling Green State University and a Master ofConducting from the American Band College of Sam Houston StateUniversity. Her performance experience spans a wide range ofensembles and genres, including appearances with the CincinnatiSymphony Orchestra, The Kentucky Symphony Orchestra, The QueenCity Sisters, The Tom Daugherty Orchestra, The Barry Campbell BigBand, and The Sinclair Jazz Ensemble. She also leads her own jazzgroup, Laney and the Tramps.McGING IRISH DANCERSLANEY McCORMICK | sopranoAs an educator, Laney served as Director of Bands at Franklin High School and later made a lastingimpact by founding The Badin Rocks Ensemble, a groundbreaking 45-piece high school rock bandthat was the first of its kind in Ohio.After retiring from teaching, Laney founded Scene Support Music, where she works as a MusicSupervisor, Sync Agent, and Clearance Specialist. Through this work, she champions local artists byplacing Cincinnati’s music in film, television, and advertising.The McGing School of Irish Dance offers Irish Dance classes in a nurturing environment wherethousands of students have discovered their passion since 1977. From humble beginnings, the McGingIrish Dancers have grown to become a household name in the city of Cincinnati and are widelyrecognized around the Greater Cincinnati area and beyond. They pride ourselves on being anFRIENDLY SONS OF ST.PATRICK GLEE CLUBThe original Friendly Sons of St. Patrick Glee Clubbegan in the kitchen of Joseph I. C. Clarke in 1913 inNew York City. The complement of New York singersnumbered twenty-three and boasted the giftedcomposer Victor Herbert. A mirror organization inCincinnati was formed in 1948. Damon Sink, graduateof the College Conservatory of Music and nowAssociate Professor of Music at the University ofDayton, took the baton in 1995. Since then he haswritten many fine arrangements specifically for theCincinnati Glee Club: a collection of over forty songs.The group of 40+ members now sings year round atvarious concerts, events, pubs, nursing homes, andassorted "wakes and weddin’s," averaging 35performances per year.internationally renowned program that gives childrenself-confidence, poise, and a fit body and mind bothon and off the dance floor. McGing is a familyfriendly school where children learn the skill of IrishDance while building character, having fun, anddeveloping lifelong friendships. The McGing Schoolof Irish Dance is a member of An Coimisiún Le RincíGaleacha (CLRG), the governing body of Irish Dance,and main instructors are all certified teachers andadjudicators within the organization.

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SEÁN Ó RIADA (1931-71)Overture Olynthiac (1955) &Mná na hÉireann (Women of Ireland)Ó Riada took a notably more serious approach to Irish folk music and tocomposition in general (his Nomos #4 for piano and orchestra is even said totouch on the 12-tone technique), making him something of an Irish analogue toCopland, Bartok, or Vaughan Williams. In addition to his music for film andtheater and his teaching career, Ó Riada’s Irish folk ensemble CeoltóiríChualann strove for authenticity in instruments and presentation; his setting of Peadar Ó Doirnín’s 18th-century poem “Mná na hÉireann” was created for the Chieftains, a descendant of Ceoltóirí Chualann. Itwas used by Stanley Kubrick as a theme for his 1975 picaresque epic Barry Lyndon.Yet surprisingly, his dramatic Overture Olynthiac was inspired by ancient Greece. The city of Olynthuswas an ally of Athens, and when it was under threat from Philip II of Macedon, the orator Demosthenesmade a series of speeches, the Olynthiac Orations, to exhort Athenians to come to Olynthus’s defense.On his way to becoming America’s most prolific and widely honored film composer, Williams studiedwith Mario Castelnuovo-Tedesco in Los Angeles, then at Juilliard and Eastman, then back to L.A. toapprentice as a pianist on film soundtracks. Hundreds, literally hundreds, of Oscar, Emmy, Grammy,Golden Globe, and BAFTA award nominations followed, plus many concert works (mostly concertos);a stint as conductor of the Boston Pops; and a commission to write a piece for the 2009 inaugurationof Barack Obama. The rich and haunting opening theme for Angela’s Ashes, written for the filmadaptation of Frank McCourt’s Pulitzer Prize-winning memoir about his difficult childhood, led toWilliams’s 