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WELCOME TO THE Seventh ANNUALDAKOTA SKY INTERNATIONAL PIANO FESTIVAL

Program Contents

2013 Calendar of Events

July 20: Paul Sanchez, piano --------------------------------------------------------------------- 7

July 22: Spotlight: Tony Caramia with Allison Nash and Andrew Reinartz --------------------------- 13

July 25: Daniel Paul Horn, piano ----------------------------------------------------------------- 17

July 27: Jacob Ertl with Kayleen Sanchez --------------------------------------------------------- 23

July 29: Lucille Chung, piano -------------------------------------------------------------------- 29

August 1: Spotlight: John Pennington, Ryun Louie, with Lucille Chung & Peter Klimo --------------- 35

August 3: José Feghali, piano ------------------------------------------------------------------- 39

Recital Series—All Performances at 7:30 p.m.Saturday, July 20—Paul SanchezThursday, July 25—Daniel Paul HornSaturday, July 27—Jacob Ertl (piano) with Kayleen Sanchez (soprano)Monday, July 29—Lucille ChungSaturday, August 3—José Feghali

Spotlight Series—All Performances at 7:30 p.m.Monday, July 22—Tony Caramia (jazz/classical piano) with Allison Nash (vocal) and Andrew Reinartz (bass)Thursday, August 1—John Pennington & Ryun Louie (percussion), with Lucille Chung & Peter Klimo (piano)

Young Artist Program Recitals—All performances at 7:30pm; free to the public

Friday, July 26—Solo RecitalFriday, August 2—Song Recital (with Kayleen Sanchez, soprano)

Children’s Concert Series—Free and open to the public, tailored to grades K-5

Tuesday, July 23—10 a.m.-11 a.m.Tuesday, July 23—11 a.m.-12 p.m.Tuesday, July 30—10 a.m.-11 a.m.Tuesday, July 30—11 a.m.-12 p.m.

Seminar Series—Free and open to the public – 12 p.m.-1 p.m. Food allowed.

Wednesday, July 24—Tony Caramia: The Art of Modern ProgrammingFriday, July 26—Daniel Paul Horn: The Middle Man: The Creator, the Performer and You.Monday, July 29—Jacob Ertl: What’s the meaning of all that noise?! Frederic Rzewski’s music with a message.Wednesday, July 31—Paul Sanchez & Andrew Reinartz: Looking Back: Perspectives on the Road Thus Travelled

Master Classes—Free and open to the public.Monday, July 22—2:00 p.m.-5:00 p.m.

Paul SanchezTuesday, July 23—2:00 p.m.-5:00 p.m. Tony CaramiaSaturday, July 27—10:00 a.m.-1:00 p.m. Daniel Paul HornMonday, July 29—2:00 p.m.-5:00 p.m. Gregory DeTurckTuesday, July 30—2:00pm-5:00 p.m. Lucille ChungWednesday, July 31—5:00 p.m.-8:00 p.m. José FeghaliThursday, August 1—2:00 p.m.-5:00 p.m. José Feghali

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Dear Friends,

This season we celebrate the artists’ touch. The touch sparks a connection between musician, instrument, and audience at the instant the pianists’ fingers touch the keyboard, and sends forth the voice of the piano—a voice spanning generations, encompassing composers’ intentions, musical tradition, innovation, individuality and culture. As the artist creates this connection, we the listeners may be transported to a world in which

time disappears, and we may experience the seemingly impossible—a conference call of sorts between ourselves, the artist, and the composer, all carried by the singular but multifaceted voice of the piano.

In just two weeks, Dakota Sky will offer nearly fifty events: we welcome artists both familiar and also new to Sioux Falls for our recitals, we continue to develop and offer our free educational programs for children and adults, and we celebrate our third annual Dakota Sky Young Artist Program for up-and-coming young pianists from all over the United States.

On behalf of the Dakota Sky staff and Board of Directors, we offer you all a heartfelt “thank you!” The Festival’s myriad events are made possible through your generous support, and through the support of our private and corporate donors, including First Bank & Trust, First Dakota National Bank, Northwestern Energy, the South Dakota Arts Council, Arts Midwest, the Washington Pavilion of Arts and Science, and South Dakota Public Broadcasting. Further, my sincerest thanks to Jim Speirs, our President of the Board; to Andrew Reinartz, Executive Director; and to our Board of Directors, whose tireless efforts throughout the year have made this year’s Dakota Sky Festival a resounding success, and whose continued commitment to our mission ensure a bright future for Dakota Sky.

As you enjoy this evenings’ performance, I hope that the artists’ touch will gift you with a lasting and profound impression on your heart, mind and soul.

With sincerest best wishes,

Paul SanchezFounder and Artistic Director

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Paul Tuntland Sánchez, piano,performs throughout North America and Europe, and has such festivals as the Barcelona Festival of Song and the Festival Internacional de Piano Reynosa, Mexico. In his appearances with orchestra, he has performed concerti by composers ranging from Bach to Rachmaninov, and has championed rarely played works in-cluding Beethoven’s Fantasia for Piano, Chorus and Orchestra in C minor, Op. 80, and Joaquín Rodrigo’s Concierto Heroico for piano and orchestra. Sánchez has performed educational concerts for children through the Van Cliburn Foundation’s Musical Awakenings program, and has appeared on CBS national television and on South Dakota Public Broadcasting television and radio.Paul Sánchez is Visiting Assistant Professor of Piano at the Wheaton College Conservatory of Music. He has taught classes and private piano lessons at the Eastman School of Music. Sánchez has presented original research in music cognition at the Eastman–University of Rochester–Cornell Music Cognition Symposium in Rochester, New York. An avid composer, Sánchez’ music has received critical acclaim and has been performed by the South Dakota Symphony Orchestra under the direction of Maestro Henry Charles Smith, and broadcast by South Dakota Public Broadcasting televi-sion and radio. As the only American concert pianist to have earned a Master of Spanish Music degree under the legendary Spanish pianist Alicia de Larrocha, Sánchez’ specializa-tion in Spanish music has made him one of the foremost exponents in the field, and his expertise is highly sought out in performance and academic settings alike. His research in

Spain as a Fulbright Fellow from 2005–2007 led to the release of a CD recording entitled España: Piano Music of Spain from the 19th and 20th Centuries (Mundo Arts, 2006). His lecture-recital entitled The Poetics of Deep Song: Albeniz, Debussy, and Lorca was nominated for the 2012 doctoral lecture recital award at the Eastman School of Music. His most recent CD recording, Paul Sánchez: In Recital (Athyr Records, 2012), features music by Mompou, Soler, Schumann, and Liszt.In 2006, Sánchez founded the Dakota Sky Foundation and International Piano Festival. As Founder and Artistic Director, Sánchez’ vision for the Festival has become its mission: to enrich the cultural life of the community through world-class performances both for music-lovers and also for the next generation of listeners; through free educational programs for hundreds of children and adults; and through the innovative Young Artist Program, a venture offering aspiring pianists opportunities to work with artistfaculty in an intensive and intimate environment. The Festival now brings over fifty public events to the Sioux Falls community in a two-week period each July and August, con-sistently featuring artists of the highest artistic and personal quality, and reaching over 5,000 people annually through its live events and broadcasts on South Dakota Public Broadcast-ing. Dakota Sky makes outreach a priority, and in addition to its free programs for children and adults, provides free programs for patients in local healthcare centers.Sánchez studied with Tamás Ungár at Texas Christian University, graduating summa cum laude, with honors, and receiving the Presser Scholar award for outstanding scholarly and artistic work. He received a Fulbright Scholar-ship in 2005 and earned his Master of Spanish Music degree with Ms. Alicia de Larrocha at the Academia Granados-Marshall in Barcelona, Spain, in 2007. His Sánchez is the recipient of the prestigious Max Landow Award for distinction in performance from the Eastman School of Music, where he completed his Master of Music degree and is currently completing a Doctor of Musical Arts degree in the studio of Dr. Douglas Humpherys.Sánchez lives in Wheaton, Illinois, with his wife, soprano Kayleen Sánchez.

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Paul SanchezSaturday, July 20, 2013

Belbas TheaterWashington Pavilion

7:30 P.M.

Cants MágicsFederico Mompou (1893–1987)

i. Energic - Lent - Energicii. Obscur

iii. Profond-Lentiv. Misteriós - Viu

v. Calma - Inquiet - Calma

Satyagraha, Conclusion, Act III, from Trilogy SonataPhillip Glass (b. 1937) (arranged Paul Barnes)

Kinderszenen, Op. 15Robert Schumann (1810–1856)

1. Of Foreign Lands and Peoples2. A Curious Story

3. Catch Me if You Can4. Pleading Child5. Happy Enough

6. An Important Event7. Dreaming

8. By the Fireside9. Knight of the Hobbyhorse

10. Almost Too Serious11. Frightening

12. Child Falling Asleep13. The Poet Speaks

Intermission

Funérailles, from Harmonies Poétiques et Religieuses, S. 173Franz Liszt (1811–1886)

Ballade No. 2 in B minor, S. 171Franz Liszt (1811–1886)

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Cants MágicsFrederico Mompou (1893-1987)

Frederico Mompou was known for being an introvert, shy to the point of being unable to promote his own performance or composition. He made friends in im-portant circles and was familiar with the musicians of Paris. He heard the music of Fauré and was inspired. Listening to the music he created does not make most listeners think of Fauré however; Satie is a more common comparison. Poulenc became a close friend, as did fellow Catalan the painter Mirò. His composi-tions reflect a pure and naïve emotion coupled with a sophisticated simplicity of construction. His melodies are diatonic and singeable over lush and open chords. Mompou’s oeuvre is dominated by piano miniatures and songs for voice and piano. As his reputation for thoughtful discussion and modesty grew, he was recognized as an important musical voice. He was recognized by Spanish universities and was made a Chevalier des Arts et des Lettres by the French gov-ernment. Pianist Stephen Hough writes of Mompou, “It is as if he manages to capture the very perfume of a chord, for he is there early in the morning when the first bud opens. His reverence for harmony comes from the humble realization that its beauty exists outside of his decision to include it.”

