program book - music on the hill

2013 Music on the Hill Pg 1Welcome to Music on the Hill’s 2013 Music FestivalThis June’s <strong>music</strong> festival (June 13 - June 21) iscomprised of six fantastic concerts that I’m sure willinspire, uplift and transport you. The festival’s concertseries reaches across the state from Providence to NorthKingstown, with <strong>program</strong>s that explore sounds fromEurope & America in the 1600’s, 1700’s, 1800’s, 1900’sand 2000’s. Music on the Hill will unveil some excitingpieces that you’ve never heard before, present manyfamiliar works by the most recognized composers, andbring back our signature Culinary Concert on June 13th(first course: wine tasting with tantalizing appetizers,second course: <strong>music</strong>, third course: an assortment ofdesserts with coffee). I’m pleased to share that an extraspecial,festival-ending <strong>program</strong> on June 21 will offerthe rare opportunity to hear world-renowned artistJoseph Kalichstein performing two piano concertos inone concert. I truly hope you will carve out the time toexperience Music on the Hill’s wonderful sonicofferings in 2013!One of the fascinating and unique features of Music onthe Hill is the fact that most of the artists are returninghome to Rhode Island. Eager to thank those who startedus and to give back to the state that nurtured us, thisamazing group of instrumentalists and vocalists whosecareers have pulled them away from the Ocean Statecarry with them an RI pride, nationwide. The fact thatRhode Island has valued and invested in arts educationis evident at each and every Music on the Hill concert.I invite you to enjoy our live <strong>music</strong> and thank you foryour continued support. See you at the concerts!John M. PellegrinoArtistic DirectorTable of ContentsDonors........................................... p. 2List of Advertisers....................... p. 13Ticket Information...................... p. 14Concert Schedule................................. p. 15Concert ProgramsMozart & MoreA culinary concert to feed the senses........ p. 16Beethoven, Dvorak & Winnie the Pooh.. p. 20Good Vibrations........................................ p. 24Voices & Virtuosity.................................. p. 28Moravian Moments.................................. p. 32Concerti with Joseph Kalichstein........... p. 36Mission Statement...................... p. 46Musicians...................................... p. 38Funding for our festival is provided in part by a grantfrom the RHODE ISLAND STATE COUNCIL ON THEARTS, through an appropriation by the Rhode IslandGeneral Assembly, a grant from the NationalEndowment for the Arts and private funders.John M. PellegrinoWe thank our many advertisers in this concert <strong>book</strong> for supporting our2013 Music Festival. We hope you will patronize their businesses.

Pg 2 Music on the Hill 2013We wish to acknowledge and thank the manypeople who have supported Music on the HillVisionaries ($2000 and above)Greenwood Credit UnionAlice & John PellegrinoCity of Warwick, Dept. of Tourism,Culture & DevelopmentBenefactors ($1000 to $1999)Gerard & Carol PellegrinoBob & Marie PetrarcaWarwick Music FestivalGrantsCarter Family Charitable TrustRhode Island State Council on the ArtsFriends (up to $99)Patrons ($500 to $999)Mr. & Mrs Theodore D. ColvinCarig & Maria KohanskiRobert StoneSupporters ($250 to $499)Citizens BankDavid & Martha CapaldiAntonio & Els CardiMarjorie B & Robert C. CatanzaroFriend of Jerry PellegrinoCharles & Elizabeth FollansbeeGerri GulatiThelma HunterHubert & Ronell MeunierDon & Jane RankinPriscilla RiggBruce & Carol StevensDavid & Leslie TenteRex TienMary Eileen & Katelyn TraceyIna & David WoolmanSponsors ($100 to $249)Thomas & Marlene AhernAnne BaccariCherie BeattyIda BilodeauDrs. Robert Patterson & Renee BobletteThomas V. BucciDeborah CollinsRev. Edward CardenteMarilyn ColvinAnn B. CrawfordMyrle L. DeanSponsors (continued)Anthony & Sonja DeStefanisJohn DempseyGloria DiZocglio - Garden Hill Prop.Charles & Elizabeth FlorenceGail Fraser GiacchiMary A. GrellnerNorman HausmannVyra ImondiBarbara Angelone LamagnaNancy KaysMr. & Mrs. William H. Knight IIIDr. James & Evelyn LeachSandra MacKenzieErnest MansolilloRichard & Debra Langevin & FamilyAnne & Victor ModugnoMary Toro PetroneDorothy R. PieniadzPhyllis D. PoorDaniel & Elizabeth ReardonElaine & Ken ReubenAudrey ShapiroKathleen SharpeDorothy and Dixon StearnsRobert & Barbara SullivanHenry & Angela TarlianJohn & Carolyn WheelerMr. Lee D. Vincent

2013 Music on the Hill Pg 3We wish to acknowledge and thank the many peoplewho have supported Music on the HillFriends (up to $99)Robert BarakoKamila BarzykowskiVirginia BroccoliDavid & Evon BurgeRobert & Patricia CherellaMrs. Susan CohenJohn T. Coletta, DDS,LTD.Colonial Shoe RepairFrederick & Karen DawsonMartin & Katharine Denny-BrownVirginia Ros DicksonMargaret DownesBarbara & Jim FindleyJohn Amalfitano & Catherine FisherSonja FisherFrancis & Beatrice FlynnLoraine L. ForcierStanley & Rose GalekJohn GoldenGabriel M. Hayek, DMDDale & Linda JohnsonGeorge MassoNorma MelloFriends (continued)Rose MerendaSharon & Harold NickleShirley NordquistIn honor of Carol Pellegrino & John PellegrinoJohn & Sandra OwensThomas & Michelina RotondoHelene & Edward ScheffMargot SchwartzEmily & Steven ShalanskyIn memory of George William OakesRuby ShalanskyBrian D. & Sau Ping Yu SkellyMarjorie SmithFrederick & Elizabeth SmithST SoundDorothy & Dixon StearnsJudith StenbergMs. Gayen ThompsonChristopher C. Way, MD PSCRuth WhippleBirgitta & Henry WhitedMargaret & Howard Watson

Pg 4 Music on the Hill 2013

2013 Music on the Hill Pg 5Orthodontics for adults & childrenDr. Bob Mattioli5550 Post RoadEat Greenwich, RI 02818886-5900Experience theelegance ofanother ageClouds Hill Victorian House Museum4157 Post Road, Warwick, RIScheduled exhibitsTours by appointmentA perfect photography settingWedding ceremoniesMail: P.O. Box 522, East Greenwich, RI 02818call: 401-884-9490e-mail: office@cloudshill.orgon-line: www.cloudshill.org

Pg 6 Music on the Hill 2013Music on the Hill Board of DirectorsNick ButzigerDavid CapaldiLynda HorensteinVyra ImondiCraig KohanskiMaria KohanskiCarol PellegrinoGerard PellegrinoMarie PetrarcaLarry RachleffDonald RankinKelly ReynoldsRex TienKatelyn TraceyOfficers - Music on the HillPresident - Gerard PellegrinoVice President - Craig KohanskiTreasurer - Nick ButzigerSecretary - Vyra ImondiMusic on the Hill Advisory BoardDaniel GilbertElisa KohanskiCheryl OsborneAlice PellegrinoJohn PellegrinoKristen PellegrinoHenry TarlianBuyers, Sellers and Appraisers ofEstate JeweleryRODNEY P. BARILGEMOLOGISTwww.PlaceJewellers.comPLACE JEWELLERS, INC.3228 Post Road 401-738-0511Apponaug Village800-910-4869Warwick, R.I. 02886

2013 Music on the Hill Pg 7

Pg 8 Music on the Hill 2013TheBlackmanInsuranceAgency(401) 885-71101-800-339-7110Fax: 885-7924HomeownersAutoBusinessLifeMarine631 Main St., East Greenwich, R.I.

2013 Music on the Hill Pg 9GEREMIA & DEMARCO, LTDAttorneys at LawVillage on Vine620 Main Street, CU-3AEast Greenwich, RI 02818Office Telephone(401) 885-1444Facsimile(401) 471-6283Christopher A. Pedorella, DMDALL phases of general family dentistry(401) 884-3110New Patients welcomeDigital Radiographs (90% less radiation)Committed to ExcellenceAuthorized Brite Smile FacilityMost Insurances AcceptedFinancing available through Care Credit5586 Post Road, Suite 102East Greenwich, R.I.www.SmileDesignersRI.com

Pg 10 Music on the Hill 2013Meeting All of Your Dermatologic Needs1672 South County Trail, Suite 101East Greenwich, RI 02818-1629401-885-7546 (SKIN)Lynn E. Iler, MDNathaniel J. Jellinek, MDPaula F. Moskowitz, MD, PHDKatharine Cordova, MDSusan Sweeney, MDMargaret Fonder, MDJessica Kirk, MDAllison Burnap, PA-CTami Menard, PA-CBrian Theroux, PA-CPatricia Schmidt, DCNP

2013 Music on the Hill Pg 11McManus & PrattDentistry for All AgesJames F. McManus, DDSJudith Abosamra Pratt, DMDErin McManus Walsh, DMD4512 Post RoadEast Greenwich, R.I. 02818www.drsmcmanusandpratt.comtel 401.884.2190fax 401.885.2295Office Hours by Appointment

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2013 Music on the Hill Pg 13Listing of AdvertisersPg . 6Pg. 8Pg. 30Pg. 23Pg. 34Pg. 11Pg. 5Pg. 27Pg. 31Pg. 27Pg. 10Pg. 26Pg . 27Pg. 34Pg. B coverPg. 9Pg. 7Pg. 5Pg. 11Pg. 26 & 31Pg. 31Pg. 26Pg. 10Pg. 6Pg. 7Pg. 35Pg. F coverPg . 47Pg. 31Pg. 8Pg. 30Pg. 9Pg. 10Pg. 4Pg. 35Pg. 30Bald Hill Dodge, Chrysler, JeepBlackman Insurance AgencyCataract Consultants of RICentreville BankChinese American Mini-MarketClean Care of New EnglandClouds Hill Victorian House MuseumCoastway Community BankAlfred Coletti, DDSCrow’s Nest RestaurantDermatology ProfessionalsPeter D’Orsi, CPAEast Greenwich Dental Assoc.Elite Physical Therapy & Sports MedicineGreenwood Credit UnionGeremia & DeMarco, Law Assoc.Gulati Asset ManagementMattioli OrthodonticsMcManus & Pratt, DentistryMusica Dolce, Youth String EnsemblesMutual Adjustments, Insurance AdjustersNadeau & Wadovick, LLP, CPAPeople’s Liquor WarehousePlace Jewellers, Inc.Providence Country Day SchoolR.I. Chamber Music ConcertsR.I. Philharmonic Orchestra Music SchoolRobert’s Musical InstrumentsSaint Elizabeth HomeThe Savory GrapeSecurity CleansersSmile Designers, DentistryThorpes’s Wine & SpiritsWarwick Department of Tourism, Culture &Your SalonAlan G. Zartarian, CLU, ChFC

Pg 14 Music on the Hill 2013Tickets for our Sixth Music Festival...Tickets are $15 for advance purchase and $20 at the doorStudents with ID’s are admitted free ~ Advanced ticket sales must be ordered before June 1st.To Purchase tickets in advance:1) Visit www.MusicOnTheHillri.com or2) Email 1MOTHri@gmail.com and request tickets or3) Use this ticket order formTicket Order FormNumber ofticketsAmountJune 13 th Mozart & MoreA culinary concert to feed the senses ______ $_________6:30 pm SS Rose and Clement Catholic Church111 Long Street, Warwick, RIJune 14 th Beethoven, Dvorak & Winnie the Pooh ______ $_________7:00 pm SS Rose and Clement Catholic Church111 Long Street, Warwick, RIJune 15 th Good Vibrations ______ $_________7:00 pm Sacred Exchange Fellowship75 Division Street, East Greenwich, RIJune 19 th Voices & Virtuosity ______ $_________7:00 pm St. Bernard Catholic Church275 Tower Hill Road, North Kingstown, RIJune 20 th Moravian Moments ______ $_________7:00 pm St. Gregory the Great Catholic Church360 Cowesett Road, Warwick, RIJune 21 st Concerti with Joseph Kalichstein ______ $_________7:30 pm Rhode Island College, Sapinsley Hall - Nazarian Center600 Mount Pleasant Avenue, Providence, RISend this order form and check to:Music on the HillP.O. Box 633East Greenwich, RI 02818-0633or visit www.MusicOnTheHillri.comFor more informationCall Craig at (401) 738-5632or Carol at (401) 884-8172Total $___________Name:______________________________________________Street:______________________________________________City:______________________ State:_____ ZIP:__________Email:______________________________________________Phone:_____________________________

2013 Music on the Hill Pg 152013 Festival ScheduleVisit www.MusicOnTheHillri.com for more detailsThursday, June 13 th Mozart & More6:30 pm -Wine & Appetizers A culinary concert to feed the senses7:00 pm - Concert SS Rose and Clement Catholic Church8:30 pm - Dessert111 Long Street, Warwick, RIFriday, June 14 th Beethoven, Dvorak & Winnie the Pooh7:00 pm SS Rose and Clement Catholic Church111 Long Street, Warwick, RISaturday, June 15 th Good Vibrations7:00 pm Sacred Exchange Fellowship75 Division Street, East Greenwich, RIWednesday, June 19 thVoices & Virtuosity7:00 pm St. Bernard Catholic Church275 Tower Hill Road, North Kingstown, RIThursday, June 20 th Moravian Moments7:00 pm St. Gregory the Great Catholic Church360 Cowesett Road, Warwick, RIFriday, June 21 st Concerti with Joseph Kalichstein7:30 pmNote time changeSpecial Guest PianistSapinsley Hall - Nazarian CenterRhode Island College600 Mount Pleasant Avenue, Providence, RI