38th Oscar nomination.JOHN WILLIAMS (b. 1932)Theme from Angela’s Ashes (1999)Traditional, arr. LIZ KNOWLES Morning Dew Suite, Toss the Fiddles, & Rumble Thy BellyfulTHE SOUL OF IRELANDPROGRAM NOTESSUMMERMUSIK FESTIVAL 2025 | 53This suite of Irish traditional music begins with an air based on a very old Irish song, Molly na gCuachNí Chuilleanáin (“Molly Cullinane of the Ringlets”), the words of which tell the story of the desperationof a lost love. Liz learned this song from Irish singer Muireann Nic Amhlaoibh. It is followed by two Irishreels, “The Morning Dew” and “The Mother and Child.” Liz learned the last tune from fiddler MartinHayes, and though she very much attributes her enjoyment of this tune to his playing of the melody, itis also the memory of the guitarist, Dennis Cahill, their mutual friend who passed away several yearsago, that inspires this arrangement.One of the delights of traditional music is the fact that the same melody played by several differentpeople can take on a completely different character. The tune at the center of this arrangement, “Tossthe Fiddles” (the title of which is a play on a very well known tune called “Toss the Feathers”), wascomposed by Liz years ago to sit intentionally between tune types—meaning that it could beUnless otherwise noted, all program notes by Gavin BorchertAfter study at the New England Conservatory and Harvard, Leroy Anderson took up arranging fordance bands in the Boston area, and some of his work came to the attention of Arthur Fiedler, whohad just begun as director of the Boston Pops. Thus began Anderson’s long association with the Pops,which led to dozens of popular light pieces, “Sleigh Ride” and “The Typewriter” the most famousamong them. In 1947 Boston’s Eire Society commissioned Anderson to arrange a suite of Irish folksongs for the Pops; he wrote four, then added two more two years later. Anderson assembled a similarScottish Suite in 1954; other works of his include a rather nice piano concerto from 1953 and a full-length Broadway musical, Goldilocks, from 1958. LEROY ANDERSON (1908-75)Irish Suite (1947, 1949)

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BILL WHELAN (b. 1950)Riverdance: A Symphonic Suite (2012)Like so much great European music since 1956, this suite was born at theEurovision Song Contest, the annual World Cup of pop music. For the 1994edition, hosted by Ireland, established composer/arranger/producer BillWhelan devised a seven-minute piece to accompany a production numberpaying homage to the Irish tradition of step-dancing. A smash at the contest,the music was soon released as a single (Ireland’s second-best-selling singleever), which led to a wildly popular stage show that opened the following February, which led to … (Whelan takes up the story):“The idea for a Riverdance Symphonic Suite had been on my radar for some time. Over the years I hadoften had requests from orchestras around the world for a full-length concert piece containing themusic from the show. As my original score incorporated traditional instruments, it was not always easyto assemble the various ethnic elements in countries where pipers and bodhrán players are rare! Sowhat I have done with this new score is to present all the themes from Riverdance in a way that isplayable by a full symphony orchestra anywhere in the world, without the traditional musicians. Therewere two principal challenges—the first was to arrange the themes and melodies as a colourful anddynamic concert piece. The second was to choose the instruments from within the conventionalsymphony orchestra to appropriately replace the original ethnic instruments and voices.”Myth or fact? Saint Brendan was an actual Irish monk (c. 484-577), remembered for his possiblyapocryphal sea voyage to the “Isle of the Blessed,” as legend has it, told in many medieval manuscriptsand collections surviving from about 800. In 1976, explorer/writer Tim Severin, attempting to recreatethis legendary voyage, built a boat from the materials medieval Irish seafarers would have used (ashand oak, leather thongs, ox hides, and wool grease) and made his own trip across the sea toNewfoundland (his speculative guess as to Brendan’s “Isle of the Blessed”).This inspired Davey’s 10-movement symphony, which pioneered the inclusion of the traditional Irishuilleann pipes. It was the first of Davey’s four major