Cants Magics (Magical Songs) offers five move-ments with descriptive titles. These titles are close enough to the English meaning that the Spanish hardly needs to be translated. The magic is “Energic”, “Obscur”, “Profond-lent”, “Misteriós” and finally “Calma”. Listeners are invited to hear every note in this sparse and lovely texture. Hough says of these pieces, “These spells frighten us not through their malevolence, but because we are transported to an unknown, prehistoric world.”

Trilogy Sonata III: SatyagrahaPhilip Glass (B. 1937), arr. Paul Barnes

Philip Glass began experimenting with music during his education at Julliard, the University of Chicago,

and in Aspen. When he grew dissatisfied with the direction American music was going he moved to Paris to study with legendary teacher and mentor Nadia Boulanger and Ravi Shankar, the sitar player who brought the classical music of India to the at-tention of the world. The music Glass developed was called minimalist, a term the composer dislikes. He prefers to call his compositions “music with repetitive structures” according to his official website. The music of India often offers repetitive structures as well, thou Glass’s compositions do not sound like translations of Indian music. Other fans recognize the power of repetition and have dubbed Glass himself the “Godfather of Trance”.

Most genres are subjects for Glass’ prolific composi-tion, including opera. Barnes draws the Trilogy Sonata from music of three operas about historic characters. The movement heard today is the middle slow movement of the Trilogy Sonata. The op-era Satyagraha is a depiction of the non-violent resistance practiced by Gandhi. Barnes chooses music from the third act to create a movement with the tra-ditional slow and lyric character of a classical sonata second movement. The repetition in the accompani-ment with a strong melody featuring repetition as well provides a peaceful overall effect indicative of the calm and immovable character Gandhi used toward political decisions he felt needed changing.

Kinderszenen, Op. 15Robert Schumann (1810-1856)

The “good old days” when we were children often draw discussions among peers of many ages. We tend to remember the carefree, special parts of that time of our lives and are fondly nostalgic about them. Kinderszenen is that kind of reminiscence, not pictures for children, but memories of his own experiences. These thirteen small pieces were written in 1838 at a time when Schumann had fallen in love with Clara Wieck, but was forbidden by her father to wed her. The two would eventually wed, after a court

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battle and numerous difficulties. Schumann worked on these pieces while Clara was touring as the fine solo pianist she was.

Schumann wrote his beloved Clara, “I have been waiting for your letter and have in the meantime filled several books with pieces.... You once said to me that I often seemed like a child, and I suddenly got inspired and knocked off around 30 quaint little pieces.... I selected several and titled them Kinder-szenen. You will enjoy them, though you will need to forget that you are a virtuoso when you play them.” The pieces were meant to enchant and entertain a sophisticated musician, without being virtuosic. The set of short miniatures is a gem of composition, especially in the context of huge works being written and produced by other Romantic era composers. The skill required is not speed or the ability to produce multiple lines of counterpoint. It is an ability to create a dream of the past without becoming maudlin.

Funérailles, From Harmonies poétiques et religieuses, S. 173

Franz Liszt (1811-1886)

European sensibilities in the Romantic era valued national differences. The final rout of Napoleon in the early part of the century encouraged the nations to strengthen their own sense of identity. Liszt was a Hungarian, proud of his heritage. Hungary was a part of the Hapsburg Empire which itself had problems. The Hungarians had revolted in 1849 with disastrous results. They remained under the rule of the Hapsburgs, and in October 1849 fourteen high ranking political and military Hungarians were executed. Liszt knew several of these people, and his grief for his country and his friends is expressed in this elegy. Beginning with the lowest range of the piano the sound builds in intensity and emotion. Sounds of bells tolling through the piece keep it from overwhelming the listener. In typical Liszt fashion poignant soft passages allow introspection amidst the loud cries of grief.

Audiences often wish to understand why a com-

poser writes music. Funérailles is one of a set of ten pieces. This piece Liszt subtitled “October 1849”. By coincidence Chopin died that month and people more familiar with music and musicians than political history assumed that the date reference was to the loss of Liszt’s contemporary Chopin. It was only when the composer was asked about the background of the piece that the desire to react to his homeland’s political tragedy was understood.

Ballade #2 in B minor, S. 171Franz Liszt (1811-1886)

Ballads are one of the earliest identified musi-cal forms. A ballad in its earliest form is a vocal song with accompaniment that tells a story. In the Romantic era of the nineteenth century composers borrowed the title and used it for compositions that are dramatic, include identifiable themes and build as a good story does. Liszt was living in Leipzig and becoming serious about his composition career when he wrote this ballad. He had enjoyed marvelous suc-cess as a performer, but he was ready to concentrate on writing. While he was there he would also write the Piano Sonata in b minor and invent the genre of tone poems.

Tone poems would have very specific programs, telling the audience exactly what they were to hear and imagine. Ballade does not give us any clues as to the story Liszt was imagining. Instead he offers melodies with various characters which interact, leaving us to imagine the story we are hearing. The lush music and complex harmonies invite us to engage with the music. The freedom to make a story – with or without words – is intensely satisfying to the listener. The four themes are transformed and interwoven in a way that reminds us of characters in a story. There is a sense of form as the melodies appear in various patterns exploring minor and major keys. Like any good fairy tale, the ending is quiet as is the idea of living happily ever after which lets us sigh in enjoyment of the drama that has been enjoyed and resolved.

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Allison Nash is from Sioux City, Iowa, and moved to Sioux Falls in January of 2012. She was born and raised to love music and moved to

Sioux Falls to perform a variety of styles from jazz to soul. You may know her from the entertainment for the Chambers of Commerce meetings in 2011 and 2012. She also plays with the Hegg Brothers in their Holiday Jam Tour, and locally. Allison heads out to Boston to attend Berklee College of Music to pursue her dreams in August.

Andrew Reinartz is an area musician and Executive Director of the Dakota Sky International Piano Festival. A founding

member of the Dakota Sky Board of Directors, Mr. Reinartz took the position as Executive Director in June of 2010. He has has been a member of the South Dakota Symphony Orchestra bass section since 2001, and is a past member of their Board of Directors.

Reinartz is heavily involved in the local Jazz community, playing bass with a variety of ensembles including the Dakota Jazz Collective, JAS Quintet, Main Avenue Warehouse, the Waddley/Reinartz/Shotwell trio, and Holiday Jam with the Hegg Brothers. As a member of the Jazz Diversity Project, he appears in performances and presentations on the musical, social, and historical aspects of Jazz in schools throughout South Dakota, through the auspices of the Sioux Falls Jazz and Blues Society. Andrew is also the Director of Sales & Marketing for the video production firm Passenger Productions, based in Sioux Falls, SD.

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Tony Caramiais Professor of Piano at the Eastman School of Music, where he is Director of Piano Pedagogy Studies and Coordina-tor of the Class Piano Program. In May 2003, he was a guest on Marian McPart-land’s “Piano Jazz” on NPR. He has served as a judge for the American Jazz Piano Competition, sponsored by the American Pianists Association, the Cre-scendo Music Awards, and the Young Texas Artists Competition. In September of 2007, he was privileged to participate in the dedication concert on the new “Sorel” Steinway at SUNY Fredonia, in honor of his former teacher, Miss Claudette Sorel. He received the 2010 Outstanding Achievement Award from SUNY Fredonia.Mr. Caramia is featured in the Yamaha Clavinova on Campus series. He is a Contributing Editor for Cla-vier Companion Magazine and on the Editorial Committee of American Music Teacher. Recent solo piano publications include American Treasures, as part of the Jazz Performers Series (Alfred Music Publishing); Suite Dreams and Jazz Moods (Hal Leonard Publishing Corpo-ration), as well as contributions to the 9th edition of Keyboard Musicianship,

Books 1 and 2. He has conducted nu-merous workshops in jazz piano peda-gogy for teachers nationally, in Europe, and in Australia and New Zealand. In 2005 he performed at the International Stride Summit in Switzerland.He was a featured performer at the prestigious Rochester International Jazz Festival, the 2007, 2009, and 2011 National Confer-ence on Keyboard Pedagogy, and the 50th Anniversary of the New School for Music Study, in Princeton, NJ. A strong advocate of theme recitals—he spoke at the CFMTA-MTNA Collaborative Con-ference in Toronto, Canada on the topic: The Art of Modern Recital Program-ming— he has presented multi-media tributes to composers Harold Arlen and Richard Rodgers, and the extraordinary pianist, Cy Walter.

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Tony Caramia, pianowith Allison Nash, vocal, and Andrew Reinartz, bass

Monday, July 22, 2013Belbas Theater, Washington Pavilion, 7:30 P.M.