Pg 16 Music on the Hill 2013Mozart & MoreA culinary concert to feed the sensesThursday, June 13, 2013, 6:30 pmSS Rose and Clement Catholic Church6:30 pm Wine & Appetizers7:00 pm Concert8:30 pm Dessert111 Long Street, Warwick, RIWolfgang Amadeus Mozart (1756–1791) Horn Quintet in Eb, K. 407 17'AllegroAndanteRondo: AllegroLeslie Norton, French horn; Margot Schwartz, violin;Michael Kelley & Sabina Thatcher, violas; John M Pellegrino, bassWolfgang Amadeus Mozart "Per Questa Bella Mano" Concert Aria, K. 612 8'Fred Scheff, baritone; John M Pellegrino, bass; Donna Lee, pianoWolfgang Amadeus Mozart Violin Sonata No. 21 in E minor, K. 304 6'Tempo di menuettoKristen Pellegrino, violin; Donna Lee, pianoRalph Vaughan Williams (1872–1958) Six Blake Songs for voice & oboe 11'1. Infant Joy 4. The Lamb2. A Poison Tree 5. Ah! Sunflower3. The Piper 6. EternityFred Scheff, tenor; Anne Gabriele, oboeWolfgang Amadeus Mozart Quintet for Clarinet and Strings in A major, K. 581 10'AllegroDaniel Gilbert, clarinet; Margot Schwartz & Kristen Pellegrino, violins;Sabina Thatcher, viola; Elisa Kohanski, celloWolfgang Amadeus Mozart Motet, "Exsultate, Jubilate," K. 165 8'AllegroAllegro: "Alleluja"Diane Alexander, soprano; Kristen Pellegrino & Margot Schwartz, violins;Sabina Thatcher, viola; Elisa Kohanski, celloGreenwood Credit Union is pleased to bring you tonight’s performance as we sharethe enjoyment of Rhode Island’s outstanding professional <strong>music</strong>ians.No Intermission - Program subject to changeMeet and Greet the Musicians following the ConcertMusic on the Hill proudly presents Rhode Island’s own <strong>music</strong>ians returning home to share their <strong>music</strong>

Program Notes for “Mozart & More”2013 Music on the Hill Pg 17Wolfgang Amadeus Mozart (1756–1791), Horn Quintet in Eb, K. 407Chamber <strong>music</strong> which involves primarily strings but includes one non-string instrument honors the guest by naming thework by his instrument. Thus a piano trio is a work for piano, violin and cello, not a work for three pianos. A clarinet quintet,such as we shall hear later this evening, is a work for clarinet and string quartet.This horn quintet involves other seemingly unusual aspects to its scoring. It features two violas rather than two violins anddouble bass instead of cello. This gives a warmer color and more depth to the entire work, while enabling the horn and singleviolin to stand out, almost as soloists. With the bass playing the bottom line (instead of the cello), never does the bottomvoice of the quintet cross into, or above, the middle register of the violas. Mozart’s scoring for the wider octave allows a clearpath for the horn player. Many other works that Mozart wrote from this time period (including his many Missa Brevis andDivirtimenti) have the same scoring with no cello part and the bass playing the bottom line. The possibilities for shiftingtextures are richly exploited, with the horn accompanied by lower strings, the string quartet, the horn and bass, and theinterplay between horn and violin.The three movements are the traditional ones for a three-movement work. The first movement is in sonata-allegro form,with additional elaboration during the recapitulation. The second movement is a sweet Andante, while the third is a bright,playful rondo. Like the four horn concertos, this work was written for Salzburg horn virtuoso Ignaz Leutgeb. Mozart andLeutgeb moved to Vienna about the same time, and it was there, in late 1782, that Mozart wrote this work. To supporthimself, Leutgeb opened a tiny cheese shop, and Mozart’s father lent him the money to get started. Later Leutgeb providedsimilar financial assistance to Mozart.Wolfgang Amadeus Mozart, “Per Questa Bella Mano” Concert Aria, K. 612Mozart wrote this concert aria for bass voice, double bass and orchestra in the final year of his life. Full of double stops andrapid scale work for the bass player, it is famously difficult to perform, but, one hopes, effective when well done. Theinstrument for which the work was originally written is much different from the bass used today. In the 1700’s most double/contra/string/upright basses were 6-string instruments that belonged more to the viol family than to the violin family. Theirmajor 3rd, perfect 4th, and sometimes perfect 5th tunings (think modern guitar) allowed for easy access to the many doublestoppassages in this composition. Today’s player has to negotiate these speed-bumps differently, since all basses are nowtuned in perfect 4ths. (Violin, viola and cello are tuned in perfect 5ths.) Happily, the vocal part of this aria is charming! Itrequires the singer to demonstrate a graceful legato and a wide range of skillful ornamentation.This work was written for Franz Gerl, the singer who premiered the role of Sarastro in The Magic Flute. He apparently wasa favorite of Mozart, because he also sang the title roles in both The Marriage of Figaro and Don Giovanni. Mozart writescleverly for the two parts so that their timbres are always distinctive. The combination of a legato voice with a scramblingobbligato produces amazing effects. The presentation appears as one line, both simple and ornamented, with a great deal ofdepth. The aria has two sections, an initial lilting 6/8, followed by a rather march-like 4/4 Allegro. The Allegro later bloomsinto a more joyful, emotional statement.The text is taken from Gianbattista Neri’s comic opera Le vicende d’amore.Per questa bella manoBy this fair hand,Per questi vaghi raiby these lovely eyes,Giuro, mio ben, che maiI swear, my dearest, that neverNon amero che te.will I love anyone but you.L’aure, le piante, I sassiChe I miei sospir ben sannoA t equal sia dirannoLa mia costante fe.Volgi lieti o fiery sguardiDimme pur che m’odo o m’ami.Sempre accesc ai dolci dardi,Sempre tuo vo’ che mi chiami.Ne cangiar puo terra o cieloQuel desio che vive in meThe breezes, the plants, the stones,which know my sighs full well,will tell you how constantis my fidelity.Turn your proud gaze happily on meand say whether you hate or love me!Ever inflamed by your tender glances,I want you to call me yours forever;neither earth nor heaven can changethat desire which dwells within me.

Pg 18 Music on the Hill 2013Wolfgang Amadeus Mozart, Violin Sonata No. 21 in e minor, K. 304In September of 1777 Mozart was accompanied by his mother as he sought a substantial position appropriate to his talents.They spent some time in Munich and were then welcomed warmly in Mannheim, but with no solid prospects. On March 14they arrived in Paris, where Mozart as a prodigy had made a strong impression. Now as a young adult he was received muchmore coolly. To make matters worse, Mozart’s mother became ill early in the summer and died in his arms on July 3. Mozartwas grief-stricken, and this is reflected clearly in his compositions. He left Paris on September 26.Of Mozart’s 38 sonatas for violin and piano, only this one, written shortly after his mother’s death, is in minor. A pianosonata in A minor, K. 310, also dates from this time. Only two of his 19 piano sonatas are in minor.Tonight we hear the second of the two movements. It is based on a descending bass line that evokes what the Baroque eracalled the “lament” figure. The dissonances in the middle section already suggest Romanticism.Ralph Vaughan Williams (1872–1958), Six Blake Songs for voice & oboeThe English composer Ralph Vaughan Williams wrote <strong>music</strong> which reflects his study of folk songs and is considered“Characteristically English.” Peter Ackroyd writes that this means “ostensibly familiar and commonplace, yet deep andmystical as well as lyric, melodic, melancholic, and nostalgic yet timeless.” In 1957, the year before his death, VaughanWilliams set ten poems by William Blake for the unusual combination of high voice and oboe. William Blake (1757-1827)was an English poet, painter, and print maker now renowned as an early figure in the Romantic movement, notable especiallyfor his expressivity and creativity. Of the songs that we hear tonight, numbers 1, 3, and 4 set poems from Songs of Innocence(1789); the poems for numbers 2 and 5 come from Songs of Experience (1794).Infant Joy‘I have no name; Pretty joy!I am but two days old.’Sweet joy, but two days old.What shall I call thee?Sweet Joy I call thee.‘I happy am, Thou dost smile,Joy is my name.’I sing the while,Sweet joy befall thee!Sweet joy befall thee!A Poison TreeI was angry with my friend:And it grew both day and night,I told my wrath, my wrath did end. Till it bore an apple bright.I was angry with my foe:And my foe beheld it shine.I told it not, my wrath did grow. And he knew that it was mine.And I watered it in fears,Night and morning with my tears;And I sunned it with smiles,And with soft deceitful wiles.And into my garden stoleWhen the night had veiled the pole,In the morning glad I seeMy foe outstretched beneath the tree.Piping down the valleys wild,Piping songs of pleasant glee,On a cloud I saw a child,And he laughing said to me:“Pipe a song about a lamb!”So I piped with merry cheer.“Piper, pipe that song again;”So I piped: he wept to hear.The Piper“Piper, sit thee down and writeIn a <strong>book</strong>, that all may read.”So he vanish’d from my sight;And I pluck’d a hollow reed,And I made a rural pen,And I stain’d the water clear,And I wrote my happy songsEvery child may joy to hear.“Drop thy pipe, thy happy pipe;Sing thy songs of happy cheer!”So I sang the same again,While he wept with joy to hear.

The LambLittle Lamb, who made theeDost thou know who made thee,Gave thee life, and bid thee feedBy the stream and o’er the mead;Gave thee clothing of delight,Softest clothing, wooly, bright;Gave thee such a tender voice,Making all the vales rejoice?Little Lamb, who made thee?Dost thou know who made thee?Ah SunflowerAh Sunflower, weary of time,Who countest the steps of the sun,Seeking after that sweet golden climeWhere the traveler’s journey is done;2013 Music on the Hill Pg 19Little Lamb, I’ll tell thee;Little Lamb, I’ll tell thee:He is called by thy name,For He calls Himself a LambHe is meek, and He is mild,He became a little child.I a child, and thou a lamb,We are called by His name.Little Lamb, God bless thee!Little Lamb, God bless thee!Where the youth pined away with desire,And the pale virgin shrouded in snow,Arise from their graves, and aspireWhere my Sunflower wishes to go!EternityHe who binds to himself a joyDoes the winged life destroy,But he who kisses the joy as it fliesLives in eternity’s sun rise.Wolfgang Amadeus Mozart, Quintet for Clarinet and Strings in A major, K. 581Mozart became a close friend of his fellow Mason the virtuoso clarinetist Anton Stadler. He honored this friendship withthree works, the Kegelstatt Trio, K. 498; this quintet and the clarinet concerto, K. 622. Mozart himself called this the “StadlerQuintet.” The clarinet takes its name from “little clarino,” a substitute for the high Baroque trumpet. Until Mozart’s timeplayers of the instrument usually specialized either in its high register or in its low (chalumeau) register. Mozart wrote <strong>music</strong>which demanded use of the full range and gave the instrument new importance in his operas and symphonies.In his own clarinet quintet, Brahms quoted the first three notes of this quintet as a nod to Wolfgang Amadeus and his genius.The Quintet in A for Clarinet and Strings is, without doubt, the most famous of all chamber works for wind and strings.December 22, 1789 marked its premiere at a benefit concert for the Vienna Music Society. Most accounts have it that Mozarthimself played the viola part at its first reading. Like many of Mozart’s chamber works that combine different instrumentalfamilies, this work has sort of a mini-concerto feeling, with the clarinet at times leading the strings as the quintet leader.The Allegro movement that you will hear tonight begins with a mellow statement for string quartet, then the clarinet comesinto the fore a bit later. Some of you may recall that in the early 1980’s this <strong>music</strong> was featured in the final episode of thepopular television series M.A.S.H. This not-of-this-world <strong>music</strong> seemed to offer a poignant counterpoint to the craziness ofhuman-kind’s knee-jerk reaction to solve problems through war. Note the careful contrast between the placid A major of thefirst theme and the expressive chromatic lines of the second theme. The development is filled with subtle variations onmaterials that we have already listened to, artfully showing us new lands with incredible gentleness.Wolfgang Amadeus Mozart, Motet, “Exsultate, Jubilate,” K. 165Mozart was just sixteen when he wrote this wonderful piece at the request of the great castrato Venanzio Rauzzini. InMozart’s day the motet was really a cantata for voice and orchestra. It was premiered by Rauzzini in Milan in 1773. It has awide range and demands a coloratura style.Exsultate, jubilate,O vos animae beateExsultate, jubilate,Dulcia cantica canendo;Cantui vestroPsallant aethera cum meRejoice, be glad,O you blessed souls,Rejoice, be glad,Singing sweet songs;In response to your singingLet the heavens sing forth with me.