works inspired by Irish history/lore, followed byThe Pilgrim (1983), Granuaile (1985), and The Relief of Derry (1990). Alongside several film and TVscores, Davey wrote “May We Never Have to Say Goodbye” for the 2003 Special Olympics WorldSummer Games.SHAUN DAVEY (b. 1948)The Brendan Voyage (1980) &May We Never Have to Say Goodbye (2013)that had the melodic shapes of a traditional tune, but no discernible tune type within the Irishtradition. The combination resulted in rhythms that have seven beats (much like Balkan music or othertypes of music with mixed meters), an unsettling rhythm that has a lot of energy, intrigue, and maybeeven a hint of violence built into it. www.lizknowles.com - Liz KnowlesTHE SOUL OF IRELANDPROGRAM NOTES54 | SUMMERMUSIK FESTIVAL 2025interpreted and played as a polka, or a slow tune, or a march. It has been recorded many times by Liz(and many others) and each setting displays this malleability of the melody. On the eponymous solorecording by Liz’s husband, uilleann piper Kieran O’Hare, the tune is played sweetly and slow with thebeautiful accompaniment of guitarist John Doyle. Liz then recorded it with her band The String Sisters(six fiddlers from different countries accompanied by piano, bass, drum, and guitar). This time the tunewas embedded in a grisly murder ballad from Sweden called “Husaren.” Tonight, you will hear the tunein a string orchestra setting, and, embedded in it, a reel, loosely based on a traditional tune called “TheCurlew.”“Rumble Thy Bellyful” began its life as a musical response to Shakespeare’s play, King Lear, writtenoriginally for a project with Ensemble Galilei, an ensemble of musicians representing Baroque andEarly music as well as Scottish and Irish music. Other settings of it can be found on the albums CelticLegends and The String Sisters’ Live in Norway. Liz’s initial intent for the melodic structure was to finda way to combine a jig (a tune in 6/8 time) and a reel (a tune in 4/4 time), thus writing a piece

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56 | SUMMERMUSIK FESTIVAL 2025WORKSHOPSSUNDAY, AUGUST 24 | 10am-5:30pmIRISH HERITAGE CENTER OF GREATER CINCINNATIIrish Musicfor biographies of Liz Knowles, Kieran O’Hare, and John Skelton, see page 47 & 48Liz began the Teacher’s Gathering, an online meeting started during the pandemic, as a way to provide a platformfor more discussion about teaching music, addressing the various challenges and joys of teaching across differentstyles of music, and addressing various topics such as teaching by ear, conveying musical style while allowing astudent to develop their own musical personality, helping to design practice time, and so much more. Come joinus in an informal discussion all about teaching!SCHEDULE10-11am Teacher’s Gathering (Liz Knowles)11:30am-12:45pmMoving from Paper toEar (Liz Knowles)Introduction to theWhistle (John Skelton)More Than Meets the Ear(Kieran O’Hare)Reading notation and learningmusic by ear are two valuable butvery different modes of learningmusic. It isn’t easy to transitionfrom one mode to the other! Lizwill guide you through some waysto unearth yourself from theseeing of music to the hearing ofmusic and experience the joys oflearning by ear. (This workshop isopen to anyone who reads musicor learns by ear or does both!)The foundations for ornamentation,articulation, and phrasing thatmake Irish music sound like Irishmusic can all be found on thiswonderful instrument. John willwalk you through a tune or twoand show you the basics of Irishmusic. No previous experiencenecessary! You can purchase a tinwhistle when you register for theworkshops for $15, and it will beavailable the day of the event.We’re always getting told tolisten, listen, listen if we want tolearn Irish traditional music. It’strue, but sometimes it’s hard toknow exactly what to listen for.We’ll discuss exactly that—thevastly complex data stream thatis an Irish tune, how to decode it,and how to get the most usefulinformation out of it. (Thisworkshop is open to those whojust want to know more aboutand hear more Irish music!)Join Liz Knowles, Kieran O’Hare, and John Skelton for a day of workshops at the Irish Heritage Centerof Cincinnati, presented by the Riley School of Irish Music, Irish Heritage Center, and Summermusik.Listeners and players welcome – no prior experience needed, just an eagerness to learn!