Dancing Keys

Fox-Trot (1926)Pantscho Vladigeroff (1899-1978)

Dead Moth Tango (1990)William Bolcom (b. 1938)

Dances in the Canebrakes (1953)Florence Price (1887-1953)

Silk Hat and Walking CaneTropical NoonNimble Feet

Saudades do Brasil, suite de danses, Op. 67 (1920)Darius Milhaud (1892 - 1974)

CorcovadoLeme

Ipanema

Glances (1995)Dave Brubeck (1920-2012)

Struttin’Doing the Charleston

Danzas Argentinas (1937)Alberto Ginastera (1916-1983)

Danza del viejo boyero (Dance of the Old Herdsman)Danza de la moza donosa (Dance of the Beautiful Maiden)

Danza del gaucho matrero (Dance of the Arrogant Cowboy)

Intermission

Samba MedleySummer Samba—music by Marcos Valle; lyrics by Norman Gimbel

One Note Samba—music and words by Antonio Carlos Jobim

Rain Waltz (A Dance for Me)—music by Fred Hersch; lyrics by Cheryl Pyle

Dolphin Dance—music by Herbie HancockDancing in the Dark—music by Arthur Schwartz; lyrics by Howard Dietz

Dancing on the Ceiling—music by Richard Rodgers; lyrics by Lorenz Hart

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Daniel Paul Horn, piano An active and versa-tile pianist, Daniel Paul Horn is Professor of Piano and Chair of Key-

board Studies at the Wheaton College Conservatory of Music, where he was honored with a 2009 Senior Academic Achievement Award for sustained excellence in scholarship.

As a solo recitalist, he has appeared at colleges and universities throughout North America, at the American Liszt Society Festival, and in live broadcasts over WFMT-FM, on its Pianoforte Foun-dation Fazioli Salon Series and 2010 Beethoven Piano Sonata series; he has also appeared with various Midwest-ern orchestras, including the Detroit Symphony Orchestra. An avid chamber musician, he regularly collaborates with members of the Chicago Symphony Orchestra. With the MasterWorks Ensemble, he has played in Bermuda and at the 2010 Beijing Modern Music Festival; in addition, he has performed with the Ying String Quartet, the Rembrandt Chamber Players, cellist Stephen Balderston, pianist Alexan-der Djordjevic, and Guarneri Quartet violinist John Dalley. He also works with noted singers, including sopranos Michelle Areyzaga and Sylvia McNair, baritone Gerard Sundberg, and basses Stephen Morscheck and Kenneth Cox; with soprano Carolyn Hart and mezzo-soprano Denise Gamez, he has per-

formed recitals in Chicago, New York, and Paris. Working with living compos-ers, he has premiered music by George Arasimowicz, Jacob Bancks, David M. Gordon, Neal Harnly, Patrick Kavana-ugh, Daniel Kellogg, and Max Raimi.

As an early keyboardist, he was harp-sichordist in performances of Handel’s Messiah under the baton of John Nel-son, and has twice performed on the Historical Piano Concert series at the Frederick Collection in Ashburnham, Massachusetts. In 1997, he recorded the critically praised disc “Wander-ings” for Titanic Records on an 1829 Graf fortepiano, and in 2010 released Sehnsucht: Music of Robert Schumann; he also recorded for the Centaur label with CSO cellist Donald Moline, and for the Canadian Music Centre with soprano Carolyn Hart.

A Detroit native, Horn studied at Peabody with Walter Hautzig, and at Juilliard, where he studied with Martin Canin and Felix Galimir, and earned his doctorate. He has also coached with Jerome Lowenthal, Ann Schein, Joseph Bloch, and Menahem Pressler, for whom he twice served as a guest as-sistant at Indiana University. In addition to his duties at Wheaton, he has been a faculty artist at the Sewanee, Adamant, Blue Mountain, and MasterWorks sum-mer festivals.

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Daniel Paul HornThursday, July 25, 2013

Belbas Theater, Washington Pavilion, 7:30 P.M.

Ten Variations on a Theme by Christoph Willibald Gluck, K. 455Wolfgang Amadeus Mozart (1756-1791)

Selections From Twelve Etudes (1915)Claude Debussy (1862-1918)

XI. Pour les arpèges composés (For compound arpeggios)X. Pour les sonorités opposés (For contrasting sonorities)

I. Pour les cinq doigts, d’après M. Czerny (For the five fingers, after Mr. Czerny)

Antiphonale I: The Feast of Saint Michael the Archangel (2011)Jacob Bancks (b. 1982)

Antiphon 1: Stetit angelisAn Angel stood at the altar of the temple,

having a golden censer in his hand.Antiphon 2: Concussum est mare

The sea was shaken and the earth trembled where Michael the archangel descended from heaven.

Antiphon 3: Cælestis militiæ princepsO prince of the heavenly host, great Michael, pray to Christ, the Redeemer of the world, for the groans of the afflicted.

Responsory 1: In conspectu gentiumR. In the sight of men, be not afraid, for in your hearts you worship and fear the Lord, and his

angel is with you.V. The angel who was with Jacob was with me also in the land of my pilgrimage, and my God

will prosper my ways.R. And his angel is with you.

Responsory 2: Factum est silentium in cæloR. There was silence in heaven when the dragon warred with Michael the archangel, and there

were thousands of thousands of voices heard, saying: Salvation, honor, and power to Almighty God.

V. The dragon was cast off, the deceiver of the whole world, and voices were heard in heaven saying:

R. Salvation, honor and power to Almighty God.

Intermission

Sonata No. 1 in F-sharp Minor, Op. 11 “To Clara from Florestan and Eusebius”

Robert Schumann (1810-1856)

Introduzione: Un poco Adagio; Allegro vivaceAria

Scherzo e Intermezzo: Allegrissimo - Lento alla burla, ma pomposo - Tempo PrimoFinale: Allegro un poco maestoso

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Tonight’s program juxtaposes two approaches to keyboard virtuosity with two very different expressions of longing in music, one reaching for the Divine presence, the other yearning for the passion of human love.

Ten Variations on a Theme by Christoph Willibald Gluck, K. 455

Wolfgang Amadeus Mozart (1756-1791)

Too often overlooked by modern pianists, Wolfgang Amadeus Mozart’s variation sets flow from the mind and fingers of a brilliant performer and improviser, who thoroughly understood and exploited the pos-sibilities of his instrument. Perhaps the finest of his keyboard variations are the Ten Variations on “Unser dummer pöbel meint” (“Our stupid public believes”) from Christoph Willibald Gluck’s comic opera The Un-expected Encounter (or The Pilgrims of Mecca), which served as a model for Mozart’s own Turkish-themed The Abduction from the Seraglio. Mozart improvised the variations in Gluck’s presence during a 1783 con-cert; in their final written form, they overflow with exuberance, charm, and humor, re-imagining Gluck’s pompous march from almost every imaginable musical and pianistic angle. Following a conventional formal pattern, the variations in turn highlight the right and left hands, play games with harmony and counterpoint, shift in and out of the minor mode, and indulge in technical sleight-of-hand. After a noble and elaborate Adagio, the finale blurs the distinc-tion between solo and concerto writing, as a mock cadenza brings the work to a satisfying conclusion.

Selections From Twelve Etudes (1915)Claude Debussy (1862-1918)

Contemporary accounts attest that Claude Debussy was a fine pianist, with a tonal palette of consider-able flexibility and range, and a keen musical intel-ligence that enabled him to sight-read the four-hand score of The Rite of Spring with Igor Stravinsky in preparation for the ballet’s premiere. Through the surface noise of four tantalizingly brief recordings that Debussy made with soprano Mary Garden in 1903, one hears a beauty of sound and a command of

the keyboard that makes one wish for more. Despite his pianistic stature, Debussy had scant interest in stereotypical virtuosi, preferring performers who served music rather than themselves. Written during the summer of 1915, Debussy’s Twelve Etudes are a pianistic last will and testament; dedicated to the memory of Chopin, but also written in hom-age to François Couperin, they seem at first glance to be about the concern for digital dexterity that motivated so many other études of the period, but a closer look makes it clear that they are also studies in color, nuance and compositional possibility, both summing up a lifetime’s work and pointing a way towards the future. Tonight’s program offers three very different studies. The étude “for compound arpeggios” contrasts shimmering keyboard pat-terns -- water music of the most elegant sort, with brusque rolled chords reminiscent of the banjos in Debussy’s prelude “Minstrels” or the mandolins of his Verlaine songs. “For opposed sonorities” is a compositional study, exploring contrasts in touch, register, and tonal center. Its distant fanfares are reminders of the war-clouds hanging over France and the entire European continent as Debussy wrote. “For the five fingers, after Monsieur Czerny” opens the entire cycle of Etudes by good-naturedly mocking traditional technical exercises. A solemn five-finger pattern quickly transforms into a gigue, accompanied by laughter. The ensuing dance makes one all but forget the initial drudgery, and celebrates the sense of freedom and play that animates all twelve of these remarkable works.

Antiphonale I: The Feast of Saint Michael the Archangel (2011)

Jacob Bancks (b. 1982) Once a promising son of Sioux Falls, Jacob Bancks has developed into a gifted composer of intelligent, well-crafted, communicative music, full of humanity and spiritual depth. Somewhere along the way, he spent time in my Wheaton piano studio. It has been an gratifying to follow his career, and a special joy to commission Antiphonale I: The Feast of Saint Michael the Archangel, which I premiered in 2011, and have

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played a number of times since. Based on a collection of medieval Italian chants for Michaelmass, the September 29 feast day in honor of the captain of the heavenly hosts, Antiphonale I comprises five sections. Stetit angelis is an invocation of holiness; Michael is seen standing in the Temple with a censer in his hands, an image shared by the Hebrew prophets and the Christian Apocalypse. In an air of numinous mystery, chant fragments shimmer in suspended time. Concussum est mare proclaims Michael’s power over the physical world; surging waves of sound support exultant fanfares and moments of expansive lyricism. After this turbulent energy comes a still point. In Cælestis militiæ princeps, Michael is asked to intercede for suffering humanity. Here, chant is heard in its purest form, accompanied by only the simplest of intertwining voices. From this austere beauty emerges the most intimate section of the work. In conspectu gentium answers imploration with consolation, encouragement, and confidence, as the believing soul recognizes the angelic presence guiding mankind through the pilgrimage of life, and affirms God’s goodness. One can then face the End. In Factum est silentium in cælo, Heaven waits with baited breath as Michael engages in cosmic combat with Evil. The music balances precariously between suspense and a pulsing eschatological drive before bursting into an ecstatic chorus, rejoicing in the salvation and power of God.