Pg 20 Music on the Hill 2013Beethoven, Dvorak & Winnie the PoohFriday, June 14, 2013, 7:00 pmSS Rose and Clement Catholic Church111 Long Street, Warwick, RILudwig van Beethoven (1770-1827) Trio for Clarinet, Cello & Piano in Bb Major, Op. 11 20'Allegro con brioAdagio con espressioneTema con variazioniDaniel Gilbert, clarinet; Elisa Kohanski, cello; Donna Lee, pianoAntonin Dvorak (1841–1904) Gypsy Songs, Op. 55 10'1. My Song of Love 3. Songs My Mother Taught Me 5. Cloudy Heights of Tatra2. My Triangle 4. Tune Thy StringsDiane Alexander, soprano; Donna Lee, pianoLudwig van Beethoven (1770-1827) Duet in E flat major for Viola & Cello“with two eyeglasses obligato,” WoO 32 8'AllegroSabina Thatcher, viola; Elisa Kohanski, cello-- Intermission --Jon Deak (b. 1943) Eeyore Has a Birthday (Chapter IV of Winnie the Pooh) 23'1. Scene I: Earlier 3. Interlude: Still Later2. Scene II: Later 4. Scene III: Later YetMichael Kelley, viola; John M Pellegrino, bass; Donna Lee, pianoGiovanni Bottesini (1821-1889) Gran Duo for Clarinet, Bass & Piano, Op. posthumous 10'Daniel Gilbert, clarinet; John M Pellegrino, bass; Donna Lee, pianoThe City of Warwick, Department of Tourism, Culture & Developmentis pleased to bring you tonight’s performance. We hope you enjoy the concert.Program subject to changeMeet and Greet the Musicians following the ConcertMusic on the Hill proudly presents Rhode Island’s own <strong>music</strong>ians returning home to share their <strong>music</strong>

2013 Music on the Hill Pg 21Program Notes for “Beethoven, Dvorak & Winnie the Pooh”Ludwig van Beethoven (1770-1827), Trio for Clarinet, Cello & Piano in Bb Major, Op. 11In 1798, when Beethoven wrote this piece, the clarinet was popular but was also still somewhat of a novelty. So Beethovendecided to showcase this popular instrument in a new trio, and chose the key of Bb to facilitate passagework on the Bbclarinet. The melody for the variations in the third movement is the song “Pria ch’io l’impegno” from Joseph Weigl’s 1797light opera L’amour marinaro ossia Il corsaro. This song had become so popular that one could hear it sung in the alleys orGassen. The trio has thus become known as the Gassenhauer, or “popular song” trio. As in many of his early works,Beethoven combines the opportunity to showcase his piano virtuosity with a demonstration of his compositional skill. Thepiece was later rescored with the violin replacing the clarinet.Antonin Dvorak (1841–1904), Gypsy Songs, Op. 55At Dvorak’s request, the poet Adolf Heyduk (1835-1923) translated his Czech poems into German. These songs werewritten in 1880 for the Vienna Opera tenor Gustav Walther. They were later published in both Czech and German.My Song of LoveMy song sounds of loveWhen the old day is dying;It is sowing its shadowsAnd reaping a collection of pearls.My song loudly resounds of loveWhile unplanned storms hasten.I’m glad for the freedom that I no longer haveA portion in the dying of a brother.My TriangleAh! Why is my three-cornered bell ringing so passionately?As a gypsy song when death is imminent –The death of a gypsy brings an endTo song, dance, love and all concerns!To song, dance, love and all concerns!Songs My Mother Taught MeWhen my old mother taught me to singStrange that she often had tears in her eyes.And now I also weep,When I teach gypsy children to play and sing!My song resonates with longingWhile my feet roam distant lands.My homeland is in the distant wildernessMy song stirs with nationalism.Tune Thy StringsThe string is taut – young man turn, spin, twirl!Today reach the heights, tomorrow down again andAfter tomorrow, at the holy table of the Nile.The taut string is stretched – turn young man – turn and twirl!Cloudy Heights of TatraCloudy heights of Tatra the daring falcon hauntethLure him not from thence, for cage his spirit daunteth?Roves the plain the wild colt, free as summer breezes,Broken when his proud neck bit and bridle seizes.Nature, to the gypsy thou a boon hast granted?Jaj! Thy glorious freedom is in his breast implanted!Continued on the next page

Pg 22 Music on the Hill 2013Ludwig van Beethoven (1770-1827), Duet in E flat major for Viola & Cello “with two eyeglasses obbligato,” WoO 32Listeners familiar with Beethoven’s use of opus numbers may be surprised by the number above. The letters are anabbreviation for Werke ohne Opus, or works without opus numbers. These numbers are used for works which Beethoven didnot publish, either because the pieces were written only for friends, because they were only studies to explore the possibilitiesof instruments more thoroughly, or because publishers were reluctant to buy them. We know that this work was written in1797, probably for Baron Nikolaus Zmestall, an amateur cellist who was Beethoven’s friend from the time Beethoven firstarrived in Vienna. Zmestall used to help Beethoven by providing wine and quills for pens, by finding accommodations, andby checking proofs for publications. Beethoven’s second instrument was the viola, so it is likely that the Baron and Beethovenplayed this piece together. One of Beethoven’s letters to the Baron refers to the weakness of the latter’s eyes, so that manyexplain the fanciful subtitle.Jon Deak (b. 1943), Eeyore Has a Birthday (Chapter IV of Winnie the Pooh)Jon Deak has been a longtime bassist with the New York Philharmonic and, in addition to being a wonderful composer, iswell known for his work encouraging young children to compose. I was a young student at the Apple Hill Center forChamber Music in the mid-80’s when Deak was the organization’s composer-in-residence, and heard many of his workspremiered there. His chamber <strong>music</strong> is an exploration of theatrical elements as well, using various methods of mixing wordsand <strong>music</strong>: in The Ugly Duckling, those words are delivered by a soprano, backed up by the bass and string quartet; in Lucyand the Count, the dinner party scene of the Dracula story is acted by the instruments themselves, vocal inflections ofdialogue mimicked by string glissandos; Lady Chatterley’s Dream asks the instrumentalists to speak individual syllables ofthe D.H. Lawrence novel, forming entire words, as <strong>music</strong>al notes form complete motives and phrases.Eeyore has a Birthday, suggested to the composer as source material by Apple Hill’s founding violist Betty Hauck, is theDeak opus which pushes <strong>music</strong>ians farthest into the actor’s realm. The score asks the individual players to take on one ofMilne’s beloved characters for the duration of the piece—the spasmodic but always well-intentioned Piglet mimicked inrapid-fire piano lines, Pooh’s philosophical poet embodied in Deak’s beloved bass, and (of course) the doleful, misunderstoodEeyore—who else but the viola? Deak has said that he finds tonality too useful an audience-connection tool to removefrom his compositional bag of tricks, and you will hear that alongside more radical 20th century compositional methods,changing meters, extended techniques and a few well-placed sound effects! It all combines to form a unique voice that isintellectually stimulating, artistically moving, and deliciously entertaining. As a young <strong>music</strong>ian and budding composer, Iwas mesmerized by the premiere of Eeyore, but, just as importantly, liberated; if one was searching to connect with listenersin shared feeling, nothing was off-limits, and anything was possible.Deak’s comments:A word about drama, speech and <strong>music</strong>: as many people know, I can’t tell the difference. At least, I hate to separate them.Or perhaps I should say these days, that I think of them as Autonomous Republics, preserving their local character butunited in Foreign policy…..Ahem, now, then, when Eeyore (the viola) rips into his/her opening soliloquy, the <strong>music</strong>alflow is governed, not so much by pitch systems (tonal, modal, atonal, serial) as by speech intonation and rhythm. Virtuallythe entire piece is motivically speech-inflected. I can’t at all claim that Eeyore has a Birthday is a classical counterpartto rap <strong>music</strong>, but I do admire that form’s intricacies and sheer sound-physicality. Although I always think dramaticallywhen composing, this piece is something of an experiment for me as it is one of the first times I’ve needed the <strong>music</strong>iansto actually move from one place to another on stage. This continues my conviction that with proper planning and discipline<strong>music</strong>ians possess a vast, largely untapped reservoir of dramatic ability which can be used to enhance their act. Andanyway, I had such fun painting in the portraits of the ever-mournful Eeyore, the gastronomically-oriented Pooh Bear, andthe eagerly bumbling Piglet. I know them now better than I ever did, and I look forward to introducing them to mychildren.(Notes by Michael Kelley)Giovanni Bottesini (1821-1889), Gran Duo for Clarinet, Bass & Piano, Op. posthumousGiovanni Bottesini, born in Crema, Lombardy on December 22, 1821, was the leading bass virtuoso of his time. Often hailedas the Paganini of the double bass, Bottesini was also very well-known as a conductor and a composer. As a child he learnedthe rudiments of <strong>music</strong> from his father, a clarinetist and composer. Young Giovanni sometimes performed as a timpanist withthe local orchestra before beginning to study the violin. When Bottesini was fourteen, his father wanted to enter him in theMilan Conservatory, but because of the family’s limited means, Giovanni needed to receive a scholarship in order to enroll.

2013 Music on the Hill Pg 23The only scholarships available at the time were for double bass and bassoon. So naturally, Giovanni auditioned for thedouble bass scholarship, won it, and advanced so rapidly that he graduated in four years. He toured Europe, the UnitedStates, and Latin America as a soloist, and his virtuosity and <strong>music</strong>ality became known worldwide. As a composer, he wrotethirteen operas and eleven string quartets, as well as a huge body of work for the double bass. He also toured the world as aleading opera composer; in fact, Giuseppe Verdi chose Bottesini to conduct the first performance of Aida, which took placein Cairo on December 27, 1871. During intermissions of operas that Bottesini conducted, he would often perform on thebass. Sometimes he would even improvise fantasies on the opera themes from the pit or stage. His very romantic and belcantostyle of writing is evident in all of his works, and it is likely that this Gran Duo would have been heard during one ofthese opera intermissions. At the time of his passing, Giovanni Bottesini was a Freemason and the director of the <strong>music</strong>conservatory in Parma.

Pg 24 Music on the Hill 2013Good VibrationsSaturday, June 15, 2013, 7:00 pmSacred Exchange Fellowship 75 Division Street, East Greenwich, RIEmmanuel Séjourné (b. 1961) Vibraphone Concerto 9'"A Placere - Expressif et lyrique"Peter Ferry, vibraphone; Kristen Pellegrino & Margot Schwartz, violins;Michael Kelley, viola; Elisa Kohanski, cello; John M Pellegrino, bassGiacomo Puccini (1858-1924) Chrysanthemums 6'Kristen Pellegrino & Margot Schwartz, violins;Michael Kelley, viola; Elisa Kohanski, celloBenjamin Britten (1913-1976) Phantasy Quartet for Oboe and Strings, Op. 2 15'Anne Gabriele, oboe; Margot Schwartz, violin;Michael Kelley, viola; Elisa Kohanski, celloDouglas Hill (b. 1946) A Set of Songs and Dances 22'1. Introit 4. Whimsical Waltz2. Quadrilla with Bebop 5. Romp with Rumba3. BalladDaniel Gilbert, clarinet; Leslie Norton, French horn;Peter Ferry, percussion; John M Pellegrino, bassNo Intermission - Program subject to changeMeet and Greet the Musicians following the ConcertMusic on the Hill proudly presents Rhode Island’s own <strong>music</strong>ians returning home to share their <strong>music</strong>

2013 Music on the Hill Pg 25Program Notes for “Good Vibrations”Emmanuel Séjourné (b. 1961), Vibraphone ConcertoEmmanuel Séjourné was first trained as a classical pianist. He eventually started percussion studies with a teacher who ledhim to discover a whole new world: pop, jazz, world <strong>music</strong>, fusion, contemporary <strong>music</strong>, improvisation and more. Today heworks mostly as a composer and his style is influenced and enriched by this double life. Séjourné’s Concerto for Vibraphonewas composed in 1999 for the Vibraphone International Competition and premiered by the Orchestre d’Auvergne. It hassince been performed by the Luxembourg Philharmonic, the Orchestre de la Garde Republicaine, the Kalisz Orchestra, theKozsalin Philharmonic (Poland) and the Novosibirsk Orchestra (Russia). The work’s first movement, “A Placere – Expressifet lyrique,” features the vibraphone soloist playing by striking with mallets and by drawing on the bars with double bassbows. After opening with a series of rich harmonies in the strings, the piece slowly builds momentum as the vibraphone spinsout an imaginative jazz-inspired melody, which is constantly steered in new directions by the ensemble’s rhythmic accompaniment.(Notes by Peter Ferry)Giacomo Puccini (1858-1924), ChrysanthemumsGiacomo Puccini is today known almost exclusively for operas which are among the most popular in the standard repertory.Only two non-operatic works have remained in the repertory: Messa di gloria (1880) for orchestra and four-part choir,and Chrysanthemums (1890) for string quartet. Puccini wrote other pieces for string quartet, but the others are virtuallyforgotten. Chrysanthemums was written in a single night, as an elegy in response to the death of the Duke of Savoy, and is asingle dark-hued continuous movement. Two of its melodic ideas were interesting enough that Puccini used them again, inthe last act of Manon Lescaut of 1893. Chrysanthemums is heard much more often in a version for string orchestra than in itsoriginal string quartet version.Benjamin Britten (1913-1976), Phantasy Quartet for Oboe and Strings, Op. 2Benjamin Britten wrote his Phantasy Quartet as a nineteen-year-old student at the Royal College of Music in London. Hefelt that he was learning little of value in school, but was learning a great deal outside of it. He consulted Frank Bridge forcomposition advice almost daily. Britten was already writing surprisingly modern <strong>music</strong> when he entered the college at age16. The motivation for writing the Phantasy Quartet was a competition for single-movement chamber works, begun in 1905by a wealthy amateur <strong>music</strong>ian named Walter Willson Cobbett. (Cobbett is probably best known for his 1929-1930 <strong>book</strong>Cobbett’s Cyclopedic Survey of Chamber Music.) “Phantasy” refers to works for viols that were common in England in the1600’s. Britten won the 1932 Cobbett competition for his phantasy string quintet. This piece, written later that year, did notwin another prize, but it did receive a splendid performance by the leading British oboist Leon Goosens. Performances bothlive and on the radio did much to establish Britten’s reputation as a major and original composer.Critics have struggled to describe the structure of this phantasy. It is easiest to think of it as a sonata, but with a slowmovement inserted between the development section and the recapitulation. In the introduction, Andante alla Marcia, theoboe sings while the strings march. This is followed by faster <strong>music</strong>, which is then followed by a slow section for stringsalone. The recapitulation reverses the order of the fast <strong>music</strong> and the march. The final seven measures are a return of the firstseven measures, by cello alone, and in reverse order.Douglas Hill (b. 1946), A Set of Songs and DancesDouglas Hill, Professor Emeritus of Horn at the University of Wisconsin-Madison, was the recipient of a Wisconsin ArtsCouncil Artist Fellowship and the past President of the International Horn Society. He has played principal horn with theRochester Philharmonic, the New York City Ballet, the Mostly Mozart Festival, the Wisconsin Brass Quintet, and the MadisonSymphony Orchestra. Professor Hill has served on the faculties of the Oberlin Conservatory, the Aspen Music School,the Asian Youth Orchestra, the Conservatories of Beijing and Shanghai, the Sarasota Music Festival, Hartt College and YaleSummer Schools, the University of South Florida, Wilkes College, and the University of Connecticut. A Set of Songs andDances was written in 2006 for clarinet, horn, vibes/percussion and string bass. This five-movement work was commissionedby and composed for the internationally-acclaimed horn soloist and professor Gail Williams and her husband LarryCombs, principal clarinet in the Chicago Symphony. They recorded the work on the 2011 CD Horn Muse. The composer’soriginal plan was to create a suite of dances in a Baroque style with a touch of jazz. The jazz took over and the suite becamea set of congenial melodies and rollicking rhythms. The unique combination of instrumental timbres and textures adds to thefun for both the performers and their audiences.