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SUMMERMUSIK FESTIVAL 2025 | 572-3:15pmThe Practice of Practice(Liz Knowles)Uilleann Pipes Workshop(Kieran O’Hare)What Makes a Jig a Jig,and a Reel a Reel? TheRhythms and Magic ofIrish Music (John Skelton)Using both her classical musicbackground and her over thirty-year experience in learning Irishtraditional music, Liz will presentsome ideas for reinvigorating yourpractice, opening you up to somenew ideas about how to designand engage with your practice, andmaking it fun and productive. Thisworkshop is open to any level ofmusician and any style of playing,from classical to traditional orother!We will explore key techniques andapproaches in how to play theuilleann pipes, learn the music, andtake part in this distinguishedtraditional art form. Pipers welcome, but this workshopis also open to anyone who wantsto come and just see and hear thepipes in action!Through his beautiful playing andgifted storytelling, John will sharethe “art” of playing traditionalIrish Music, sharing the varioustypes of tunes and styles thatmake the music so unique. Attendees are welcome to bringtheir instruments and play alongif they are familiar with the tunesJohn plays, but listeners are alsovery welcome. A gathering of Irish traditional musicians for the purpose of celebrating their common interest in the music by playing ittogether in a relaxed, informal setting. Listeners are welcome.3:30-5:30pm Traditional Irish Session in the PubTHANK YOU TOOUR SUPPORTERSIRISH MUSIC WORKSHOPSSCHEDULE CONTINUED

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SUMMERMUSIK FESTIVAL 2025 | 59OUR SUPPORTERSCHAMPION {$25,000 & up}Summermusik wishes to thank the following individuals, corporations, and foundations fortheir generous financial support between July 15, 2024 and July 14, 2025. If your name has been inadvertently omitted, please contact Finance Administrator Layla Wells atlayla@summermusik.org so we can correct our records.ArtsWaveBarbara & Wayne BeimeschRobert & Debra ChavezCharles H. Dater FoundationCarol Ann & Ralph V. Haile Jr. FoundationGreater Cincinnati FoundationLouise Dieterle Nippert Musical Arts Fund of the Greenacres FoundationOhio Arts CouncilIrv & Melinda SimonFESTIVAL {$10,000 - $24,999}Dave & Gale BeckettThe BMW StoreRebecca Bolce & Keith WoodChemed FoundationManuel & Cynthia ChavezMartin & Kim ChavezChavez PropertiesThomas J. Emery MemorialLinda Holthaus & Richard ZinicolaAustin E. Knowlton FoundationRosemary & Mark SchlachterJohn A. Schroth Charitable Trust, PNC BankLouise Taft Semple FoundationCONDUCTOR {$5,000 - $9,999}Lucy AllenJeanne & Christopher BarnesRachelle Bruno & Stephen BondurantTony ColeCora’s CakeryKelly M. Dehan & Richard J. StaudigelSusan Esler & Steve SkiboFort Washington Investment AdvisorsWilliam Hurford & Lesley GilbertsonThe Johnson FoundationPatsy Meyer KreitlerGlenn & Patricia LarsenKathleen LaurinThe Lilly FoundationOliver Family FoundationWilliam O Purdy, Jr. Foundation FundDianne and David J. RosenbergRPI Graphic Data SolutionsNellie Leaman Taft FoundationKari & Jonathan