Sonata No. 1 in F-sharp Minor, Op. 11 “To Clara from Florestan

and Eusebius”Robert Schumann (1810-1856)

In his bold, impassioned Sonata in F-sharp Minor, Op. 11, Robert Schumann rendered irrelevant the hotly debated distinctions between program music and absolute music. In this highly charged poetic utterance, Schumann rethought the architectural possibilities of the sonata idea, while infusing it with profoundly personal meaning. The original title page reads: “Piano Sonata, dedicated to Clara by Florestan and Eusebius.” This early, very public declaration of love for Clara Wieck is made by Florestan and Euse-

bius, products of Schumann’s rich literary imagina-tion, who represent the extroverted and introspective sides of his own personality; Schumann’s name appears nowhere. With this dedication, Schumann transforms a generic musical structure into a gift from the inmost depths of his being. This transforma-tion is manifest musically in several important ways. Formally, the four movements of the sonata resist remaining in separate boxes. In the keening melan-choly of the first movement’s introduction are hints of themes to come, and the individual movements do not so much end as cinematically cross-fade into each other, giving the sonata’s concluding peroration an almost terrifying sense of power and resolution. Clara is present through Schumann’s use of motives from her own compositions as building blocks for his own even grander ideas. (A leaping figure from Clara’s “Dance of the Ghosts,” unifies the entire sonata.) The sonata’s ever-changing moods and tempi make it difficult to listen to this piece passively or complacently. Moments of rarified tenderness, such as the second movement’s song without words (to be played “without passion”) bump up against episodes of almost Pythonesque humor, like the mock-polonaise in the middle of the scherzo, with its parody of the recitative from Beethoven’s “Ode to Joy.” There are few moments of harmonic tranquil-ity in this sonata. The balance between major and minor is rarely stable; indeed, the opening of the finale straddles the two. Fragmentation, ambiguity, and reliance on multiple viewpoints, all rooted in the literary world of Schumann’s time, create the impres-sion that the sonata is operating simultaneously on multiple levels while driving inexorably towards the final arrival. Experienced whole, this sonata is a strange, wonderful, and unforgettable experience.

—Notes by Daniel Paul Horn

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Soprano Kayleen Sánchez,winner of the Barbara Staropoli Award (Nazareth College), the Jan De-Gaetani Award, the Devarian Award (Rochester Philharmonic League), and the Buffalo Bills National Anthem Idol Competition, is a rising star in the world of classical voice.Kayleen’s recent opera roles include Barbarina (Le Nozze di Figaro by Mo-zart), Sister Genevieve (Suor Angelica by Puccini), Euridice (Orfeo by Gluck), Acteón (Acteón changé en biche by Charpentier), and Orfeo (Orfeo by Rossi). Kayleen sings with the St. Charles Singers in St. Charles, IL, and with the Chicago-based Haymarket Opera Company.Kayleen has performed as a solo-ist with Paul O’Dette’s early-music ensemble Collegium Musicum, Steven Kennedy’s Schola Cantorum, Apeiron, William Weinert’s Voices, and the Eastman Chorale. Kayleen has participated in numerous summer programs, including Bel Canto North-west in Portland, Oregon; Si parla, si canta in Urbania, Italy; and Opera-Works! in Northridge, California. Kay-leen has performed and premiered

works at the Dakota Sky International Piano Festival, and was invited by El-len Hargis to sing in the 2012 edition of “The Compleat Singer,” a program of the Vancouver Early Music Festival. Kayleen earned her Bachelor’s and Master’s of Music degrees in Vocal Performance & Literature from the Eastman School of Music, studying with Rita Shane and Carol Webber. She has extensive experience in both choral directing and also private vocal instruction for both adults and children, and enjoys teaching students of all ages and experience levels. Kayleen maintained a private voice studio in Rochester, New York, for over five years, and taughtvoice at the Parkminster Music School and the Kanack School of Music. An advocate for singing in variousstyles, Sánchez incorporates classical, jazz, and musical theater into her teaching methods while emphasizing vocal health in all areas. Kayleen served as Director of the Parkminster Music School from 2011–2012, and currently teaches voice at Vero Voce, a visual and performing arts school in St. Charles.Kayleen lives in Wheaton, IL, with her husband, pianist Paul Sánchez.

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Jacob Ertl, piano,has performed across the United States and abroad in Europe, Israel, Canada, and Mexico: receiving critical acclaim for his “passion and poise” on stage and his “fiery and nuanced” interpretations*. Ertl’s performance highlights include Carnegie Hall’s Weill Recital Hall, and Merkin Concert Hall at the Kaufman Center in New York City, concerto performances with the Milwaukee Chamber Orchestra and the Fox Valley Symphony. He has also given solo recitals on Wisconsin Public Radio’s “Live from the Elvehjem” series, and Chicago radio’s “Live from WFMT” series. He was invited to give a recital at the Steinway Gallery of Milwaukee on the Vladimir Horowitz and Van Cliburn legend-ary piano tour and has given guest recitals at Lawrence University, University of Wisconsin-Oshkosh, Alverno College, Mount Mary College, and Marshall University. He has also appeared on television on WLUK Fox 11 and WBAY-TV.

As the Artist-in-Residence for the PianoArts organization for the past six years, Ertl gave numerous recitals in Milwaukee, WI at venues such as the Wisonsin Conservatory of Music Helen Bader Recital Hall, Joyce Parker Produc-tions Theater, Milwaukee Arts Museum, Carmex Warehouse Series, Calvary Baptist Concert Series, Hepatha Church, and the Congregation, New Castle, Catholic Home, St. John on the Lake and Chai Point retirement homes. He also performed in over 20 Milwaukee public schools where he used innovative and interactive programming to communicate with young audiences. For two years he toured to colleges and universities throughout the state giving performances and lectures.

Successful in numerous competitions, Ertl won 1st prize in the 2009 American Protege Interna-tional Piano Competition, 3rd prize at the 2008 Young Artists International Piano Competition in DC. He has won numerous scholarships from the Mu Phi Epsilon National Foundation including the 2008 ‘Helen Haupt Piano Scholar-ship’ and 2009 ‘Summer Study Scholarship’, the Weiler/Frame Piano Scholarship, and the Bernstein/Crosman Scholarship. He was also a top prize winner at the 2005 MTNA/Steinway National Young Artist Competition and the 1st prize winner in the 2006 Tuesday Musical Association Competition. He also captured 2nd prize and the Wisconsin contestant prize at the 2002 PianoArts National Piano Competition and has been a winner in the Neale-Silva Music Competition, Missouri Western National Com-petition, and the Kingsville, Lennox, and Oberlin International Competitions. An avid supporter of music of our time, Ertl is a current member of the Eastman Broadband Contemporary Music Ensemble and has toured to NYC (Americas Society, Symphony Space) and Mexico (Chihauhau International Music Festival). He has also performed at the Gamper Festival of Contemporary Music in Bowdoin, ME. He has worked with composers such as Ricardo Zohn-Muldoon, Carlos Sanchez-Gutier-rez, Juan Trigos, and David Crumb. He has given the NYC premier of Pusacion y Resonances by Juan Trigos, a piano and percussion duo.Ertl recently completed his Doctor of Musical Arts degree at the Eastman School of Music as a scholarship student and teaching assistant of Prof. Nelita True. He completed his Master of Music degree from the Eastman School of Music where he won a 2008 Professional Devel-opment Grant. Ertl earned his Bachelor of Music degree from the Oberlin Conservatory of Music studying with Prof. Robert Shannon. While at Oberlin, he was the recipient of the Dean’s Talent Scholarship, Bryan Scholarship, Nell M. Menn Music Scholarship, and was selected to perform in the Commencement Concert. A na-tive of Appleton, WI, Mr. Ertl studied piano with Prof. Michael Kim (Lawrence University) and chamber music with Carol Leybourn (Lawrence Academy of Music) before entering college. Ertl is currently Assistant Professor of Piano at Indiana University of Pennsylvania.

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Jacob Ertl, PianoKayleen Sanchez, Soprano

Saturday, July 27, 2013Belbas Theater, Washington Pavilion, 7:30 P.M.

Ariettes OubliéesClaude Debussy (1862–1918)

1. C’est l’Extase2. Il pleure dans mon coeur

3. L’Ombre des Arbres4. Chevaux de Bois

5. Green6. Spleen

Hodoiporia (The Journey)Paul Sanchez (b. 1982)

1. The Dance2. Nocturne

3. Evening Star4. Aphrodite’s Return

5. Eros6. For Atthis

Intermission

Mignon LiederHugo Wolf (1860–1903)

Mignon I (Heiss mich nicht reden)Mignon II (Nur wer die Sehnsucht kennt)

Mignon III (So laßt mich scheinen)

Poems for voice and piano, op. 27Serge Prokofiev (1891–1953)

The sun has filled my roomTrue tenderness

Memory of the sunGreetings

The king with grey eyes

Lady with a Hand Mirror, aria from Postcard from MoroccoDominick Argento (b. 1927)

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Ariettes OubliéesClaude Debussy (1862-1918)

Ariette Oubliées was written during the early part of Debussy’s career. When he set Paul Verlaine’s poetry in 1888 Debussy had spent two years in Rome, visited Bayreuth, met Nadia von Meck (Tchaikovsky’s supporter) and various other luminaries of the musical and literary world and returned to Paris. His work as an accompanist in a vocal classroom had given him an understanding of vocal technique that would serve him well. This setting of the six poems Verlaine titled Ariette Oubliées was originally presented as Ariettes, pay-sages belges et aquarelles. It was only after the success of Pelleas and Melisande when the song cycle was reprinted in 1903 that the title became Ariette Oubliées which matches Verlaine’s title of the collection of poems.