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Pg 28 Music on the Hill 2013Voices & VirtuosityWednesday, June 19, 2013, 7:00 pmSt. Bernard Catholic Church 275 Tower Hill Road, North Kingstown, RIJohn Dowland (1563-1626) Four Lute Songs 12'1. Come Again, Sweet Love Doth Now Invite 3. Weep No More, Sad Fountains2. Can She Excuse My Wrongs? 4. Now, Oh Now I Needs Must PartDiane Alexander, soprano; Nick Goluses, guitarDouglas Hill (b. 1946) A Place for Hawks 18'1. "All earth is still..." 3. "Hawk on the Wind"2. "Suddenly, a great bird..." 4. "When in April..."Mary Phillips, mezzo-soprano; Sylvia D'Avanzo & Margot Schwartz; violins,Rita Porfiris, viola; Anna Burden, cello; John M Pellegrino, bassManuel de Falla (1876–1946) Suite Populaire Espagnole 7'1. Polo 2. Asturian 3. JotaKristen Pellegrino, violin; Nick Goluses, guitar-- Intermission --Niccolo Paganini (1782–1840) Duetto No. 1 in F Major for Violin & Bassoon, MS 130 17'Largo - Allegro ModeratoRondo: Allegretto VivoMargot Schwartz, violin; Steve Vacchi, bassoonGeorg Philipp Telemann (1681–1767) Quartet in D major for Trumpet, Two Oboesand Basso Continuo, TWV 43:D7 15'LargoVivaceSicilianoVivaceJoseph Foley, trumpet; Julie Gramolini Williams & Margaret Butler, oboes;Steve Vacchi, bassoon; Elisa Kohanski, celloMeet and Greet the Musicians following the ConcertMusic on the Hill proudly presents Rhode Island’s own <strong>music</strong>ians returning home to share their <strong>music</strong>

2013 Music on the Hill Pg 29Program Notes for “Voices & Virtuosity”John Dowland (1563-1626), Four Lute SongsThe Renaissance composer John Dowland was probably born in London, although possibly in Dublin. In any case, Englandremained his primary residence. However, from 1580 to 1584 he worked in Paris, and from 1598 to 1604 he served atthe court of Christian IV of Denmark. He was one of the highest paid court employees in Denmark, and he may also havebeen involved with espionage. His primary instrument was the lute. He wrote many pieces for solo lute as well as manysongs with lute accompaniment. He was particularly known for songs with a melancholy text and a sad expression. In mostcases the poetry is his own.Douglas Hill (b. 1946), A Place for Hawks (based on the poetry of August Derleth)August Derleth (1909-1971) was one of Wisconsin’s most prolific authors and poets, with more than 150 published <strong>book</strong>sof fiction, poetry, Wisconsin history, biography, science fiction, and short stories. His creative output more often than notderived its inspiration from Sauk City, his town of birth and life-long residence. The town’s natural surroundings of rollinghills and Wisconsin River bottoms were beautifully expressed in hundreds of his poems and in much of his prose.The four poems selected for A Place for Hawks set the poet/singer near the still and silent woods, in awe of its darkeneddepths during the cold of winter, wishing at once to go in and yet chilled by unseen walls that “only sight could breach.” Thisuncertain solitude is suddenly disturbed by a frightening and fantastic encounter with “the great bird” as he flies near andshares a brief moment of eye contact before reentering the “darkness of the winter wood.” The third poem finds the poet/singer virtually soaring with a “hawk on the wind.” Having moved beyond the darkness and uncertainty of primal nature, thepoet/singer finds kinship and ecstasy simply watching as the hawk floats, circles, vaults and dives. The final poem singswarmly and optimistically of the coming of spring with its blossoms, bird songs, and “birch with yellow catkins” shaking inthe air. The poet/singer looks forward to a journey to the hills “far from village streets” where the “hawk flies high” andwhere the “earth of grass and tree” will surely provide “their strength again.”Taken as a literal set of experiences or as a symbolic confrontation with one’s own nature, these poems, and the <strong>music</strong> whichenhances their power and romantic simplicity, reach outward to touch a certain spirit which connects us all to the earth, grass,trees and the joyful soaring of the hawk.(Notes by Douglas Hill)Manuel de Falla (1876–1946), Suite Populaire EspagnoleManuel de Falla was born in Cadiz, Spain, but moved to Madrid for his education in 1896. In 1907 he moved to Paris, andit was here that he wrote his wonderful arrangement of seven Spanish songs, Siete canciones populares espagnoles, for voiceand piano. Violinist Paul Kochanski (1887- 1934) worked with Falla to transcribe six of these songs for violin and piano. Wehear three of them this evening. Polo is an original Falla piece in the style of a folk dance, sometimes described as gypsy- orflamenco-like. Asturian is a lament from northern Spain, played on muted strings. Jota is once again Falla’s own compositionin the style of a folk dance from the province of Aragon. Here Kochanski uses pizzicato chords in imitation of castanets.The suite dates from 1914, shortly before Falla had to leave Paris to escape World War I. In 1939 he had to leave Spain forArgentina to escape the Franco regime.Niccolo Paganini (1782–1840), Duetto No. 1 in F Major for Violin & Bassoon, MS 130Paganini is renowned as a virtuoso violinist of the early 19th century – a performer with astonishing abilities and a composerwith a notable output of compositions. An infamous character on the concert stage, he often pushed the limits of whathis instrument could do in terms of technique and sound possibilities. He first learned violin and mandolin from his father, adockworker and amateur <strong>music</strong>ian in Genoa. He progressed rapidly in both violin and composition. Paganini went to Parmato study composition with Rolla and Paer, then returned to Genoa at age 14, already an accomplished performer and composer.Because of the invasion of Napoleon’s troops and the British blockade of the port of Genoa, the Paganini familyrelocated to Livorno by the end of the 1790’s. It was there that Niccolo composed Three Duets for Violin and Bassoon at therequest of an unidentified Swedish amateur bassoonist who complained that he couldn’t find any difficult <strong>music</strong> to play. Theduet heard today features writing which is equally challenging <strong>music</strong> for both instruments.Continued on the next page

Pg 30 Music on the Hill 2013Georg Philipp Telemann (1681–1767), Quartet in D major for Trumpet, Two Oboes and Basso Continuo, TWV 43:D7Georg Philipp Telemann was born in Magdeburg to a middle class family. His interest in <strong>music</strong> was strongly discouragedby his family. He entered the University of Leipzig to study law, but his <strong>music</strong>al talents became known and he gave up thelaw. He worked first in Leipzig, then in Sorau (Poland), then in Eisenach, Frankfurt, and finally Hamburg. In 1722 heapplied for the position of Thomaskantor in Leipzig. He was offered the job but turned it down, as did Christoph Graupner.The position was finally offered to Johann Sebastian Bach, who accepted it. Bach and Telemann knew each other, andTelemann was godfather to Bach’s son Karl Philipp Emmanuel.Telemann was a highly respected composer and one of the most prolific <strong>music</strong>ians in history. He was largely self-taught butplayed a number of instruments. He is seen as an important stylistic link between late Baroque and early classical.Of the movements in this evening’s work, only the Siciliano may be an unfamiliar title. It refers to a folk dance of Sicily,in a pastoral mood, in slow 6/8 time.Michael R. Paliotta Tel: (401) 821-4850Cell: (401) 301-7280Fax: (401) 828-6330SECURITY CLEANSERS, INC.“Professional Drycleaner since 1941”1060 Toll Gate Road Warwick, RI 02886www.SecurityCleansers.comCATARACT CONSULTANTS OF RIChristopher C. Way, MD, FAAOPractice Limited to Diseases and Surgery of the EyeGarden City Medical Park1150 Reservoir Ave. - Suite 204 - Cranston, RI 02920Tel. 401-942-0210 - FAX 401-943-4240Bristol County Medical Center1180 Hope St. - Bristol, RI 02809Tel. 401-253-9900Financial Planning - Insurance - InvestmentsALAN G. ZARTARIAN, CLU, ChFCChartered Financial ConsultantSecurities and Advisory Services Offered ThroughCommonwealth Financial Network,Member FINRA/SIPC, a Registered Investment Advisor91 Toll Gate Rd., Suite 300Warwick, RI 02886(401) 739-4322 ~ FAX: (401) 739-9042Email: az@cfnmail.com

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Pg 32 Music on the Hill 2013Moravian MomentsThursday, June 20, 2013, 7:00 pmSt. Gregory the Great Church360 Cowesett Road, Warwick, RIAntonin Dvorak (1841–1904) 3 Moravian Duets, Op. 32 7'1. The Pretty Maiden with Flowing Locks 3. Wild Rose2. ComfortDiane Alexander, soprano; Mary Phillips, mezzo-soprano; Christina Breindel, pianoAntonin Dvorak "Dumky" Trio No. 4 in E minor for Piano, Violin & Cello, Op. 90 9'AllegroLento Maestoso - VivaceKristen Pellegrino, violin; Elisa Kohanski, cello; Christina Breindel, pianoLudwig van Beethoven (1770-1827) Trio in C major for 2 Oboes & English Horn, Op. 87 18'Allegro Adagio cantabile Finale, PrestoAnne Gabriele & Julie Gramolini Williams, oboes; Margaret Butler, English hornJennifer Higdon (b. 1962) "Pale Yellow" Piano Trio 8'Kristen Pellegrino, violin; Elisa Kohanski, cello; Christina Breindel, piano-- Intermission --Francis Poulenc (1899–1963) Trio for Oboe, Bassoon & Piano, Op. 43 5'PrestoAnne Gabriele, oboe; Steve Vacchi, bassoon; Christina Breindel, pianoNiccolo Paganini (1782–1840) Terzetto in D Major for Violin, Cello & Guitar, MS 69 20'Allegro con BrioMinuetto: Allegro VivaceAndante-LarghettoRondo: AllegrettoMargot Schwartz, violin; Anna Burden, cello; Nick Goluses, guitarAntonin Dvorak 3 Moravian Duets, Op. 29 8'1. From Thee Now I Must Go2. Fly, Sweet Songster3. The Slighted HeartDiane Alexander, soprano; Mary Phillips, mezzo-soprano; Christina Breindel, pianoProgram subject to changeMeet and Greet the Musicians following the ConcertMusic on the Hill proudly presents Rhode Island’s own <strong>music</strong>ians returning home to share their <strong>music</strong>