UllmanGinger and David W. WarnerWash.Park.ArtAmy & Steve WhitlatchKaren ZauggCONCERTMASTER{$2,500 - $4,999}19/19 Investment CounselTerri & Tom AbareDick & Mary Lu AftAmeritasCincinnati International Wine FestivalMarjorie DaviesFriendly Sons of St. PatrickFoundationDonald W. Fritz, Ph.DPRINCIPAL {$1,250 - 2,499}A Friend of SummermusikDoug & Dawn BruestleDeborah CampbellJoe CarloSijie Dai & Michael MuiFamily Wealth Advisory GroupJoe & Suzy HickeyKarlee HilliardJohnson Investment CounselNancy Keyser Carol KruseBenjamin LinserEd Lyon Mary Jane MayerRajani MenonMichael T. Moore, JrWes & Caitlin NeedhamThe Vicki Reif Memorial Fund LeAnne & Matthew Anklan Alejandro & Tasha AragakiCarol & Steve Reubel Nancy StemanJames & George Ann WesnerSECTION {$750-$1,249}Friends of SummermusikMarina AbantoMalcolm & Glenda BernsteinJohn & Mary Ann BoornJohn ByczkowskiGrant & Megan CambridgeAngela CrovettiDan & Ellen Curtinhe Danaher FoundationKathy DeBrosseRaven FultonHilton Netherland PlazaPeter Hsi & Jocelyn WangEric KearneyJim KinneyPeter E. Landgren & Judith SchonbachSusan Lauf Tiffany LuckeyCharles McOsker Patrick Points Rocktails BrandsCatherine RomaDr. Cathy RosenbaumBENEFACTOR {$250 - $749}Janice SeymourRossana & Keith StettlerElizabeth A. StoneBlanche & Tim SullivanTrang Vo and Yolo Restaurant GroupsJessy WilliamsRebecca AndresEvelyn BanzhafMary Ann Barnes & Tim BoyleMarja BarrettAngela CrovettiThe Danaher FoundationMark DaunerRafael & Kimberly de AchaSusan & David DeyeDan & Lin DomisJoyce ElkusBrett & Allison EvansPaul Franz & Shari LooRosalyn FullerVictoria GluckmanThe Gordan FamilyKaren HartmanMary HealyMartin & Mary HerringtonPhillip HesterDiane & Carl IsemanKen JordanNoel Jules-DehnerHarry KangisEverett N. Jones IIIKenneth JordanCynthia LewisJudy LucasPaula McIntoshBarb & Dan MolloyKaren NeyerJohn OstermanThe Patel-Curran FamilySusan SchulerGary ShinnRita SmithChristopher St. PierreHeidi ToelkeSusie TweddellPriscilla WalfordJoAnn WieghausEvan & Sarah GidleyCliff Goosmann & Andrea WilsonInteract for HealthJohnson & JohnsonJohn & Molly KermanNancy & Jonathan Lippincottthemusicminions: Don Duke Allison & Brett Evans Ken Jordan Cynthia Lewis Michael Moore Daniel PfahlDaniel PfahlRuth SchwallieChristopher & Nancy VirgulakGuy Wolf & Jane MisiewiczLEGACY SOCIETYAnonymousTerri & Tom AbareDick & Mary Lu AftDeborah CampbellKelly M. DehanEd LyonMichael T. Moore, Jr.Daniel PfahlM. Patricia & R. Keith RoselyRosemary & Mark SchlachterRuth Schwallie

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60 | SUMMERMUSIK FESTIVAL 2025BOARD OF TRUSTEESDaniel PfahlPresidentLinda HolthausVice PresidentCo-Chair, DevelopmentNancy KeyserSecretaryCo-Chair, Diversity, Equity &Community EngagementMichael MooreTreasurerTerri AbareImmediate Past PresidentPeter HsiChair, FinanceTiffany LuckeyChair, MarketingKelly DehanCo-Chair, DevelopmentCatherine RomaCo-Chair, Diversity, Equity &Community EngagementHONORARY TRUSTEESTara BaughnBelinda Reuning BurgeJohn ByczkowskiGrant CambridgeJoe CarloRobert ChavezSijie DaiKathy DeBrosseSusan EslerRaven FultonAshley HallDr. William HurfordEverett