The six poems offer views of love with one exception, and also offer views of depression. C’est l’Extase reflects on the moment when love comes to mutually satisfying physical expression. It speaks of the “fatigue of love”. Il pleure dans mon Coeur offers the pessimist’s viewpoint that even though we are together and in love the heart weeps with no reason, full of pain. L’Ombre des Arbes speaks of the shadows of trees which hold hopes that are drowned. Che-vaux de Bois departs from the picture of lovers and instead is about children playing with wooden hobby horses. One stanza makes fun of how entrancing children find making themselves sick by spinning and spinning, but ends with the night falling and an end to play.

The final two songs are grouped as aquarelles, watercolors. The first Green offers a lovely gift of fruits and flowers and branches and the heart of the giver. The poem offers a picture of young lovers relaxing together outdoors. The partner piece, Spleen, experiences mistrust in a “too perfect” experience. The poet hopes the beloved will never move, lest despair overtake him. Oddly Verlaine titled both these French poems in English, perhaps because he liked the rhymed effect.

Hodoiporia (The Journey)Paul Sanchez (b. 1982)

Texts by Sappho. Translations by Sherod Santos.

1. The Dance

The moon rose late, and the breathless girls, each taking her place around the altar. 2. NocturneMidnight. The moon has set, and the Pleiades. The hours pass and pass, yet still I lie alone.3. Evening StarYou bring back everything the dawn dispersed. You bring the sheep back to the fold, the roan to pasture, the spent child to his mother.You bring the bride to the waiting bridegroom.4. Aphrodite’s Return...when you return from Crete,meet me at the apple grove, our little temple, its leafy altar incensed with the mineral scent of your soapy hair...drifted over blue lake water, a cool wind empties out the apple trees,a cidery, heavy-eyed drowse spills from the branches and murmuring leaves...where the pastured warhorse grazes, the meadow is awash with spring flowers,a serried, wind-lapped lake of blues5. ErosLike a headland wind thrashing through a leafed-out stand of oaks, it rises in the blood, routing the heart’s hidden affections. 6. For AtthisI loved you, Atthis, years ago, when my youth was still all flowers and sighs, and you - you seemed to me such a small ungainly girl. Can you forget what happened before?If so, then I’ll remind you how, while lying beside me, you wove a garland of crocuses

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which I then braided into strands of your hair. And once, when you’d plaited a double necklace from a hundred blooms, I tied it around the swanning, sun-licked ring of your neck.And on more than one occasion (there were two of them to be exact), while I looked on, too silent with adoration to say your name, you glazed your breasts and arms with oil. No holy place existed without us then,no woodland, no dance, no sound. Beyond all hope, I prayed those timeless days we spent might be made twice as long.I prayed one word: I want. Someone, I tell you, will remember us, even in another time.

Mignon LiederHugo Wolf (1860-1903)

Goethe’s novels have attracted readers since their inception. Wilhelm Meister’s Apprenticeship was written beginning in the 1770s and finally published in 1795-96. Almost a century later, in 1888, Hugo Wolf set the songs of the character Mignon as lieder. Three of those songs allow us to think about Mignon’s character. She is a complex person who has led a complicated life. Wilhelm Meister rescues her from a circus troupe where she was beaten and abused. He takes her into his household. There is something mysterious and hidden about Mignon.

Without going into the complexities of plot it is possible to understand character who presents the three songs. The first song, Heiss mich nicht redden, is about Mignon’s secret. She pleads to be left alone to keep her vow to be secretive about her past. At the end of the novel that past is finally divulged.

The second song, Nur wer die Sehnsucht kennt is a song of longing and of not belonging. Mignon sings this song to Wilhelm Meister as he falls asleep longing for his beloved. While they are not longing for the same thing the song comforts the protagonist of the novel.

The third Mignon song is so Last mich scheinen, “So let me seem”. The young Mignon has been dressed as an angel to hand out gifts to children. She is entranced by this vision of herself, knowing that she is a homeless wanderer far from home with few resources. She longs to remain in this

beautiful guise. And her secret is one that invites distaste from those who meet her. She is the child of an incestuous relationship between a priest and a nun, who are, unbe-knownst to them, brother and sister. Mignon herself was stolen by the circus people and only dreams of an unknown home. She is truly an enigma and the character of Wolf’s songs allows us to see glimpses of little bits of the complex character Goethe created.

Poems for Voice and Piano, Op. 27Sergei Prokofiev (1891-1953)

Russian national poet Anna Andreevna Akhmatova was a contemporary of Prokofiev. These songs date from early in their careers. The first song “The Sun has filled my Room” begins with pianistic sunbeams. The disjunct melody requires a virtuosic singer to hit the proper notes. The second piece, “True tenderness” begins with a gentle melody and subtle accompaniment. The words are cynical, however. The poetry was written during Akhmatova’s first marriage which failed. The third piece “Memory of the Sun” is the depressed feeling we often get in this part of the country when we think of the sun in a spring snowstorm. There’s a hint there may be sun at some point, but it certainly isn’t here now. The fourth piece, “Greetings” expresses the long-ing of someone wanting to be with another. The love object is not pleased to see or be with the singer. The final song is “The Grey Eyed King”. The young grey eyed king was slain and the sense of dirge is strong in Prokofiev’s setting. We also hear of his widow, the young queen, whose black hair turns grey overnight.

Lady with a Hand MirrorDomenick Argento (b. 1927)

Domenick Argento’s opera Postcards from Morocco includes travellers in a train station in Morocco. They all wish to keep the contents of their luggage away from the others. One of the passengers has a hand mirror not so much to look at herself with as for all the other things you can see using a mirror. Her aria is full of fun and coloratura sunshine until she wonders what would happen if she didn’t have the mirror. She explores the sounds of pure notes singing “la” as well as words. Postcards from Morocco debuted in St. Paul, premiered by what is now the St. Paul Opera Company, in 1971.

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augie.edu/arts800.727.2488

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Lucille Chung, pianoBorn in Montréal, Canadian pianist Lucille Chung has been acclaimed for her stylish and refined performances by Gramophone maga-zine, “combining vigor and suppleness with natural eloquence and elegance” (Le Soir).She made her debut at the age of ten with the Montréal Symphony Orchestra. Since then, she has performed an extensive concerto repertoire with over 60 leading orchestras . As a recitalist she has performed in over 30 countries in prestigious venues such as the Wigmore Hall in London, New York’s Carnegie Hall and Lincoln Center, the Kennedy Center and Phillips Collection in Washington, D.C. Fes-tival appearances include the Verbier Festival in Switzerland, MDR Sommer Festival in Dresden, Lübecker Kammermusikfest, Santander Inter-national Festival in Spain where she premiered the 6 Piano Etudes of Israel Davíd Martínez, Felicja Blumental Festival in Israel, Montreal International Festival, Ottawa Chamber Festival, Vancouver MusicFest, Bard Music Festival in NY, International Keyboard Institute and Festival in NYC, ChangChun Festival in China. In 1989, she was recognized on the interna-tional scene as the First Prize winner at the Stravinsky International Piano Competition. She won Second Prize at the 1992 Montreal Inter-national Music Competition, at which she also won a Special Prize for the best interpretation of the unpublished work. In 1993, she received the Outstanding Achievement Award from the Governor General of Canada and in 1994 won the Second Prize at the First International Franz Liszt Competition in Weimar. In 1999, she was awarded the prestigious Virginia Parker Prize by

the Canada Council for the Arts.

She graduated from both the Curtis Institute of Music and the Juilliard School before she turned twenty. She decided to further her studies in London with Maria Curcio-Diamand, Schnabel’s last student, at the “Mozarteum” in Salzburg with Karl-Heinz Kämmerling and received the Konzertexam Diplom from the Hochschule “Franz Liszt” in Weimar, where she worked with the late Lazar Berman. She also graduated from the Accademia Pianistica in Imola, Italy with the honorary title of “Master” and most recently from the SMU Meadows School of the Arts under Joaquín Achúcarro, where she is now on the faculty. Ms. Chung is the recipient of the prestigious Honors Diploma at the Accademia Chigiana in Siena, Italy.

Lucille Chung has been hailed as “a considerable artist, admirable for her bold choice of music” by the Sunday Times for her recordings of the complete piano works by György Ligeti on the Dynamic label. The first volume was released in 2001 to great critical acclaim, receiving the maxi-mum R10 from Répertoire in France, 5 Stars from the BBC Music Magazine, and 5 Stars on Fono Forum in Germany. The final volume, which also contains works for two pianos, was recorded with her husband, Alessio Bax and once again received the prestigious R10 from Répertoire. Her all-Scriabin CD won the “Best Instrumental Recording” prize at the 2003 Prelude Classical Awards in Holland as well as the coveted R10 Répertoire in France. She also recorded the two Mendelssohn Piano Concerti on the Richelieu/Radio-Canada label, which was nominated for the Prix Opus in Canada. In August 2005, she recorded Saint-Saëns’ Carnival of the Animals with the Fort Worth Symphony under Maestro Miguel Harth-Bedoya, which was released in 2006. In 2007 she also released a solo album for the Fazioli Concert Hall Series. Lucille has just signed an exclusive recording contract with Disques XXI-21/Universal and her first album featuring music by Saint-Saëns was released in 2009. An all-Mozart album was just released in 2011.