2013 Music on the Hill Pg 33Program notes for “Moravian Moments”Moravia is located in the eastern part of the Czech Republic, with the province of Bohemia to its west and the nation ofSlovakia to its east. It takes its name from the Morava River. In Dvorak’s lifetime, Moravia and much of central Europe wereruled politically by the Hapsburgs and the Austro-Hungarian Empire. Throughout the later years of the 19th century, manyEuropeans wanted to assert ethnic identities. Denied the right to establish political states, they became immersed in their ownhistory and culture. For <strong>music</strong>ians, this meant studying indigenous folk <strong>music</strong> and incorporating it in their work. Wellknown representatives of this movement include the Czechs Smetana and Dvorak, the Norwegian Grieg, the Finn Sibelius,the Dane Nielsen, the Hungarians Kodaly and Bartok, and the Russians Glinka, Mussorgsky, Rimsky-Korsakov and Borodin.Where texts were set to <strong>music</strong>, they were poems or stories in Czech, Norwegian, Finnish, Danish, Hungarian or Russian.Antonin Dvorak (1841–1904), Moravian Duets, Op. 32 and Op. 29In the mid-1870’s Dvorak was still not a well-known composer. Part of his income came from private teaching, and hefrequently taught at the home of Jan Neff, a wealthy wholesale merchant. Neff and his wife were enthusiastic amateursingers. With Dvorak at the piano, they and their children’s governess would often sing solos and duets. Basing his work ona collection of Moravian songs, Dvorak began to make arrangements for the Neff household. He soon began to composeentirely new <strong>music</strong> to folk song texts. He continued writing the duets until 1881, leaving us with 23 for various combinationsof voices.These works were a turning point in Dvorak’s career. Neff arranged to have 13 of them published shortly before Christmasof 1876. He then gave the publication to Dvorak as a gift. In the fall of 1877 Dvorak enclosed this edition with an applicationfor an Austrian state grant for “young, talented, and poor artists.” The adjudicating board included Johannes Brahms, whorecommended the duets to his publisher Simrock. Simrock published them in 1878 (without paying a royalty to Dvorak).The public responded so favorably that Simrock published the duets again in 1880, then requested that Dvorak write somethingwith a dance-like character. The result was the Slavonic Dances, which established Dvorak’s international reputation.Antonin Dvorak, “Dumky” Trio for Piano & Strings No. 4 in E minor, Op. 90The title Dumky is a plural of Dumka, which is itself a diminutive of Duma, a song or lament of captive people. Composersfrom other Slavic countries wrote “Dumky” to indicate a brooding, introspective piece, which might also include fast andhappy sections. Dvorak wrote several other pieces of this character, including Slavonic Dance No. 2, and movements of hisString Sextet and Piano Quintet. This trio was premiered in April of 1891 with Dvorak himself at the piano. Later the sameevening Dvorak received an honorary doctorate from Prague’s Charles University. The Dumky Trio was so well received thatDvorak included it in his 40-concert farewell tour, just before he left for the United States to become director of a conservatoryin New York City. It was published in his absence, with Brahms doing the proofreading.Ludwig van Beethoven (1770-1827), Trio for 2 oboes & English horn in C major, Op. 87In his teens and twenties, Beethoven wrote a good deal of chamber <strong>music</strong> for wind instruments, but he seems to havestopped altogether by about 1800. Elector Maximilian Franz maintained an ensemble of wind players, so these works mayhave been written for them. These pieces may also represent Beethoven’s attempt to teach himself to write idiomatically forwinds, as he prepared to write symphonies. None of them were published at the time of their composition. This trio, writtenin 1795, was not published until 1806.We hear the first, second and fourth movements this evening. Beethoven originally intended the set of variations onMozart’s La ci darem to serve as the fourth movement, but probably thought such a long movement would throw the pieceout of balance (we hear the variations on the final concert of this festival). The trio follows sonata form but has the engagingcharacter of a serenade.Jennifer Higdon (b. 1962), “Pale Yellow” Piano TrioJennifer Higdon is an American composer who is one of the most acclaimed and most performed of living composers. Shehas been a featured composer at a Tanglewood Contemporary Music Festival. In 2010, she received both a Grammy (BestContemporary Classical Composition for her Percussion Concerto), and a Pulitzer (for her Violin Concerto).Her symphonic poem Blue Cathedral, commemorating her brother’s death from cancer, has been performed by more than400 orchestras since its 2000 premiere. She is commissioned to write an opera for the Santa Fe Opera.Continued on the next page

Pg 34 Music on the Hill 2013Higdon cites John Adams, Aaron Copland, and Joan Tower as three composers she particularly admires. This may explainwhy her <strong>music</strong> is often described as being clearly American. She says that it has an American type of energy and vitalrhythms. Her <strong>music</strong> is traditional enough that audiences can understand and enjoy it, but original enough to be challenging.Pale Yellow has a companion piece called Fiery Red. Each piece creates a mood related to the specific color. Higdon admiresimpressionist painters as well as the French impressionist composers Debussy and Ravel. She does not claim, however, asdid the Russian composer Alexander Scriabin, to have synesthesia, the stimulation of one sense by something which directlyaffects a different sense.Francis Poulenc (1899–1963), Trio for Oboe, Bassoon & Piano, Op. 43Francis Poulenc was a French composer strongly influenced by the Frenchmen Chabrier, Debussy, Satie, and especiallyStravinsky. In the 1920’s he adopted a neo-classic approach, maintaining many features of traditional harmony. Aesthetically,he was often irreverent and flippant, and his melodies are probably influenced by Parisian <strong>music</strong> halls.This trio, of which we hear the first movement, dates from 1926. Its clarity, balance, simplicity and humor suggest a Haydnallegro. An opening Lent sets forth piano chords which could have been written by Stravinsky or even Duke Ellington. TheLent gives way to a rollicking Presto. The Lent returns later, and a return to Presto concludes the movement.Niccolo Paganini (1782–1840), Terzetto in D Major for Violin, Cello & Guitar, M.S. 69As is well known, Niccolo Paganini was one of the greatest violinists of all time, greatly expanding the technique used onthe instrument. He gave sensationally successful concerts and became wealthy from his concert tours. He was also awomanizer and a gambler. At one point he lost his best violin in a wager. A dealer loaned him a fine instrument for a concertand was so impressed with Paganini’s playing that he insisted that Paganini keep it.In the early 1800’s Paganini ceased touring and settled down with a woman who bore him a son. He also undertook thestudy of guitar and used the guitar to work out the harmonies for his compositions. Also at this time he became first violin forthe Republic of Lucca. Much of his income derived from freelancing, however. In 1805 Lucca was annexed by Napoleon,then was ceded to Napoleon’s sister Elisa Baciocchi. It was while working for the Baciocchi court that Paganini wrote mostof his guitar compositions. He resumed touring in 1809.We hear all four movements of this Terzetto tonight. A terzetto is a piece for three instruments or voices.CHINESE AMERICANMINI - MARKET, INC.Feel BetterLive Better834 Park Ave.Cranston, RI 02910& SPORTS MEDICINEMICHAEL A. NULA, MS, DPT(401) 467-7690Warwick535 Centerville Road401.737.4581OWNER / PHYSICAL THERAPISTProvidence285 Governor Street401.276.0800Coventry982 Tiogue Avenue401.615.3140www.elitephysicaltherapy.comEast Greenwich3461 S. County Trail401.398.7988Chinese, Philippines,Japanese groceriesfresh vegetables

2013 Music on the Hill Pg 35

Pg 36 Music on the Hill 2013Piano Concerti with KalichsteinFriday, June 21, 2013, 7:30 pmRhode Island College Nazarian Center ~ Sapinsley Hall600 Mount Pleasant Avenue, Providence, RIJoseph Kalichstein enthralls audiences throughout the United States and Europe,winning equal praise as orchestral soloist, recitalist and chamber <strong>music</strong>ian.He is acclaimed for the heartfelt intensity and technical mastery of his playing.A favorite of New York concertgoers, Mr. Kalichstein has appeared in several recitals onCarnegie Hall’s “Keyboard Virtuosi” series and is on the faculty at Juilliard. Kalichstein hasbeen a member of America’s Premier Trio, the Kalichstein-Laredo-Robinson, for 35 years.Franz Schubert (1797-1828) Auf dem Strom 10'Diane Alexander, soprano; Leslie Norton, French horn; Christina Breindel, pianoLudwig van Beethoven (1770-1827) Variations for 2 Oboes and English Horn in Con Mozart's 'La ci darem,' WoO 28 10'Margaret Butler & Anne Gabriele, oboes; Julie Gramolini Williams, English hornWolfgang Amadeus Mozart (1756–1791) Piano Concerto No. 11, in F Major, K. 413 21'AllegroLarghettoTempo di MenuettoJoseph Kalichstein, piano with - Margot Schwartz & Sylvia D'Avanzo, violins;Rita Porfiris, viola; Anna Burden, cello; John M Pellegrino, bass-- Intermission --Johann Sebastian Bach (1685-1750) Concerto in D minor, BWV 1052 25'AllegroAdagioAllegroJoseph Kalichstein, piano with - Margot Schwartz & Sylvia D'Avanzo, violins;Rita Porfiris, viola; Anna Burden, cello; John M Pellegrino, bassThis concert is sponsored by John and Alice PellegrinoProgram subject to changeMeet and Greet the Musicians following the ConcertMusic on the Hill proudly presents Rhode Island’s own <strong>music</strong>ians returning home to share their <strong>music</strong>

2013 Music on the Hill Pg 37Program Notes for “Piano Concerti with Kalichstein”Franz Schubert (1797-1828), “Auf dem Strom” for Voice, Horn and Piano, D. 943Franz Schubert based his work “Auf dem Strom” (On the River) on a poem by Ludwig Rellstab. This poem hadbeen presented to Beethoven for a <strong>music</strong>al setting, but Beethoven died before he accomplished this. So movedwas Schubert that he set the poem as a homage to Beethoven, and this work was premiered on the first anniversaryof Beethoven’s death. Beethoven had died on March 26, 1827, and Schubert followed him less than eight monthsafter this concert. “Auf dem Strom” is a through-composed song in five verses. Each verse is based on a differentmelody, but the verses are connected by a sense of deep and dignified beauty from the voice. The horn and pianoalso contribute a noble and moving tone to the work, as they both precede and intersperse with the singer’s text.Schubert’s ability to integrate the <strong>music</strong> of others into his own compositional style allowed him to incorporate the“Marcia Funebre” theme from Beethoven’s Eroica symphony into the second verse of this elegiac work. Thus,Beethoven’s spirit is brought out through Schubert’s pen.Ludwig van Beethoven (1770-1827), Variations in C major for two oboes and English horn, on Mozart’s“La ci darem,” WoO 28“La ci darem” is a love duet from Mozart’s Don Giovanni, sung by Giovanni and Zerlina. Beethoven wrotethese variations sometime between 1795 and 1797 and originally intended them to be the last movement of hisTrio for two oboes and English horn, Op. 87 (they were replaced in that work by a Presto). Here there are eightvariations, followed by a lively coda, which is almost a ninth variation. The tune retained its popularity wellenough that it was used by Chopin for his Variations for Piano and Orchestra, Op. 2, in 1827. Beethoven’svariations were not published until 1912.Wolfgang Amadeus Mozart (1756-1791), Piano Concerto No. 11 in F Major, K. 413In 1782, Mozart had finally been released from dependence on and control by the Archbishop, and was nowestablishing an independent career in Vienna. He undertook to give subscription concerts and composed threepiano concerti, K. 413, 414, and 415, in which he could show off his skills both as a composer and as a pianist. Hisgoal was to write in a style which was both comprehensible and pleasing to his audience. All three concerti werescored with oboes, horns and bassoons as well as strings, but all three provided alternative versions without winds.The result is “concerto as chamber <strong>music</strong>.” Using only one player on each string part, as we shall experience thisevening, gives the <strong>music</strong> a wonderful charm. The opening movement is unusual in that the meter is 3/4 rather thanthe usual 4/4. It also has a strikingly large number of thematic ideas. The finale shows Mozart’s freedom in formalstructure and decoration.Johann Sebastian Bach (1685-1750), Concerto for Harpsichord and Strings in D minor, BWV 1052 From1717 to 1723, Bach served Prince Leopold of Cothen, where most of his work involved producing instrumental<strong>music</strong>. Here he wrote a variety of chamber <strong>music</strong> and concerti. From 1729 to 1741, Bach served as director of theCollegium Musicum, a student <strong>music</strong>al society in Leipzig. It was for this organization that he wrote the harpsichordconcerti, which are believed to be rearrangements of violin concerti written in Cothen. The D minor violinconcerto is lost, but a 1728 organ concerto seems to have been based on it. Bach’s concerti are probably among theearliest ever written for keyboard. Like most Baroque concerti, they consist of alternating sections, orchestra orripieno, solo, again the orchestra, etc. When Bach transcribed this work for harpsichord solo, he transferred theripieno parts of the organ concerto without alteration, but augmented the solo part to make it much more virtuosic.The right hand of the second movement is probably an exact duplication of the original solo violin line. The pieceworks beautifully with a single player on each of the string parts.