N. Jones IIIEric KearneyBenjamin LinserRajani MenonMichael NeugentMark SchlachterRichard N. Aft, Ph.D.Boris AuerbachSally ConnellyDr. G. James SammarcoMrs. Ruthann SammarcoRuth SchwallieEMERITUS TRUSTEERosemary SchlacterEMERITUS BOARDMarina AbantoMichael AbneyJames AdamsRichard N. Aft, Ph. D.Eric J. AllenJeffrey AndersonBoris AuerbachWilliam BalzanoCarol BeddiePaul BernishJo Ann BobbittRyan BoggsJohn R. BrooksPaul BrunnerSusan BuseKenneth ButlerJohnnie CarrollMelanie ChavezBrook ChertockRebekah ChesnesMichael A. CioffiWilliam ClarkStephen ConatonSally ConnellyRobert Conway, Jr.Scott CookGregory CoonsJoel C. CornetteJeffrey 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 HoffmanHelle Banner HoermannDaniel HoffheimerRichard IsgrigCarol IwasakiPaul JakubowksiKatherine JansonPaul JetterHarry KangisDavid A. KlingshirnFlorence KoettersMarvin KolodzikMark KroegerRonald KuzmaNancy LippincottErin LombardiJoanie LottsEd LyonLarry S. MagnesenJames MayKaren McKimMichael MotchVicky MotchDean MoulasChristine E. NeyerCora OgleReena Dhanda PatilAlbert PeterSally Krefting PhillipsJane PopeAngela Powell WalkerJC PurkRoxanne QuallsJoyce ReMelody SawyerRichardsonWilliam RiggsJack RouseGeorge A. SchaeferRosemary SchlachterRuth SchwallieDavid B. SchwartzThomas SchwartzArt ShribergLinda SiekmannEdward SpaethChristopher SparksShane StarkeyCindy StarrBrett StoverKaoru SuzukiTimothy TepeBrian TiffanyRichard TrippWilliam TsacalisChristopher TschiederSerena TsuangKaren TullyAlice Rogers UhlSteven VamosiDenise VandersallStephanie Allgeyer VestRea WaldonJulie WashingtonGail W. WellsJessy WilliamsShelby WoodNicholas YodaSUMMERMUSIK STAFFEvan GidleyExecutive DirectorLayla WellsFinance AdministratorMaureen Hickey HaitchProduction & Marketing ManagerManami WhiteOrchestra Personnel ManagerEmily CottenOperations ManagerMadeleine CasePatron Services AssociateEllis ClayStage ManagerAlena ScottMarketing AssociateSUMMERMUSIK BOARD OFTRUSTEES & STAFF

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Midtown Parking Garage501 Scott St. Covington 41011On-Site Parking Lot1130 Madison Ave. Covington 41011The Redmoor3187 Linwood Ave. 45208On-Site Parking Lot3187 Linwood Ave. 45208SUMMERMUSIK FESTIVAL 2025 | 61VENUE & PARKING MAPSThe Grand Ballroom6 E 5 St. Covington 41011thCathedral Basilica ofthe Assumption1130 Madison Ave. Covington 41011Hilton CincinnatiNetherland Plaza35 W 5 St. 45202thHilton Hotel Parking Garage35 W 5 St. 45202thOFFICIAL HOTEL PARTNERFREEFREECollege-Conservatory ofMusic Corbett Auditorium290 CCM Blvd. 45219CCM Parking Garage290 CCM Blvd. 45219SCPA Corbett Theater108 W Central Pkway. 45202Chavez Properties Parking Lot250 W Court St. 45202Washington Park Garage1230 Elm St. 45202FREECincinnati Museum CenterReakirt Auditorium1301 Western Ave. 45203On-Site Parking Lot1301 Western Ave. 45203Rhinegeist ClubhouseEvent Space1910 Elm St. 45202Findlay Parking Garage1810 Logan St. 45202Irish Heritage Center ofCincinnati3905 Eastern Ave. 45226On-Site Parking Lot3905 Eastern Ave. 45226FREE

2025 Summermusik Program Book

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