Lucille and husband, pianist Alessio Bax make their home in New York City and are artistic co-directors of the Dallas-based Joaquín Achú-carro Foundation.

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Lucille ChungMonday, July 29, 2013

Belbas TheaterWashington Pavilion

7:30 P.M.

Fantasiestücke Op. 12Robert Schumann (1810-1856)

1. Des Abends2. Aufschwung

3. Warum?4. Grillen

5. In der Nacht7. Traumes Wirren8. Ende vom Lied

Etude de sonorité no. 2François Morel (b. 1926)

Intermission

Selections from Études Book 2György Ligeti (1923 - 2006)

No. 11 - En SuspnesNo. 10 - Der Zauberlehrling

Sonata in B minorFranz Liszt (1811-1886)

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Fantasiestücke Op. 12Robert Schumann (1810-1856)

These fantasy pieces offer Romantic era minia-tures at their best. The eight pieces in this collec-tion are each simple in construction, being mostly ABA form. They offer melody with accompani-ment. At the same time they offer an emotionally intimate expression. They suit Schumann’s mood in 1837. He actually claimed to have completed the work in four days, but that may well be an exaggeration. Perhaps the mental work was done in the four days but getting the work on paper in its final form actual took a couple months. The writing is strongly pianistic, showing the talents of the pianist and the capabilities of the instrument. The pieces are personal and showy at once. Schumann felt only In der Nacht and Traumes-Wirren were suitable for concert stages. The others seemed too personal to the composer, needing a smaller group to truly enjoy the work.

The first piece Des Abends depicts a lovely eve-ning. Aufschwung takes us soaring before planes were invented. The imagination has always been capable of flight. Warum? asks why (though the actual subject is unclear) then endeavors to answer using modulations to create uncertainty. Grillen sounds like the whim it is, a light idea that is enjoyable to experience. In der Nacht was composed before Schumann understood that the story he was telling was that of Hero and Leander. After he completed the movement he wrote to Clara that he heard Leander swim to his Hero as he did every night. The slow middle section is their enjoyment of being together. At the end Leander must swim back. Fabel evokes mystical

creatures that inhabit the best folk tales. Traumes-Wirren is a fast a furious dream sequence. Ende vom Lied is the end of the song. Schumann confessed to Clara that he was thinking about his own desired happy ending, marriage with her when he wrote this.

Etude de sonorite #2Francois Morel (b. 1926)

Canadian composer Francois Morel enjoys exploring sonority. He wrote a number of etudes to explore the sonorous possibilities of the piano. This second etude is full of jazz idioms, interesting dissonance, and rhythmic drive. The lyric center section is about harmony rather than melody. A gentle accelerando brings us back to the ideas of the first section. The end is somewhat surprising with several places that sound like they might be the final notes before the end actually arrives.

Morel spent many years working for the CBC or-chestra. His compositions from that time included not only his serious works but also background music for various situations. Late in his career he has enjoyed writing for wind ensembles.

Etudes #10 (the Sorcerer’s Apprentice) and #11 (Suspen-

sion) from Book 2György Ligeti (1923-2006)

Etudes are interesting works. At one level they are mere exercises to enhance the skills of the player. But in the hands of a skilled composer they become so much more. Chopin wrote etudes that are standards of the concert hall. Liszt’s

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Transcendental Etudes are said to give anyone who can perform the entire collection technique that transcends all the requirements of virtuosity. György Ligeti turned to writing etudes toward the end of his life. The second book dates from 1988-1994. The influences that are evident range from the gamelan to Thelonius Monk and Bartok to African polyrhythms. Stephen Eddins in a review of a CD of the Etudes says, “The etudes are clearly the work of a composer who has absorbed and personalized a vast range of musical sources. They display the sensitivity to the emotional impact of traditional western harmony that Ligeti had developed so fluently in his youth while transforming the tradition to meet the expressive needs of a composer whose sensibilities had been hugely expanded.”

Sonata in B minorFranz Liszt (1811-1886)

Musicians talk about the two “camps” of musi-cians who developed styles, forms and genre during the nineteenth century. Brahms and Schumann were in one camp, and Liszt and Wagner were in the other. But this simplification ignores the fact that they lived and worked in the same world. Schumann dedicated his Phantasie in C Major, Opus 17 to Liszt. In return Liszt dedi-cated this sonata to Schumann. (Schumann never heard this Sonata. His wife Clara did, however, and disliked it.) The two men did not agree on the direction music should go in the future, but they respected each other for obvious skills.

The sonata has sparked debates about its formal structure. It is performed as a single movement,

but within that movement it is not difficult to identify the formal structure of earlier sonatas. The critics didn’t care that the structure was there albeit buried; they responded negatively to this masterwork. To many that entire episode speaks to the proverb about a prophet being unwelcome in his own land. Although the sonata was not widely accepted critically at its composition, it is widely hailed as one of the small number of works that changed the future of composition.

The seven themes Liszt uses to construct this sonata are short and ripe for transformation. To unify the work the first theme returns at the end of each large section of the piece. Moments of silence also play an important part in helping the audience identify the structure of the work. And the advent of a fugal section alerts us to a transition toward the peaceful ending returning us to where we started out is a fine landmark indicating the final section of the work.

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Peter Klimo, pianoHungarian-American pianist Peter Klimo has been studying piano since the age of nine. A Los Angeles

native, he began his piano studies with Vicharini and Rosanna Marzaroli and continued with Dr. Tyler Tom. Peter earned his Bachelor’s Degree from the Eastman School of Music in May 2012, studying with Dr. Nelita True.

In 2011, Peter was the winner of the Eastman Piano Concerto Competition, performing Saint-Saëns’ Piano Concerto No. 2 with the Eastman School Symphony Orchestra in Kodak Hall. That same year, he was named a Liberace Scholar of Eastman by the Liberace Foundation for the Performing and Creative Arts. In the summer of 2010, Peter attended the Aspen Music Festival. While there, he was selected to perform at the Harris Concert Hall where he played the Barber Sonata.

A passionate chamber musician, Peter performed Bartók’s Sonata for Two Pianos and Percussion at the Kennedy Center in February 2013. Selected as a staff accompanist for the 2012 International Viola Congress, he collaborated with Finnish composer-violist Max Savikangas to premier Savikangas’ “Kepler 22-b.” Following a masterclass with famed collaborative artist Graham Johnson at the Eastman School in 2011, Peter was able to take private lessons the following year with Professor of Accompanying and Chamber Music Dr. Jean Barr. In 2012, he won Second Place pianist’s prize at the Jessie Kniesel Lieder Competition.

Peter is currently pursuing his Master’s Degree at the Yale School of Music with Peter Frankl.

Dr. John PenningtonEducator, composer, performer, author, producer and conductor, Dr. John Pennington is currently a Professor

of Music at Augustana College and is the Artistic Director of the Animas Music Festival in Durango, Colorado. He holds degrees from the University of Michigan, Arizona, and Arizona State.

Dr. Pennington is an orchestral percussionist, who currently performs with the Music in the Mountains Music Festival. With over thirty recordings to date he has recorded for the Ensemble 21, Summit, Cristo, OCP, and Equilibrium labels.

Recent recording releases include: Lou Harrison, American Gamelan (produced, conducted and performed 2007), Compassionate and Wise (co-produced, composed and performed-2006-Equilibrium Press).

With performances on four continents and over twenty-five states he has performed on Prairie Home Companion and been a featured performer at three Percussive Arts Society International Conventions.

Active as a composer and arranger he has over twenty-five compositions for soloist, duo, chamber and films and dozens of arrangements for numerous instrumental and vocal combinations.

Extensive studies in world music have included experience in African, Middle Eastern, Indonesian, Cuban and the South Indian Karnatak tradition. Recently, Dr. Pennington studied the Northern Hindustani tradition of music in Haridwar and Delhi, India.

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Ryun Louie is the principal timpanist with the South Dakota Symphony. He has performed with symphony orchestras across the United States and Mexico including the Utah Chamber Orchestra, Utah Symphony Orchestra, Salt Lake City Symphony, and the Orchestra at Temple Square, Omaha Symphony, Lincoln Symphony, Sioux City Sym-phony, Butler Symphony, Eire Symphony, West Virginia Symphony, Parkersburg Symphony, and the Orchestra Sifonica De Minarea.