Pg 38 Music on the Hill 2013Meeeet t the e Fesestival PerformersrsArtirtistitic c Directorector: r: Johohn n Mark PellegriellegrinoJohn Mark Pellegrino has performed regularly in the Grand Teton Music Festival and as Principal Bass in the PeninsulaMusic Festival, ProMusica Chamber Orchestra and Columbus Symphony Orchestra. Calls from theDetroit Symphony Orchestra, Minnesota Orchestra, St. Paul Chamber Orchestra and Cincinnati Symphonyhave allowed him to play, tour and record with those ensembles. Other orchestral appearanceshave included concerts with the Pittsburgh Symphony, the Milwaukee Symphony, the New Jersey Symphony,the North Carolina Symphony, the Alabama Symphony, the Nashville Symphony, the Lake PlacidSinfonietta, the New York Virtuosi and the Philharmonia Virtuosi of New York. Before moving to Ohioin 1989, John was a section member of the New Orleans Symphony Orchestra. Mr. Pellegrino earneddegrees from the Manhattan School of Music and the Juilliard School, and he has served on the facultiesof Ohio Wesleyan University, the Eastern Music Festival (NC), the Warwick Music Festival (RI), KinhavenMusic Camp (VT) and the Chamber Music Connection in Worthington, Ohio. In 2008, John was the recipient of the OhioPrivate/Studio Teacher of the Year award given by the Ohio String Teacher’s Association. His students have won competitionsheld by the International Society of Bassists, Columbus Symphony Orchestra, Aspen Music Festival, Ohio StringTeachers Association, Interlochen Arts Camp and the Philadelphia Orchestra. Since 2007 John has been the Artistic Directorand bass player for Music on the Hill. Additional chamber <strong>music</strong> performing appearances have included concerts at theRoycroft, Sarasota, Aspen, Waterloo, and Grand Teton festivals as well as OSU’s Contemporary Music Festival, the Sundayat Central recital series in Columbus, OH and at the OWU•//•NOW contemporary <strong>music</strong> festival in Delaware, OH. John wasborn and raised in Warwick, RI, graduated from Toll Gate High School and owes much to his family of <strong>music</strong> educators/performers, private teachers, the public school <strong>music</strong> <strong>program</strong> in Warwick and to the Rhode Island Philharmonic YouthOrchestra <strong>program</strong> under the direction of Nedo Pandolfi.Guesest t Artirtist: t: Joseph Kalichschsteitein, PianinistJoseph Kalichstein, acclaimed for the heartfelt intensity and technical mastery of his playing, enthralls audiences throughoutthe United States and Europe, winning equal praise as orchestral soloist, recitalist and chamber<strong>music</strong>ian. With his diverse repertoire of works ranging from Mozart, Beethoven and Brahms to 20thcenturyworks by Bartok, Prokofiev and others, Mr. Kalichstein has collaborated with such celebratedconductors as Daniel Barenboim, Pierre Boulez, James Conlon, Christoph von Dohnányi, Charles Dutoit,Lawrence Foster, Zubin Mehta, Andre Previn, Leonard Slatkin, Edo de Waart, David Zinman and thelate George Szell and Erich Leinsdorf. He has performed with the world’s greatest orchestras. Afavorite of New York concertgoers, Mr. Kalichstein has appeared in several recitals on Carnegie Hall’s“Keyboard Virtuosi” series. His two CD releases include <strong>music</strong> of Schumann and Brahms (on KochInternational) and of Brahms, Mendelssohn and Schubert (The Romantic Piano, on Audiofon Records). Joseph Kalichsteinis a founding member of the famed Kalichstein-Laredo-Robinson piano trio, celebrating its 35th anniversary in 2012. TheTrio continues to play in major <strong>music</strong> capitals as well as on all the great university concert series. Its current recording projectis a 4-CD Brahms Cycle. Mr. Kalichstein is also a frequent guest pianist with the world’s most beloved string quartets andserves as the Chamber Music Advisor to the Kennedy Center and is the Artistic Director of the Center’s Fortas ChamberMusic Concerts while he continues to hold the inaugural Chamber Music Chair at the Juilliard School. Born in Tel Aviv, hecame to the United States in 1962. His principal teachers included Joshua Shor in Israel and Edward Steuermann and IlonaKabos at The Juilliard School. Prior to winning the 1969 Leventritt Award, he had won the Young Concert Artists Auditions,and as a result he gave a heralded New York recital debut, followed by an invitation from Leonard Bernstein to performBeethoven’s Piano Concerto No. 4 with the New York Philharmonic in a nationally televised concert on CBS.2013 Mucis on the Hill Music Festival

Violiolin2013 Music on the Hill Pg 39Sylvia D’Avanzo is a busy New York freelancer. She has played with Orchestra of St Luke’s, American Symphony, NewJersey Symphony, Baltimore Symphony, American Ballet Theater Orchestra, San Francisco Ballet, PhoenixSymphony and the Philharmonia Hungarica. She is also a member of the OMNI Emsemble, a chamber<strong>music</strong> group in residence at the Brooklyn Conservatory. As a Broadway concertmaster, she has performed inmore than 30 Broadway productions, including Sunset Boulevard, The Light in the Piazza and A Little NightMusic. Sylvia is currently the concertmaster for the Broadway revival of On A Clear Day at the St. JamesTheatre. Sylvia has appeared on stage and on tour with many popular artists such as Barbra Streisand,Björk, Elton John, Rod Stewart, Stevie Wonder, Ray Charles, Diana Ross and P-Diddy. She recently completeda 2010-11 world tour as lead violinist for the Harry Connick, Jr. Band. Ms. D’Avanzo completed a Bachelor of Musicat Mannes College of Music and a Master of Music at the Yale School of Music. She has participated in the Aspen, Waterloo,Evian, Yale/Norfolk, and Tanglewood <strong>music</strong> festivals. Her major violin studies were with Joyce Robbins, Paul Kantorand Sally Thomas. Originally from Providence, she is a graduate of Classical High School and has resided in Park Slope,Brooklyn for thirteen fabulous years.Dr. Kristen Pellegrino is an Assistant Professor of <strong>music</strong> education at the University of Texas at San Antonio. Her degreesare from the University of Michigan (Ph.D. in <strong>music</strong> education and M.M. in violin performance) and theEastman School of Music (B.M. in <strong>music</strong> education and applied violin). Kristen continued to study violinwith the revered violinist, Camilla Wickes, as a fellowship student at LSU. She went on to perform withthe Satory String Quartet, in residence at Kent State University, and then to be a founding member of theChagall String Quartet. In 1996, the Chagall received a two-year Rural Residence grant from ChamberMusic America, the NEA, and the local communities of Johnstown, Indiana, and Somerset, PA. TheChagalls were coached by renowned members and former members of the Amadeus, Audubon, Cleveland,Juilliard, Mendelssohn, Miami, Muir, and Tokyo String Quartets. During this time, Kristen touredboth with the quartet and as a harp/violin duo with harpist Min Kim. Her background in <strong>music</strong> education includes eightyears of public school string teaching at the elementary and high school levels (Fairfax County Public Schools and WarwickPublic Schools) and collegiate teaching experience at institutions in Michigan, Virginia, and Rhode Island. Kristen’s researchhas been published in the Journal of Research in Music Education, Bulletin of the Council for Research in MusicEducation, Arts Education Policy Review, Contributions to Music Education, and Journal of Music Teacher Education. Sheis currently writing a chapter for The Oxford Hand<strong>book</strong> of Qualitative Research in American Music Education and has achapter that will be published in Advances in Music Education Research. Kristen was born/raised in Warwick, RI and is agraduate of Toll Gate High School.Margot Schwartz is a member of the First Violin section of the Milwaukee Symphony Orchestra. Originally from Oakland,California, she has appeared as soloist with the Berkeley Symphony, Oakland East Bay Symphony,Northwestern University Chamber and Music Academy of the West Festival Orchestras. As a chamber<strong>music</strong>ian, in which capacity she has performed extensively on both violin and viola, she has been awinner of the Yale School of Music’s annual Chamber Music Competition and has performed at NewYork’s Barge<strong>music</strong> and at the Kennedy Center. Her present chamber <strong>music</strong> endeavors include regularperformances with her MSO colleagues in the Arcas String Quartet, as well as in Bowing Rogue, a newlyformedduo in which she also plays both violin and viola with her friend and colleague Ilana Setapen. Anenthusiastic traveler, Schwartz has performed orchestrally in over twenty countries as well as on a substitutebasis with the San Francisco Symphony, St. Louis Symphony, Saint Paul Chamber and Minnesota Orchestras. She hasserved as concertmaster of the Yale Philharmonia, Tanglewood Music Center, Music Academy of the West, and OberlinChamber Orchestras. Additionally, during her time as Principal Second Violin of the Civic Orchestra of Chicago, she waschosen to perform on the Chicago Symphony Orchestra’s MusicNow series. While a graduate student at Yale, Schwartztaught violin at the Lincoln-Bassett School in New Haven, Connecticut as part of the Yale School of Music Class of ’57“Music in Schools” initiative. She has also taught at the Music Institute of Chicago, and since moving to Milwaukee hasbegun teaching privately as well as coaching chamber <strong>music</strong> in numerous local schools. In past summers, Schwartz hasparticipated in the Aspen, Weathersfield, Tanglewood, and Music Academy of the West Festivals, and she currently performsat the Bellingham (WA) and Peninsula (WI) Music Festivals. She holds a Master of Music degree from the YaleSchool of Music, where she studied with Ani Kavafian, as well as a Bachelor of Music which she earned cum laude fromthe Northwestern University School of Music, where she was a student of Roland and Almita Vamos.

Pg 40 Music on the Hill 2013ViolaMichael Kelley graduated from The Walnut Hill School for the Arts and has received degrees from Oberlin Conservatory andThe Juilliard School. His teachers have included Leonard Matczynski, Jeffrey Irvine, and Karen Tuttle. Afinalist at the Primrose International Viola Competition at the age of 18, Mike is currently violist of theApple Hill String Quartet and has been an artist-in-residence at Apple Hill since 1996. He is the MusicCoordinator for Apple Hill’s Summer Chamber Music Workshop, where he directs sessions, performsconcerts, and coaches chamber <strong>music</strong> throughout the summer. Mike has been a Teaching Fellow in ElectronicMusic at the Juilliard School and is an active composer and electronic <strong>music</strong>ian. His albums haverecently been selected for the “best of the decade” lists of <strong>music</strong> magazines Stylus and Fact, and havebeen highly recommended by Entertainment Weekly, Spin, and the Guardian. Mike grew up in Providence, RI, studied violinwith Joseph Conti, and played in YPSORI. Through the West-side based Community Musicworks, he recently returned to hishometown to give an electronic <strong>music</strong> lecture/demonstration to young <strong>music</strong>ians.Rita Porfiris is always trying to bridge the gap between popular culture and classical <strong>music</strong>. She has been the subject ofarticles and interviews in media across the globe including the New York Times, Chamber Music America,International Symphony Musician, the NBC Nightly News, NPR, PBS, and the BBC. She has performedin major concert halls and <strong>music</strong> festivals worldwide and as a soloist has appeared with numerous orchestrasincluding the Orquesta Filarmonica de la Ciudad de Mexico, the New World Symphony and a featuredsoloist in the Houston Symphony Baroque Festival.Currently the Associate Professor of Viola at The Hartt School, she is also on the faculty of the FoulgerInternational Academy and ARIA Arts Academy and has been on the faculties of New York University, theUniversity of Houston Moores’ School of Music, Florida International University, and the Harlem Schoolfor the Arts in New York. She has given master classes and clinics across the U.S., United Kingdom, Japan, Argentina, Brazil,and the Dominican Republic. Ms. Porfiris is a member of the Hartt String Quartet and the Miller-Porfiris Duo. As a foundingmember of the Plymouth Quartet, she was in-residence at the Ojai Festival, Mainly Mozart, Point Counterpoint, and theInternationale Quartettakademie Prag-Wien-Budapest. She was the recipient of Austria’s prestigious Prix Mercure, a prizewinner in the Fischoff Chamber Music Competition and the Primrose International Viola Competition, and a laureate of thePaolo Borciani International Quartet Competition. She was awarded the National Music Leadership award in 2007 by theTexas chapter of <strong>music</strong> sorority Sigma Alpha in recognition of her dedication to the promotion of <strong>music</strong> and string playing atthe high school and university level. In her former 20 year-long career as an orchestral <strong>music</strong>ian, she worked under some ofthe most recognized conductors of the 20-21 Centuries, including Leonard Bernstein, Sergiu Celibidache, Kurt Masur, MichaelTilson Thomas, and Christoph Eschenbach. Ms. Porfiris received both her BM and MM in Viola Performance from TheJuilliard School, studying with William Lincer. Other teachers and mentors have been Paul Doktor, Norbert Brainin, andHarvey Shapiro.Sabina Thatcher began her tenure as principal viola of The Saint Paul Chamber Orchestra in 1989. She has been a soloistwith The Saint Paul Chamber Orchestra on numerous occasions, performing a wide variety of repertoireincluding Penderecki’s Viola Concerto, Mozart’s Sinfonia Concertante, John Harbison’s Viola Concerto,and Lachrymae by Benjamin Britten. Thatcher was a member of the Rosalyra String Quartet,which gave their New York debut in 1996, and has released recordings of Bartók, Beethoven,Shostakovich, and Brahms. She has also recorded both Fauré Piano Quartets and the Brahms A majorPiano Quartet. Ms. Thatcher is an artist-faculty member at the Aspen Music Festival and School and adistinguished artist and teacher at the Robert McDuffie Center for Strings at Mercer University. Ms. Thatcher was a finalistin the Naumberg International Viola Competition, and has performed solo recitals locally and nationally. Before coming toSt. Paul, she graduated from the Eastman School of Music with a Performer’s Certificate and a Bachelor of Music withdistinction and went on to study with Lillian Fuchs at The Juilliard School. During that time she toured with the BrandenburgEnsemble under the direction of Alexander Schneider and was a prize winner in the Hudson Valley Competition.

Cello2013 Music on the Hill Pg 41Anna Burden has performed extensively throughout the United States, as soloist with the Peninsula Music Festival Orchestra,the Juilliard Orchestra, Washington Chamber Symphony, the Northwestern University Symphony Orchestra,and the Oak Park Symphony Orchestra, among others. Ms. Burden is the winner of numerous competitionprizes, including the Grand Prize in the Music Teachers National Association Competition, FirstPlace in the Society of American Musicians Competition, and top prizes in the Washington InternationalCompetition, the Stulberg International Strings Competition, and the WAMSO Young Artists Competition.Ms. Burden, a native of Chicago, has studied with Nell Novak, Richard Aaron, Hans Jensen, Darrett Adkins,Joel Krosnick, and Alan Stepansky. Ms. Burden holds a Bachelor Degree in cello performancefrom Northwestern University, a Master’s Degree from The Juilliard School, and a Professional StudiesDiploma in Orchestral Performance from the Manhattan School of Music. She has attended The Piatigorsky Seminar forCellists, the National Arts Center Young Artists Program, the Verbier Music Festival, and the Yellow Barn Music School.Also passionate about early childhood education, Ms. Burden received her Suzuki teaching certification from School forStrings in New York City. Ms. Burden is the Associate Principal cellist of the Orchestre Symphonique de Montreal as of2010. In addition to her work in Montreal, Ms. Burden has played in the Peninsula Music Festival Orchestra in Door County,Wisconsin since 2007. Before joining the OSM, she played in the Saint Louis Symphony from 2009-2010.Elisa Kohanski is a founding member of the sextet IonSound Project, the Ensemble-in-Residence at the University ofPittsburgh. IonSound seeks to add to Pittsburgh’s cultural life by <strong>program</strong>ming innovative concerts,commissioning works of new <strong>music</strong>, collaborating with artists in a variety of disciplines, and exploringthe boundaries between concert and popular <strong>music</strong>. IonSound has received critical acclaim for theiroriginal <strong>program</strong>ming, fresh approach to contemporary <strong>music</strong>, and commitment to the city ofPittsburgh. Ms. Kohanski is the principal cellist of the Wheeling Symphony and the Pittsburgh BalletOrchestra and is a member of several other orchestras, including the Pittsburgh Opera Orchestra andthe Erie Philharmonic. She serves as adjunct faculty at Grove City College along with maintaining a private studio, teachingstudents ages six to sixty. Elisa is a graduate of the Eastman School of Music in Rochester, New York, where she studied withPamela Frame. She received her Master of Music from Carnegie Mellon University as a student of Pittsburgh SymphonyOrchestra’s Anne Martindale Williams and David Premo. Elisa resides in Pittsburgh’s Squirrel Hill neighborhood but travelsextensively, having performed in an array of local and international venues, including the Schlossfestspiele in Heidelberg,Germany; the AIMS Opera Festival in Graz, Austria; Royal Albert Hall in London, England; Carnegie Hall in New YorkCity; and in Pittsburgh at the Carnegie Music Hall, Pittsburgh Playhouse, the City Theater and Hazlett Theater. Ms. Kohanskihas performed with artists including Olivia Newton John, Phil Keaggy, Garrison Keillor, Robert Shaw, and John Tesh andhas toured China and the US with the Mantovani Orchestra. During the 2011-12 season, Elisa had the opportunity to performthe world premiere of Richard Danielpour’s Come Up From The Field Father with the Wheeling Symphony and the ElgarCello Concerto with Pittsburgh’s Edgewood Symphony Orchestra. Elisa was born and raised in Warwick, RI, and graduatedfrom Warwick Veterans Memorial High School.BassSee Artistic DirectorGuitatarNicholas Goluses, “Wit, charm, virtuosity, and depth of feeling, adding up to the humanity to which all artists should aspire.A model of virtuosic display. Goluses was dazzling,” wrote the New Jersey Star Ledger about NicholasGoluses, one of America’s most sought-after guitarists. The New York Times wrote: “Goluses producedan elegant sound. And the finales, taken dangerously fast, were accurate, transparent, and impressivelyarticulated. Mr. Goluses gave persuasive, energetic readings.” The Generalanzeiber (Bonn, Germany),acclaimed: “Goluses reached the highest levels of instrumental virtuosity.” Nicholas Goluses appearsas soloist, chamber <strong>music</strong> player and with orchestras across North America, South America, Europe,and the Far East to critical acclaim. Goluses has been a featured performer at major festivals through-

Pg 42 Music on the Hill 2013Guitatar (contitinunued)out the world and has performed as concerto soloist with the Savannah Symphony, New Jersey Symphony, Colorado Symphony,Rochester Philharmonic, American Wind Orchestra, Manhattan Symphony, Louisiana Sinfonietta, Jacksonville Symphony,Eastman Virtuosi, Heidelburg Symphony, and the Macon Symphony. He enjoys an active duo with flutist BonitaBoyd and has collaborated with the American and Ying String Quartets. Goluses has recorded for Albany, BMG, and forNAXOS. Goluses has received wide critical and audience acclaim for his CD of sonatas of Johann Sebastian Bach: “Playedwith masterly control of form and substance” (Cleveland Plains Dealer); of his CD of late guitar works of Fernando Sor,Fanfare wrote: “Nicholas Goluses plays superlatively” and Classical Guitar (London) wrote “his performance compels thehighest praise.” He has recorded three duo CDs for Albany Records (Chronicles of Discovery, Quicksilver, and Night Strings),and just completed a new solo CD, From Afar, with works by Britten, Schwantner, Ponce, Falla, and Theodorakis. Committedto performing new <strong>music</strong> for the guitar, Goluses has given world première performances of over 100 works, includingsolo pieces, concertos for guitar and orchestra, as well as chamber <strong>music</strong> by many of today’s leading composers. NicholasGoluses is Professor of Guitar, founder and director of the guitar <strong>program</strong>s at the Eastman School of Music, widely recognizedas one of the world’s leading centers for guitar study, where he has been the recipient of the Eisenhart Award forExcellence, and also has served as chairman of the string department. Goluses has held the Andrés Segovia Faculty Chair atManhattan School of Music where he received the Doctor of Musical Arts degree, and was the recipient of both the PabloCasals Award “for Musical Accomplishment and Human Endeavor” and the Faculty Award of Distinguished Merit. Dr.Goluses is in great demand for master classes at leading institutions throughout the world. He is currently on the Board ofDirectors of the Guitar Foundation of America.OboeMargaret Butler grew up in Rhode Island where she began her studies on the recorder and flute. A love for the sound of theBaroque oboe led her to study the modern oboe. She received her Bachelor of Music degree from theNew England Conservatory of Music and her Master of Music degree from Rice University’s ShepherdSchool of Music. Margaret participated in the Banff Summer Music Festival where she was a featuredsoloist and has also played in Graz, Austria with the American Institute of Musical Studies. She wasprincipal oboist for the Florida Grand Opera, Miami City Ballet and Palm Beach Opera before joiningthe Milwaukee Symphony Orchestra in 2002. In 2007, she played principal oboe for the Santa FeOpera Company and participated as a soloist in the Santa Fe Chamber Music Festival. The following Spring she was invitedto play as guest principal oboist for the Royal Scottish National Orchestra. She has appeared as a soloist with the MilwaukeeSymphony and performed as a soloist at Carnegie Hall in 2012. In addition to performing with the Milwaukee Symphony,Margaret is principal oboist for the Milwaukee Ballet Orchestra and is on faculty at the University of Wisconsin-Milwaukee.Anne Marie Gabriele joined the Los Angeles Philharmonic in January 2000 as second oboist, the position she previouslyheld in the Columbus Symphony Orchestra from 1993 to 1999, and in the Honolulu Symphony from1990 to 1993. In addition to her duties in Columbus, she was Principal Oboist of Ohio’s CantonSymphony Orchestra from 1993 to 1999. At the Juilliard School in New York City, she earned Bachelor’sand Master’s degrees under the tutelage of John Ferrillo and Elaine Douvas of the Metropolitan OperaOrchestra. While at Juilliard, she performed at the nationally televised Kennedy Center Honors toWilliam Schuman, and recorded several 20th-century works for the Juilliard American Music RecordingInstitute on New World Records. Gabriele has participated in numerous <strong>music</strong> festivals, includingthe Aspen, Kent/Blossom, Waterloo, and Breckenridge festivals, as well as the National OrchestraInstitute. Solo appearances have included performances with the Canton Symphony in 1996 and 1998.Born and raised in Foster-Glocester, Anne graduated from Ponaganset High School and credits her <strong>music</strong>al inspiration to anexceptionally strong public high school <strong>music</strong> <strong>program</strong> whose wind ensemble performed and competed internationally. Anneis an adjunct faculty member at the New England Conservatory and a guest faculty member at Indiana University’s JacobsSchool of Music.

Oboe2013 Music on the Hill Pg 43Julie Gramolini Williams joined the Minnesota Orchestra in September 2007 after two seasons as a member of the OmahaSymphony. She is an active chamber <strong>music</strong> performer as well as teacher. Julie previously held theprincipal oboe post with the United States Air Force Band of the West stationed in San Antonio, Texas.She played regularly with the San Antonio Symphony and was a member of the San Antonio LyricOpera Orchestra. Additionally, she was principal oboe in the Houston Chamber Orchestra, VictoriaSymphony, Laredo Philharmonic and was second oboe/English horn in the Corpus Christi Symphony.Originally from North Smithfield, Rhode Island, Julie received her Bachelor of Music Degree fromOberlin College where she studied with James Caldwell. She continued on to Rice University where sheearned her Master of Music Degree while working with the Professor of Oboe, Robert Atherholt. Aftercompleting college, Julie honed her skills under the tutelage of Mark Ackerman. She lives in Plymouth,Minnesota with her husband, Greg. When she is not performing or teaching, she enjoys running, biking and strength training.ClaririnetDaniel Gilbert joined the faculty at the University of Michigan as Associate Professor of Clarinet in 2007. Previously, heheld the position of Second Clarinet in the Cleveland Orchestra from 1995 to 2007. Mr. Gilbert also serves asprincipal clarinet of the City Music chamber orchestra and he is on the faculty of Case Western ReserveUniversity and the Cleveland Institute of Music preparatory and continuing education divisions. A native ofNew York City, Mr. Gilbert received a Bachelor of Arts degree from Yale University and both a Master ofMusic degree and Professional Studies Certificate from The Juilliard School. Prior to joining the ClevelandOrchestra, Mr. Gilbert was an active freelancer in New York City, appearing regularly with groups includingThe Metropolitan Opera, American Ballet Theater, New Jersey Symphony, Solisti New York, Stamford Symphonyand the New Haven Symphony, where he played principal clarinet from 1992 to 1995. A member of the Quintet of theAmericas in 1994-1995, Dan toured with the group throughout the United States and was in residence at NorthwesternUniversity. Mr. Gilbert is an Artist/Clinician for Buffet-Crampon clarinets and the Vandoren Corporation and he has traveledthroughout the United States, Canada and Europe appearing as a recitalist and clinician. His concerts and master classes havereceived critical acclaim throughout the world. Mr. Gilbert’s teachers have included David Weber, Robert Marcellus, RichardWaller, Burt Hara and Judith Kalin-Freeman. Mr. Gilbert plays exclusively on Buffet and Vandoren products.BassoonSteve Vacchi holds degrees from the Eastman School of Music (BM/Performer’s Certificate), The Hartt School (MM) andLouisiana State University (DMA). He also studied at the Yale School of Music. His teachers have includedRebecca Eldredge, Matthew Ruggiero, Bob Reinert, K. David Van Hoesen, Stephen Maxym, Frank Morelliand William Ludwig. An advocate of contemporary <strong>music</strong>, he has performed in twenty-three countries andrecorded for Argo, BMG Classics, Centaur, NMC, Equilibrium, North Pacific, Sony Classical, 8Bells, OriginClassical, Orange Mountain Music, Edward Hines Music and Imagine Records. A member of the OregonBallet Theatre (Portland), Arizona MusicFest, Oregon Bach Festival, Oregon Wind Quintet, AnyWhenEnsemble, and the Cabrillo Festival of Contemporary Music, he has also performed with the Santa FeProMusica, Florida Orchestra, Rochester, Tulsa, and Rhode Island Philharmonics, and the Colorado, NewHaven, Kansas City, Honolulu, Shanghai, Oregon, New World, Eugene, Baton Rouge, and Wichita Symphony Orchestras.Professor of Bassoon at the University of Oregon since 2000, Vacchi was formerly on the faculty of Wichita State University(KS) and the Brevard Music Center (NC). In his free time, he enjoys hiking, biking, distance swimming, gardening, XCskiing, snowshoeing, good food and wine. Steve grew up in Portsmouth and is a graduate of Portsmouth High School. Heplayed in the Brown University Orchestra, New Bedford Symphony, Rhode Island Youth Philharmonic, and Greater BostonYouth Symphony Orchestra while in high school.