Mr. Louie delighted audiences on the stages of the Montreux Jazz Festival, Breintz Jazz Festival, Salt Lake City International Jazz Festival, Park City Jazz Festival and the Art and Edison Farmer Memorial Jazz Festival. He now tours with his own jazz quintet, Louie, which has released its first album, Says You. He has performed with jazz greats Curtis Fuller, Dick Oates, Greg Gizbert, Clark Terry, Eddie Daniels, Chuck Findley, Tom Garvin, Ira Nepus and Matt Wallis. Ryun also re-corded his third CD with the Greg Floor Quintet.Among his influences and teachers, Ryun names some of the best percussionists in the world: Peter Erskine, Dave Jette, Doug Wolf, George Brown, Jay Lawrence, Steve Houghton, Paul Samuels, Jamey Haddad, Dwight Thomas, Guy Romanco, Kelly Wallis, Bill Hill, Cloyd Duff, Timothy Adams Jr., Tom Freer and Rick Sebas-tian.“Ryun Louie is the good rare breed of musician who is equally comfortable and adept in both the legit and popular music worlds. His musical enthusiasm is contagious. He is an excellent

percussionist and drummer.” ~ Peter ErskineMost recently, Ryun has taken the helm of the percussion programs at the Medina and Wad-sworth School Districts in Ohio, and recently served as Artist-in-Residence for Cleveland Heights High School in northeast Ohio. Ryun is on the faculty of the Yamaha Midwest Percus-sion Camp held in the summer at McKendree College in Lebanon, Illinois. Additionally, he has taught at Bingham, West Jordan and Davis High Schools in Utah, Southside High School in Pennsylvania, Belleview East High School in Nebraska, Weber State College, University of Omaha-Nebraska, Iowa Western Community College and Duquesne University.He works as an active clinician for the Percus-sion Arts Society (PAS) and is endorsed by Evans Drumheads, Bosphorus Cymbals and Vic Firth Drumsticks.A native of Salt Lake City, Ryun started his professional career at the age of 15. He at-tended the University of Utah where he studied with Doug Wolf, Professor of Percussion, and George Brown, principal timpanist of the Utah Symphony. During this time, he also studied with Cloyd Duff, principal timpanist of the Cleveland Orchestra. He furthered his education at Carnegie Mellon University where he studied under Timothy Adams, Jr., principal timpanist of the Pittsburgh Symphony.Ryun and his family live in Medina, Ohio, where he freelances as a percussionist and maintains a full teaching studio.

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Lucille Chung, PianoPeter Klimo, Piano

Ryun Louie, PercussionJohn Pennington, Percussion

Saturday, July 27, 2013Belbas Theater

Washington Pavilion7:30 P.M.

Suite, Op. 14 (1918)Béla Bartók (1881–1945)

I. Allegretto II. Scherzo

III. Allegro moltoIV. Sostenuto

Rain, Valse Brilliante, Chromatic Fox TrotGeorge Hamilton Green (1893-1970)

John Pennington, Percussion with Peter Klimo, Piano

Unchosen PathBrad Stirtz

Ryun Louie, Percussion with Peter Klimo, Piano

Intermission

Sonata for Two Pianos and Percussion, SZ. 110, BB 115 (1937)Béla Bartók (1881–1945)

I. Assai lento – Allegro troppoII. Lento, ma non troppo

III. Allegro non troppo

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Piano Suite Op. 14Béla Bartók (1881-1945)

This suite is in four-movements, each with very different characteristics and motives. The Allegretto opens about as cheerfully and up-beat as Bartok ever does; but, this mood is not present through the entire movement. Anchoring this movement is an oom-pa-oom-pa bass line. Above this he uses a simple, modal scale melody. The Scherzo is a sardonic statement with running arpeggios and jabbing intervals of seconds. The Allegro molto is very motoric and driving with almost continuos back-and-forth scale lines and chords interjected throughout against this ostinato. From this relentless movement, the Sostenuto steps in unexpectedly and subtly giving a bit of relief from the intensity of the preceding mov-ments. It is the darkest of the suite with dissonant chords and a melancholy, musing melody. Through the suite, Bartok’s rhythmic drive and angular melodic ideas (his melodies more like rhythmic motives that use melodic ideas to express them rather than fully developed melodies) interact with each other creating a visceral auditory experience for the listener. Bartok himself premiered this suite in 1919 after composing it in 1916 and modifying it in 1918 (he removed an Andante making the suite four movements instead of five). He says this about the suite “...The Suite op. 14 has no folk tunes. It is based entirely on original themes of my own invention. When this work was composed I had in mind the refining of piano technique, the changing of piano technique, into a more transparent style. A style more of bone and muscle opposing the heavy chordal style of the late, latter romantic period, that is, unessential ornaments like broken chords and other figures are omitted and it is more a simpler style.”

—(Piano Suite Notes by Mary Anna Solo)

Rain, Valse Brilliante, and Chromatic Fox Trot

George Hamilton Green (1893-1970)

People who love art music are of suspicious of those who find popular music, whatever the genre, fasci-nating and pleasing. The reverse is also true. When a composer and performer like George Hamilton Green comes along music historians have a hard time placing him in a category. Green was born in Omaha, Nebraska in the late nineteenth century. He grew up listening to and participating in bands including his father’s band.

The xylophone was a new instrument in the late nineteenth century. George and his brother Joe recalled seeing one around 1901. They were im-mediately determined to build one. Their grandfather had been an instrument maker in New York and lent them his experience. The resulting instrument was, according to the brothers, “It was not a very handsomely finished product we will admit, but the different notes could be distinguished quite well and, considering everything, we were able to play on it without much hindrance.”

Since their father conducted a band it was not un-expected that this new novelty with twelve year old George playing became a huge hit with the Omaha public. During his years there he became a “song plugger” for a local Woolworths store, demonstrating the sheet music available for customers to purchase. He was able to gauge public taste and as a result found ragtime rhythms and dance forms to be very attractive.

The three pieces heard tonight include a program-matic depiction of Rain suitable to a performer dubbed by a Chicago newspaper as the “Speed King of the Xylophone”. From his work in vaudeville and with dance bands Green learned dance rhythms. The Valse Brilliante and Chromatic Fox Trot are both con-

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cert pieces of virtuosity and pieces that offer familiar rhythms to ballroom dancers.

Sonata for Two Pianos and Percussion

Béla Bartók (1881-1945)

Deconstructing the word contemporary brings us to the meaning sharing the same time. In music in the early twentieth century contemporary meant the ex-perimentation that expanded harmonic language and rhythmic input and fragmented melody frequently. In 1927 a Swiss group formed a chapter of the Inter-national Society for Contemporary Music. Bartók had met composers from the Swiss chapter and enjoyed spending time in Switzerland, and when the Swiss chapter asked him to create a work to celebrate the tenth anniversary of the group he responded with this work. In a context where Chopin, Liszt, Schumann, Beethoven and Bach are all familiar this still feels contemporary seventy-five years later. The timbre grouping wouldn’t have occurred to composers prior to the twentieth century. The aurally obscure structure is based on the golden mean, an old familiar artistic ratio that the “contemporary” harmony and melodic structure of Bartók makes unclear to casual listeners. The effect of the piece is most powerful live, with the visual stimulation of watching two pianists and two percussionists (or sometimes more, percussionists being nothing if not flexible) coordinate a complex work.

The ties between Bartók’s contemporary world and our own contemporary world are interesting. Most classical listeners recognize the name Sir Georg Solti. In the notes for a CBS Masterworks recording of this work featuring Sir Georg Solti and Murray Perahia at the pianos and Evelyn Glennie and David Corkhilll playing percussion a link between Solti and Bartók is explained. For the 1938 premier of the work Bartók

and his wife pianist Ditta Pástory played the piano parts. Sir Georg, in his twenties, turned pages for Pástory. He remained fond of the piece and recorded it toward the end of his life.

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José Feghali, piano Winner of the Gold Medal at the Seventh Van Cliburn International Piano Competition, José Feghali has been a major presence on the concert stage, having appeared in over 800 performances worldwide. These include concerts with such renowned orchestras as the Berlin Philharmonic, Gewandhaus, Royal Concertgebouw, Rotterdam Philharmonic, Royal Philharmonic, London Symphony, Birming-ham Symphony Orchestra, BBC Philharmonic, Warsaw Philharmonic and, in the United States, with the symphony orchestras of Chicago, Saint Louis, Pittsburgh, Detroit, Houston, Dallas, Min-neapolis, Indianapolis, Atlanta, Baltimore and the National Symphony. Mr. Feghali has performed with such eminent conductors as Kurt Masur, Neeme Järvi, John Nelson, James DePriest, Yuri Temirkanov, Leonard Slatkin, Kurt Sanderling, Rafael Frühbeck de Burgos, Christoph Eschen-bach, Eduardo Mata, Sergiu Comissiona, Philippe Entremont, Andrew Litton, Zdenek Macal, Hans Graf, David Zinman and Hans Vonk.

Equally active as a recitalist, Mr. Feghali has ap-peared on such prestigious stages as Carnegie Hall, Kennedy Center, Ambassador Auditorium and Chicago’s Orchestra Hall. He has also per-formed in the major concert halls of the United Kingdom, Germany, Holland, Spain, Portugal, Eastern Europe, Canada, Hong Kong, Singapore and Latin America. In addition, Mr. Feghali has regularly collaborated in chamber music performances, including recitals with renowned flutist James Galway, cellists Truls Mørk, Antonio

Meneses and Daniel Gaisford, violinists Régis Pasquier, Olivier Charlier and Emanuel Borok, duo piano with André Watts, and performanc-es of Strauss’ “Enoch Arden” with Jon Vickers. He is an Artist/Faculty member and Associate Director of the Mimir Chamber Music Festival in Fort Worth, and a regular performer at the “Classical Action/Performing Artists Against Aids” benefit concerts.

Recent and upcoming engagements include performances with the Dallas, Chicago, Hous-ton, Nashville and Jacksonville symphonies as well as appearances at the Kravis and Meyerson Symphony centers, the Cliburn Concerts series and the Ravinia Festival. He participated in the Shanghai Piano Summer Sessions in 2003 and was invited to return to China for a concerto and recital tour this season.

A child prodigy in his native Brazil, Mr. Feghali made his recital debut at the age of five and concerto debut three years later with the Brazilian Symphony Orchestra. Feghali moved to London at fifteen to study with Maria Curcio Diamand, then continued his studies at the Royal Academy of Music with Christopher Elton. His recordings include a CD of music inspired by dance on the Koss Classics label and a live recording from the Van Cliburn Competition on the VAI label. New recordings to be released this season include an all Schumann program and an all-Brahms CD with cellist Daniel Gaisford on the Anacapa Music Label. He has also recorded Villa-Lobos’ Bachianas Brasileiras no.3 with the Nashville Symphony for the Naxos label.