Pg 44 Music on the Hill 2013HornLeslie Norton has enjoyed an active and diverse <strong>music</strong>al career in Nashville, TN, for the past twenty years. Norton hasperformed with the Nashville Symphony as principal horn since 1990. She joined the faculty at the BlairSchool of Music at Vanderbilt University around the same time and has recently been promoted to theposition of associate professor. Leslie loves to play chamber <strong>music</strong> and has participated in several festivalsincluding Skaneateles, OK Mozart, and Virginia Waterfront. She has recently completed a CD of workswritten for her and her husband, percussionist Chris Norton, which could well go platinum if they could justfinish the liner notes and get it released. A graduate of the Eastman School of Music, Norton has also playedwith the New Orleans Symphony, Atlanta Symphony, Rochester Philharmonic, and served on the faculty ofthe Eastern Music Festival for twenty years. Born and raised in Mystic, CT, Norton considers herselfalmost a Rhode Island native: she rode her bike over the border several times as a child.TrurumpempetJoseph Foley is a native of Concord, New Hampshire. He attended Boston University as a Trustee Scholar, where he studiedtrumpet with Roger Voisin, Rolf Smedvig, and Peter Chapman. There he received both his Bachelors andMasters of Music degrees, and was twice named “Outstanding Brass Player.” He has performed in morethan a dozen countries on four continents. A highly sought-after chamber <strong>music</strong>ian, he is a former memberof the Atlantic Brass Quintet, which garnered grand prizes at six international competitions during histenure. He has performed with the Boston Symphony Brass Quintet, the Empire Brass, Burning RiverBrass, Collage, Boston Musica Viva, ALEA III, and at the Santa Fe, Buzzard’s Bay, and Newport ChamberMusic Festivals. As an orchestral <strong>music</strong>ian, he has performed and toured with such prestigious ensemblesas the Boston Symphony, Boston Pops, Boston Ballet, Royal Ballet of London, the Metropolitan Opera,and the New York Philharmonic. Mr. Foley has been Principal Trumpet of the Rhode Island Philharmonic since 1990 and wasrecently appointed Principal Trumpet of the River Oaks Chamber Orchestra of Houston, TX. As a soloist, he has performedwith the Boston Pops, the Boston Landmarks Orchestra, the Rhode Island Philharmonic, the Pro Arte Chamber Orchestra, theRiver Oaks Chamber Orchestra, and at Carnegie’s Weill Recital Hall. Recently he was soloist in the world premiere of theTrumpet Concerto by Harold Shapero. He can be heard on recordings of the Boston Symphony, Boston Modern OrchestraProject, Atlantic Brass, Empire Brass, the Metropolitan Opera Brass and many others. His first solo CD is due out this year.As a clinician for the Vincent Bach Corporation, he has presented master classes around the world. Mr. Foley is Professor ofTrumpet at Rhode Island College.PercussircussionPeter Ferry is a young American solo percussionist currently living in Rochester, NY. He is hailed by The Democrat andChronicle as a “percussion genius… presenting percussion in a stunning, thoughtful way.” Since hispremiere concerto performance at age 18, Peter has continued to perform as a guest soloist with variousensembles. The 2012-2013 season will include concerto engagements with the Brockport SymphonyOrchestra, the Moses Brown Wind Ensemble, the Sound ExChange Orchestra, at the Music on the HillFestival, as well as the North American premiere of Joe Duddell’s Ruby. Peter also has a passion formultimedia performance, collaborating with artists of other disciplines to deepen the concert experience.His multimedia performance at the Rochester Fringe Festival was reviewed as “breathtaking… all thatsuch festivals are supposed to be: funny, boundary-pushing, thought-provoking.” As a chamber <strong>music</strong>ian,Peter is an enthusiastic performer of contemporary works, particularly in his duo partnership with cellist Audrey Q.Snyder. Peter graduated from the Eastman School of Music as the first-ever John Beck Percussion Scholarship recipient andwith the prestigious Performer’s Certificate recognizing “outstanding performing ability.” A Providence native, Peter attendedMoses Brown School and is fortunate to have been mentored and educated by a community of <strong>music</strong>ians throughoutRhode Island, particularly at the Rhode Island Philharmonic Music School, Moses Brown School, and in the Rhode IslandWind Ensemble under the direction of Nedo Pandolfi.

Piano2013 Music on the Hill Pg 45Christina Breindel is a graduate of the University of Connecticut with a degree in <strong>music</strong> education. She has lived in Spain,Connecticut, and South Dakota among other places. Christina is currently an adjunct faculty member atRhode Island College, where she accompanies student recitals and juries, teaches piano, and is the accompanistfor the RIC choirs and opera workshop. Christina has accompanied the Rhode Island All-State andHonors Choruses and the North Kingstown Community and Ponaganset High School Choruses. She continuesto be a sought-after accompanist and piano teacher in Rhode Island. Upon her return to Rhode Island in1999, Mrs. Breindel formed the Chrysalis Piano Trio with violinist Kristen Pellegrino and cellist Elisa Kohanski.Since then the trio has performed on numerous occasions throughout the state. In addition, Christina andKristen have presented duo concerts as well in venues including the Warwick Music Festival and the Chopinand Chaminade Clubs at the Music Mansion in Providence. Christina enjoys spending her spare time gardening and with herhusband Jim, daughters Leah and Aimee, and her granddaughter, Nicole.Donna Lee made her solo debut in 1990 with the National Symphony Orchestra. She has since appeared as a soloist andcollaborative artist at Kennedy Center’s Concert Hall and Terrace Theater in Washington, DC, and LincolnCenter’s Alice Tully Hall in New York City. Donna has performed in Asia, Europe and throughout the US,with recent concerts in Hong Kong, Beijing, China and Puerto Rico. Critics have described Donna Lee’sperformances as elegant and refined (Il Fronimo, Italy), engaging (WCLV-Cleveland) and brilliant (IwateDaily News, Japan). As a soloist and chamber <strong>music</strong>ian, she has performed at festivals such as Ameri-ChinaInternational Music Foundation in China, Brevard Music Center in North Carolina, Interlochen Arts Festivalin Michigan, Kent Blossom Music in Ohio, Maui Classical Music in Hawaii, and Music on the Hill. Afrequent collaborator with cellist Keith Robinson, the duo has performed the complete works of Beethoven and Mendelssohnfor cello and piano in recent years. In 2011, they released a recording of the complete works by Mendelssohn for cello andpiano on the Blue Griffin label. She also made her solo recording debut on the Azica label, with a <strong>program</strong> entitled Scenesfrom Childhood with works by Schumann, del Tredici, Medtner, and Prokofieff. Donna earned her doctorate from PeabodyConservatory of The Johns Hopkins University, her master’s from The Juilliard School, and her bachelor of <strong>music</strong> degree fromthe University of Maryland-College Park, where she studied with prominent artist-teachers Julian Martin, the late RudolfFirkusny, and Thomas Schumacher, respectively. A highly sought-after teacher and clinician, she has had numerous prizewinningstudents. She has taught at Peabody Conservatory, Bucknell University, and Interlochen Arts Camp in Michigan.Donna is presently on the faculty at Kent State University; during the summers, she is co-director of the Piano Institute at KentState and artist-faculty at Kent Blossom Chamber Music in Ohio and Brevard Music Center in North Carolina. Donna Lee isa Steinway Artist.VocaliocalistDiane Alexander has achieved recognition as one of the major singing-actresses of her generation. Her reputation is one ofbringing consistent <strong>music</strong>al and dramatic excellence to her roles in Opera, Operetta and Broadway to whichshe has received tremendous critical acclaim. After graduating from Rhode Island College with a Bachelor ofMusic in Performance, Diane was a young artist with the Tanglewood Music Festival and subsequently spenttwo summers at San Francisco Opera’s famed Merola Opera Program. Significant honors include OutstandingAlumnus from Rhode Island College, a Sullivan Foundation Career Grant, a Liederkranz FoundationAward, New England Regional Finalist of the Metropolitan Opera Auditions and winner of the Bel CantoFoundation auditions, which awarded her six weeks of study in Sienna, Italy. Diane has sung leading roles with manyprestigious Opera Companies and Symphonies in the U.S. today. Some of her signature operatic roles include the title role inLehar’s The Merry Widow, which she performed with Hawaii Opera Theatre, Columbus Opera, Arizona Opera, New OrleansOpera, Chautauqua Opera and more. She has given over 150 performances of Violetta in La Traviata with San FranciscoOpera’s Western Opera Theater touring company, Opera Carolina, Nevada Opera and August Opera, and performed asCuley’s Wife in Of Mice and Men with Washington National Opera, San Diego Opera and Utah Opera. Other prestigiouscompanies include a World Premiere performance with Houston Grand Opera, Florentine Opera, New York City OperaNational Tour and seven peerless seasons with Colorado’s famed Central City Opera. Recent and upcoming performances

Pg 46 Music on the Hill 2013Vocaliocalist (co(contitinunued)include Donna Elvira in Don Giovanni with Shreveport Opera and Piedmont Opera and the world premiere of Alice with SanDiego’s Art of Èlan and Strings Music Festival in Steamboat Springs, CO. In addition to returning to her native Rhode Islandthis June to appear in chamber <strong>music</strong> concerts with Music on the Hill, she will also appear with Hawaii Opera Theatre asMadame Lidoine in Poulenc’s dramatic Dialogues of the Carmelites. In Musical Theater, Diane’s versatility as a singingactress caught the eye of Hal Prince, who cast her as Carlotta in San Francisco’s “sit down” production of Andrew LloydWebber’s The Phantom of the Opera, which she performed 8 shows a week for a year. In this competitive world today, Dianeencourages her students to create opportunities for themselves, as she did herself this past year by co-creating and nowstarring in La Divina, a group comprised of four glorious sopranos that is managed out of Palm Springs and performs forcorporate and private events. Highly sought after to teach and mentor young rising stars as well as professionals, Diane hasopened a voice studio to pass on her immense knowledge and experience as a singer, performer and lifetime performing artist.Mary Phillips has sung Eboli in Don Carlo for Canadian Opera, and Azucena in Il Trovatore at Seattle Opera and Amnerisin Aida, most recently for Hawaii Opera Theatre. Recent appearances also include Brangaene inWagner’s Tristan und Isolde for Dallas Opera, Schwertleite in Wagner’s Ring and Mrs. Alexander in PhilipGlass’s Satyagraha for the Metropolitan Opera. She has sung Fricka and Waltraute in Die Walküre andWaltraute in Götterdämmerung at Canadian Opera; Erda for Scottish Opera, and Wellgunde and Rossweisewith Seattle Opera. Concert highlights include Mahler’s Symphony No. 8 with the New York Philharmonic,Mahler’s Symphony No. 2 with the Atlanta Symphony and the Los Angeles Philharmonic,Beethoven’s Symphony No. 9 with the Boston Symphony Orchestra and the Philadelphia Orchestra. Recentand upcoming concert engagements also include Prokofiev’s Alexander Nevsky with the Milwaukee Symphony, andMendelssohn’s Elijah with the Nashville Symphony.Dr. Fredric Scheff has been working as a singer in Rhode Island for over thirty years. He began singing, as a cantor atTemple Beth Am here in Warwick, before he began college. While a <strong>music</strong> major at Rhode Island College healso began singing as a soloist/section leader in various churches throughout RI, including at Central CongregationalChurch, a position to which he was fortunate enough to return after an absence of twenty years.Recent appearances include Mozart’s Requiem here in Providence, the premiere of Lest We Forget, by RIcomposer Steven DeCesare, Handel’s Messiah in Concord, New Hampshire, as well as Opera Providence’sMerry Widow. A familiar face to area audiences, he has appeared with many local <strong>music</strong>al organizations,among them, New Bedford Symphony, Mastersingers by the Sea, Rhode Island Civic Chorale and Orchestra,South County Chamber Singers, Opera Providence, Operatunity, Operartisti, URI Opera Workshop Guest Artist, OceanState Light and Ocean State Lyric Opera Companies, Ocean State Chamber Orchestra, Theater-by-the-Sea, Beavertail Productions,Trinity Repertory Company, Mystic River Choral, South County Courthouse Players, and Wheaton College. Hehas toured the country appearing as Ubalo Piangi in Sir Andrew Lloyd Webber’s The Phantom of the Opera. He worked withOpera Theatre of Saint Louis for seven seasons, during which time he appeared in seventeen productions under such directorsas Colin Graham, Rhode Levine and Linda Brovsky, and conductors Leonard Slatkin, John Nelson, Andrew Litton,Joseph Rescigno and Stephen Lord. Coaches include Mark Ferrell, Dean Williamson, Stephen Lord, Tom Gligoroff, MatthewLarson, Leann Hillmer, Ben Malensek and John Keene. He holds a Bachelors degree in vocal performance from RICand a Masters and Doctorate in vocal performance from the University of Kansas. Dr. Scheff is an adjunct Faculty member atRIC. One interesting note: his first voice teacher was Alice Pellegrino – you may note the slight similarity in name to ourBass player for this evening.Music on the Hill’s MissionThe mission of Music on the Hill is to present an annual nationally recognized concert series. This MusicFestival brings home professional <strong>music</strong>ians and their friends who are eager to share their passion for <strong>music</strong>with a community they love. Music on the Hill hopes to inspire future generations with exciting performancesfeaturing chamber <strong>music</strong> and innovative <strong>program</strong>ming in both traditional and non-traditional settings.

2013 Music on the Hill Pg 47

Pg 48 Music on the Hill 2013Musicians 2013ViolinSylvia D’AvanzoKristen PellegrinoMargot SchwartzViolaMichael KelleyRita PorfirisSabina ThatcherGuest ArtistJoseph Kalichstein, PianoGuitarNick GolusesWindsMargaret Butler, OboeAnne Gabriele, OboeJulie Gramolini, OboeDaniel Gilbert, ClarinetSteve Vacchi, BassoonLeslie Norton, HornJoseph Foley, TrumpetPianoChristina BreindelDonna LeePercussionPeter FerryCelloAnna BurdenElisa KohanskiBassJohn M. Pellegrino,Artistic DirectorVoiceDiane AlexanderMary PhillipsFred ScheffJohn M. Pellegrino,Artistic Director

Pg 522013 Music on the HillFestival ScheduleThursday, June 13 th- Wine & AppetizersA culinary concert to feed the sensesConcertSS Rose and Clement Catholic Church Long Street, Warwick, RIDessertFriday, June 14 th SS Rose and Clement Catholic Church Long Street, Warwick, RISaturday, June 15 th Sacred Exchange Fellowship Division Street, East Greenwich, RIWednesday, June 19 th St. Bernard Catholic ChurchTower Hill Road, North Kingstown, RIThursday, June 20 th St. Gregory the Great Catholic Church Cowesett Road, Warwick, RIFriday,June 21 st Special Guest Pianist Sapinsley Hall Nazarian Center Rhode Island College Mount Pleasant Avenue, Providence, RIFor Ordering TicketsSee Page 14