Mr. Feghali is Artist-in-Residence at Texas Chris-tian University. He has a special interest in re-cording technology and was the producer and re-mastering engineer for the retrospective set of nine compact disks (V.A.I. label) featuring past medalists’ live performances in the Van Cliburn International Piano Competition. Mr. Feghali also serves as Vice President and Executive Pro-ducer for the new Anacapa Music label. He was Artistic Advisor of the Texas Chamber Orchestra for the 2003/2004 season, and performed with them as both pianist and conductor.

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Jose Feghali, pianoSaturday, August 3, 2013

Belbas TheaterWashington Pavilion

7:30 P.M.

Sonata in E-flat Major, Hob. XVI:49Franz Joseph Haydn (1732–1809)

I. AllegroII. Adagio e cantabile

III. Finale: Tempo di Menuet

Variations sérieuses, Op. 54Felix Mendelssohn (1809-1847)

Chôros No. 5, Alma BrasileiraHeitor Villa Lobos (1887–1959)

Impressões Seresteiras, from Ciclo brasileiroHeitor Villa Lobos (1887–1959)

Intermission

Fantasie in C Major, Op. 17Robert Schumann (1810–1856)

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Sonata in E-flat Major, Hob. XVI:49Franz Joseph Haydn (1732–1809)

Composed in 1789, this sonata is one of Haydn’s last piano sonatas and is representative of his late period. It carries influences of both the Viennese style and the characteristics of English music prevalent at the time. Shown within this work is a command of the sonata form that serves as a reference point for creativity and ingenuity within the form. Ironically, this lovely piece began as a two-movement work, an Allegro and Minuet for piano, possibly designed to be a two-movement sonata. However, he added an Adagio e cantabile in the pursuing spring turning the two-movement sonata into a full-fledged three-movement sonata. In the first movement (Allegro), the motives developed within the movement stem from the main theme. The development section reaches its high-point with a four-note rolling motive and register contrasts. Also included is a broad coda (creativity within the form) that replays the cadential motive and transitional idea used earlier in the move-ment. The second movement is a beautiful, intimate but passionate Adagio e cantabile. Following this impassioned Adagio is the finale, a Minuet in rondo form following the structure ABACA. It is a cheerful movement and provides some rest from the prior two movements. An interesting tid-bit about this sonata is its dedication. On the original manuscript, it is dedicated to Maria Anna (“Nanette”) Jerlischeck, the housekeep for the Esterházy estate as well as future-wife of Johann Tost, violinist and entrepreneur. But, this sonata was apparently was written for another lady bearing the identical first and middle names of Jerlischeck. This lady, Maria Anna Genzinger, was Haydn’s close companion and confidante. Perhaps he was in love with her…the second movement, in particular, would agree with this thought.

—Notes for Haydn by Mary Anna Salo

Variations Sérieuses, Op. 54Felix Mendelssohn (1809-1847)

Honoring a native son is often a means to increase the importance of a municipality. Organizers in Bonn, Ger-many wanted to recognize the birthplace of beloved Beethoven in their city with the installation of a statue. But where should the money come from? They could ask various important composers of the day to write pieces in honor of the master, and publish them as a collection! Money generated by sales of the publication would provide funds for the statue. Composers were willing, including Chopin and Liszt, Moscheles, Czerny, Kalkbremer, and of course Mendelssohn. It did take a bit of persuading to convince Mendelssohn, but the result was worth the effort. The title Variations Sérieuses was an indication that Mendelssohn was not creating the kind of parlor varia-tions popular for amateurs in 1841 when he wrote this work. He was harking back to Beethoven’s masterful concert pieces in variation form. The work begins with a chorale followed by seventeen variations using various techniques. Counterpoint is used generously, as are changes in dynamics, mood and character. All of it requires a virtuosic touch at the keyboard. The result is a favorite among concert pianists.

Alma BrasileiraHeitor Villa-Lobos (1887-1959)

For classical musicians Villa-Lobos himself seems like “the soul of Brazil”. This piece is Villa-Lobos attempt to depict the soul of his country. He had undergone a long process of working to understand music and his country. It began at his father’s knee. His father was an amateur musician, and took his child with him. Villa-Lobos described his musical education under his father in a 1957 interview:“With him I always attended rehearsals, concerts and operas … I also learned how to play the clarinet, and I was required to identify the genre, style, character and origin of compositions, in addition to recognizing quickly the name of a note, of sounds or noises… Watch out, when I didn’t get it right.”That seems like a wonderful education to receive, but it’s even more astounding when we learn that his father died

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suddenly in 1899. Villa-Lobos was not even a teenager! After his father’s death the young composer became immersed in the music of the street corners of Rio. The chorões fascinated the young composer. While his mother wanted him to study medicine the field held no fascination for the young man. Instead he took jobs as a cellist in theaters, cinemas and hotels, hearing all the best performers in the Brazil of his day. In the 1920s Villa-Lobos turned his hand to writing pieces that reflected all the music of his homeland. The Choros #5 “Alma Brasileira” is for solo piano. As he turned to composition, Villa-Lobos simplified the word chorões but continued the characteristics of his beloved popular music in his classical compositions. Dean Frey, writing on the Villa-Lobos website, says of this piece, “Here we find a microcosm of themes and rhythms that evolve from one another, from wistful songs to more dynamic, rough and somewhat primitive dances.”

Impressöes SeresteirasHeitor Villa-Lobos (1887-1959)

This Impression of Serenaders is one of the pieces from Villa-Lobos Ciclo brasileiro written in 1939. By that year Villa-Lobos had spent time in Europe meeting his peers and establishing his reputation. He had performed his own works, garnered critical acclaim, met important composers and performers, and found a publisher. In 1930 he returned permanently to his homeland where he took up the cause of music education. This didn’t preclude his growing popularity as a composer and conductor. He conducted not only in Brazil but also in Argentina, Uruguay and Chile. The Impressöes Seresteiras presents the spirit of that stereotypical “Spanish” picture of guitars and singers under a window serenading an unseen audience. There is sweetness and free rhythm, drive and strong pulse in the uneven and syncopation of South American rhythm, virtuosity and simplicity all interwoven. The result is an invitation to experience a part of Brazilian musical culture.

Fantasie in C Major, Op. 17Robert Schumann (1810-1856)

One piece of music can be connected to numerous parts of a composer’s life and expression. This piece

is one such composition. The inspiration for under-taking the piece was the fund-raising effort toward the monument for Beethoven in Bonn. There are telling moments of Beethoven’s style throughout the composition. Its structure offers three movements that mirror a late classical sonata. The notes themselves are somewhat more complex and unapologetically virtuosic than earlier composers would have chosen, but the homage to Beethoven is clear. To Schumann’s disgust his publisher refused to support selling even a limited number of copies of the composition for the benefit of the monument fund. The more primal inspiration was the separation Schumann was enduring from his beloved Clara Wieck, who was off on tour with her father. Wieck and Schumann and Clara were in an ugly court battle aimed at making it impossible or possible – depending on the side of the argument – for the couple to marry. During the time Schumann was composing this piece he was very aware that the work was filled with his emotional response to missing Clara. He wrote to her about her importance in the composition and how much the work made his emotions into music. The third connection is the dedication to Franz Liszt. The piece is virtuosic and complex. Clara was not avail-able to play it, both from her own concert commit-ments and from the ongoing battle with her father. Liszt was the only pianist with the skills necessary to perform the work acceptably. Dedicating the work to Liszt recognized how Liszt had stepped up to so-licit more compositions for the monument in Bonn, which eventually was built due to the fundraising. It also is a sign of the regard Schumann had for the well-known artist and composer. Liszt actually played the Fantasie privately for the composer as well as performing it on stage.The title is a concoction of Schumann’s. It’s not an Eng-lish fantasy, nor is it a correctly spelled French fantaisie. Instead it is his melding of the two: Fantasie. The work has three movements. The first includes a section in C major with the instruction to play “in the style of a legend”. The second movement is a march, and the final movement is cast in a slow tempo in c major. There is a sense that the complex and long-denied love would finally find a peaceful place in the sun.

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Special ThanksAnna Vorhes, program notesMary Anna Salo, Daniel Horn, ancillary program notesDavid Xenakis, program book layoutAndrew Osborn, graphic designHarlequin Studios, screen-printingJack & Linda Stengel, vehicle usageAndrew Reinartz, website design & managementAugustana College, partnership with Young Artist ProgramRosanne RougemontKayleen SanchezBrian Bieber, writing assistanceFresh Produce, meeting space and support

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Augustana CollegeSouth Dakota Public BroadcastingSouth Dakota Symphony OrchestraWashington Pavilion of Arts & ScienceCorporate SponsorsFirst Bank & TrustFirst Dakota National BankFirst PREMIER Bank/PREMIER BankcardFresh ProduceHJN Team RealtyNorthwestern EnergySioux Falls Area Music Teacher’s AssociationWayne & Mary’s Nutrition CenterWells FargoXRX, Inc.

Foundation SupportSouth Dakota Arts Council – support is provided with funds from the State of South Dakota, through the Department of Tourism, and the National Endowment of the Arts.Arts Midwest - This presentation is supported by the Arts Midwest Touring Fund, a program of Arts Midwest that is funded by the National Endowment for the Arts, with additional contributions from the South Dakota Arts Council and General Mills Foundation.

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